PAC 2017: Passion - Hockey

PASSION: HOCKEY
A Unifying Experience

November 25, 2017 - March 11, 2018

Pointe-à-Callière (PAC), the Montréal Archaeology and History Complex, is presenting a new exhibition Passion: Hockey.

Hockey is officially Canada’s National Sport. Canada is considered the birthplace of ice hockey, and Canadians generally regard the sport as their own. Though three locations: Montréal, Windsor (Nova Scotia), and Kingston (Ontario), have all claimed to be the birthplace of ice hockey, there is little clear evidence to pinpoint the exact place where a game played originally with balls and sticks has become a hockey game. What we do know, the first game of organized ice hockey, as we would recognize it today, in fact the first indoor game, was played in Montréal on March 3, 1875, where J.G.A. Creighton, a McGill student, established a set of formal rules. Hockey is therefore a part of Montreal and Quebec social history and is highlighted as such by the present PAC's exhibition that celebrates and explores the different dimensions of this sport, including its popular roots, and its evolution and influence. And it also celebrates the oldest and most legendary team in the NHL league, the Montréal Canadiens.

The exhibition also marks the centenary of the National Hockey League (NHL), and the 125th anniversary of the Stanley Cup. It was adapted by PAC from an exhibition developed by the Canadian Museum of History. It features over 500 unique items and even a collection of more than 1,200 hockey trading cards (see just below).

Last winter Pointe-à-Callière put out a call to collectors of hockey memorabilia. They received over one hundred offers from hockey fans, especially the supporters of the Montréal Canadiens. All kinds of rare items conserved over the years that recall key hockey events and players’ feats were loaned to the Museum and are now on display for visitors to see. A huge variety of objects: cards, hockey sticks, pucks, autographed photos, souvenir items, all symbols of fans’ devotion to the team and its history.

This exhibition will delight not only the ardent hockey lovers but also those who rarely watch hockey, or those who are not knowledgeable about the game but would like to learn more about it, its history and origins. The visitors will be amazed to see such rare items as a contract the great Quebec hockey player Maurice Richard, nicknamed "Rocket" Richard, signed just on an ordinary small sheet of paper (see below). This would be now quite unacceptable, in view of present day multi-paged, legally produced, long and detailed hockey players' contract documents. 

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For more information about the museum and its 2017 activities, visit the PAC Museum's website.

McCord 2017: Toy's Exhibition

THE TOPSY-TURVY STORYLAND
McCord Museum's 8th annual Toys exhibition

November 19, 2017 -  March 18, 2018

AN ADVENTURE OF DISCOVERY TO BREAK THE SPELL OF THE FAIRY CARABOSSE

The McCord Museum presents its annual Toys exhibition, this year based on an original concept: The Topsy-Turvy Storyland. It is largely geared to children aged 3 to 9 and their companions. All are invited to explore the world of timeless fairy tales that have charmed generations of kids: Little Red Riding Hood, Hansel and Gretel, Jack and the Beanstalk, The Little Mermaid and Cinderella. In an imaginative fairytale-like setting, the children and other visitors will see numerous toys and objects from the Museum's Decorative Arts collection. Ideal for the holidays and winter school break, the exhibition transports visitors to Storyland, a world turned upside down by an evil spell cast by the Fairy Carabosse.

This year's exhibition occupies more space than it has in the past, offering visitors a look at nearly 150 artefacts from the Museum's collection of toys and decorative arts. These objects, several of which are being displayed for the very first time, have been restored by the McCord Museum  conservators and arranged in a magical decor with a touch of nostalgia. Parents and children alike will enjoy this fun and exciting treasure hunt through the world of fairy tales.

Among the objects from the Museum's collection on display are antique storybooks, an automaton doll created by Léopold Lambert (19th century), and a life-size carousel horse (early 20th century). Texts aimed at adults provide background information on the fairy tales and details about the artefacts on display.

This is a participatory exhibition with its own story line that opens a door into the world of fairy tale characters:

The realm of good King Dagobert has been buzzing with excitement for days, getting ready for the grand ball to celebrate the king's birthday. Everyone is invited—everyone, except the Fairy Carabosse. Furious at having been left off the guest list, she casts a terrible spell on the kingdom so no one can join the party. Immediately, characters and objects from different  stories are all mixed up. Little Red Riding Hood's basket and cape have vanished, Hansel has lost his pebbles and found himself in a different story, and Jack is struggling to find his magic harp and hen that lays the golden eggs. But that's not all! The Little Mermaid cannot locate her friend the fish or her shells, Prince Charming has been thrown into another story, and Cinderella has misplaced her glass slipper. 

To break Carabosse's spell and enable King Dagobert's ball to go ahead as planned, children must spot the ten characters and objects that have been put into other stories. When visitors enter the exhibition, they are asked to use their powers of observation as they walk through the forest and peek into the windows of Grandmother's house (Little Red Riding Hood), enter the house of the wicked witch (Hansel and Gretel), wander above the clouds (Jack and the Beanstalk), explore under the sea (The Little Mermaid) and stroll through the magnificent palace ballroom (Cinderella). Once the spell has been broken, the visit ends in the "magic library," an immersive reading room that invites one and all to peruse fascinating fairy tales from here and around the world.

At the very end of the exhibition, the children enter a cosy library where they can sit down and read fairy tales.

Speicial activities for children

The exhibition also includes a dress-up area and space for playing games like bowling, memory, blocks and bird watching, to name a few.

Entrance to the museum is always free for children ages 12 and under, an initiative that enjoys the financial support of Tourisme Montréal.

Extensive programming for the holidays

The Museum offers numerous activities designed for the entire family, including Sunday workshops, story hour, The Adventure at the Museum and special events for the holidays and winter school break.  Consult the Museum's Website and the Events Calendar.

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For more information, visit the McCord Museum website.

The 39 Steps

Centaur Theatre /49th Season

THE 39 STEPS

November 14 - December 10, 2017

Directed by EDA HOLMES

Adapted by PATRICK BARLOW

Based on the ALFRED HITCHCOCK film adaptation of JOHN BUCHAN's novel

The play is a comic spin on a classic story made famous by Alfred Hitchcock's film with the same title.

Richard Hannay, a suspected murderer, is caught in a web of international conspiracy. Handcuffed to a beautiful woman who is convinced of his guilt, the unwitting action hero must stay one step ahead of Scotland Yard to prove his innocence and to stop an evil spy-ring. His and others' lives are endangered in this theatrical "mission impossible", full of action and allusions. The play is performed by only four actors, who most effectively switch characters at lightning speed.

Director Eda Holm's play is based on vaudeville and slapstick elements perfectly enacted by the four actors. If you like those genres, then the play will be to your liking. On the other hand, if you do not appreciate crude jokes, and do not find it funny to look under a woman's skirt, seeing her purposefully flashed panties, or watch a graphic reference to bestiality, than it might be better for you to find some other entertainment. Several ladies were overheard referring to some stage enactment as unacceptable, leaving the theatre at the intermission. Considering that the largest segment of the Centaur's audience is of a certain age, a more classy staging might have been more appropriate since classiness is never out of fashion, regardless of the audience's calendar years and the different age brackets and generations they belong to. I believe there could be created classiness in any theatre genre and that a classy interpretation gives any play more weight, reality, and audience's emotional engagement. Even if one laughs during this Centaur play, the question arises how deeply one gets engaged with it, and how meaningful is that experience. 

CREATIVE TEAM

ACTORS: Lucinda Davis, Trent Pardy, Amelia Sargisson, Andrew Shaver

Set & Costume Designer - Michael Gianfrancesco

Lighting Designer - Andrea Lundy

Composer & Sound Designer - Keith Thomas

Fight Choreographer - Anita Nittolly

Assistant Director - Cristina Cugliandro

Stage Manager - Merissa Tordjman

Assistant Stage Manager - Isabel Quintero Faia

For more information, visit the Centaur Theatre website.

MMFA 2017: Nadia Myre

NADIA MYRE 

TOUT CE QUI RESTE – SCATTERED REMAINS

November 15, 2017 – May 27, 2018

This is the first solo survey exhibition of Nadia Myre, a Quebec Indigenous artist, at the Montreal Museum Of Fine Arts. It features the Canadian premiere of Code Switching, a series Myre produced during an artist residency at the Darling Foundry, sponsored by the MMFA, in 2016-2017. The exhibition includes some twenty works – photographs and sculptures – created between 2000 and 2017. It is part of Woman. Artist. Indigenous. season at the Museum, devoted to female Indigenous artists.

This is an imaginative presentation of several individual works by the artists. The way they are displayed together, a coherent whole is achieved and is perceived as a single artistic installation. As one walks within the exhibition room from one displayed object to the next, it is becomes obvious that what one sees are separate puzzle pieces of the same unified body of art that tells the story how the artist reconciles her reality, the reality of her native roots, the overpowering European stronghold that took over, and the modern multi-ethnic cultural fabric of the society within which she lives and creates. She uses elements not produced by the natives to express native motives and designs, thus recreating her own identity through the blending of all separate realities of her present life. For instance, the native ornamental piece in the photo at the very top of this article was made with ceramic pieces Myre found in the mud during a river Themes' low tide, a popular activity called mud-larking by the Londoners. These ceramic pieces were used in manufacturing pipes. A a remnant of one such pipe, also found by the artist, appears in the image above this paragraph.

About Nadia Myre

Nadia Myre is a member of the Algonquin First Nation of Kitigan Zibi Anishnabeg. In her works, she revisits official history and the political and social struggles of Indigenous peoples. She juxtaposes her personal experience with that of others, creating highly symbolic works that spark contemplation and reflection. She takes a participatory approach and tackles topics of identity, language, desire and memory. The works in the exhibition reflect on the encounter between Indigenous peoples and the Europeans.

Born in Montreal in 1974, Nadia Myre is a graduate of Camosun College, Victoria (1995), Emily Carr University of Art and Design, Vancouver (1997), and Concordia University (MFA, 2002). She received the Banff Centre for Arts Walter Phillips Gallery Indigenous Commission Award (2016), and the prestigious 2014 Sobey Art Award, for outstanding Canadian artists aged forty or under. In the past 15 years, her works have been presented and collected by museums in Canada and abroad, including the Musée d’art contemporain des Laurentides, Musée national des beaux-arts du Québec, Art Gallery of Ontario, Mackenzie Art Gallery, Winnipeg Art Gallery, National Gallery of Canada, the National Museum of the American Indian (New York), Eiteljorg Museum (Indianapolis), the Compton Verney Art Gallery (GB), Fresnoy (France), and the Sydney Biennale in Australia.

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WOMAN. ARTIST. INDIGENOUS.

This fall, the MMFA is spotlighting female Indigenous artists with exhibitions and acquisitions of their works, as part of Woman. Artist. Indigenous. In addition to the exhibition of works by Nadia Myre, this cycle presents the work of Ontario photographer Meryl McMaster, with the exhibition IN-BETWEEN WORLDS (until December 3, 2017), consisting of two photographic series entitled In-Between Worlds (2010-2015) and Wanderings (2015); artists Eruoma Awashish, Meky Ottawa and Jani Bellefleur-Kaltush, with their immersive installation KUSHAPETSHEKAN / KOSAPTCIKAN – A GLIMPSE INTO THE OTHER WORLD (until February 4, 2018), as well as recent acquisitions of works by Maria Hupfield and Rebecca Belmore. Woman. Artist. Indigenous. follows She Photographs (2016), which featured seventy works by thirty contemporary female photographers from Quebec and further afield, and Her Story Today (2015), which presented works by six contemporary Canadian female painters

For more information about the Montreal Museum of Fine Arts exhibitions and activities, visit the museum's website.

MMFA 2017: Wool War One

WOOL WAR ONE

An army of 780 small woollen soldiers in memory of the victims of the war and an ode to peace.

By artist Délit Maille 

November 11, 2017 - January 7, 2018

The installation opened on November 11, at the occasion of Remembrance Day. It pays tribute to the victims of the World War One (1914-1918) and commemorates the centennial anniversary of the Battle of Vimy Ridge. With this exhibition, the MMFA joins in solidarity to launch a message of peace.

Wool War One highlights the fragile destiny of the World War One participants and soldiers in general. It represents a battalion of 780 small soldiers knitted by five hundred volunteers from around the world. These small figurines, hurled together in marching rows, show how vulnerable and unprotected were the young men enlisted into this brutal war by the world powers that had no regard for their lives. All from different countries, yet they march together, even though they were killing each other on opposite sides of battlefields, being all equally heroes and victims of a war they did not create nor wished for. 

This installation is part of the MMFA's Year of Peace, a vast program of activities and exhibitions that began in November 2016 with the inauguration of the Michal and Renata Hornstein Pavilion for Peace. The installation was conceived by the MMFA museum in collaboration with Atout France – the France Tourism Development Agency – and the First World War Centenary Partnership Programme. 

Wool War One: A 1,000-Hand Project

The idea of Wool War One emerged in 2013 when Délit Maille was asked by La Piscine, Musée d’art et d’industrie André Diligent, in Roubaix, to create a work for the centenary of the Great War. Wool War One took form after a visit to one of the immense military cemeteries in Northern France, where she noted names and ages of the fallen soldiers. She then launched a public appeal to make the 15 cm high soldiers. In just a few days, 499 women and one man volunteered to knit for the project. They were all ages, from all continents (just as in 1914 the soldiers came from all the continents).

Délit Maille assembled a 18 metre long army of little soldiers who render a silent vigil to the millions of lives shattered by this global conflict. The 780 soldiers are dressed in uniforms of nineteen countries that were engaged in the conflict; allies and enemies. They echo the Tricot National movement instituted in France at the outset of the war by French President Raymond Poincaré, who encouraged women to knit warm clothes for their brothers, sons, husbands or countrymen at the front.

Canadians Present in the Woollen Army

Newly arrived in Montreal, the woollen soldiers of Wool War One are grouped by nationality, with the French contingent being the most numerous. There are only 5 Canadian soldiers in this knitted army, although they were proportionately quite numerous and played a major role during the First World War when they succeeded in taking Vimy Ridge in 1917. They attacked a position that was already considered a graveyard, as the previous French attacks had all been driven off. Vimy became a symbol of sacrifice of Canadian soldiers, where 11,285 of them are buried. In the photo below, the line of 5 Canadian soldiers in khaki-beige uniforms.

This installation is on view in Atrium Moses Deitcher, at the Michal and Renata Hornstein Pavilion for Peace – Level 2. 

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For more information about the Montreal Museum of Fine Arts exhibitions and activities, visit the museum's website.

MAC 2017: LEONARD COHEN

LEONARD COHEN

UNE BRÈCHE EN TOUTE CHOSE / A CRACK IN EVERYTHING

November 9 - April 9, 2018

Le Musée d’art contemporain de Montréal (MAC) – The  Montreal Museum of Contemorary Art - is presenting an international exhibition Leonard Cohen – Une brèche en toute chose / A Crack in Everything, inspired by the world of Leonard Cohen and the great themes of his work and his life. This major exhibition is the first to be entirely devoted to the imagination and legacy of this Montreal’s native son, who was the great singer/songwriter, a man of letters and a global icon.

CBC/Radio-Canada is the presenter of this unique exhibition, which will be opening tomorrow, on November 9, 2017, one year after Cohen’s passing.

The exhibition is part of the official program for this year’s Montréal’s 375th anniversary celebrations. It will be open to the visitors for 5 months and is presenting a number of works by artists: 

• 20 new works of art
• 40 artists from
• 10 countries
• A series of concerts and events in parallel with the exhibition

Klara Blake, Offerings

Leonard Cohen, a poet, novelist, singer and songwriter whose work is renowned worldwide, remains one of the most fascinating and enigmatic figures of our time. Having attracted a global audience during five decades of writing and music-making, he gained a huge cross-generational fan base. He is still revered by younger musicians and artists as a major figure from the 1960s who worked right into the early 21st century.

 

Candice Breitz, Cohen Grid

Bringing a major project to fruition

The MAC was especially proud to announce the exhibition program today since it has taken more than two years of work by the curators and artists to bring it to life. The exhibition, which was authorized by Leonard Cohen himself before he died, is designed to be a contemporary exploration of the great master’s impact and influence, coupled since his recent death, and with a desire to pay tribute to his life and work.

A life’s work revisited through contemporary art

This is a truly multidisciplinary exhibition combining visual art, virtual reality, installations, performances, music and writing. Leonard Cohen – Une brèche en toute chose / A Crack in Everything offers to the public a collection of brand-new work commissioned from and created by local and international artists who have been inspired by Leonard Cohen’s style and recurring themes. At the same time, it is a particularly Montreal-centric exhibition that has received outstanding support from the community.

The exhibition also includes innovative multimedia environments where Cohen’s songs will be covered and performed, as well as a survey of his archival material (writings, drawings and recordings produced over the past half-century).

Kota Ewaza, Cohen

Kota Ewaza, Cohen

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For more information on this exhibition and the numerous MAC museum activities, visit the museum's website.