MAC 2016: Liz Magor

LIZ MAGOR

HABITUDE

EXAMINING THE HUMAN CONDITION THROUGH MATERIAL
June 22 - September 6, 2016

The Montreal Museum of Contemporary Art - Musée d’art contemporain de Montréal (MAC) - is presenting the work of the Canadian artists Liz Magor. There are 75 of her works on view, spanning 40 years of her artistic output. This is a non-chronological display. The pieces are arranged thematically, which allows the viewer to see the major recurring themes that span through her artistic career, as well as the emotional range and materials explored by the artist. This is the largest exhibition of Liz Magor's work ever presented to the public.

John Zeppetelli, the MAC's Director and Chief Curator, observed that the works on view illustrate the scope of a practice the concerns of which “include interior psychological states of addiction and desire, of compulsion and consumption as well as ... how meaning is constructed through material forms and objects.”

In many of her sculptural installations Magor uses found objects, discarded items from a dumpster, to underline the material preoccupations of our times. There is a dichotomy present: the objects people create lead to progress, but the object's use-and-discard nature marginalizes human beings who produced them, leading to dependency and subjugation.

The exhibition presents a comment on human behaviour, and our relationship to things we collectively produce.

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

MMFA 2016: Toulouse‐Lautrec

Henri de Toulouse‐Lautrec
ILLUSTRATES THE BELLE ÉPOQUE

June 18 - October 30, 2016

Organized by the Montreal Museum of Fine Arts (MMFA) and The Phillips Collection, Washington, D.C., the exhibition brings together almost all of the most famous prints and posters by Toulouse‐Lautrec (1864‐1901), the remarkable French nineteenth‐century artist who revolutionized the art of printmaking. The exhibition gives the public the opportunity to admire close to 100 prints and posters from nearly the entire period of Toulouse‐Lautrec’s lithographic career, from 1891 to 1900, both iconic images and rarely exhibited unique proofs carefully chosen for their quality and colour.

The works at the exhibition are on loan from a private collector who assembled them in recent years. Almost all the exhibited prints are in superb condition, their ink and colour still brilliant. Thanks to the collector’s connoisseurship and his devoted care of the works in his expanding collection, which represents nearly all the lithographs executed by Toulouse‐Lautrec, the exhibition enables the public and the art professionals to explore and appreciate the artistic ambitions of Toulouse-Lautrec, and his masterful use of the lithographic medium.

In his lithographs, inspired by the Parisian burgeoning entertainment district, Toulouse‐Lautrec captured the scenes of the Belle Époque and its nightlife of popular cabarets and dance halls. The artist established a studio in the bohemian Montmartre and became a frequent visitor to lively hot spots like the Chat Noir, the Mirliton and the Moulin Rouge. His depiction of the cabarets' environment and entertainement created a portrait of that epoch's Parisian nightlife.

The exhibition includes rare and exceptional trial proofs, including some that have never before been catalogued or published. Among the never before exhibited works are unique impressions, such as the trial proof for Moulin Rouge – La Goulue, as well as very rare prints, such as the trial proofs and final proofs for Reine de Joie [Queen of Joy], May Milton, May Belfort, and the famous poster of Jane Avril.

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The exhibition also features four works by two close associates of Toulouse Lautrec: Louis Anquetin and Théophile Alexandre Steinlen. 

You can read more about Louis Anquetin’s painting L’Intérieur de chez Bruant: Le Mirliton (Inside Bruant’s Mirliton), 1886‐1887, which is being exhibited for the first time ever, and about and his pastel poster Au cirque (At the Circus), 1887, in my previous post here.

You can also read about the Théophile Steinlen’s a large‐format poster of the famous Tournée du Chat Noir, 1896, and his drawing in my post here.

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

MMFA 2016: Louis Anquetin

Louis Anquetin
June 18 - October 30, 2016

A unique painting Inside Bruant’s Le Mirliton (L’Intérieur de chez Bruant: Le Mirliton) was unveiled Thursday, Jyne 9, 2016, at the Montreal Museum of Fine Arts (MMFA). It is the work of a French painter and printmaker Louis Anquetin, who was one of the fathers of the technique cloisonnisme popular at the end of the nineteenth century. The canvas is included in the present MMFA exhibition devoted to Toulouse Lautrec. 

Forgotten for decades, the painting reappeared at Sotheby's auction that took place in New York in November, 2014. It was acquired by a private individual who landed it to MMFA for its first public exposure as part of the MMFA exhibition devoted to Henri de Toulouse-Lautrec.

L’Intérieur de chez Bruant: Le Mirliton (Inside Bruant’s Mirliton) is a major rediscovery in terms of the art history of fin‐de‐siècle Paris. With vibrant brushstrokes and brilliant colours, Anquetin has conjured the dynamic culture of Montmartre in its heyday. He depicts several iconic figures, including La Goulue and Aristide Bruant, contemporaries of Toulouse‐Lautrec, as well as Toulouse‐Lautrec himself.

“Unknown to experts and specialists until very recently, this monumental work could only be imagined through its preparatory drawings, which have since been dispersed. It bears witness not only to Anquetin’s aesthetic modernity, but also to a deep change in the era’s artistic practices. From Toulouse‐Lautrec to Picasso, painters’ studios were no longer in the academies but in the streets, café‐concerts and cabarets,” stated Gilles Genty, art historian and guest curator of the exhibition Toulouse‐Lautrec Illustrates the Belle Époque.

Conceived as a record of an era, this painting was created in the style of bohemian artists. Anquetin drew the general outline of his composition in pastel, at the same time making a myriad of preparatory studies for each figure, sometimes even on wrapping paper. Those drawings were exhibited at the Salon des Indépendants in March 1888.

Anquetin began the painting in a garret and continued working on it on site at the cabaret itself. The final painting on display represents several artists from the Belle Époque at the Mirliton, Aristide Bruant’s raucous café that was a frequent haunt of Anquetin and Toulouse‐Lautrec. The famous dancer Louise Weber, known as La Goulue, is depicted in the centre, leaning over the table, inviting us to enter. Charismatic and sensual, La Goulue caused a sensation in the cabarets with the chahut, her wild variation on the Can‐Can.

Facing the viewer are Émile Bernard and Marie Valette, Anquetin’s favourite model from 1886 to 1892 and who, in a very daring move for a woman at that time, is lighting up a cigarette in public. On their left is the tall, lean figure in a top hat, which was the trademarks of François Gauzi. Seated at the table to the right, with his back turned towards the viewers, is Paul Tampier. To the left is the painter Émile Bernard. And standing behind and to the left of him is Toulouse‐Lautrec, a regular at the Mirliton went on to revolutionize printmaking.

In the background is Aristide Bruant himsel, the owner of the establishment. Dressed in a red shirt, he stands on the bar's counter, hands on his hips, preparing to recite poetry. He was a huge success at Le Chat Noir, and decided to open his own cabaret, the Mirliton, in 1885. It became a veritable creative hub in the heart of Montmartre as well as one of the first establishments to permanently exhibit works by Toulouse‐Lautrec. 

Another work of Louis Anquetin is also included at the MMFA's Toulouse-Lautrec exhibition. It is a print entitled At the Circus.

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You can read about the Toulouse-Lautrec exhibition here.

You can also read my post about the two works by Théophile Steinlen which are also included in the MMFA's Toulouse-Lautrec exhibition here.

For more information, visit the Montreal Museum of Fine Arts website.

MMFA 2016: Théophile Steinlen

Théophile Alexandre Steinlen
June 18 - October 30, 2016

The above poster by Théophile Steinlen is included in the current Montreal Museum of Fine Arts' exhibition TOULOUSE-LAUTREC ILLUSTRATES THE BELLE ÉPOQUE. One more of his works is also on display at the exhibition, a drawing of a dance hall interior executed in coloured crayons.  

Théophile Steinlen was the Toulouse-Lautrec's contemporary. He was a Swiss-born painter and printmaker of the French Belle Époque. His permanent home was Montmartre, the realities and the environments of which were his favourite subjects throughout his life. He often painted scenes of some of the harsher aspects of life in that area of Paris.

Steinlen frequented the literary cabaret known as Le Chat Noir, founded by a fellow Swiss expatriate Louis Rodolphe Salis. It was there that Steinlen met and befriended writers such as Paul Verlaine, and artists Henri de Toulouse-Lautrec, Louis Anquetin, Jean-Louis Forain, Henry Somm, Adolphe Willette, Félix Vallotton, and Caran d’Ache, among others. All these writers and artists influenced each other and created works of art and literature that are still greatly valued today.

Visit MMFA exhibition TOULOUSE-LAUTREC ILLUSTRATES THE BELLE ÉPOQUE to see, among others, Steinlen's two original works, and to learn about the French Belle Epoque.

Click on the image of the poster above to enlarge it.

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You can read about the Toulouse-Lautrec exhibition here.

You can also read my post about the two works by Louis Anquetin which are also included in the MMFA's Toulouse-Lautrec exhibition here. 
  

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

Montreal First Peoples Festival 2016

Présence autochtone
Montreal First Peoples Festival
26th Edition

CELEBRATING FIRST NATIONS CULTURE
August 3 -10, 2016

This annual festival is very popular with the generalcpublic and also tourists who visit Montreal in August. Held in downtown Montreal, at Place des Festivals in the Quartier des spectacles, it attracts people of all the ages and many different backgrounds. This year, as always, there will be arts and crafts kiosks, stage concerts, dance performances, and film projections held both indoors and outdoors.

A travelling art exhibit

ᐊᐛᓯᔅ awaasis, a Naskapi word that means animal, is a travelling art exhibit that will begin in the Aboriginal community of Kawawachikamach (Naskapi Nation) in mid-July, and will travel to Montreal for the First Peoples Festival 2016. The exhibit will grow in scope as it travels, enabling the creations of a platform for exchanges between different Aboriginal and non-Aboriginal peoples. The exhibit’s central theme, insects and animals, will help pinpoint the bio-cultural diversity involved in insect-plants-humans relations through two different cultures and spaces: the urban space of Montreal (Quebec) and the rural and sub-Arctic space of the Naskapi nation of Kawawachikamach (Quebec). 

Also, in the context of theMontreal First People Festival and in collaboration with LAND InSIGHTS, The Guild gallery presents PULPE FICTION, the latest exhibition by artist SYLVAIN RIVARD. The artworks by this multidisciplinary French Canadian and Abenaki artist depict a world nearer to First Nations’ identity than to that of the Québécois. The main part of his work draws a portrait of contemporary ethnographic art which lies beyond cultural hybridity. Through a dozen creations, Pulpe fiction proposes a reinterpretation of the Abenaki nation’s mythical and legendary culture. 

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The detailed schedule of all the activities will be available at the end of June, 2016 at www.presenceautochtone.ca

McCord 2016: Montreal Mansions

MONTREAL MANSIONS, 1974
PHOTOGRAPHS BY CHARLES GURD

June 16 - November 16, 2016

The exhibition features 40 black and white photos, taken in natural light in 1974 by young Montreal architect and photo artist Charles C. Gurd. They immortalize a bygone era of Montreal's Edwardian style  homes, build from the 1910s to the 1930s by prominent Montreal businessmen (among them Louis-Joseph Forget) who hired the best architects of the day to build them luxurious mansions. The photographs illustrate the interiors of these exceptional mansions, which have since disappeared or have been altered, victims to changing times, tastes and new generations.

One of the homes portrayed in the exhibition was bequeathed to McGill University, while others changed ownership, such as the Forget mansion in Senneville and the Ogilvie mansion on Gouin Boulevard in Montreal’s east end. Marble floors and columns, oversized fireplaces and rich woodwork, and staircases and libraries built by the day’s top craftsmen all graced the homes’ elegant reception rooms, which were decorated with beautiful furniture and carpets, the tables gleaming with fine china and polished silverware. The prosperity and exquisite taste of the occupants was evident at every turn. The private mansions speak to the complexity of this North American bourgeoisie who at the time controlled much of Canada’s economy.

In 1974, Charles C. Gurd set out to preserve the memory of these mansions through photographs. He received support from many influential people of the day, including Gretta Chambers, a CBC radio reporter. He also obtained a grant from the Canada Council for the Arts. Equipped with a Leica M4, he received permission from the families to carry out his project.

The series of his black and white photos were made from some of his 6,000 35 mm negatives. In 2014, Gurd donated 1,337 negatives to the McCord Museum along with 325 inkjet prints produced in 2013. The photographs featured in the exhibition have been drawn from this collection.

Charles C. Gurd – Biographical notes

Born in Montreal in 1950, Charles C. Gurd earned a degree in psychology from McGill University (1971) and an architecture degree from Rice University in Houston, Texas (1976). While pursuing an international career in architecture, he practiced photography and painting – as he continues to do today. A self-taught photographer, in the 1960s Gurd was influenced by the documentary style of Sam Tata, Gabor Szilasi, Louise Abbott and Brian Merrett. He lives and works in Victoria, British Columbia, and Santa Fe, New Mexico.

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For more information, visit the McCord Museum website.

McCord 2016: ELEGANZA

ELEGANZA
ITALIAN FASHION FROM 1945 TO TODAY

May 26 - September 25, 2016

A Canadian exclusive presented the Montreal's McCord Museum, the exhibition features the Italian fashion design from 1945 to the present. The Eleganza is Organized by London’s Victoria and Albert Museum and presented by Holt Renfrew, the Montreal's high-end fashion store, the first one to import to Canada the Italian designed clothes. This exhibition shows the work of celebrated designers who changed the world of Italian fashion in the period following the Second World War to the present day.

The exhibition presents an overall portrait and history of key moments in the rise and evolution of Italian fashion, including the handmade clothing of the sarta, the neighbourhood dressmaker, luxurious Italian couture, and the highest quality ready-to-wear. It also highlights the craftsmanship, techniques, materials and skills that forged Italy’s reputation and placed it at the top end of the international fashion industry.

“We are delighted to be the only museum in Canada to present this magnificent exhibition," stated Suzanne Sauvage, President and Chief Executive Officer of the McCord Museum. "Fashion is at the heart of our interests. The McCord Museum is internationally renowned for having the largest collection of Canadian fashion and costume in the world.”

Organized chronologically, the exhibition is divided into five themed sections: The Birth of Italian Fashion, Hollywood and Celebrity, Tailoring, Made in Italy and the Cult of the Designer. The public will discover gowns and suits by Emilio Pucci, Valentino, Walter Albini, Gianni Versace, Giorgio Armani, Fendi, Prada, Dolce & Gabbana, Marni and pieces by emerging talents, along with shoes, bags and many other accessories, as well as photographs, magazines, drawings and film clips. The exhibition features around 130 objects, including almost 100 garments epitomizing the glamour and influence of Italian fashion from 1945 to today.

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For more information, visit the McCord Museum website.

MAC 2016: Edmund Alleyn

Edmund Alleyn

In my studio, I am many

May 19 - September 25, 2016

The Montreal Museum of Modern Art - Musée d’art contemporain de Montréal (MAC) - is presenting the work of Edmund Alleyn, a major Québec artist who influenced many artists of the next generation, and whose place in the history of Québec art deserves to be better understood and illuminated. This is the first retrospective devoted to the artist since his death in 2004. It is showcasing some sixty of his works. John Zeppetelli, Director and Chief Curator of the MAC, has stated about Alleyn’s work, “brilliant and thoughtful art that is now recognized as one of the most important passages in Québec’s aesthetic history.”

Independent and keenly interested in the events that were shaking up the world, he was as independent in his artistic practices. He refused to join any movement and never hesitated to change his style of artistic expression. “I’ve had many lives,” he would say.

This exhibition is designed to reflect Alleyn’s many-facetted, versatile, protean career, punctuated with shifts and experiments, as illustrated by the works on display: paintings, drawings, films and technology-based pieces produced from the late 1950s to the early 2000s. He also stated about his art, “It’s not novelty that interests me, it’s intensity.”

Beyond his ability to capture the spirit of his time, Allyen in reality exemplified several different times. “I am Mr. Always,” he stated about himself. The curator of the exhibition Mark Lanctôt notes, “In addition to reconnecting with historically based, monographic exhibitions, In my studio, I am many reveals how the contemporary or current aspect of an artistic practice such as Alleyn’s is not confined to its being situated in the present moment.”

The exhibition was organized by Mark Lanctôt, curator at the MAC. Iy is also accompanied by an extensively illustrated, 216-page catalogue. It contains essays by the show’s curator Mark Lanctôt, and by Gilles Lapointe, Olivier Asselin and Aude Weber-Houde, and Vincent Bonin. It also includes a chronology and a bibliography drawn up by Gilles Lapointe. The book could be purchased at the Museum's Boutique.

MAC also focuses on the importance of Edmund Alleyn with a series of public conversations about the artist and his work. The discussions will cover various topics, including the impact Alleyn had on the people around him and his influence on contemporary Québec art. Among the participants will be a filmmaker, author, photographer and the artist’s daughter Jennifer Alleyn, artists Geneviève Cadieux, Pierre Dorion, Michel Goulet, Suzanne Pasquin, Leslie Reid and Denis Rousseau, independent curator Vincent Bonin and other guests to be confirmed.

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Below is the list of five public discussions that will be held on Wednesday nights at 7 p.m., in the exhibition halls. Each public discussion will feature a duo of presenters. Access to these conversations is included in the price of the admission ticket to the MAC Museum and is free for holders of MyCARD.

Conversation 1 - May 25

Jennifer Alleyn et Leslie Reid

In French and English

  

Conversation 2 - June 8

Geneviève Cadieux et Pierre Dorion

In French

Conversation 3 - June 15

Suzanne Pasquin et Denis Rousseau

In French

Conversation 4 - August 25

Michel Goulet and an invited guest to be confirmed

In French

Conversation 5 - September 7 or September 21

Vincent Bonin and an invited guest to be confirmed

In French

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