Last month Eloi Desjardins from Un Show de Mot’Arts and I got together to discuss the fall art preview articles that appeared in La Presse, Le Devoir, and Art Intake.
The EZ Montreal Art Podcast episode 6
Listen (32:47):
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Initially back at the beginning of the year when Publicité Sauvage started celebrating their silver anniversary I was quite excited. I figured that a year long celebration involving 15 different exhibits at a variety of different venues could be an amazing thing. Unfortunately my idea and those of Publicité Sauvage haven’t quite jibed. Where I was thinking some far reaching history of events in Montreal, rigorously documented and thematically linked, offering accessible but relevant exhibits than were engaging and entertaining. They were thinking something more along the lines of let’s try to hang as many old posters as we have in as many different places around the city as possible, and while we’re at it, documentation, visibility and coherence be damned.
What has been offered has been a hastily and shoddily thrown together series of exhibits that seem more like an afterthought to the book/catalogue (which itself is more like a hagiography than a critical analysis). None the less, any celebration of a past which is just far enough away that I can only view it through a serious haze is always welcome. Back at the start, I was all full of ideas about how I was going to write a gazillion and a half words on each and every show. I was going to do deep research to not only find out who designed each poster, but where it was printed, what kind of paper and then find reviews and articles on line that discussed the events on the poster. Yeah, right. That and $2 will get me a cup of coffee. As it turned out, I got to see four of the first five exhibits. (If you’re interested, you can read what I wrote about 1/15, 2/15 and 3/15 here and what I wrote about 5/15 here.)
So, since my sights have been lowered, I’m combining exhibits 6/15, 7/15, and 8/15 into one review here and now, and I reserve the right to change my mind again and again and again for any and all of the exhibits yet to come. Exhibit 6/15 was at city hall and involved a bunch of posters loosely grouped together as large events that happened in Montreal.
Installation view of the Publicité Sauvage 25½ exhibit 6/15 at City Hall.Installation view of the Publicité Sauvage 25½ exhibit 6/15 at City Hall.Installation view of the Publicité Sauvage 25½ exhibit 6/15 at City Hall.Installation view of the Publicité Sauvage 25½ exhibit 6/15 at City Hall.
Exhibit 7/15 was at the Monument National and involved (for the most part) things that had happened in theatres.
Installation view of the Publicité Sauvage 25½ exhibit 7/15 at the Monument NationalInstallation view of the Publicité Sauvage 25½ exhibit 7/15 at the Monument National
Exhibit 8/15 was way the heck out in the middle of buttfuck nowhere (aka Tohu) and consisted of some circus posters, and in passing was when and where I realized what was being shown on the walls, what was being written up in the book/catalogue, what was going to written up in the grant report and what was going to be remembered by people who saw any of the exhibits were four completely, utterly and entirely different things unrelated to each other like me, Buddha, Mama Cass Elliot and Fireball Roberts (go look them up on Wikipedia, I’ll wait)
Installation view of the Publicité Sauvage 25½ exhibit 8/15 at TohuInstallation view of the Publicité Sauvage 25½ exhibit 8/15 at Tohu
I don’t know who is responsible, but I can only guess that it is Marc H. Choko who is listed as curator all over the place. But he shows a remarkable lack of vision and creativity given the milieu he has chosen to immerse himself in. Pinning up old posters to office cubicle dividers, no matter how good or great awesome the posters are is just doing them a disservice. No they do not need to be framed, but the posters need to be treated with some respect. I would venture a guess that the book/catalogue will/has sold in the low four figures ($40 isn’t cheap, I need to thank Emmanuel Galland, yes that Emmanuel Galland for my copy, he was/is the publicist for the Publicité Sauvage 25½). However I would venture another guess that upwards 1 million people will see the individual exhibits, counting geeks like me seven different times for the seven different exhibits I’ve seen one time each. How many people walk through City Hall every day? 2,000? The exhibit was up there for two weeks. If my guess is right that means 30,000 people saw it. There are 14 other exhibits in certain cases, places that have even higher traffic for a longer period of time (number 9/15 is going to be at Place des Arts for a full month).
As I have seen them so far, the exhibits have served as a kind of variation on the game Concentration, or if you prefer, how many of the events shown can you remember? But then the minute I turned away from the exhibit, I forgot what posters were there. Instead of just presenting nine Cirque du Soleil posters with a minimum of information
Installation view of the Publicité Sauvage 25½ exhibit 8/15 at Tohu
how difficult would it have been to spend a couple of bucks at a printshop on some plastic lettering that was then stuck on the wall explaining which poster was the very first Cirque du Soleil poster that Publicité Sauvage handled. Or some bafflegab and goobledygook as to why they don’t have a complete collection of posters from the 30 productions the Cirque du Soleil has done to date. Or heck a headshot of the person who drew the first poster along with their name in something just a little bit larger than 10 point type.
It’s almost as if M. Choko insisted that he follow the guidelines for the actual poster hangers that Publicité Sauvage hires. But without the added benefit of having multiple copies to hang.
Then if I really let loose, I honestly don’t think that an exhibit at the Centre d’Histoire de Montreal in 1995 counts as a “événements marquants de Montréal” (and it probably wouldn’t hurt either if they figured out some way to stop the posters from gapping while being exhibited, but I might be nitpicking here…)
Installation view of the Publicité Sauvage 25½ exhibit 6/15 at City Hall
Nor do I think a poster for an album belongs in a collection of theatre posters
Installation view of the Publicité Sauvage 25½ exhibit 7/15 at the Monument National
And then for the biggest WTF, did Publicité Sauvage somehow build a Latvian division after they couldn’t even figure out Toronto to save their life
Installation view of the Publicité Sauvage 25½ exhibit 8/15 at Tohu
Or did they, after the fact discover that there was way more wall space at Tohu than posters that they had mounted? I dunno, but as you can tell by the awesome amount of publicity that M. Galland has been able to accrue since January the entire city has been held enthralled by multiple exhibits of self-serving publicity that Publicité Sauvage has been able to garner – end sarcasm now.
I’ll wait until later in the year to even bring up to various conflicts of interest. And my expectations for 9/15 through 15/15 have been knocked lower than any sub basement you’ve ever visited in your life. I’m going to do my best to see the remaining shows, but while I’m fairly convinced that I am the only person in the entire universe who isn’t paid by Publicité Sauvage who has seen 87.5% of the shows so far, it ain’t like I’ve seen them all, and as a consequence trying to keep up to some unattainable level and promising to see every last one, is just a little bit beyond me now. Hopefully M. Choko is capabloe of learning from past mistakes and the stuff that he shows in the fall/winter season lives up to my initial expectations.
But I’m not holding my breath… Nor would I suggest you do either.
I’ve never been a big fan of the theatre. I’m not quite sure why, but when asked I can come up with about half-a-dozen competing theories, none of which really hold any water. As a consequence I’ve never seen a performance of Broue (which I really really would like to see) nor have I seen Les Belles-Soeurs (which I have no real strong desire to see). But that didn’t stop me from going to Espace La Fontaine to go see an exhibit of posters for Les Belles-Soeurs.
Les Belles-Soeurs s’affichent at the Espace La FontaineLes Belles-Soeurs s’affichent at the Espace La Fontaine
It came as advertised, a bunch of posters from a variety of performances all over the world. The unfortunate thing was that it didn’t seem that there were all that many people who paid it any attention whatsoever. Which, seeing as how they needed to pass by the majority of them on their way to the only bathrooms in Parc Lafontaine meant that there was a steady stream, wasn’t a good thing. I would lay the blame squarely at the feet of whomever designed the display. It was done on the cheap, and as a consequence was accorded an equivalent amount of attention.
Les Belles-Soeurs s’affichent at the Espace La FontaineLes Belles-Soeurs s’affichent at the Espace La Fontaine
While I didn’t expect a comprehensive show, I was modestly surprised that there was no poster for the musical version of the play that has been garnering headlines recently. Beyond that, if you go, make sure to poke your nose into sections of the restaurant that seem closed. As during the summer they do 95% of their business outside, there are some posters in places which on first glance appear to be places you’re not supposed to be in.
Les Belles-Soeurs s’affichent at the Espace La FontaineLes Belles-Soeurs s’affichent at the Espace La Fontaine
It’s nice having low expectations for a show. It means that it is real easy for them to be exceeded which always means that I leave thinking positive thoughts. So it’s not like I was really expecting to be told who the artist was, or the dates it was performed in Augsburg or Almonte.
Les Belles-Soeurs s’affichent at the Espace La FontaineLes Belles-Soeurs s’affichent at the Espace La Fontaine
Obviously the lutte contre l’intimidation hasn’t made it here, yet. Which is kind of a pity, because Hochelaga-Maisonneuve could definitely use some public art.
Les enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel GouletLes enjeux by Michel Goulet
I’ve been hanging around Ontario street down in Hochelaga-Maisonneuve recently (it must be something in the water…) and I came across this street art. Great idea and concept, some of them could have been executed slightly better. If you want to click on the link that adds no more information try this or peristylenomade.org.
Something about the bright orange stripes caught my eye.Although given the background, it’s easy to see how it might get lost.Then I noticed another one.And another one…Then I read it (in English I pass by here everyday)And another (in English, That’s very well done graffiti)So I went back to the first one.So I went back to the first one. (That’s the neighborhood in a snapshot)And peered through the frame. And what do you know?!?
Between the apartment building, the McDonald’s, the Metro and the concrete, it pretty much is.
Just in case you missed it the first time around.It seems like I’m in another world, not Montreal.
Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997Maurice “Rocket” Richard by Jules Lasalle and Annick Bourgeau, 1997
In theory I really like the concept and ideas behind Mouvement art public, in practice, not so much. But let me back up a little bit. Back in 2007, Manuel Bujold, a friend of mine was able to convince a whack of people that any unused inventory of ad space on bus shelters should be given over to quote art, unquote. All fine and dandy, until I saw it in action. Basically, besides the photographs they reproduced there was also some text about Mouvement art public, the artist and if I remember correctly, the artist as well. I’m still undecided if I like the fact that they were blatantly obvious about the images being reproductions or not, and while I like some information about the artist, especially when they are not well known artists, I prefer to have to figure out the actual art myself.
They continued in 2008 adding some fairly well known artists, like Ed Burtynsky into the mix. Then they started branching out into those ubiquitous billboard like structures that the city uses on some major streets like McGill College in a misguided attempt to get people to stroll along a rather desolate but none-the-less major thoroughfare. Then for unknown reasons they installed them over at the Atwater Market, Place Émilie-Gamelin and Marche Maisonneuve.
These people sized (as opposed to highway sized) billboards ditched the excess text explaining stuff, and made it look like the images being presented were if not originals, intended to be exhibited that way. Digging slightly deeper, it seems that once, or twice a year they change what’s being shown. Although as you might expect it doesn’t get an awful lot of press.
Anyhows, in my meanderings around the city, I’ve seen two exhibits at Place Émilie-Gamelin and one at Marche Maisonneuve. The exhibits at Place Émilie-Gamelin were called Why Don’t We Do It In The Road, and Backstage. Today I am going to focus on the exhibits at Place Émilie-Gamelin, and if I am real good I’ll get down to the Atwater Market to find out what they have up there sometime soon.
Backstage is a series of photographic portraits of pop musicians before or after performing taken by Valerie Jodoin Keaton.
From Backstage by Valerie Jodoin KeatonFrom Backstage by Valerie Jodoin KeatonFrom Backstage by Valerie Jodoin Keaton
Initially, because of the location and the rather scruffy nature of the various Green Rooms, I thought that they were in fact portraits of folks who were itinerant in nature, which goes to show you how much I pay attention to pop music. I personally know a couple of people who also do that sort of photography, namely Eva Blue and Susan Moss. Both of them take much better pictures of musicians than Ms. Jodoin Keaton
And that is ultimately why I like the concept in theory more than practice, when push comes to shove, it truly is about the art, and if the art doesn’t cut it, then no amount of posturing is going to save it. Her black and white portraits don’t really capture anything about any of the musicians. They are more voyeuristic, but not in a good way, attempting to document something ephemeral or transient. More in a “I got to go backstage, and you didn’t” sort of way.
In particular, I find her insistence on converting her images to black and white completely annoying and thoroughly useless. It’s a pathetic attempt to give some thin veneer of history to some rather pedestrian pictures of pop stars, whose music for the most part will not be remembered for much longer than the time it takes to sing one of their songs.
Why Don’t We Do It In The Road? By The Blind Artists CollectiveFrom Why Don’t We Do It In The Road? By The Blind Artists Collective
Why Don’t We Do It In The Road? By The Blind Artists Collective while significantly better than Ms. Jodoin Keaton’s pictures, isn’t sufficiently strong to make up for them. Maddeningly obtuse, trying to find any information about the artists, the images or just about anything else on-line was an exercise in frustration. The only thing I could find was this blurb on the Mouvement Art Public’s website, which doesn’t say bupkis.
A series of images, obviously, taken on the street. Each is colorful in its own way. They are all strong enough that they were able to wrestle my attention away from the various dramas happening in and around Place Émilie-Gamelin. But not sufficiently strong to be truly memorable. I’m torn between deciding that it is a good thing that they have been defaced by the various people who frequent Place Émilie-Gamelin, or if it is in fact a bad thing. Given that it is so obviously some kind of empowering project for disadvantaged folk, the idea that the “collective” is larger than just the people squeezing the shutter button is intriguing. But at the same time, I’m not that keen on condoning obvious vandalism.
Ultimately, I think that this is the kind of art that Mouvement Art Public showcases best. It’s just a matter of getting more information about it out there, and attempting to get more attention paid to it at the same time.
Yes, I know it sounds like a strange request, but Denys Arcand is getting up there in years – he just turned 71 years-old. I bring it up, because one of my favorite places in the city is Parc Claude-Jutra at the corner of Clark and Prince Arthur where there is a Charles Daudelin statue memorializing Claude Jutra, who died in 1986 at the age of 56.
Parc Claude-Jutra, Clark and Prince-Arthur
Both the park and the statue are stately and elegant, comfortable and very well planned and made.
Hommage à Claude Jutra, by Charles Daudelin at Parc Claude-Jutra, Clark and Prince-ArthurHommage à Claude Jutra, by Charles Daudelin at Parc Claude-Jutra, Clark and Prince-ArthurHommage à Claude Jutra, by Charles Daudelin at Parc Claude-Jutra, Clark and Prince-ArthurParc Claude-Jutra, Clark and Prince-ArthurParc Claude-Jutra, Clark and Prince-ArthurParc Claude-Jutra, Clark and Prince-ArthurParc Claude-Jutra, Clark and Prince-ArthurParc Claude-Jutra, Clark and Prince-Arthur
I bring up M. Arcand’s mortality, because I just discovered something called Place Gilles Carle. According to Google, a six minute walk from Parc Claude-Jutra. As you might have suspected M. Carle was also a noted Quebecois cineaste who died at the age of 81. M. Arcand is next in line as amazing, highly respected and extremely influential Quebecois directors. Well anyhows, Place Gilles Carle is a horrible little thing.
All bricks and no movement, nothing green six spindly and scrawny trees that don’t look like they will survive another winter, not a single living soul anywhere, it is obvious that whomever is designing public places to honor recently dead Quebecois filmmakers doesn’t have a clue as to what they are doing. So as a consequence I respectfully ask that M. Arcand stay alive a little bit longer (and so that no one gets the wrong idea, I don’t think he sick or anything, just getting up there in age) in order that someone else can design Square Denys Arcand and not whomever is responsible for the travesty that is Place Gilles Carle.
Place Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint LouisPlace Gilles Carle, at the bottom of Henri Julien just off of Square Saint Louis
