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Art production and acts of generosity are fundamentally generative, but nonlinear, expenditures of time and resources. In this way they contradict the accepted functions of production and utility that are associated with meeting societies basic needs, or the process of its expansion. Each could therefore be seen as potential processes of liberation from the inevitable progress of production…Arguably, it is around this kind of expenditure or value system that culture is defined, arising out of the surplus or excess generated by a society. — Kate Fowle and Lars Bang Larsen “Lunch Hour : Art Community, Administrated Space, and Unproductive Activity” in What We Want is Free : Generosity and Exchange in Recent Art. Ed. Ted Purves (Albany, NY : State University of New York Press, 2005), 17

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Montréal Red Light

ConStellation

I made a visit to Stella today to pick up some copies of their excellent bilingual independent magazine ConStellation. I had a warm welcome, and as usual enjoyed reading their literature. The magazine is full of strong writing, insights and multifaceted nuances, with a very professional presentation. It generally makes me think about what it means to be human and working – and the commitment it takes to publish your own voice. Continue Reading »

Elizabeth SIMCOE, Montreal view from the west, 1796 Elizabeth SIMCOE, Montreal view from the west, 1796 (2) Elizabeth SIMCOE, Montreal view from the west, 1796 (3)
05 avril 2008, Espace mobile, Vox, Montréal
Elizabeth SIMCOE, Montreal from the west. June 30, 1796. Watercolour on wove paper. Library and Archives Canada, Accession no. 1938-223-11. (http://www.collectionscanada.gc.ca Accessed 29 March 2008 ) – image 1 and 2
Elizabeth SIMCOE, Montreal from the west. June 30, 1796. Watercolour. Archives of Ontario, Reference code F 47-11-1-0-265. (http://www.archives.gov.on.ca Accessed 29 March 2008 ) – image 3

Lorsque je prenais ces photos sur le boul. St-Laurent, j’ai rencontré Yvon. Il m’a informée que la Ville à l’intention de démolir tous les édifices de l’autre côté de la rue. Selon lui, c’est un ménage du quartier nécessaire. À cela, Je lui ai demandé s’il souhaitait même la disparition du Montreal Pool Room. Il m’a répondu qu’on peut y manger de très bons hot dogs. Ensuite, il m’a raconté comment il s’est installé dans le coin, il y a de cela plusieurs années. Il m’a avoué qu’à 12 ou 14 ans, il s’est associé à une gang de rue. En y repensant, il a trouvé cette vie malheureuse. Tous les membres de son ancienne gang a déménagé dans le coin de Beaubien et il est le seul à avoir resté dans le quartier.

Under capitalism, all is spectacle. Branding is the antithesis of neighbourhood. How can the symbolic language inherent to branding adjust to a process that includes the local community: the residents who study and work in a neighbourhood, plus the daily flux of permanent and temporary occupants.” — dAb Collective, “Urbanism versus Branding for Montréal’s Quartier des spectacles” Fuse Magazine 29, no 3 (2006), 24.

Parcours pittoresque du Quartier des spectacles

Le Quartier des spectacles est une des composantes de la nouvelle image de marque de Montréal axée sur la culture et la mise en valeur de son activité créatrice. Il s’agit de la plus récente phase de son développement économique. Je m’intéresse en particulier à l’opinion des gens concernant l’impact socioéconomique et environnemental de ces changements.

The Quartier des spectacles is part of Montréal’s re-branding through culture as a “creative city.” This is the most recent of many phases of economic development in the city’s history. I am interested in public opinion on the impact (socioeconomic and environmental) of these changes.

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Why did discussions around landscape in Canada before the 1960s tend to champion national difference and distinctiveness, often under the banner of exceptionalism, while more recent debates have focused on issues of colonial power and dispossession, transnational crossovers, and regional idiosyncrasy? What relevance do traditional landscape tropes have in a world of vastly altered political, technological, demographic, and environmental circumstances? And if traditional tropes continue to persist, what does it say about the relationship between contemporary realities and the the authority, power, and influence of conventional understandings of nationhood?” — Beyond Wilderness : The Group of Seven, Canadian Identity, and Contemporary Art. John O’Brian and Peter White Eds. (Montreal : McGill-Queens University Press, 2007), 6.

Baie-Saint-Paul

Non sans humeur, en toute modestie, la Montréalaise a voulu tester notre soif pour la possession, jouant sur les apparences, se payant même la tête de l’histoire officielle. Sur son chevalet, devant ce paysage de Charlevoix peint et repeint depuis deux siècles, Tayler reproduit des tableaux tirés d’une encyclopédie canadienne de Musée des beaux-arts du Canada, abandonnée à la lettre K. Les gens aiment ses toiles? Tayler les donne, non pas en échange d’argent, mais contre un objet ou une histoire personnelle.” — Jérôme Delgado. “L’art pour l’art : Le Symposium de Baie-Saint-Paul fête ses 25 ans” Le Devoir. 1er et 2 septembre, (2007), E5.

Samedi le 29, et le dimanche 30 septembre, je serai à Dare-Dare dans le cadre de l’évènement Peinture fraîche / Fresh Paint. Venez me rencontrer ou me faire du troc!

Saturday the 29th and Sunday the 30th of September, I will be at Dare-Dare as part of the event Peinture fraîche / Fresh Paint. Come to see me or to make a trade!