View of the exhibition Mitchell-Riopelle
We have repeated, repeated and repeated : 2017 was a year special good, the 375th anniversary of the 150th of it and even the 50th of this. We had announced the programming for cultural grandiose and unique, tinged with the celebration. Twelve months later, what you retain in visual arts are exhibitions held outside of the party. In other words, 2017 will have been a year like any other.
At the cutting edge of the drawing
Two of the best exhibitions have been devoted to drawing. Presented in January and February (HB # 6/Out of page, Centre Clark), the other in the fall (lines, time, Fondation Molinari), they spoke at once of simplicity and creativity, the common traits and individual expression. The drawing is no longer held to the sheet of paper, and the artists of the 6th issue of the review HB have shown. The drawing is a school of thought that is open and inclusive, as well as the magnified the tribute to the masters and students of Concordia University.
The master Morelli
Photo: Guy L’heureux
“The female wolf”, François Morelli, 2015
In line with the design statement, the center 1700 Post has hit a big shot, his best shot. The retrospective François Morelli (artist already associated with the exhibition of the Fondation Molinari, as a professor at Concordia) runs through 40 years of a job where the drawing and the body are one. The works gathered, sculptures included, have given rhythm to the presentation and reminded us of the variety of processes in a drawer. Intimate and monumental, the signature Morelli has mêmepris root with happiness in the old safe places. The exhibition has been extended until 7 January.
Photo: Marion Landry
Françoise Sullivan, “The seasons “Sullivan”, detail (“Dance in the snow”)
The year began and ended with greetings to two great artists of Québec, still living at 92 years of age (Sullivan) and nearly 90 (Gabor Szilasi). The expo Trajectories resplendent, at the Galerie de l’UQAM, has provided an insightful study on Sullivan, who has made the creation (painting, dance, photography, sculpture), its material. Of Szilasi, the McCord Museum presents an exhibition of a limited period of time, but also turned towards the creation. Running until 2018, The art world in Montreal, 1960-1980 reveals, through the eye of the photographer, both the glory and the through a period. This expo history does not bear the seal of the 375th anniversary of Montreal.
No reason to celebrate
The Museum of contemporary art of Montreal (MAC) has spent a good part of 2017 for the control of unpublished works to celebrate the past — the expos so-so on Expo ‘ 67 and Leonard Cohen, this one included in the 375th. The best of MAC came in the spring with the solo of the Mexican Teresa Margolles, whose work, difficult, and necessary, scrutinize the violence and injustices, especially those against women. This type of art, mid-way of the denunciation and of the outlet collective, is also expressed with tact and relevance in both artist-run centres. Skol turned to the Syria at war with the expo collective internal Landscape and Dazibao focused on the issue of migration with a triple, including exhibitions and film program.
Photo: Patrice Schmidt
Joan Mitchell, untitled, circa 1969. Oil on canvas, private collection, Paris, Estate of Joan Mitchell.
In Quebec, the Musée national des beaux-arts du Québec had something to celebrate with a first-year, fully driven by the new pavilion, which has exploded with its exhibition spaces. It took, however, to wait until October to find the perfect marriage between the container and its contents. The new expo Mitchell, Riopelle, a couple in excess, with its paintings with huge formats has been very well served by the pavillon Lassonde. And vice-versa. The ostentatious building was found there, in the dynamics of the rivalry between Joan Mitchell and Jean-Paul Riopelle, her entire reason for being. Still in progress, until 7 January.
Outdoor and disproportion
In this year of festivities, we had the right to outdoor projects, the most grandiose and confused. The Ride for Peace (Musée des beaux-arts de Montréal), km3 (Quartier des spectacles), the promenade, River and Mountain, and Markers/Landmarks (Parks Canada) took advantage of public funds to disseminate the art, and all sorts of initiatives (flags, furniture, concepts), in the streets of Montreal and the parks of the country. Too much is like not enough. Far from this program, the centers Clark and The Eye of Fish and have invested in highway 20 to spread their (few) resources. The expo Truck Stop, uneven, has at least had the merit of putting the question on the need to stop, sometimes, in life.