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Musée De La Civilisation Du Québec Partie Rosemonde PARTIE 2/3 CLIENTCLIENT :: MUSÉEJOURS DEDE LALA CIVILISATIONTERRE DU QUÉBEC date de l’événement : 22 AVRIL 2012 ROSEMONDE COMMUNICATIONS C : 514-458-8355 100 - 426, rue Sainte-Hélène Service des relations publiques et de presse B : 514.819.9023 Montréal, Québec, Canada H2Y 2K7 2014 Des vedettes en visite et une célébration des collections 11 janvier 2014 | Marie-Ève Charron | Arts visuels Photo: Jack et Dinos Chapman et White Cube Jack et Dinos Chapman, When the world ends, there’ll be no more air [...], 2012 Les musées feront dans les valeurs sûres, avec des premières nord-américaines de grosses pointures étrangères et par la célébration de leurs collections. Si la confirmation semble prendre le pas sur la prospection, c’est toutefois avec la promesse d’offrir des regards inédits sur des productions déjà consacrées par l’histoire ou le marché de l’art. 1 sur 3 Grande visite La saison sera lancée le 25 janvier avec l’exposition Peter Doig. Nulle terre étrangère que le Musée des beaux-arts de Montréal (MBAM) a organisée en collaboration avec la National Gallery of Scotland à Edimbourg. Cette exposition d’envergure retrace le travail du peintre d’origine écossaise depuis le tournant des années 2000, marqué par son arrivée à Trinidad, où il vit toujours. Une quarantaine de toiles imposantes donneront à voir les paysages aux couleurs acidulées et flamboyantes pour lesquels Peter Doig, héritier de Matisse, est connu. Sans en rester au jeu de séduction qu’une telle peinture opère, l’exposition ira plus loin en révélant le processus de travail de l’artiste à partir d’esquisses préparatoires et d’autres documents. Dans un registre opposé, le Musée d’art contemporain de Montréal (MACM) ouvrira le 6 février la première exposition monographique au Canada consacrée au travail de l’artiste albanais Adrian Paci, vu régulièrement ces dernières années dans les événements prestigieux, comme la Biennale de Venise. Cette exposition, autre fruit d’une collaboration avec le Jeu de Paume à Paris, à l’instigation de l’ex-conservatrice en chef Marie Fraser, remonte aux oeuvres de la fin des années 1990 et inclut une vidéo tournée pour l’occasion. Multidisciplinaire, l’oeuvre de Paci tire son ferment de la culture et des événements historico-politiques de l’Europe de l’Est, d’où il vient. Avec une intelligence poignante, l’artiste met en scène des histoires où s’entrecroisent l’imaginaire et le réel faisant de l’image un lieu d’expérience et de réflexion autour de la mémoire, de l’identité et de l’exil. Le MACM mettra aussi à l’affiche le film-fleuve The Clock, de Christian Marclay, un succès déjà assuré. La DHC/Art rouvrira quant à elle ses portes en avril avec la première exposition solo nord-américaine des frères britanniques Jack et DinosChapman, connus pour leurs oeuvres sombres et obscènes. Autour des collections Au Musée national des beaux-arts du Québec, quatre artistes du siècle dernier verront leurs oeuvres redéployées dans les salles, dans des expositions distinctes misant sur le parcours personnel. Il y en aura ainsi pour tous les goûts, en peinture, avec l’univers surréaliste d’Alfred Pellan, les paysages existentiels de Jean Paul Lemieux, les abstractions géométriques de Fernand Leduc et, finalement, les abstractions gestuelles de Jean-Paul Riopelle. À partir du 20 février. 2 sur 3 Toujours à Québec, le Musée de la civilisation puisera dans les trésors des collections gréco-romaines de Berlin. L’exposition grand public articulée autour de douze divinités de l’Olympe sera lancée le 23 avril. La peinture ne sera pas en reste au Musée régional de Rimouski, qui, en mars, exposera ses nouvelles acquisitions en la matière, couvrant les balbutiements de l’abstraction (Marcel Barbeau) à ses plus récentes actualisations (Stéphane La Rue). À l’occasion du cinquantième anniversaire du MACM, le MBAM présentera 1 +1 = 1, qui mettra en dialogue les oeuvres des collections respectives des deux institutions. Cette première dans l’histoire veut « affirmer les liens d’amitié » et « révéler une des belles collections d’art contemporain du Canada : celle de la métropole montréalaise », selon le communiqué. Souhaitons que l’entreprise, qui a de quoi surprendre, permette comme il est annoncé de réfléchir aux axes de développement des collections de chaque musée. Un tableau de la collection de la Vancouver Art Gallery du peintre Thomas Couture sera quant à lui le prétexte d’une exposition présentée, à partir du 31 janvier, au Musée des beaux-arts du Canada. Elle s’intéressera autant aux secrets d’atelier qu’au processus de restauration à laquelle l’oeuvre a été soumise. C’est dans la collection du Musée McCord que l’artiste contemporain d’origine anglo-irlandaise et crie Kent Monkman a fait incursion, suivant une formule de résidence qui a fait mouche par le passé, pour réaliser un projet inédit qui sera dévoilé le 30 janvier prochain. Collaboratrice 3 sur 3 C'est leur histoire Laurent Jérôme est allé à la rencontre des autochtones pour préparer la nouvelle exposition qui leur est consacrée au Musée de la civilisation. Par Marie-Claude Bourdon 17 JANVIER 2014 À 11H28 Dans les musées, on a longtemps proposé une vision quelque peu romantique et ahistorique des autochtones. Au moment de renouveler son exposition permanente consacrée aux autochtones du Québec, en 2009-2010, le Musée de la civilisation a voulu faire les choses différemment. C'est dans cet esprit que Laurent Jérôme, qui terminait alors son doctorat en anthropologie à l'Université Laval, a été recruté. Celui qui est aujourd'hui professeur au Département de sciences des religions de l'UQAM a agi comme agent de recherche responsable du contenu scientifique de la nouvelle exposition permanente lancée en novembre dernier et Une sculpture de la collection du Musée de la civilisation. intitulée C'est notre histoire. Premières Photo: Jessy Bernier nations et Inuit du XXIe siècle. Il a aussi, et surtout, servi de trait d'union entre le Musée et les communautés. «L'approche collaborative était très importante pour le musée, affirme le professeur. Nous avons donc mis en place un comité scientifique composé de chercheurs autochtones et non autochtones. En parallèle, nous avons constitué une assemblée consultative, nommée Mamo-Ensemble, qui réunissait des représentants de chacune des Premières Nations et des Inuit du Québec.» Laurent Jérôme a travaillé en étroite collaboration avec Elisabeth Caine, professeure au Département des arts et lettres de l'Université du Québec à Chicoutimi, elle-même huronne-wendat et directrice de la Boîte rouge vif, une entreprise de création et de design autochtone qui a participé de près à la conception de l'exposition. Ensemble, ils sont partis à la rencontre des Premières Nations dans l'ensemble du Québec. Passant plusieurs jours dans 18 communautés, ils ont rencontré quelque 600 personnes, recueilli 5000 pages de transcriptions d'entrevues, 10 000 photos et 250 heures de film documentant tous les aspects de la vie des autochtones, leur vision du monde, leurs aspirations. «Comment voulez-vous être représentés dans un musée?» En gros, c'est la question que les chercheurs ont posé aux autochtones rencontrés. «L'un des buts de l'exposition est de faire voir ce que c'est que d'être autochtone aujourd'hui, explique Laurent Jérôme. Ce n'est pas nécessairement évident à montrer, mais l'exposition y parvient, entre autres, grâce à des œuvres d'artistes contemporains des Premières Nations.» L'exposition permet aussi d'admirer de nombreux objets appartenant à la collection du musée (costumes de cérémonie, vêtements, paniers décoratifs, tambours, sculptures, kayak et rabaska). Lors de la recherche dans les communautés, les chercheurs ont organisé des ateliers avec les autochtones autour des objets et ils préparent un article sur leur mise en valeur. Un autre article sera consacré au processus même de collaboration avec les 1 sur 2 communautés. Si une section de l'exposition est dédiée à l'histoire et à la paléohistoire des peuples qui ont occupé le territoire québécois, elle s'attarde davantage, dans l'ensemble, à la compréhension des enjeux qui sont au cœur de la réalité autochtone actuelle. Une section est ainsi consacrée à la colonisation, une autre, intitulée «La décolonisation – La guérison», fait la lumière sur les luttes des peuples autochtones pour leur reconnaissance et une dernière s'interroge sur les rêves d'avenir des communautés. Des vidéos réalisées par la Boîte rouge vif dans les communautés et diffusées dans le cadre de l'exposition permettent de montrer de façon percutante la richesse et la singularité de chacune des cultures, affirme Laurent Jérôme. «Il existe évidemment des éléments communs à l'histoire des peuples autochtones, dit le professeur, mais cette exposition permet de faire ressortir la diversité incroyable de ces cultures, bien vivantes et dynamiques.» CATÉGORIES SCIENCES HUMAINES PROFESSEURS RECHERCHE ET CRÉATION 2 sur 2 Prix Samuel de Champlain: Michel Côté honoré Mise à jour le lundi 21 janvier 2013 à 17 h 12 HNE Après le cinéaste Denys Arcand, le créateur Robert Lepage, le journaliste Louis-Bernard Robitaille et l'homme de cirque Jeannot Painchaud, l'institut France-Québec décerne le Prix Samuel de Champlain 2012 au directeur général du Musée de la civilisation, Michel Côté. Ce dernier a reçu la précieuse distinction lundi, à Paris. Membre de l'équipe de direction du Musée de la civilisation, dès la fin des années 1980, premier et seul Québécois à avoir dirigé une institution muséale majeure en France, au fil des années, Michel Côté s'est taillé une solide réputation au pays et sur la scène internationale. Par son travail, il a grandement contribué à la diffusion de la culture québécoise. Avant de reprendre la direction du Musée de la civilisation, en 2010, Michel Côté a été président de la Société des musées québécois, président d'ICOM Canada et membre du Conseil Photo : Amélie Breton, international des musées à Paris.
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