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Thirty Years of Living in Quebec City a Dialogue Between You and I Lisanne Nadeau and Guy Sioui Durand

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Thirty Years of Living in Quebec City a Dialogue Between You and I Lisanne Nadeau and Guy Sioui Durand Document generated on 09/30/2021 9:56 a.m. Inter Art actuel Thirty Years of Living in Quebec City A Dialogue Between You and I Lisanne Nadeau and Guy Sioui Durand Ville de Québec 1978-2008 Quebec City 1978-2008 Number 100, Fall 2008 URI: https://id.erudit.org/iderudit/60201ac See table of contents Publisher(s) Les Éditions Intervention ISSN 0825-8708 (print) 1923-2764 (digital) Explore this journal Cite this article Nadeau, L. & Sioui Durand, G. (2008). Thirty Years of Living in Quebec City: A Dialogue Between You and I. Inter, (100), 56–68. Tous droits réservés © Les Éditions Intervention, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ various auditoriums were known 9 Côté and Gaudreault were interested in not teach anything to an art historian sometimes be an encounter, a by all. The professors' participation the masculine majority at documenta. like you, all divisions are arbitrary. reading, a street, a work of art, and Martel was questionning Beuyes' kept the pedagogical teams alert, It is however important that we the tale is born, curiosity starts importance and performed Le troité de and, in poetry at F.-X. Garneau (with la farine. Haché performed inside the remember that this history of friendly something... and the imagination is Pierre-André Arcand and Jean- Yves museum by sleeping in a corner. St- agents is also ours. at work. Let's go for it! Frechette) in visual arts and photo­ Hilaire recited traditional German tales What do you think? Guy graphy in Sainte-Foy (with André in the streets, turning the scope to more Regards. Bécot, Jocelyn Gasse, Lucie Lefebvre, political international issues. At last, Guy Haché, St-Hilaire and Vanderborght (one Alain-Martin Richard and myself), in of the French participants) were making 1978-1988 sound in Limoilou (with Gilles Arteau fun of documento, naked on the front lh and Louis Ouellet). Many professors of the Frédéricianum Museum. At last, Stoneham, Friday January 25 Sunday January 27,h of the Écoles des arts visuels, inclu­ Durand was busy observing and writing. Guy, Guy, If one wants to know more on this issue, ding Marc Dugas, Michel Labbé and I am glad that you wish to look I am going along with this game. see number 17 of the review Intervention. Richard Mill, actively participated in at this history from the point of I am now in 1978.1 have to say this adventure from the beginning. ' Jean-Claude St-Hilaire has been view of our personal experience. that haunting to me is this image teaching art history for 20 years at the Looking at it from a distance, Before you left, when we discussed of the hole that was Saint-Roch. We CEGEP Sainte-Foy, and communications the frictions that caused the break it together, I was suddenly aware and multimedia design for the last could see it from my office window up of the first group of La chambre 9 years. In Quebec City and elsewhere, that our first encounter with « art at La chambre blanche, located at blanche enabled the opening of he pursues his artistic research in the actuel » was determinant in our number 549, on Charest. The urban modes of diffusion and artistic field of performance and art installation. respective itinerary. I was telling development was in crisis at the time, productions. Each of these groups He has observed the cultural milieu all myself that it would be interesting in this area. This area will become his life. He has been a contributor to occupied a territory with well- to talk about these experiences, in the core of the city's art scene. You the collective Inter/Le Lieu (1978) for the first place. What do you think? established boundaries. We saw many years. He is one of the founder remember, Robert Lepage made that when the frictions disappeared, of the review inter, art actuel (1978) and And this history would then emerge of this open wound in the city his the maturity prevailing in the of the artists center Le Lieu (1982). He from our complementary point Trilogy's catalyst... It is indeed in this artists' communities and centers collaborates with these two entities by of views, similar yet different: two quaint little space, an old office space rapidly forced a collaboration that writing articles and by his own artistic voices testifying to the distinct with terrazzo flooring(l) that I fell in practice. has since not ceased to grow. It is angles of this development of art love with art actuel for the first time. the most important aspect of this actuel in Quebec City. Of course, it is I had not seen anything like this. exercise in art actuel in Quebec City: important to fulfill our mission and Someone had invited me to write on the friendships and collaborations look back at these important dates, an exposition of artists' book, in 1982. between the diverse groups make THIRTY YEARS because it seems that we have the They also presented an installation viable this fascinating adventure. OF LIVING ART responsibility to revisit this trajectory by Françoise Girard in a space This adventure of the art movements which might vanish into oblivion exclusively allocated to residences in in the beautiful city of Quebec. IN QUEBEC CITY at any moment. Already, younger situ. I have no idea if you remember people are completely unaware And what if, instead of humming A DIALOGUE BETWEEN this, but in this space artists were and hawing, we would get together of the important actors that have free to intervene as they pleased, on to celebrate the civil birth of our YOU AND I made today's milieu possible. A walls, floors and all. And they could basic Google search confronts us to also keep the traces and elements country, in our big village...?• BY LISANNE NADEAU the terrible reality that centers like left by their predecessors. We AND GUY SIOUI DURAND* Obscure are for many a memory of a Notes were witnessing, from one work to nd distant past. another, a form of palimpsest. It was 1 Extract from Engramme, see on website Banff, Tuesday January 22 2008 www.meduse.org/engramme. Dear Lisanne, You start all of this with 1978, the In situ in its first phase where the main point was to consider, before 2 These two years have seen the From my window, I observe the and that speaks to me directly. It emergence of a generation of artists. tops of the Rockies. The tremendous was the year of the founding of anything else, the architectural Many artists involved at Comme Galerie drifting snow, lifted by the winds, La chambre blanche, a center for specificity of each space, and then to became known in Quebec City, to works to amalgamate the sky to artists where I have been active integrate a poetic element to it. This mention Raymonde April, François Joly, the valley in a milky fog. It is very for many years, as you know. This was a way of questioning the status Jean Lantier, Raymond Lavoie, Jean- sectioning of time, in decades, is very of the work of art as an object, and Marie Martin, Joëlle Morosoli, Serge cold. Even this far out, this horizon also the traditional and neutral Utopia Murphy and Michèle Waquant. Also, two liberates my reflections: how to productive because I think they were professors at the Écoles des arts visuels tell the story of living art which moments of distinct developments inherent to the way we hang them. I also exhibited at the Galerie Comme, has now 30 years with the City as with distinct objectives. Going remember that we were all interested namely Claude Girard and Michel Labbé. its real subject? What can we say back and revisiting mentally this in the works done by Lapointe and 3 The Comme Galerie became Galerie about « art actuel » in Quebec City, trajectory makes me realize that we Fleming and their investments in Comme to make the name more in 2008? Furthermore, how to be up are coming from very far, coming dilapidated spaces in Montreal. "French". This was one of the conditions for the challenge of writing, in duo, out of the seventies' formalism to When I was young, I had been to to obtain the right to incorporate as a multidisciplinary approaches, even non-profit organization. a narrative which relates its artists to the Galerie Joliette and the Galerie the Cité: the interdisciplinary of today's world. du Musée (which was previously 4 André Bécot is a sculptor that taught I will tell you my story. We will see at the Arts Department of the CEGEP First, it seems wise to start called I'Anse-aux-Barques), two Sainte-Foy. He is now retired and still with a kind of remembrance of if yours meets mine on the way... essential spaces for their diffusion owns a space in Saint-Rock. things past, going back in time Lisanne of contemporary arts in Quebec City 5 See Yves Robillard in Le jour, Montreal, until, maybe, 1978, isn't it? I have at the time. But then, Françoise's April IS* 1977.
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