New Acquisitions

Au nombre des récentes acquisitions, voici une sélection d’œuvres que vous avez actuellement la chance de découvrir sur nos cimaises.

Aude Moreau

Gençay, France, 1969
Vit et travaille à Montréal (Québec).

La Ligne bleue n° 2, 2014
Inkjet print mounted on Dibond, 1/3

Maquette Lower Manhattan, 2014
3D printing (Polyjet resin),acrylic and acrylic paint

Collection Musée d’art contemporain de Montréal
Gift from the Collection Loto-Québec, in partnership with the Musée d’art contemporain de Montréal

La Ligne bleue is a site-specific intervention project that the artist hopes to carry out on the facades of twenty buildings in Manhattan’s financial district. She plans to use the office tower lighting to trace a skyline in the New York night sky at a height of 65 metres, which would correspond to the rise in sea level if the planet underwent a sudden ice melt.

La Ligne bleue no 2 et Maquette Lower Manhattan, conçues comme des modélisations précédant la réalisation de l’intervention à New York, documentent différentes phases d’exploration du projet. Alors que la maquette reproduit le plan cadastral des lots occupés par les édifices visés, l’œuvre photographique simule la lumière bleue émanant de l’intérieur des bureaux dans l’obscurité d’un fond noir, faisant disparaître les édifices et leur environnement. En résulte un tracé lumineux qui laisse deviner l’empreinte fantomatique de la trame architecturale de la ville.

Aude Moreau, La Ligne bleue n° 2, 2014. Inkjet print mounted on Dibond, 1/3
Collection Musée d’art contemporain de Montréal. Gift from the Collection Loto-Québec, in partnership with the Musée d’art contemporain de Montréal

Aude Moreau, Maquette Lower Manhattan, 2014. 3D printing (Polyjet resin), acrylic and acrylic paint
Collection Musée d’art contemporain de Montréal. Gift from the Collection Loto-Québec, in partnership with the Musée d’art contemporain de Montréal

Claudie Gagnon

Montréal (Québec), 1960
Lives and works in Québec City (Québec).

Tableaux, 2011
Colour video, 21 min 31 s, sound

Collection of the Musée d’art contemporain de Montréal
Gift of Collection Loto-Québec, acquired in partnership with the Musée d’art contemporain de Montréal

This video work by Claudie Gagnon adapts the technique of the tableau vivant, a motionless staging traditionally presented live in front of an audience, and transposes it to the medium of film. Here she re-explores the genres, compositions, poses and gestures of painting, but puts the emphasis not on the action of the various figures, which is actually quite minimal, but on sound. The characters, who barely move, seem to be animated by a strange audio presence that underlines Gagnon’s grotesque yet humorous view of the history of art. Each scene – whether featuring the female saints of El Greco, José de Ribera’s bearded woman, a fifteenth-century genre picture by Netherlandish artist Hieronymus Bosch, the surrealism of Otto Dix, Edvard Munch’s famous Scream or the saltimbanques of Honoré Daumier and Pablo Picasso – possesses an extremely subtle acoustic dimension. Offering an allegory of painting, Tableaux casts an amusing and ironic eye over the art of the past.

Claudie Gagnon, Tableaux, 2011. Colour video, 21 min 31 s, sound
Collection of the Musée d’art contemporain de Montréal. Gift of Collection Loto-Québec, acquired in partnership with the Musée d’art contemporain de Montréal

Claudie Gagnon, Tableaux, 2011. Colour video, 21 min 31 s, sound
Collection of the Musée d’art contemporain de Montréal. Gift of Collection Loto-Québec, acquired in partnership with the Musée d’art contemporain de Montréal

Hajra Waheed

Calgary (Alberta), 1980
Lives and works in Montréal (Québec).

The Video Installation Project 1-10, 2011-2013
HD Video, 1/3
33 min 14 s

Collection of the Musée d’art contemporain de Montréal

List of vignettes:

Beach Tent, 3 min 29 s
Grove, 1 min 29 s
Dead Sea, 5 min 40 s
Fayaz, 3 min 42 s
Hut 1, 2 min 8 s
Hut 2, 1 min 31 s
The Stadium, 2 min 34 s
The Garden, 2 min 54 s
Darth, 1 min
The Wave, 9 min 21 s

Inspired by news stories, in-depth research and her own journey, Hajra Waheed takes a critical look at issues related to the workings of power, mass surveillance and the traumas that stem from mass migration. The visual language she has developed reflects her early years in Saudi Arabia, where she experienced uprootedness, censorship, travel restrictions and the first Gulf War. 

The Video Installation Project 110 is a video work consisting of 10 short vignettes produced in various places where photographic and video documentation is prohibited. These micro-narratives, developed like discreet observation exercises, arise out of a lengthy process of image gathering. In them, the artist captures beauty in the mundane, surprises in everyday routine, cultural distortion and the constraints of censorship. Nothing in this work is staged. The events filmed form a series of “magic moments,” like so many pages of a private diary in which the spectacular and the banal collide. 

Hajra Waheed, The Video Installation Project 1-10 : Fayaz (still frame from video), 2011-2013. HD Video, 1/3, 33 min 14 s
Collection of the Musée d’art contemporain de Montréal. Photo: Paul Litherland