Montreal, Quebec, Canada
- Dispassionate about his city's de rigueur "City of Design" designation, architect Gilles Saucier shows us there's more to Montreal than Expo 67.
This exhibition explores Moshe Safdie’s structures and the philosophy that shapes them through approximately 175 drawings, sketches, videos, photographs and scale models. Discover how the world-renowned architect, who studied in Montreal, conceived impressive buildings and avant-garde communities in Canada, the United States and around the world. His use of transcendent light, powerful geometry and iconic forms is recognizable in such buildings as the National Gallery of Canada (Ottawa), Habitat 67 (Montreal), Vancouver Public Library, the United States Institute of Peace (Washington, DC), Crystal Bridges (Arkansas), Dubai Mosque, Terminal 3 of Ben Gurion International Airport (Jerusalem), Guangdong Science Center (China) and Marina Bay Sands (Singapore).
From 11 am on Saturday, May 2nd, to 7 the next morning, the Canadian Centre for Architecture (CCA) presents the exceptional 20-hour program 20 Years: 20 Hours in celebration of its achievements and influence as a unique cultural institution within the Montréal and international communities. There will be public conversations with architects and curators, an open house showcasing various Montreal designers' work, tours given by architect Peter Rose, as well as film screenings, food, and other festivities.
Guest curated by Roald Nasgaard, Professor of Art History at Florida State University, this exhibition includes sixty works of art, as well as photographs, books, and other ephemera documenting the history of the Automatiste, Canada’s first truly avant-garde art movement. Organized by the Varley Art Gallery in Unionville, Ontario, this landmark exhibition will represent the first extensive retrospective of the work of this group of Canadian abstract artists to be shown in the United States.
The Automatistes were the first artists to bring modernist painting to Canada and the first Canadian artists to embrace avant-garde gestural abstraction. Gathered under the leadership of Paul-Émile Borduas in the early 1940s, they were inspired by stream-of-consciousness writings of the time and approached their works through an exploration of the subconscious.
They published Refus global (Total Refusal) in 1948 and it became one of the pillars of the Quiet Revolution, a period of intense change in Quebec. Refus global was an anti-religious and anti-establishment manifesto—one of the most controversial artistic and social documents in modern Quebec.
The Automatistes were not solely painters, but also included dancers, playwrights, poets, critics, and choreographers. After twenty years of challenging the politically and religiously repressive Quebec society, the Automatiste group disbanded in 1960 after the death of Borduas.
In Buffalo, the exhibition will be contextualized by an installation, also organized by Roald Nasgaard, of works from the Albright-Knox Art Gallery’s Permanent Collection designed to illuminate the connections and relationships between these Canadian artists and their European and American counterparts, including the United States avant-garde, the Abstract Expressionists. The opening at the Albright-Knox will be the first time this important work can be seen in a broader international context.