Home » Artefact Montreal 2007 – Urban Sculptures

Artefact Montreal 2007 – Urban Sculptures

The third edition of Artefact takes place in Montreal through September 30, 2007 on the Ile Sainte-Helene.

20 urban sculptures by Canadian and international artists have been set up on part of the 1967 World Expo site, as a celebration of the 40th anniversary of EXPO 67.


Stephen Schofield , Hedging. Image: artefact-montreal.com

With its convoluted facture, modest dimensions and mooring in a small pond in the shadow of Buckminster Fuller’s majestic dome, this erudite and inventive sculptor’s polysemic structure may be, among other things, both a critical and a nostalgic commentary on the universal modernism of Expo 67.

EXPO 67 was held in Montreal from April 27 to October 29, 1967. It was considered to be the most successful World’s Fair of the 20th century, with over 50 million visitors and 62 nations participating. It also set the single day attendance record for a world’s fair with 569,000 visitors on its third day.

For Artefact Montréal 2007, all the artists’ works will be created using the concept of a “pavilion,” or “architectural folly” responding to the thematic and national pavilions erected at the time.

Architectural follies transcend notions of style, fashion and nationalism, emerging instead from various human emotions such as vanity, pride, passion, obsession, confusion, sorrow and pleasure. A folly is a state of mind, not an architectural style. The folly then is a magical object that is initially “pure:” above all, an object of delight and pleasure.


Henri Sagna , Insect 1. Image: artefact-montreal.com

For the past few years, the Senegalese Henri Sagna, at times called a “sculptor-recycler,“ has worked literally and metaphorically with the face of an insect. Here, his inordinately large characters take over the former Korean pavilion in a playful yet disturbing manner.


Mathieu Lefèvre, Accès public. Image: artefact-montreal.com

Born in Alberta, this young artist likes to criticize the art milieu and the relationship that the public has with artworks. The structure he creates is a kind of ivory tower, in which famous paintings, rather than being presented to the public, seem to be unapproachable, inaccessible and even difficult to see.


Martha Townsend , À ciel découvert. Image: artefact-montreal.com

A discreet, refined sculptor, Martha Townsend has made her pavilion into a place for reflection — in every sense of the word — in which two concentric circles speak as much about architectural folly as the other mythological and aesthetic “folly“ that is Narcissus’ pool.


Chih-Chien Wang, Cross Water. Image: artefact-montreal.com

Although the pavilion of the Taiwan-born artist Chih-Chien Wang is invisible, orchestrated sound can be heard. Visitors have only to move around in the clearing to activate a richly diversified soundtrack, which represents the artist’s experiences and is likely to evoke an infinite number of forgotten or fictive architectural structures, always fragmented.


BGL (Jasmin Bilodeau, Sébastien Giguère et Nicolas Laverdière), La mouche et le sucre.
Image: artefact-montreal.com

The ˜infernal three˜ from Quebec City strike again with their criticism our consumer society, this time producing a fake, inaccessible ice cream stand, swarming with insects. Is this mass of bugs not a metaphor for postmodern consumers, always greedy for more pleasure?


Catherine Bolduc , Le bout du monde. Image: artefact-montreal.com

An inspiring experience of pure enchantment is what the young sculptor Catherine Bolduc gives us. A door ajar in the ground on the side of a hill, reminding us of Alice in Wonderland, lets us catch a glimpse of a magical world.


Robbin Deyo , The end of my rainbow / La fin de mon arc-en-ciel. Image: artefact-montreal.com

For Robbin Deyo, a painter who also makes odd sculpture or vice versa, physical objects are spaces of illusion in any case. Such is this small construction recalling a sundial where the visitor can relax as if in a magical place at the end of a rainbow.


Aganetha Dyck, Nestling Sites, Sipping Sites for Small Life Forms. Image: artefact-montreal.com

Born in Winnipeg and entirely self-taught, Aganetha Dyck may be the senior artist of Artefact 2007, but she is certainly one of the most playful. For the last fifteen years, she has been interested solely in the work of bees — her ?collaborators? — and with them she has created these pavilions in a tree for the benefit of all; little creatures and visitors, who pay attention to simple little things.


Mireille Lavoie, Babkas. Image: artefact-montreal.com

In this twofold space, the work dialogues with both secular architecture and shelters that children can build themselves. Mireille Lavoie indiscriminately appropriates a hut, an igloo, a cabin and a fort made for kids? games.

For more information and works more of the participating artists, click HERE

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