What connects these two shows, and I won’t labour the point, is writing. By coincidence, they fit intriguingly within the trend that seems to be going on with artists attempting to negotiate text in exhibitions. In the case of Didier Morelli , this seems very conscious, especially since it is as much a work of curation and ressentimentalization as anything else. In Louise Robert, text was an essential part of her practice and the attempt to think through its graphic possibilities was central. Hommage à Louise Robert (1941-2022) at Galerie Simon Blais Among the province’s Contemporary artists, Louise Robert has been written about more than most. Self-taught, her early work mimed Automatism until her graphism expanded to include what looks like writing, and sometimes is such, sometimes a title or allusion, sometimes just the appearance of writing. While the place of writing in her work is the perennial issue that is taken up, it is usually in reference to écriture , whether unders
A critical revue of contemporary art in the city.