This year marks the 75th anniversary of the publication of Refus global , that signature event that has been consistently taken as the harbinger of the province’s modernity, the icon of the passage from the mythical Grande noirceur to the equally mythical Révolution tranquille, that sign of the origin of multidisciplinary and the first moment of a proto-feminist art, etc. To reflect on this, here is a review of Sophie Dubois’ Refus global: Histoire d'une réception partielle (2017), based on her award-winning dissertation, and one of the most admirably anti-lyrical depictions of the function of Automatism in the province’s intellectual (or spiritual) life that has been published. Dubois’ basic concern is what allowed the original collection, possessed and read by so few initially (or subsequently), to reach the point that it could become a generic referent in pulp fiction by the end of the millennium. She asserts that “The survival of the work does not depend on internal factors
A critical revue of contemporary art in the city.