© Mat Chivers. Migrations, 2018. Photo: Romain Guilbault.

Mat Chivers. Migrations

This exhibition is composed of three elements: a major sculptural grouping, a video, and a diptych of drawings. At its origin is the intuitive understanding that touch, allowing for a direct contact with our living environment, is a fundamental dimension of human experience that artificial intelligence will never really be able to grasp.
October 6, 2018 – January 6, 2019.

© Adam Kinner, Suite canadienne (WTC, 2015). Photo: Emily Gan

Adam Kinner. Suite canadienne, a demonstration

By re-performing that cultural moment today, and rethinking the resonance that Chiriaeff’s work still has, Kinner invites us to look at Québec’s history through another lens. February 2 – May 5, 2019

© Oli 2018. Jeunes de la rue

Street Youth

Five young street photographers show “their Joliette”.
September 20 – 24, 2018.

Norval Morrisseau (1932 - 2007) Salmon, 20e siècle  Huile sur toile cartonnée 70,2 x 100.5 x 6 cm  Don de Charles F. Johnson 1991.012 Photo: Musée d'art de Joliette ©   Norval Morrisseau


Davidialuk Alasua Amittu, Pitseolak Ashoona, Joe Talirunili and Norval Morrisseau, through their artistic production before 1980, laid the ground work for what would become an essential voice within the contemporary understanding of Canadian art. February 2 – May 5, 2019

Sheena Hoszko, 35+ Prisons in Québec, 2018.

Sheena Hoszko. 35+ Prisons in Québec

Sheena Hoszko produces conceptual works that seem abstract, austere and rational at first, but are in fact highly sensitive.
October 6, 2018 – January 6, 2019

Kapwani Kiwanga, Sunlight by fireside, 2018. Photo: Romain Guilbault.

Kapwani Kiwanga. Sunlight by Fireside

By using materials such as soil, light and shade cloth, the artist addresses economic and social issues of land ownership in relation to the extraction and exploitation of natural resources.
June 9 – September 9, 2018.

© Vidéographe, Sheri Pranteau: Undisappeared, 2018.

Groupe Épopée. Sheri Pranteau: Undisappeared

As they experience the installation, spectators are called upon to observe the point to which the powers that be dictate our gazes, particularly with regard to Indigenous women. October 6, 2018 – January 6, 2019