A return to school without things moving at the Belgo is not really a return to school. The novelty this fall, in the building on rue Sainte-Catherine, is manifested not by the arrival of a newcomer, but by the relocation, expansion or splitting of the Hugues Charbonneau gallery. Name it whatever you want; what is clear is that it will be necessary to go up to 5e floor (and no longer on the 3e) to visit the gallery which is celebrating its tenth anniversary.
The gallery, strong in artists from all backgrounds (Karen Tam, Moridja Kitenge, Maria Hupfield, to name just three of the fifteen of artists it represents), has a space twice as large. The exhibition area will change configuration, according to needs, whereas until then it remained identical. And the office will no longer be stuck between a low wall and the windows.
Finally, thanks to the contribution of generous patrons (Jad and Roula Shimaly), who pay the rent for the premises at 3e floor, artists invited by Hugues Charbonneau will set up their studios in the space left vacant. The place will no longer bear the name of the gallerist, but remains the place of his mentorship.
In room 508, we should also talk about rebirth. Because the gallery takes over a room which gave rise to major exhibitions, when the Optica center occupied it from 1997 to 2014 and contributed to the reputation of the Belgo.
“All Scenarios”
“We redid the walls, invested a lot to erase things,” says the new tenant, proud to show off the new lighting – “energy-efficient tiles, like artificial skylights”. He wants to make his company a model of non-waste: zero paper, no fresh paint for each exhibition, reuse of packaging and removable picture rails, stored when not in use.
The new space will be used to test “all scenarios”, including two simultaneous solos or video, something impossible for 3e stage. The honor of the inauguration goes to Manuel Mathieu. Having become the star of the gallery, the painter returned to Montreal after having exhibited in Shanghai, London, New York… He presented paintings on the theme of melancholy.
A group exhibition will follow with fifteen Montreal artists from the Haitian community, not necessarily represented by the gallery. “I could only work with these artists and it would be incredibly good,” says the man who welcomed curator Dominique Fontaine’s project with open arms.
“These artists defy the definition of contemporary art, flirt with other traditions, refer to movements like Saint Soleil, from Haiti,” he explains, speaking ofSovereign imaginariesan exhibition so vast that a section will be presented at the Maison de la culture Janine-Sutto.
Jerome Delgado