Public art

Place d’Armes


Against the Run, 2022, installation

Against the Run features an actual street clock, erected in a public space. Despite its somewhat anachronistic appearance – evoking a bygone era, when we didn’t always carry the time in our pockets – the clock furtively melts into the urban landscape, unnoticed. It reveals itself only when someone stops to look and, perplexed, observes the face turning counter-clockwise, as though trying to escape the ineluctable forward progress. And yet, despite its counterintuitive movement that makes it nearly impossible to read, the clock always shows the right time. Our familiar experience of telling time, normally second nature to us, has been upended.

Artillery Park


Before the Eye (antoillier), 2022, sculpture.

In Artillery Park, a monumental pair of antlers is raised against the sky. In their immensity, they suggest the antlers of a colossal caribou shed at winter’s end to make way for new ones to grow, in the perpetual cycle of regeneration. This now-vulnerable species, a key element in both the cosmogony and the survival of many Indigenous communities, has become emblematic of claims for land and identity.

Le Diamant, mur extérieur


Méandre, 2022, installation photographique in situ.

Caroline Cloutier is interested in the reflective function of specular and photographic images, and in their power to evoke virtual spaces. She uses mirrors and large-scale photographic prints as devices to create the illusion of disjointed architectural surfaces.

Place Ste-Foy


Le Grand Boum, 2022, installation in situ.

Cette installation propose, dans une perspective théâtrale, un empilement de couleurs. Le public, qui active l’œuvre en la traversant, est invité à entrer soit par la porte arrière qui cache l’évolution intense de l’œuvre, soit par l’avant, disparaissant lentement dans et hors de l’œuvre.

Parvis de l’église Saint-Roch



Her self-portraits, presented in public spaces, represent symbolic figures from the history of photography with extraordinary accuracy and meticulous recreation. Wearing dons hyper-realistic silicone masks featuring the single disconcerting detail of holes cut out for her eyes, short-circuiting the illusion and revealing its constructed nature.

© Gillian Wearing, Me as Madame and Monsieur Duchamp, 2018.

Parvis de l’église Saint-Roch



Gabriel Lester’s films and installations are born of a desire to build ambiguous narratives that leave themselves open to interpretation. His multidisciplinary works generate perceptual tensions through the apprehension of the immanent mechanisms of our representations of the world.

Multiple places and parks


Invisible Museums of the Unseen, 2022, a GPS-activated audio experience.

Invisible Museums of the Unseen offers a GPS-activated audio experience of an invisible path through a public space. A mobile app provides participants with an unconventional audio guide and an interactive map using landmarks to orient and lead them to “invisible museums” of sound. The environments are built around the natural and physical phenomena of the world of the unseen: sound waves, gravity, atmospheric pressure, microscopic elements, camouflage, and echolocation.

Porte Saint-Jean


La pelle du printemps, 2022, interactive sculpture.

La pelle du printemps is an interactive sculpture that builds and grows, branching into multiple offshoots, a metal and plastic tree clashing with the landscape. Snow shovels and their handles are fragmented and reconfigured into this peculiar arborescence that reaches out to beckon passers-by, inviting them to play. A turn of the shovel-handle cranks produces a chirruping sound, a kind of simulated birdcall urging spring to return. The animal sounds, combined with the formal equivalence established between a shovel and a bird’s beak, accentuate the incongruity between the industrial materials used in the piece and its organic invocations. Once again, Gauthier blurs the line between the manufactured and the natural.

In collaboration with Avatar

Lieu historique national Cartier-Brébeuf


Hot Diggity, 2022, sculpture.

During the biennial, Jenkins’s eccentric characters partake in intriguing activities in the Old City. Striking unusual poses, they engage in unexpected and even absurd interactions with the built environment, transforming ordinary locations into surreal spaces for passers-by.

In collaboration with EXMURO arts publics

Lieu historique national Cartier-Brébeuf


Four Frames, 2022, installation.

Meredith James is interested in the failure of our senses and the liminal gaps that open when what we think we are seeing does not correspond to what is really there. The staging of the architecturally deployed sculptures provokes numerous discrepancies in spatial and visual perception. By creating devices that confuse the senses, the artist reveals the unsettling inconsistencies underlying our ways of receiving the world, which can deceive us at any moment.

Gare Fluviale de Lévis


Antiherbst, 2015, video.

Michael Sailstorfer’s object performances trigger metamorphoses that incorporate natural forces and their effects on the fabricated. Inspired by axiomatic structures and sites marked by postmodernism, the artist seeks to defy sculptural conventions in terms of both space and duration.

Place d’Youville


Les ruines des affamés (4), 2018, Photographs.

Annie Baillargeon performs before the camera, creating fictional selves in montages that multiply her image in complex compositions. She dons costumes and performs a series of highly symbolic actions in evocative settings, then with pictorial and digital techniques adds aesthetic layers over the images. Baillargeon’s work remarks upon the female body as it interacts with its environment, and upon its relationship to images. Her process also deals with transitional states and decay from a feminist perspective, using strategies of self-representation and staging.

Place d’Youville



L’artiste propose une série d’images issues de processus de recherches complexes. Si Réminiscence permet d’imaginer l’instant de création de notre planète, Nervures ouvre à la contemplation du microscopique, par l’imagerie d’une puce électronique.

© Nicolas Baier, Reminiscence 2, impression au jet d'encre, acrylique, acier.

Place d’Youville


Les Jardins de Versailles, 2021, collages.

L’artiste utilise des gravures de 1720 des fontaines de Versailles par André le Nôtre comme modèle de création, y annexant collages et images trouvées. Les impressions qui en résultent incorporent la couleur et le noir et blanc dans un paysage surprenant où l’abstraction et le réalisme se heurtent.

Vitrine/Galerie de Manif d’art, côte d’Abraham


Untitled (Cube, Cylinder, Pyramid), 2019, sculptures.

Untitled (Cube, Cylinder, Pyramid) is a site-specific installation transforming the window of Manif d'art into an exhibition space that passers-by might easily mistake for a storefront. The immaculate white window displays sculpted objects, carefully arranged on the ground and on shelves. Paired with the colourful items lining the walls like fairground prizes, the objects on the floor seem to silently echo a recently ended party.