Melomania
Opening: Saturday, June 27, 2015, 4pm - 6pm
Ti-Noir Lajeunesse, The blind violonist, on Saint-Jean-Baptiste Day, Disraeli
1972
Gelatin silver print on fibre paper
27.9 x 35.6 cm / 11 x 14 in
Artist’s collection
Un homme et son gramophone, Senneville
1976
Gelatin silver print on fibre paper
27.9 x 35.6 cm / 11 x 14 in
Artist’s collection
Gabor 1964
1964
Silver print on photographic paper
27.9 x 35.6 cm / 11 x 14 in
Courtesy of Gallery Art45
Fête de la Saint-Jean. Plateau Mont-Royal
1975
Silver print
25.4 x 20.3 cm / 10 x 8 in
Fête de la Saint-Jean. Parc du Mont-Royal
1974
Silver print
25.4 x 20.3 cm / 10 x 8 in
Cohen 1967
1967
Silver print on photographic paper
27.9 x 35.6 cm / 11 x 14 in
Courtesy of Gallery Art45
Nadon 1988
1988
Silver print on photographic paper
27.9 x 35.6 cm / 11 x 14 in
Courtesy of Gallery Art45
Chanteur (Pékin)
2010
Chromogenic print
251.15 x 312.4 cm / 99 x 123 in
Courtesy of Gallery Donald Browne
Le violoneux public
1975
Argentic print on fiber paper
27.9 x 35.6 cm / 11 x 14 in
Les chansons formidables
1987
88 x 121 cm / 34.6 x 47.6 in
Courtesy of Gallery Donald Browne
AFI @ Parc Jean Drapeau, 23 August 2014
2014
Inkjet print
/ 11 x 17 in
Centre-Sud
1973
27.9 x 35.6 cm / 11 x 14 in
Vitrine, Centre-Sud
1974
27.94 x 35.56 cm / 11 x 14 in
Musicien de rue
1978
Inkjet print on perle paper
27.9 x 35.6 cm / 11 x 14 in
Purity Ring @ Metropolis, 5 June 2015
2015
Inkjet print
/ 11 x 17 in
To echo the exhibition The Golden Age of Jazz by renowned New York-based photographer Hank O’Neal, presented in conjunction with the Montreal Jazz Festival, curators Lara Orsoni, Yan Romanesky, and Joyce Yahouda present Melomania, a photography exhibition which depicts an enthrallment for music.
In order to create this exhibition the curators called upon Montreal-based artists Raymonde April,Claire Beaugrand - Champagne, Alain Chagnon, Roger Charbonneau, Réjean Meloche, Susan Moss, Gabor Szilasi, as well as gallerists Donald Browne and Serge Vaisman.
Captured between the 1970s and the present-day, the majority of the images in Melomania depict people and their passion for music.
Whether in a delirious crowd or in solitude, music lovers seem to share a common state of euphoria in which they are no longer aware of their surroundings: a crowd-surfing singer being supported by his entranced fans,
Leonard Cohen alone in a studio playing a harmonica, a blind violonist in a field with his instrument, a resident of Montreal’s centre-sud making music on his porch.
In some of the works on display, no human being is present. Yet, the image of an apartment filled with musical instruments, or that of a shop with records accumulated in the window, suggest a human presence, an obsession, a passion for music.
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