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Excerpt from bordee-qc-ca.translate.goog/nouvelle/des-etincelles-dans-...:
In front of us, the vertigo , a giant mural to be seen from the intersection of boulevard Charest and rue Dorchester until next spring.
For this 2022-2023 season, La Bordée was pleased to offer Quebec artist Nadia Morin the mandate to create a new mural. This collaboration proved to be fruitful, since it made it possible to broaden the theme of our programming, Devant nous le vertige, to hitherto untapped avenues. Moreover, Nadia knew how to remain in perfect cohesion with our programming, because, like our plays on the bill, her work gives rise to a shared experience of vertigo during its contemplation. This artist has generously agreed to open the doors of her creative studio to us. Here, she tells us about the journey that led her to the creation of the mural, which, for the months to come, will proudly sit on the back wall of our theatre.
In my practice, I was already interested in the notion of vertigo, in this powerful, unknown and intriguing feeling of throwing oneself into the void, of being attracted to it. To assess the possibilities and take a risk that lives up to our aspirations, this passage to another world or another stage. When I found out that the theme of the mural was Devant nous le vertigo, I thought it echoed my artistic work perfectly. My creation aims to arouse in the public a sweet amalgam of emotions: a poetic vision. It represents the bubbling interiority aroused by the urgency of upheavals and inviting, positive novelties. My works visually transpose the relationship between community and intimacy, which echoes not only the theme of the season, but also the mission of La Bordée.
At the start, I immediately thought of divers, since they are a good metaphor for the attraction of the void, this movement towards an elsewhere. Launching, diving, immersing and summoning the splendor of a new space. Then my thoughts drifted towards the circus artists: tightrope walkers, trapeze artists, acrobats, etc. In their careers, they tend to tame vertigo, appropriate it and reinterpret it into a spectacular event that defies fear. The universe of the circus is very similar to dreams, to our part of the imagination, to fireworks in the night to impress, ephemeral and grandiose moment of magic. I tried, through the mural, to evoke a part of it.
Besides, I always include elements of nature in my collages; I wanted this time to transpose the desire to climb the immensity of the mountains, to reach their summits with unreachable appearances of which we like to be the temporary conquerors. The clouds graze the summit and through the opening on the sky map, I wanted to create a reminder of the raised eyes contemplating the extent of a cartography of constellations and to evoke this moment when one feels so small and overwhelmed. The size of the territories around us can also make you dizzy, as can the possibility of losing their beauty, their access, due to climate change. The fall represents the possibility of this overflow, but also another entry into the void, like an invitation to dare to dive, just to see...
Finally, I wanted to tempt the spectator, to offer him the possibility of experiencing vertigo himself, of climbing the ladder to join the trapeze artists; at the same time, I hope to give it the feeling of grandeur from the bottom of the mural and a different perspective from the heights. Through the colors, I wanted to evoke a sunrise or a sunset and I wanted to offer light to the autumn and winter seasons to come. And if this mural wanted to be sparks in the concrete, a dreamlike landscape to support the vertigo of everyday life and aspire to that of the greatest moments?
– Nadia Morin
Sullivan, Val-d’Or.
© All Rights reserved no publication or copying without the permission from the author.
Coucher de soleil
© All Rights reserved no publication or copying without the permission from the author.
Mellow Yellow - La Maison Charest, Quebec City (Vieux Quebec),.
Happy Window Wednesday!
36 to 38 Rue Saint-Pierre, Quebec. Year of construction, 1757. (1)
“The first two levels are period (1757-1758), in "stone of Beauport". This stone, taken from the limestone beds of the Côte de Beaupré, was much more resistant than the "Cape Stone", made of black shale taken from the Rock of Quebec and used previously. The masonry also withstood the cannonading of the siege of Quebec City in 1759. A 32-pound cannonball hammered into a wall was even found during the restoration.
Through the history of these houses, we learn a lot about the adaptation of construction techniques in the colony. The double windows, almost nonexistent in France, have appeared. The craftsmen made better use of the species of wood according to their qualities: cedar to cover parts exposed to bad weather, cherry for galleries and stairs, spruce and pine for framing, ash for beams and frames and walnut for cabinets and doors of higher caliber. Climate requires, the gables have been reinforced steep slopes to facilitate the fall of the snow.
In summer and winter, the vaulted cellars of the Charest house were kept between 10 and 12 degrees, and allowed the storage of wines, alcohol and perishable goods such as hams, cheeses and molasses.”(2)
“Today, Maison Charest - or more specifically, the cellars of Maison Charest - is occupied by La Tanière3. Since 1977, the restaurant Tanière3 has always strived to push the boundaries of true Quebec cuisine.” (3)
Sources:
(1). www.ville.quebec.qc.ca/citoyens/patrimoine/bati/fiche.asp...
(2). www.lesoleil.com/maison/bistro-lorygine-vent-de-fraicheur...
[Original article in French. Translated from French into English via Google Translate]
(3) taniere3.com/en
Sunset - Coucher de soleil, Val-d’Or.
© All Rights reserved no publication or copying without the permission from the author.
Lac De Montigny, Val-d’Or
© All Rights reserved no publication or copying without the permission from the author.
Two CH-147F Chinook helicopters take off for a training mission during Operation PRESENCE-Mali, March 23, 2019.
Photo: Corporal François Charest, 430 Tactical Helicopter Squadron (430 Tac Hel Sqn)
TM02-2019-0028-0006
4 juin 2020, Val-d’Or
© All Rights reserved no publication or copying without the permission from the author.
Val-d’Or. Bernaches du Canada, Canada Geese.
© All Rights reserved no publication or copying without the permission from the author.
Excerpt from histoiresainteducanada.ca/en/le-sanctuaire-du-sacre-coeur...:
Father Joseph-Arthur Laporte was born in Saint-Paul de Joliette on August 15, 1857, the feast of the Assumption. He entered the community of the Clerics of Saint-Viateur on August 25, 1879. The members of this community have a great devotion to the Sacred Heart of Jesus, and it is through their contact that Father Laporte developed this devotion.
He left the community of the Clerics of Saint-Viateur on July 28, 1886 and requested his incardination to the Bishop of Sherbrooke. He was admitted to the number of priests of the diocese by Bishop Antoine Racine, and appointed pastor of the parish of Sainte-Praxède de Bromptonville (1891-1902) from where he discovered the “mountain” that he would later call “Beauvoir”.
Eight kilometers north of Sherbrooke, a small mountain of one hundred and fifteen meters, still unnamed, had long attracted the attention of this great lover of nature. After many approaches to Mr. Émile Lessard, a farmer, he bought two hectares of land from him in 1915. He gave the name “Beauvoir” (beautiful to see) to this corner of paradise whose panoramic view enchanted him. He decided to build a small cottage, a house of six meters on a side surrounded by a gallery. In 1916 and 1917, he bought more land to enlarge his small domain.
And in 1920, he founded the Sanctuary of the Sacred Heart of Beauvoir.
For years, Father Laporte has been fascinated by the devotion to the Sacred Heart of Jesus. He speaks of it tirelessly. So it is not surprising that the only decoration on the bare walls of his cottage is a lithograph, without much artistic pretension, of the Sacred Heart of Montmartre.
In 1916, Father Laporte still dreamed of making Beauvoir a place where people would come to pray and celebrate the Sacred Heart of Jesus, whose devotion was spreading more and more throughout the country. He therefore decided to erect, not far from his cottage, a statue of the Sacred Heart. Measuring two meters in height, this statue, with its arms wide open, stands on a pedestal of field stones that farmers have faithfully transported on their carts.
The parish priest now invites his parishioners to come and taste the happiness that is his at the Sacred Heart…
As early as 1918, pilgrims began “the ascent of the Rosary”, a devotional practice that would have its heyday in the 1930s. On Sunday afternoons, pilgrims, starting from the main road, climbed to Beauvoir while reciting the rosary.
In 1933, at the request of the pilgrims, Father Pierre-Achille Bégin had a cross erected in front of the road leading to the Shrine. It is from this cross, still visible, that the pilgrimages to Beauvoir started. Along the way, wooden boards were set up on which were written the fifteen mysteries of the rosary. For Beauvoir, the erection of this cross gives all its meaning to the ascent of the rosary: it is the beginning of the ascent, it is the cross of the rosary that the lips kiss before murmuring the “Aves”, the first links of this long chain that leads the pilgrims to the very Love that awaits them at the Shrine.
In 1920, during a Holy Hour, he asked for a special favor from the Sacred Heart, with the promise of building a small chapel in Beauvoir if he was granted it. With the help of some local craftsmen, he had the promised little chapel built.
It is an architectural jewel that Abbé Laporte had built on the hill of Beauvoir.
But the Sacred Heart, never defeated in generosity, knows how to reward his servant by giving to vile materials a stamp of rustic elegance, to a humble and poor building, a beauty that escapes no one. And all those who come to pray in this rustic chapel find there a calm, a peace that penetrates deep into their souls and leaves them pacified. One can almost feel the loving presence of the Sacred Heart of Jesus, which bends down with tenderness over those who come to visit it.
The exterior of this chapel is reminiscent in many ways of some of the country chapels of France. The rustic walls, the rudimentary furnishings and the few decorations are not likely to satisfy the connoisseur of expensive works of art. It is poverty, destitution. The only decoration is a statue, a frame, two statuettes, a few ex-votos testifying to the goodness of the Sacred Heart, lanterns and old images of the Way of the Cross. But, near the tabernacle, how one can taste with love and peace the divine presence of the Eucharistic Heart of Jesus!
On October 24, 1920, Bishop Larocque came to bless the little chapel. The next day, Father Laporte celebrated the first mass on Mount Beauvoir.
In the spring of 1921, his health inexorably deteriorated. Even though he was ill, he was taken to Beauvoir four or five more times. Then he had to give up returning to Beauvoir. He was hospitalized at the Saint-Vincent-de-Paul Hospital at the beginning of August. And on August 20, Father Laporte was finally able to meet face to face with the one who was the great love of his life.
The body of Father Laporte now rests in the crypt of the church of Saint-Jean-Baptiste of which he was parish priest. However, on the west wall of the little chapel in Beauvoir, a commemorative plaque recalls the man who founded the Shrine and who continues to watch over its work from above.
Father Laporte had bequeathed the Beauvoir property to the diocese on the condition that he pay the remaining $3,500 debt. The diocese refused this bequest. Beauvoir thus reverted to the universal legatee, Miss Euphémie Charest, Father Laporte’s former housekeeper. She sold Beauvoir in 1923 to the executor of Father Laporte’s will, the notary Gédéon Bégin, for the price of the debt. This wealthy businessman used Beauvoir Hill as a summer vacation spot for his family.
From 1923 to 1929, Beauvoir fell into almost complete abandonment. Only a few lovers of the Sacred Heart would go up there privately to pray at the foot of the Sacred Heart statue. But at the end of July 1929, Father Pierre Achille Bégin, a retired priest and brother of the owner, accompanied by a few members of the family, came to visit Beauvoir. Although the buildings had been quite damaged by thieves and the weeds had invaded the area, the group was charmed by the landscape and decided to settle there for two weeks.
From then on, the Bégin family would come to spend a few weeks in Beauvoir during the summer vacations.
Without looking for signs, the good abbot knows how to recognize an invitation. First of all, together with his family members, he decided to restore the place and to revive the project of Father Laporte. Every year in June, he invites the people of the area for the triduum in preparation for the feast of the Sacred Heart. This is the highlight of the year.
Throughout the summer months, Father Bégin, surrounded by nephews and nieces, ensures for the pilgrims the mass every morning and the prayer at the Sacred Heart every evening as well as a Holy Hour every Thursday evening. Father Bégin, after Father Laporte, sought to spread devotion to the Sacred Heart. It is in the small stone chapel that he spends most of his time in prayer and in welcoming the small groups of pilgrims who continue to climb the mountain. “All my desire is that in Beauvoir the Sacred Heart be particularly honored, praised and prayed to, and that He spread His greatest graces there.”
Lac De Montigny Lake, Val-d’Or.
© All Rights reserved no publication or copying without the permission from the author.
This canvas is the largest in Riopelle’s series of Icebergs, which he began following a trip to Nunavik with his friend Champlain Charest. In this series, the artist re-imagines the grandiose nature of the monumental icebergs floating in the Hudson Strait. His palette of whites, greys and blacks is vigorous and uncluttered – most different from the nature that had fascinated him in the earlier works.
A CH-146 Griffon helicopter returns to Camp Castor following a training mission .during Operation PRESENCE-Mali, February 4, 2019.
Photo: Corporal François Charest, 430 Tactical Helicopter Squadron (430 Tac Hel Sqn)
TM02-2019-0005-0016
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Un hélicoptère CH-146 Griffon retourne au Camp Castor après une mission d’entraînement au cours de l’opération PRESENCE-Mali, le 4 février 2019.
Photo : Caporal François Charest, 430e Escadron tactique d’hélicoptères (430 ETAH)
TM02-2019-0005-0016
Excerpt from www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=13052&i=7...:
Built in 1871 and rebuilt in 1911, this building is a rare example of industrial architecture at the turn of the 20th century in Canada. Its medieval-style towers and rich Victorian architectural details contribute to its distinctive character. Between 1897 and 1988, it housed Dominion Corset, one of the largest manufacturers of women’s undergarments in the country. Thousands of women worked here, testifying to the essential contribution of this labour force to the Canadian clothing manufacturing industry. The building’s renovation in 1992–1993 illustrates the capacity of industrial buildings to be adapted for new uses.
Description of Historic Place
La Fabrique National Historic Site of Canada is located in the Saint-Roch district in Québec. Formerly an industrial building it now houses the offices of Québec’s land-use planning and economic development services and the Université of Laval School. This striking building fronts on Charest Boulevard East and is constructed of red brick. It features ornamental white brick trim, medieval-inspired square towers, and rich ornamentation. Official recognition refers to the footprint of the building.
Heritage Value
La Fabrique was designated a national historic site in 2011 for the following reasons:
between 1897 and 1988 it housed Dominion Corset, a company that played a significant role in the clothing industry in the 20th century in Canada as one of the largest corset and undergarment manufacturers in the country; it represents an important period in the history of women and labour, recalling the contribution of the thousands of women who worked here and, by extension, of all the women who formed the core of the Canadian clothing industry's labour force; and, it is representative of the resilience and flexibility of Victorian and early 20th century industrial buildings, many of which evolved over time to changing requirements and were adapted in the late 20th century to new, non-industrial uses.
La Fabrique is valued for its significant role in Canada’s clothing industry. It began as the Argenteuil Paper Manufactory, built in 1804 by two American paper makers, Walter Ware and Benjamin Wales. By making paper from cloth rags, the mill supplied wrapping paper and newsprint largely to the Montréal market from 1805 to 1834. For much of this time it was under the control of James Brown, Montreal stationer and founder of the present “Montréal Gazette”. The mill, in the municipality of Saint-André-Est (now Saint-André-d’Argenteuil), Québec, was the first and for many years the only paper mill in what is now Canada. The origins of Canada's pulp and paper industry may be traced to its establishment. Its time as the Dominion Corset has further cemented its place in Canadian industrial history. In 1964, a modern addition was constructed in the International style. Rehabilitated and partly reconstructed in 1992-93, the building now includes an atrium and a renovated and subdivided interior.
Character-Defining Elements
Key features that contribute to the heritage value of this site include: - its location in the district of Saint-Roch, in the city of Québec; - the varied four and five-storey massing, inner courtyard, and trapezoidal-shaped footprint; - its Second-Empire influenced elements including the north-facing entrance with water tower, corner tower with clock, medieval-inspired square end towers, white voussoirs with keystones, and segmental and semi-circular arched windows; - construction materials including the red brick and, white fire-bricks; - workmanship and decorative program, notably the brick detailing, crenellated parapets, pilasters with fleur-de-lys, cornice with frieze, false machicolations in white brick, and doors and windows framed with white firebrick; - the 19th century industrial character of the evenly spaced fenestration pattern and functional, flexible interior spaces; - the International style influenced addition, a five-storey rectangular section faced in beige-coloured stucco, with bands of windows in green steel frames; - the composition of the entrance area, with stone shingles above the ground floor, keystones and various openings that indicate its administrative function; - remaining interior features including hardwood floor sections, a wooden staircase, and brick walls.
Excerpt from histoiresainteducanada.ca/en/le-sanctuaire-du-sacre-coeur...:
Father Joseph-Arthur Laporte was born in Saint-Paul de Joliette on August 15, 1857, the feast of the Assumption. He entered the community of the Clerics of Saint-Viateur on August 25, 1879. The members of this community have a great devotion to the Sacred Heart of Jesus, and it is through their contact that Father Laporte developed this devotion.
He left the community of the Clerics of Saint-Viateur on July 28, 1886 and requested his incardination to the Bishop of Sherbrooke. He was admitted to the number of priests of the diocese by Bishop Antoine Racine, and appointed pastor of the parish of Sainte-Praxède de Bromptonville (1891-1902) from where he discovered the “mountain” that he would later call “Beauvoir”.
Eight kilometers north of Sherbrooke, a small mountain of one hundred and fifteen meters, still unnamed, had long attracted the attention of this great lover of nature. After many approaches to Mr. Émile Lessard, a farmer, he bought two hectares of land from him in 1915. He gave the name “Beauvoir” (beautiful to see) to this corner of paradise whose panoramic view enchanted him. He decided to build a small cottage, a house of six meters on a side surrounded by a gallery. In 1916 and 1917, he bought more land to enlarge his small domain.
And in 1920, he founded the Sanctuary of the Sacred Heart of Beauvoir.
For years, Father Laporte has been fascinated by the devotion to the Sacred Heart of Jesus. He speaks of it tirelessly. So it is not surprising that the only decoration on the bare walls of his cottage is a lithograph, without much artistic pretension, of the Sacred Heart of Montmartre.
In 1916, Father Laporte still dreamed of making Beauvoir a place where people would come to pray and celebrate the Sacred Heart of Jesus, whose devotion was spreading more and more throughout the country. He therefore decided to erect, not far from his cottage, a statue of the Sacred Heart. Measuring two meters in height, this statue, with its arms wide open, stands on a pedestal of field stones that farmers have faithfully transported on their carts.
The parish priest now invites his parishioners to come and taste the happiness that is his at the Sacred Heart…
As early as 1918, pilgrims began “the ascent of the Rosary”, a devotional practice that would have its heyday in the 1930s. On Sunday afternoons, pilgrims, starting from the main road, climbed to Beauvoir while reciting the rosary.
In 1933, at the request of the pilgrims, Father Pierre-Achille Bégin had a cross erected in front of the road leading to the Shrine. It is from this cross, still visible, that the pilgrimages to Beauvoir started. Along the way, wooden boards were set up on which were written the fifteen mysteries of the rosary. For Beauvoir, the erection of this cross gives all its meaning to the ascent of the rosary: it is the beginning of the ascent, it is the cross of the rosary that the lips kiss before murmuring the “Aves”, the first links of this long chain that leads the pilgrims to the very Love that awaits them at the Shrine.
In 1920, during a Holy Hour, he asked for a special favor from the Sacred Heart, with the promise of building a small chapel in Beauvoir if he was granted it. With the help of some local craftsmen, he had the promised little chapel built.
It is an architectural jewel that Abbé Laporte had built on the hill of Beauvoir.
But the Sacred Heart, never defeated in generosity, knows how to reward his servant by giving to vile materials a stamp of rustic elegance, to a humble and poor building, a beauty that escapes no one. And all those who come to pray in this rustic chapel find there a calm, a peace that penetrates deep into their souls and leaves them pacified. One can almost feel the loving presence of the Sacred Heart of Jesus, which bends down with tenderness over those who come to visit it.
The exterior of this chapel is reminiscent in many ways of some of the country chapels of France. The rustic walls, the rudimentary furnishings and the few decorations are not likely to satisfy the connoisseur of expensive works of art. It is poverty, destitution. The only decoration is a statue, a frame, two statuettes, a few ex-votos testifying to the goodness of the Sacred Heart, lanterns and old images of the Way of the Cross. But, near the tabernacle, how one can taste with love and peace the divine presence of the Eucharistic Heart of Jesus!
On October 24, 1920, Bishop Larocque came to bless the little chapel. The next day, Father Laporte celebrated the first mass on Mount Beauvoir.
In the spring of 1921, his health inexorably deteriorated. Even though he was ill, he was taken to Beauvoir four or five more times. Then he had to give up returning to Beauvoir. He was hospitalized at the Saint-Vincent-de-Paul Hospital at the beginning of August. And on August 20, Father Laporte was finally able to meet face to face with the one who was the great love of his life.
The body of Father Laporte now rests in the crypt of the church of Saint-Jean-Baptiste of which he was parish priest. However, on the west wall of the little chapel in Beauvoir, a commemorative plaque recalls the man who founded the Shrine and who continues to watch over its work from above.
Father Laporte had bequeathed the Beauvoir property to the diocese on the condition that he pay the remaining $3,500 debt. The diocese refused this bequest. Beauvoir thus reverted to the universal legatee, Miss Euphémie Charest, Father Laporte’s former housekeeper. She sold Beauvoir in 1923 to the executor of Father Laporte’s will, the notary Gédéon Bégin, for the price of the debt. This wealthy businessman used Beauvoir Hill as a summer vacation spot for his family.
From 1923 to 1929, Beauvoir fell into almost complete abandonment. Only a few lovers of the Sacred Heart would go up there privately to pray at the foot of the Sacred Heart statue. But at the end of July 1929, Father Pierre Achille Bégin, a retired priest and brother of the owner, accompanied by a few members of the family, came to visit Beauvoir. Although the buildings had been quite damaged by thieves and the weeds had invaded the area, the group was charmed by the landscape and decided to settle there for two weeks.
From then on, the Bégin family would come to spend a few weeks in Beauvoir during the summer vacations.
Without looking for signs, the good abbot knows how to recognize an invitation. First of all, together with his family members, he decided to restore the place and to revive the project of Father Laporte. Every year in June, he invites the people of the area for the triduum in preparation for the feast of the Sacred Heart. This is the highlight of the year.
Throughout the summer months, Father Bégin, surrounded by nephews and nieces, ensures for the pilgrims the mass every morning and the prayer at the Sacred Heart every evening as well as a Holy Hour every Thursday evening. Father Bégin, after Father Laporte, sought to spread devotion to the Sacred Heart. It is in the small stone chapel that he spends most of his time in prayer and in welcoming the small groups of pilgrims who continue to climb the mountain. “All my desire is that in Beauvoir the Sacred Heart be particularly honored, praised and prayed to, and that He spread His greatest graces there.”
Members of Task Force-Mali prepare for a re-supply mission at Camp Castor in Gao, Mali during Operation PRESENCE-Mali, February 17, 2019.
Photo: Corporal François Charest, 430 Tactical Helicopter Squadron (430 Tac Hel Sqn)
TM02-2019-0012-0012
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Des membres de la Force opérationnelle au Mali se préparent en vue de participer à une mission de ravitaillement au Camp Castor, à Gao, au Mali, au cours de l’opération PRESENCE-Mali, le 17 février 2019.
Photo : Caporal François Charest, 430e Escadron tactique d’hélicoptères (430 ETAH)
TM02-2019-0012-0012
Throughout the 1970s, Riopelle frequently returned to Canada from France to join hi good friend, Dr. Champlain Charest, a radiologist and art collector, on hunting and fishing trips in the North. Riopelle made this lithograph the year the two men flew in Charest’s hydroplane to the east coast of James Bay to go goose hunting. With this cartoon-like iconography, Riopelle paid tribute to his travelling companion.