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J'y étais et c'était un super événement mais je voulais simplement ajouter que j'ai regardé hier à la TV les prises de vue sur le C-V et les attraits de la ville était vraiment malade ! Vraiment très intéressant et bon pour notre ville !

Phase 2 du projet Salto dans Saint-Léonard! 90 condominiums de plus! Allez voir sur leur site pour des images et plus d'infos : lesalto.ca La phase 2 est sur le bord du Parc Ladauversière!

Avis de la Ville de Montreal http://applicatif.ville.montreal.qc.ca/som-fr/pdf_avis/pdfav10283.pdf The location and picture of the pukey building that will fall to the demo ball!!Yeah go to google maps and put in 1221 Hôtel de Ville, Montreal and see the building that is there now beurk!! The architectural firm is the following: I cannot find any renderings ..the site just seems to run a spool of the same images over and over... http://www.ateliervap.com/1/index.html :goodvibes:

I'm looking for MORE like this. Particularly around Square Victoria (Hotel W / CDP). These two pics are too small to satisfy my curiosity/nostalgia, but they're all I could find. This stuff is at most 10 years old, I'm surprised how few pictures google images turns up. Before After Palais des Congres construction would also be fine, stuff like this:

Reportage de Canal+ sur les Canadiens avec en prime quelques belles images de la ville

Six images.

Quelqu'un a plus d'info sur ce projet? https://maps.google.com/maps?q=45.522022,-73.707404&ll=45.522157,-73.707168&spn=0.004262,0.010568&num=1&t=h&z=17 Des images de plus grandes tailles sont disponibles sur le site.

Nouveau projet de constructions Cartierville (Le sofia sur R-L est d'eux autre également) The Griffin on Murray is a new condominium project in the South West borough of Montreal. The plans, images and information will be available soon. Plus de détails à venir http://www.cartierville.ca/condos-projects-details.html?projetID=95

Quatre images.

<iframe src="http://player.vimeo.com/video/25040988?title=0&byline=0&portrait=0" width="400" height="225" frameborder="0"></iframe><p><a href="http://vimeo.com/25040988">La collaboration montréalaise en images</a> from <a href="http://vimeo.com/momentfactory">Moment Factory</a> on <a href="http://vimeo.com">Vimeo</a>.</p> http://blog.momentfactory.com/

I've really grown to appreciate this forum for giving me nice detaisl about all the projects going on in Montreal. Many people post pictures of the construction sites, plans and projects which is wonderful so I thought it would be an idea to create a Flickr group called Montreal Construction / Construction de Montréal to gather all these images and present them in one central location. So please feel free to join and add in yours if you wish. Thanks! J'aime ce forum pour nous donner de bons détails sur tous les projets en cours à Montréal. Ici, les gens souvent poster des photos de chantiers de construction, des plans et des projets qui est merveilleux. Je pensais que ce serait une idée de créer un groupe Flickr appelés Montreal Construction / Construction de Montréal à se rassembler toutes ces images et de les présenter dans un endroit central. Alors s'il vous plaît n'hésitez pas à rejoindre et ajouter dans la vôtre si vous le souhaitez. Merci!

2 images du projet et une photo du terrain arrière avec l'hospice St.Margaret. Un nouveau projet a été proposé en 2007 : http://www.mtlurb.com/forums/showthread.php/18998 Qui a aussi été annulé. Finalement, en 2011, ce projet a été inauguré : http://www.mtlurb.com/forums/showthread.php/19043

Une expo-photo organisée par le Musée McCord à partir de la collection du photographe William Notman (1826-1891) présentée gratuitement sur une portion de la rue McGill College entre Maisonneuve et Président-Kennedy. Pour les férus d'histoire et de photos anciennes sur Montréal, c'est à voir surtout qu'on y reprend les mêmes vues aujourd'hui en guise de comparaison. On y a même ajouté une photo centrale de type hologramme qui superpose les deux images, ludique tout autant qu'intéressant.

Australia's 3rd largest city, Brisbane (2 mil. metro) Images courtesy of Wikipedia

Des anarchistes attaquent une banque Ottawa LCN. Un groupe d'anarchistes a revendiqué un attentat au cocktail Molotov contre une banque à Ottawa. Le groupe a lancé son engin explosif contre une succursale de la Banque Royale du Canada, dans le quartier du Glebe, à Ottawa, dans la nuit de mardi à mercredi. La police évalue les dommages à 300 000 $. Le groupe a choisi de filmer son geste et d'afficher le vidéo sur un site internet, ottawa.indymedia.org. Sur ces images, on voit deux personnes s'éloignant, à la course, de la banque. Puis, le feu éclate à l'intérieur de l'immeuble et les fenêtres volent en éclats. Dans le communiqué accompagnant ces images, le groupe prétend qu'il fera pire aux réunions du G8 et du G20, qui se dérouleront à Huntsville et à Toronto, le mois prochain. Il dit s'être attaqué à cette banque, en particulier, parce qu'elle finance les sables bitumineux albertains, un projet qu'il qualifie des plus destructeurs de l'histoire de l'humanité. Il reproche également à la banque d'avoir été un des commanditaires des Jeux olympiques de Vancouver qui se sont tenus, selon lui, sur des terres volées aux autochtones. La Banque Royale a publié un communiqué, tôt mercredi matin, où elle affirme travailler avec la police afin que ceux qui ont posé ce geste soient arrêtés. La banque dit également qu'elle ne commentera pas les déclarations du groupe et qu'elle se contente d'assurer la sécurité de ses employés et de ses clients

L'article du journal dit que le restaurant serait à plus de 1000 pieds du sol. 1000 pieds donne environ 60 étages, alors j'ai indiqué 60 étages comme titre du projet, mais ça aurait été probablement plus étant donné que le tour se poursuit un peu plus au dessus du restaurant. 2 images.

Voici une version préliminaire de ma vision pour un réseau de tram à Montréal + Laval + Rive-sud. Station names coming soon. Solid lines = metro Dashed lines = tram Pourquoi 2030? D'abbord on sait que les choses prennent une éternité à Montréal, et deux, selon mon plan, il faudrait reconfigurer pas mal de km de boulevard, certains segments sont élevés, en pont, etc. Plus d'info à venir, pour l'instant il est tard et demain est un autre jour... J'ai passé bien des heures à regarder des cartes, des images satelites, des images vue-de-la-rue, etc, pour en arriver à ceci: Peu importe ci c'est réaliste/faisable ou pas, j'ai eu bien du fun

Analysis of Flickr photos could lead to online travel books Representative images for the top landmark in each of the top 20 North American cities. All parts of the figure, including images, textual labels and the map itself, were produced automatically from the researchers' geo-tagged photos. April 28th, 2009 By Paul Redfern Cornell scientists have downloaded and analyzed nearly 35 million Flickr photos taken by more than 300,000 photographers from around the globe, using a supercomputer at the Cornell Center for Advanced Computing (CAC). Their research, which was presented at the International World Wide Web Conference in Madrid, April 20-24, provides a new and practical way to automatically organize, label and summarize large-scale collections of digital images. The scalability of the method allows for mining information latent in very large sets of images, raising the intriguing possibility of an online travel guidebook that could automatically identify the best sites to visit on a vacation, as judged by the collective wisdom of the world's photographers. The research also generated statistics on the world's most photographed cities and landmarks, gleaned from the analysis of the multi-terabyte photo collection: • The top 25 most photographed cities in the Flickr data are (in order): New York City, London, San Francisco, Paris, Los Angeles, Chicago, Washington, D.C., Seattle, Rome, Amsterdam, Boston, Barcelona, San Diego, Berlin, Las Vegas, Florence, Toronto, Milan, Vancouver, Madrid, Venice, Philadelphia, Austin, Dublin, Portland. • The top seven most photographed landmarks are (in order): Eiffel Tower, Paris; Trafalgar Square, London; Tate Modern museum, London; Big Ben, London; Notre Dame, Paris; The Eye, London; the Empire State Building, New York City. Interestingly, the Apple Store in midtown Manhattan was the fifth-most photographed place in New York City -- and the 28th-most photographed place in the world. The researchers developed techniques to identify places that people find interesting to photograph, showing results for thousands of locations at both city and landmark scales. "We developed classification methods for characterizing these locations from visual, textual and temporal features," said Daniel Huttenlocher, the John P. and Rilla Neafsey Professor of Computing, Information Science and Business and Stephen H. Weiss fellow. "These methods reveal that both visual and temporal features improve the ability to estimate the location of a photo compared to using just textual tags." As the creation of digital data accelerates, said CAC director David Lifka, "supercomputers and high-performance storage systems will be essential in order to quickly store, archive, preserve and retrieve large-scale data collections." The research was supported in part by the National Science Foundation (NSF) and by funding from Google, Yahoo! and the John D. and Catherine T. MacArthur Foundation. The CAC is supported by Cornell, the NSF, the Department of Defense, the Department of Agriculture and members of its corporate program. http://www.cs.cornell.edu/~dph/paper...omap-www09.pdf .

Canon EOS 50D Tuesday, 26 August 2008 04:00 GMT Pre-Photokina2008: No surprises to hear that Canon has launched the much anticipated EOS 50D, an upgraded version of EOS 40D. On the surface it looks almost similar to its predecessor. However, there are quite a few significant improvements; fifteen megapixel CMOS sensor, faster DIGIC 4 processor, 3.0" VGA LCD monitor with Live View mode offering 3 AF modes, ISO sensitivity expandable to 12800 and an HDMI connection for high Quality Image viewing. It also includes a new Quick Control screen which shows the most commonly used settings and Creative Auto mode for automatic focus and exposure.We're expecting to be able to bring you a full in-hands preview later today. Features at a glance: 15.1 Megapixel APS-C CMOS sensor 6.3fps continuous shooting, max. burst 90 JPEGs with UDMA card DIGIC 4 processor ISO 100-3200, expandable to 12800 9-point wide area AF 3.0” Clear View VGA LCD with Live View mode & Face Detection Live AF Magnesium alloy body, with environmental protection EOS Integrated Cleaning System HDMI connection for high quality viewing and playback on a High Definition TV Full compatibility with Canon EF and EF-S lenses and EX-series Speedlites Jump to: Press Release Specifications Additional images Press Release: Outstanding speed and resolution for the discerning photographer: the EOS 50D Amstelveen, The Netherlands, 26 August 2008: Canon today strengthens its EOS range with the addition of a powerful new digital SLR: the EOS 50D. With a 15.1 Megapixel CMOS sensor, 6.3 frames per second shooting and Canon’s latest DIGIC 4 image processor, the EOS 50D delivers unparalleled speed and resolution at a price point that is unique in today’s market. Outstanding, clean images A newly designed 15.1 Megapixel CMOS sensor delivers ultra-detailed, low-noise images – ideal for large-scale reproduction or creative cropping. New manufacturing processes, plus redesigned photo diodes and microlenses, extend the light gathering capabilities of the sensor – allowing more pixels to be fitted on the CMOS sensor without compromising image quality. These changes ensure improved high ISO performance and low noise. High-speed, low light shooting is enabled by ISO levels of 3200, expandable to an ultra-sensitive 12800. The EOS Integrated Cleaning System – including the improved Self Cleaning Sensor Unit with a new fluorine coating – increases protection of image quality by helping to reduce, repel and remove unwanted dust from the sensor. Stubborn particles can be removed automatically in post-production with Dust Delete Data and Canon’s included Digital Photo Professional software. Rapid-fire performance Canon’s new DIGIC 4 processor is fast enough to allow up to 6.3fps continuous shooting, in bursts of up to 90 JPEGs with a UDMA card. Used with Canon’s wide area AF system, which locks onto subjects with 9 individual cross type sensors, stunning action sequences can be captured – even in low-light conditions. This makes the EOS 50D particularly suited to sports and wildlife shooting. DIGIC 4 works with the CMOS sensor to deliver 14-bit image processing, for smooth gradation and natural-looking colours – as well as ensuring ultra-fast startup times and near-instant image review after shooting. See everything A new 3.0” Clear View VGA LCD provides extra-large and wide angle-of-view image review, with plenty of clarity for accurate focus checks in playback. By switching to Live View mode – which displays a real-time image on the LCD – photographers can enjoy simplified shooting from awkward angles, or connect to a PC for remote shooting. Live Mode now offers three ways to auto focus: Quick AF, Live AF, and new Face Detection Live AF, which optimizes focus based on faces detected in the frame – for fast, spontaneous portraiture. Control and ease The famously intuitive EOS menu system includes a new Quick Control screen, for instant access to the most commonly-changed settings. A new Creative Auto mode offers automatic focus and exposure – while still allowing creative ‘tweaks’ to settings such as background sharpness. “For advanced amateurs and semi-professionals – or professionals looking for a powerful backup model – the EOS 50D stands alone,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “No other camera in this price bracket offers a comparable combination of speed and image quality.” Technologies Explained CMOS Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life. Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased. DIGIC Image data captured by the CMOS sensor is processed by Canon’s purpose-built DIGIC image processors before being written to the camera's memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times. DIGIC chips work with a high speed DDR-SDRAM image buffer – reading, processing, compressing and writing image data fast enough to keep the buffer clear during long continuous shooting bursts. And because DIGIC integrates all key processing functions, power consumption is kept to a minimum. EOS Integrated Cleaning System The EOS Integrated Cleaning System combats sensor dust in three important ways: Reduce, Repel and Remove. Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself. Repel - Anti-static technologies, including a special fluorine coating, are applied to the low-pass filter covering the front of the sensor so as not to attract dust. Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately the shutter release is depressed. Canon has also developed an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software. Picture Style Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software. The six pre-sets are: Standard – for crisp, vivid images that don’t require post-processing Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines Neutral – ideal for post-processing Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green). Software Digital Photo Professional Software Digital Photo Professional software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation, noise reduction and colour tone – plus the ability to view Auto Focus points on an image. The Lens Aberration correction tool allows precise correction of different types of distortion caused by certain cameras. Images can be recorded in camera with sRGB or Adobe RGB colour space. Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and Wide Gamut RGB colour spaces. ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied. EOS Utility The latest version of EOS Utility provides essential support for Live View remote shooting, camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system. Users can also tag their images with EXIF data, including copyright information. Picture Style Editor Picture Style Editor allows users to create individual Picture Styles that fit with their personal requirements. Each Picture Style contains detailed information on how specific colours should be represented within an image. Once new Picture Styles have been created, they can be uploaded directly into the camera and applied to JPEG or RAW images. When working with RAW files in DPP, both personal Picture Styles and the 6 predetermined Picture Styles can all be adjusted. Additional images

Postez des images des projets qui n'ont jamais étés construits à Montréal dans ce fil. Post images of projects that were never built in Montreal in this thread. Nouveau Station Bonaventure (1900) - Pour remplacer l'ancienne station:

Ok allors tout dabord je suis nouveau. Sa fait environ 1 1/2 ans que je vous lis:p je sais c un peu ridicule mais il était impossible de joiner pour moi alors je devais me contenter detre spectateur... Pour en revenir au thread je sais vrément po comment poster des images. Est-ce que kelkun pourait m'expliquer ça SVP. Je suis un noob a l'ordi alors aller zi avec le basic. En passant SI j'apprend a poster des pics, je dit bien SI, je pourrais prendre en PRIMEUR!!! des photos du 41e étages de la place victoria. De tous les angles imaginable c vraiment fabuleux (surtout le vieux mtl)!

Cette camera deviens une serieuse candidate pour etre ma prochaine caméra si Canon ne sorta pas la 5D v2. ------------------------------------------------------ The world’s fastest D-SLR – remastered EOS-1D Mark III: The new benchmark Canon today sets new standards for professional photography with the launch of the EOS-1D Mark III. Delivering 10 frames per second at 10.1 Megapixels for a maximum burst of 110 Large JPEG images (30 in RAW), the EOS-1D Mark III replaces the EOS-1D Mark II N as the world’s fastest digital SLR. Dual “DIGIC III” processors drive the camera’s high speed, high resolution performance, and bring 14-bit image processing to the EOS series for the first time. A ground-up redesign introduces a host of new features and advancements to Canon’s flagship EOS-1 series, including a 3.0” LCD with Live View mode, EOS Integrated Cleaning System, new auto focus system with 19 cross-type sensors, and 63-zone exposure metering. The camera’s APS-H size (28.1 x 18.7 mm) CMOS sensor enables a wider 100-3200 ISO range as standard, expandable to L:50 and H:6400. “The EOS-1D Mark III represents a complete reappraisal of everything Canon has learned over the past 20 years of EOS development,” said Tsunemasa Ohara, Senior General Manager, Camera Development Center, Canon Inc. “In building this camera, we started with a blank canvas. Every facet of the photographic process has been refined, every design decision re-evaluated to bring us to this point: a camera that combines familiar EOS ergonomics with a vastly enhanced specification. Our engineers are overjoyed with the result.” Key features 10.1 Megapixel APS-H CMOS sensor 10 fps continuous shooting for up to 110 frames Dual “DIGIC III” processors New auto focus system with 19 cross type sensors EOS Integrated Cleaning System ISO 3200 (expandable to H:6400) 3.0” LCD with Live View mode Wider, brighter viewfinder Picture Style1 The choice of professionals The EOS-1D line has enjoyed massive popularity among the world’s leading sports, reportage and wildlife photographers, with international wire agencies AFP, Getty and Reuters choosing Canon for their photographers. “The people at Canon are great to work with because they listen to photographers. It’s their attention to detail and the pace of innovation that makes EOS the system of choice,” explained Stephen Munday, Director of Operations – Editorial, Getty Images. Exceptional image quality Canon’s dual “DIGIC III” processors deliver unprecedented levels of speed, responsiveness and image quality. Ready to shoot within 0.2 seconds of power on, the EOS-1D Mark III can capture and process over 100 Megapixels of image data per second, rapidly clearing the image buffer to allow up to 110 frames in one burst. Images are processed at 14 bits for a total colour depth of up to 16,384 tones per pixel, compared to 4,096 tones from 12 bit images. The third generation CMOS sensor incorporates a new pixel design that works together with on-chip noise reduction circuitry to ensure high image quality at ISO 3200. The option to expand to H:6400 will benefit professionals working in news and sports locations where the use of flash is not permitted or desired. Greater precision, more control Canon has redesigned its auto focus system to include 19 cross-type sensors with sensitivity up to f/2.8, spread out across the AF area to better accommodate off-centre subjects. An additional 26 AF assist points are used to aid AF tracking for improved accuracy. Responding to professional photographer requests, a dedicated AF button on the back of the camera allows users to instantly switch auto focus on or off while keeping their eye on the viewfinder. The viewfinder is now brighter and offers a wider angle of view. The camera’s new 63-zone metering system gives photographers greater level of control over exposure. New LCD with Live View The bright 3.0” LCD monitor provides 230K pixels resolution for precise framing and reviewing of shots. New to EOS, Live View mode enables photographers to frame without having to look through the viewfinder – particularly useful for shooting from awkward positions. The menu system on the EOS-1D Mark III has been completely redesigned to take advantage of the LCD size – menus are easier to read and use. A choice of 57 custom functions gives photographers more options for customising camera settings to their daily working requirements. A new My Menu option allows photographers to store frequently used settings on a separate menu for faster access. Settings for new accessories such as the Speedlite 580EX II and Wireless File Transmitter WFT-E2 – also released today – can be controlled directly from the LCD. Total reliability The EOS-1D Mark III incorporates a range of practical enhancements for the working photographer. Shutter durability has been increased by 50% to 300,000 cycles. The body is protected by a magnesium alloy casing with dust and moisture resistant seals. The EOS Integrated Cleaning System provides further reliability by reducing sensor dust, minimising the need for manual cleaning on assignment. To avoid corruption of captured images, a warning appears on the LCD and an alarm sounds if the memory card door is opened while images are still being written. Interfaces include video out (for display in both NTSC and PAL formats) and USB 2.0. Compatibility and accessories Canon is marking today’s launch with the release of several additions to the professional EOS system: EF 16-35mm f/2.8L II USM – A fast, ultra wide-angle zoom lens delivering exceptional image quality throughout the aperture range. Speedlite 580EX II – An update of the Speedlite 580EX that offers weather resistance when attached to the EOS-1D Mark III. Wireless File Transmitter WFT-E2 – Smaller, lighter and more versatile than its predecessor, the WFT-E2 speeds up workflows by allowing photographers to transmit images wirelessly during the shoot. Original Data Security Kit OSK-E3 – Verifies the authenticity of images taken with the camera and supports image encryption for additional security. Software The EOS-1D Mark III is supplied with a comprehensive software suite to help the photographer’s workflow. This includes Digital Photo Professional (DPP), a powerful RAW converter that provides complete RAW image processing control. DPP integrates with cameras features such as the Dust Delete Data and Picture Style. The camera also comes with EOS Utility, ImageBrowser/Zoom Browser and Photostitch.

http://www.nytimes.com/2008/02/03/arts/design/03darc.html?_r=3&oref=slogin&ref=arts&pagewanted=print February 3, 2008 Art It’s Not Politics. It’s Just Cuba. By DAVID D’ARCY IMAGES of boats and the horizon are a relative constant in Cuban art. For Cubans they’re often an expression of longing for life beyond a geographically and politically enclosed space. For the rare Americans who ever see Cuban art, the images can be a reminder of a place they are forbidden to visit. For the next five months, witnessing at least one aspect of Cuba will in theory be a bit easier for Americans. “¡Cuba! Art and History from 1868 to Today,” an exhibition that just opened at the Montreal Museum of Fine Arts, offers more than 400 images and objects from the island that Christopher Columbus is said to have called “the most beautiful land that eyes have ever seen.” Many of the paintings were lent by the National Museum of Fine Arts in Havana with encouragement from Cuban officials who want to promote the notion of Cuban culture, said Moraima Clavijo Colom, the museum director. “That Cuba was not just a place of sun, beaches, rum and dancing,” she said in a telephone interview. It may seem provocative to dangle this forbidden fruit near the border of the United States, whose citizens can face fines for traveling to Cuba under the latest version of a 46-year-old trade embargo. But Nathalie Bondil, the director of the Montreal museum and the curator of the exhibition, said: “It’s not a political show. It’s just a show.” She declined to speculate on whether any museum in the United States could cooperate legally on such a scale with a comparable Cuban institution. “It’s not a question,” she said. “Canada is a different country.” Canada is one of Cuba’s most important trading partners, and Canadians make up the largest group of tourists who visit Cuba, she said, “so Cuba is an obvious partner for us.” Still, given Cuba’s history, any exhibition of work produced there seems to become a show about Cuba and Cuban identity. The date of 1868 was anything but arbitrary, Ms. Bondil noted: it was the year in which Cubans in the town of Bayamo first declared independence from Spain. And by including “art and history” in the exhibition title, the curators also signal that the subject of much Cuban art is Cuba and Cubans. “Cuban art cannot escape the necessary negotiation with the historical situation in which it occurs — that seems to be the defining element,” said Stéphane Aquin, the Montreal curator who selected the works made after 1959. “The best that I’ve seen of Cuban art is always negotiating its space or reacting to its historical condition.” Like any survey of art and history in a Western country, this one rolls through landscape painting, portraiture and genre scenes, beginning with folkloric images of Afro-Cuban rural life. (Slavery was not banned in Cuba until 1888.) Yet two mediums help to set Cuba and this exhibition apart from other marches through history. Photographers have documented Cuban life since the middle of the 19th century, and some 200 photographs lent by the Fototeca de Cuba in Havana guide visitors from the 1860s to the present. Among them are Walker Evans’s grim images of Havana street life, included in Carleton Beals’s 1933 book, “The Crime of Cuba,” a lament for ordinary people living under the dictatorship of Gerardo Machado y Morales (1925-1933). There are also abundant images from an inventive graphic arts industry that advertised to a growing consumer population in the 1920s and 1930s, deploying the new vocabularies of Modernism and Surrealism. Cuba’s vibrant poster culture was so strong that it survived the transition to one-party Communism after Fidel Castro’s takeover in 1959. Yet if there is a star to be celebrated in this show, it is not Mr. Castro but Wifredo Lam, born in 1902 of Chinese and Afro-Cuban parents. He traveled to Europe to study art in 1923, joined André Breton’s Surrealist circle, fought in the Spanish Civil War and painted in a Surrealist style that caught Picasso’s eye with its use of African imagery, which resembled forms that Picasso borrowed earlier in the century. Picasso was much quoted as saying: “He’s got the right. He’s a Negro.” Back in Cuba in 1942 as a refugee from the Nazis, Lam caught the eye of Alfred H. Barr Jr., director of the Museum of Modern Art in New York. Although Lam steered clear of Barr’s 1944 exhibition “Modern Painters of Cuba” for fear of being labeled a “Cuban painter” — he showed at the Pierre Matisse Gallery in New York instead — MoMA acquired Lam’s large 1943 canvas “The Jungle,” a thicket of vegetal fronds and human-animal figures in dark greens, now considered his masterpiece. MoMA is not lending “The Jungle” for the show because of its fragility but contributed “Mother and Child II” (1939), one of 14 paintings by Lam on view. Lam’s family, one of the largest holders of his works, did not lend pictures to the exhibition. Reached by telephone at his home in Paris, Lam’s son Eskil, 46, said that Ms. Bondil sought his advice on the exhibition but no loans. He said that he had not read the exhibition catalog, which includes two essays on his father and another on a collective mural that his father played a role in conceiving and painting. He chuckled at the title of one essay, “Lam: A Visual Arts Manifesto for the Third World.” “It’s always complicated with Cuba,” he said. “With Cuba there’s always an ideological supervision. I wouldn’t say control, but supervision. They want to make sure that what is being said, or the message put forth in a foreign exhibition, doesn’t go against today’s Cuba.” “My father supported the revolution when it took place,” Mr. Lam noted, adding, “I would say that my father was a humanist more than anything else, and that his participation in or his enthusiasm for the Cuban Revolution was definitely one from the 1960s, for a movement of emancipation of liberation more than as an ideological communist venture.” Lam remains the through-line of the Montreal show, even though he left Cuba in 1946 and never lived there full time again. The exhibition’s centerpiece is “Cuba Colectiva,” a gigantic 1967 mural on six panels that was initially conceived by Lam and created by 100 Cuban and European artists for the Salon de Mai, an annual exhibition. Although artists were making “collective works” in the United States and Europe at the time, often in protest of the Vietnam War, this mural was a tribute to a romantic view of Cuban Socialism that inspired many Europeans artists at the time. The huge mural traveled the following year from Cuba to France, where curators said it was taken off display after a few hours to avoid damage in the May 1968 student uprising. Back in Havana, it was eventually placed in storage. When the museum was emptied in 1999 for renovation, the mural and its frame were found to have been invaded by termites. Without money to restore it, the Cubans found a Parisian dealer to underwrite the job, and the mural is being shown for the first time outside Cuba since its conservation. Like the mural, much Cuban art since 1959 has been in the service of the Castro regime, either in Socialist-Realist styles through the 1970s (when Russians taught in art academies there) or in a Pop Art style adapted to official portraiture of figures like Mr. Castro and Che Guevara. “It’s a Pop form of vocabulary — the flashy colors, the bright letters, said Mr. Aquin of the Montreal museum. “They were taking the Pop aesthetic and functionalizing it.” Less functional ideologically are works made by contemporary artists who are beginning to find markets abroad after years during which their only client was the state. In the 1980s and ’90s, as Soviet aid dried up, art materials were particularly scarce, and mixed-media artists like Alexis Leyva (Kcho) and the duo, Los Carpinteros ( all represented in the Montreal show) constructed work from whatever they could scavenge. It was a new Cuban hybridization: a mix of found objects and Arte Povera. “I bought a sculpture, and I asked the artist if he could put it in bubble wrap for me,” said Howard Farber, an American collector. “He didn’t know what I was talking about.” While most Cuban artists struggle, some are thriving, like Carlos Garaicoa, who takes photographs of empty sites where buildings once stood in Havana and then constructs the former structures in delicate thread atop the pictures. Mr. Garaicoa, 40, has had solo exhibitions in the United States that included his large installations of sculptural urban ensembles — he calls them “utopian cities” — but he has not been granted a visa to enter the country. One of his clusters is the final installation in the Montreal museum’s show. Mr. Garaicoa’s dealer, Lea Freid of Lombard-Freid Projects, suggested that this softly illuminated city in miniature could be an image of a place awaiting Cubans one day after the death of Mr. Castro, or after the end of the United States embargo. She said it was no surprise that Mr. Garaicoa’s work is celebrated in Montreal. “I think there is a connection, an affection and an ongoing relationship on all levels that doesn’t occur here,” she said. Copyright 2008 The New York Times Company

voiçi quelques images j'ai pris de l'entrée de la gare de Lille Europe:

La pointe de la Voie maritime Architectes: ? Fin de la construction:? Utilisation: Résidentiel Emplacement: Longueuil ? mètres - 20 étages Description: - Le projet Fait partit du redéveloppement de cette partie du bord de l'eau. 2 images