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<header id="page-header"> 23/11/2016 Mise à jour : 23 novembre 2016 | 16:25 Une grande exposition d’art public sur la rue Sherbrooke pour le 375e de Montréal Par Rédaction Métro </header> <figure class="current-photo"> <figcaption> La balade pour la paix Gracieuseté <nav> Previous photo Next photo </nav> </figcaption> </figure> <figure> </figure> <figure> </figure> Dans le cadre du 375e anniversaire de Montréal, du 50e anniversaire d’Expo 67 et du 150e anniversaire du Canada, une grande exposition d’art public prendra forme sur la rue Sherbrooke à Montréal en 2017. La Balade pour la Paix, un musée à ciel ouvert sera une exposition d’envergure internationale conçue et réalisée par le Musée des beaux-arts de Montréal, le musée McCord et les universités Concordia et McGill. Elle fera un kilomètre de long sur la rue Sherbrooke, traçant un itinéraire entre le musée McCord et le nouveau Pavillon pour la Paix Michal et Renata Hornstein du Musée des beaux-arts de Montréal. Tout au long de ce kilomètre, les visiteurs pourront admirer 29 sculptures et installations d’artistes canadiens et étrangers ainsi qu’une quarantaine de photographies d’artistes montréalais. De plus, les drapeaux de quelque 200 pays du monde et des 13 provinces et territoires du Canada flotteront au vent au-dessus de la rue Sherbrooke, le tout rappelant le Place des Nations d’Expo 67. La Balade sera ouverte du 29 mai au 27 octobre prochain, soit pendant cinq mois. Une grande exposition d’art public sur la rue Sherbrooke pour le 375e de Montreal | Metro

Via Irish America : The Point By John Kernaghan, Contributor December / January 2015 A view of Pointe St. Charles, "The Point" in the local anglophone vernacular. A visit to the McCord Museum helps uncover the history of two of Montreal’s historic Irish neighborhoods. In this tale of two Irish neighborhoods, leafy and modest Point St. Charles is in some ways unchanged from its heyday as a gritty Celtic enclave while just across the Lachine Canal, Griffintown bristles with cranes erecting a phalanx of condos from the ashes of factories and working-class residential blocks. What ties them forever is the canal, almost whimsically named after a time when many of Canada’s inland waters were probed as potential avenues to the Far East, or La Chine, China. It was the making of the Irish, and the death of some of them. The annual Christmas Bazaar at St. Gabriel’s Church. Katie Deegan is pictured on the left and her friend Pat Schell, with the red bow, is on the right. The Bazaar raised $15,000. The McCord Museum on the bucolic McGill University campus has a display of two pages of a canal pay ledger of 1822. Of the almost 50 entries, only one is French. There are Rileys, Kellys, and Cahills working for an average pay of 15 shillings for six days of work, many of them 10-hour shifts. The canal builders loved the Irish because they were strong and could work all day. The Lachine Canal they dug fostered an industrial boom as it bypassed rapids on the St. Lawrence River and provided inexpensive transport for factory goods. In 1848 it was enlarged, providing more work. According to the McCord Museum archives, Montreal grew by 54 per cent between 1852 and 1871 to 107,000 souls. Most of that growth was Irish immigration. But it was the Irish migration in 1847 and 1848 that is recalled darkly with the Immigrants Stone in Pointe St. Charles. It is erected at the foot of Victoria Bridge to mark the burial spot of 6,000 Irish who died of typhus during the famine immigration. Though many were passed as “seemingly well,” in official immigration parlance, at a quarantine station at Grosse Isle further north in the St. Lawrence, the stone’s inscription makes clear that the sickness ran wild on steamships bound for Montreal. The sick and dying overwhelmed health authorities as 20 hospital tents were erected near docks. Nuns, priests, doctors and the sitting mayor of Montreal also died as they sacrificed personal safety to minister to the wretched passengers. On the final Sunday each May, the modern Irish community gathers at St. Gabriel’s Catholic Church for the March to the Stone, a procession of a few miles that honors the dead at a grassy plot. The Stone, also known as the Black Rock, is a prodigious piece of work. Thirty tons of black granite dedicated in 1860, it now sits in a desolate area, but a recently formed group, the Montreal Irish Memorial Park Foundation, seeks support to create a new park at the Black Rock. A newspaper illustration from 1860 shows the laying of the Black Rock marking the graves of 6000 immigrants near Victoria Bridge. Image: Musée McCord. The Black Rock The Point and Griffintown were among Canada’s first bleak industrial areas with housing cheek-by-jowl with factories and rail yards.And that produced activists like Joe Beef, the publican who has a small park named after him in Point St. Charles. But Charles McKiernan, his square name, straddled both communities in Montreal’s Sud-Ouest borough. Still remembered in Restaurant Joe Beef on Notre-Dame West in Griffintown, “a drunken crawl from the historic Atwater Market,” its website notes, McKiernan was a working-class hero whose pub was the cultural center for a rollicking He printed this proclamation to the community, according to a McGill University publication: “He cares not for Pope, Priest, Parson, or King William of the Boyne; all Joe wants is the Coin. He trusts in God in summer time to keep him from all harm; when he sees the first frost and snow poor old Joe trusts to the Almighty Dollar and good old maple wood to keep his belly warm, for Churches, Chapels, Ranters, Preachers, Beechers and such stuff Montreal has already got enough.” The New York Times was not impressed, dismissing his tavern as a “den of filth.” Maybe that was because he had a menagerie of animals in house that included up to four bears, several monkeys and an alligator, noted the Quebec Anglophone Heritage Network. Its account added that one bear, Tom, was said to consume 20 pints of beer per day, seldom spilling a drop. Joe Beef claimed to refuse no one food and was a central figure in a strike by Lachine Canal workers in 1877. Charles “Joe Beef” McKiernan, a working class hero. In the case of Griffintown, the population fell to less than 1,000 in the 1960s, not enough to support St. Ann’s Church. It was razed and is now a park with benches arranged like a church setting. The Lachine Canal, which fell into disuse midway through the last century and was a dump for excavation material when building Expo ’67 and the 1976 Summer Olympics, is now reborn as a recreational route. Walkers and cyclists and kayakers enjoy the walkways and waters, many stopping at the aforementioned Atwater Market, which is hard by the canal and has an amazing array of food and produce from Quebec provisioners. Several of the clothing factories which once employed the Irish along both sides of the canal have been converted to fashionable condos, and the smart Hotel Alt has risen in the midst of the condo boom in Griffintown. Restaurants like Le Richmond on Rue Richmond now occupy former factory space offering starters like veal Carpaccio with a black pepper and fennel crust and mains like ballottine rabbit stuffed with black pudding. The elegant setting, northern Italian cuisine and professional service are a long haul from the mean meals immigrants once consumed here. For startling contrast, the Maison Saint Gabriel Museum and Historic Site in The Point showcases 17th century life in New France before the English, Scots and Irish arrived. It illustrates the progression of the homes and lands from school to farm and finally museum. But even it has an Irish touch – the magnificent grandmother clock crafted in 1763 in Quebec City by James Hanna. Time has changed much of this corner of Montreal, but the clock still ticks precisely. The times are tame now compared to then, and walks and bike rides around both communities show a much reduced Irish influence as the neighborhoods are gentrified.

On verra de superbes photos de Montréal prises par l'un des grands photographes urbains contemporain et italien au Musée McCord en octobre. Quelques-unes à voir sur le site du devoir. Dans l'article, l'article dit que Montréal l'a frappé par son mélange jamais vu (par lui) de bâtiments patrimoniaux superbes, de gratte-ciels et de petites maisons, tout ça dans un espace très réduit. http://www.ledevoir.com/culture/arts-visuels/357342/une-ville-hors-du-temps

Application iPhone Le Musée McCord propose un voyage dans le temps Agence QMI Emmanuel Delacour / 24H 19/09/2011 19h29 MONTRÉAL - Le Musée McCord de Montréal lance une application pour les iPhones qui permet de «voyager dans le temps» tout en se promenant dans les rues de la métropole; une approche avant-gardiste jamais vue au Canada. C’est lors de l’annonce de sa nouvelle exposition permanente Montréal : Points de vue que la présidente et chef de la direction du Musée McCord, Suzanne Sauvage, a fait connaître cette technologie de prochaines générations, qui «ajoute une strate de perception à l’expérience muséale». L’application Musée urbain MTL, qui est offerte gratuitement sur internet, permet de visualiser des photos d’archives, ouvrant ainsi une fenêtre sur le passé. Lorsqu’elles passent à des endroits spécifiques dans les rues de Montréal, les personnes munies d’un téléphone intelligent ont accès à des photos liées à l’histoire des lieux. Les 150 points de repère sont marqués d’une étiquette, permettent de visualiser les lieux tels qu’ils étaient dans le passé. Les images proviennent de la collection des archives photographiques Notman du Musée McCord. «Nous avons sélectionné ces clichés parmi notre banque de 1,3 million de photographies, en tenant compte tant de l’intérêt historique du lieu que du caractère surprenant et émouvant de la photo, pour que le visiteur soit constamment interpell », a affirmé Suzanne Sauvage. Il n’est pas nécessaire de posséder de téléphone intelligent pour profiter de l’application, puisqu’il est possible de télécharger une carte virtuelle sur un ordinateur qui situe les endroits archivés par Musée urbain MTL. Techno jusqu’au bout La nouvelle exposition permanente Montréal : Points de vue profitera elle aussi des récentes technologies des médias pour offrir une expérience interactive aux visiteurs. La salle centrale de l’exposition donne accès à 10 cubicules qui portent sur certains lieux importants dans l’histoire de la métropole. Les passants y sont accueillis par une vidéo d’un expert en histoire résumant les points importants de la section qu’ils s’apprêtent à visiter. En plus du volet interactif, 350 artefacts du passé de Montréal seront exposés au public. «Le but est de créer une ambiance d’immersion totale. Au lieu d’offrir une exposition exhaustive à propos de Montréal, ce qui est difficile, nous nous sommes affairés à dévoiler des aspects inusités de la ville, qui pourraient surprendre même les Montréalais», a expliqué Isabelle Corriveau, responsable de la production de Montréal : Points de vue.

Stéphane Baillargeon Édition du vendredi 18 mai 2007 Le Devoir À l'étroit au centre-ville, le musée veut une grande annexe pour déployer sa collection d'histoire canadienne Le nouveau Musée McCord a tout juste 15 ans et se sent très à l'étroit au centre-ville de Montréal. Il souhaite donc ouvrir une grande annexe au Vieux-Port, sur un des grands quais, selon les informations obtenues par Le Devoir.