Serge Allaire, Exhibit Curator
The Photographic Book
Foyer Hydro-Québec, Quai des arts | 774 Boulevard Perron | Carleton-sur-Mer (Carleton sector)
August 18 to September 30, 2016
Serge Allaire, Montréal, Québec
Teaching the history of art and photography in the Art History Department at Université du Québec à Montréal (UQAM), Serge Allaire is also an independent curator and researcher in the history of contemporary photography.
He has published articles on the history of Québec art and on contemporary Québec photography. A specialist on the 1960s, he has written catalogue texts for exhibits staged as part of Le Mois de la Photo à Montréal, including Une tradition documentaire au Québec? Quelle tradition? Quel documentaire? (Vox Populi, 1993); Michel Saint-Jean, photographe (Galerie de l’UQAM, 1997); Taller: objet vêtement (Maison de la Culture Maisonneuve, Montreal, 2010); and Boarding Pass, a retrospective of Serge Emmanuel Jongué (Maison de la culture Côte-des-Neiges, Montreal, 2011). In 2015, under the title Le livre photographique au Québec: publications récentes, he presented an event in the Formats bookstore as part of the Mois de la Photo à Montréal. In partnership with the photobook fair Polycopies in Paris and the Photaumnales festival in Picardy, he will next fall be presenting a selection of photographic books published recently in Québec. He is currently preparing an exhibit on the practice of Polaroid in Québec.
Serge Allaire has also collaborated on the following publications: Montréal XXe siècle: Regards de photographes, (Éditions de l’Homme, 1995); Les arts au Québec dans les années soixante, tome 2 (VLB éditeur, 1993); and John Max: Quelque chose suit son cours / John Max, Something is Taking its Place (Musée de la photographie à Charleroi, Belgium, 1997).
EXHIBIT AT RENCONTRES
The Photographic Book
Further to the success enjoyed last year by the component devoted to photographic books, the directors of Rencontres are integrating it in permanent fashion into the programming for the event.
The importance of the photographic book is already well established in major international fairs in Europe and the United States. Indeed, for more than ten years, a number of international publications and events have stressed its importance as both a form of expression and as creation in its own right in photographic practice.
In offering visibility to the photobook, Rencontres is also seeking to awaken the interest of the general public as well as that of collectors in the value of the book as a form of expression and as a collectible item.