Le CCS enrichit son aide aux chercheurs d’emploi Le CCS enrichit son aide aux chercheurs d’emploi Foires de l'emploi et ateliers sont au programme Thursday, September 17, 2015 23082 Outre les foires, le Conseil de la Coopération de la Saskatchewan (CCS) a lancé des ateliers pour mieux appréhender le marché du travail et optimiser la recherche d’emploi.
L’après-pétrole dans l'Ouest canadien: entre déni et peur de l’inconnu L’après-pétrole dans l'Ouest canadien: entre déni et peur de l’inconnu Impact sur les francophones Thursday, August 27, 2015 23141 « Le pétrole nous a donné une période de croissance économique mais il n’en reste rien, soutient la professeure retraitée de l’Université de Calgary, Dominique Perron. Les perceptions traditionnelles de l’économie ont à peu près trahi les Canadiens. Le...
Le CCS attend plus de justice avec les anglophones Le CCS attend plus de justice avec les anglophones REGINA - Le Conseil de la Coopération de la Saskatchewan espère que le pouvoir issu des prochaines élections, épaulera... Thursday, August 20, 2015 24092
Le français, un atout de taille en affaires Le français, un atout de taille en affaires Le Réseau de développement économique et d’employabilité (RDÉE) Canada a profité de la tenue de... Friday, June 26, 2015 18009
Le CCS devient le Conseil économique et coopératif de la Saskatchewan Le CCS devient le Conseil économique et coopératif de la Saskatchewan REGINA - Les années se suivent mais ne se ressemblent pas pour l'association fransaskoise qui s'occupe d'économie, le Conseil de la... Thursday, June 18, 2015 28659
Essencerie automatisée: inauguration officielle à Gravelbourg Essencerie automatisée: inauguration officielle à Gravelbourg GRAVELBOURG - La Coopérative régionale Southland d’Assiniboia a inauguré officiellement une nouvelle essencerie... Thursday, June 18, 2015 24456
Économie et francophonie Économie et francophonie Le Conseil de la coopération a changé de nom pour devenir le Conseil économique et coopératif de la Saskatchewan. Ce... Thursday, June 18, 2015 30448
La presse doit se réinventer La presse doit se réinventer TORONTO - Les journaux régionaux sont au coeur d'une révolution sans précédent et ils doivent innover pour demeurer... Tuesday, June 16, 2015 21932
Tourisme francophone en milieu minoritaire Friday, June 12, 2015 Tourisme francophone en milieu minoritaire Mais le tourisme de proximité n’est pas adapté aux dimensions du Canada. Visiter les communautés francophones reste néanmoins un marché en plein essor.
Le français, langue de travail au World Trade Centre Winnipeg Wednesday, May 20, 2015 Le français, langue de travail au World Trade Centre Winnipeg WINNIPEG - Fin avril 2015, les 300 membres de l’Association internationale des WTC ont élu Mariette Mulaire à leur Conseil d’administration.
Jean-Philippe Deneault / Wednesday, January 22, 2020 / Categories: 2020, Saskatoon, Arts et culture, Arts visuels A Promising Debut for Annie Bérubé and Her Dreamlike Paintings In November 2019, the University of Saskatchewan’s Gordon Snelgrove Gallery exhibited Annie Bérubé’s series Mother, six large canvases with a dreamlike, retro-futurist aesthetic that were produced in the months preceding and following the death of her mother. The Quebec artist has been living in Saskatoon for eight years and is a member of the Fransaskois artists’ collective Sans-atelier. While the works in the Mother series fulfilled the requirements for a Bachelor’s degree in Fine Arts, Bérubé has not always been part of the arts community. Before taking up her studies, she was a project director in the manufacture of air filtering systems for generators and turbines in offshore production platforms, and a drafter and designer of heavy equipment. A complete mastery of 3D drawing techniques and an advanced knowledge of mechanical technology both inform her artistic practice, with striking results. From industrial design to painting While still employed by a multinational energy producer, Bérubé made frequent trips to Europe, South America and Asia. She was beginning to feel exhausted professionally and impelled by a longstanding desire to launch an artistic career. The time had come for the artist, then in her forties, to make the leap. “I chose painting because it is the medium I find the most difficult,“ Bérubé explained. “Learning to put emotions on canvas was hard compared to making meaningless, mechanical images. I was at a point of no return, and I had to create images in places replete with meaning.” The piece that was hung at the gallery’s entrance, next to the artist’s statement and the show’s title, features a drilling rig suspended against a backdrop of desert hues. The yellowish sky recalls that in the shot of the Tyrell Corporation’s headquarters in the film Blade Runner from 1982. Visitors immediately understand that they are being invited to follow a dense, immersive visual trajectory in which light and sound play an essential role. Bérubé put together a sound track for the occasion from recordings of colliding underwater structures. “This platform looks to me like my mother did – strong, straight and unbending,” Bérubé commented. “I just had to let the straight lines run. At that point, I told myself that chances were that I might not see her again, perhaps not ever. The sound of the metal surfaces scraping together underwater symbolizes her stifled cries, as she was by then very ill.” Painting as a platform for the emotions Industrial platforms reappear in several of the paintings, one of them in more than 10 versions. This coincided with receiving the news that her mother’s illness was terminal. “I was determined to transmit the idea that feelings are by their nature ephemeral, that they change as much as they fade,” she remarked. Bérubé also makes use of in situ objects that she positions among the paintings, such as a white barrier of the kind found on construction and industrial sites. For her, the barrier represents the hurdles set up by the medical and health system as well as by physical distance. “I started to work in a much cruder fashion, using spray paint. By contrast, from a natural standpoint, the evergreens that appear in other paintings symbolize what remains, the distance between us,” she explained. Bérubé also employs a nightgown hanging on a clothesline to represent the loss of her mother. It harks back to scenes in some of the other paintings of colourful clothing drying outdoors at the mercy of the elements, and provides a transition to clotheslines in the back alleys of Montreal, where Bérubé grew up. One painting pays tribute to balconnage, the practice among housewives in Montreal’s downtown and working-class districts to trade gossip from balcony to balcony in the 1920s and 1930s. “It reminds me of when we lived at De Lorimier Avenue and Rachel, in the heart of Montreal, in a middle-class neighbourhood. I remember the butcher shop next door, life in the district, and the apartment where my mother grew up a few streets over from our house,” she recounts. Beyond painting The exhibition ends with a painting in darker tones evoking the work of US artist Ross Bleckner. We see an army of drones like dragonflies emerging from darkness in a beam of light. “The drone painting speaks of the beyond. Whether you choose to believe it or not, since my mother’s departure I have a feeling that she sees me, she’s watching me... In the end, it could just be my way of telling my mother, ‘I know you‘re watching me,’ like an inside joke between the two of us.” Surveillance and robotics are powerful contemporary themes that Bérubé intends to take even further. On the level of form, the influence of such artists as Manitoba’s Alison Norlen and Belgium’s comic book illustrator François Shuiten endorse her paintings’ technical quality. The amount of time the many Saskatoon visitors devoted to each canvas confirms that Annie Bérubé’s future as an artist is a promising one. English translation by S.E. Stewart Print 25529 Jean-Philippe DeneaultJean-Philippe Deneault Other posts by Jean-Philippe Deneault Contact author Comments are only visible to subscribers.