Lepage’s live event about Quebecois abstract expressionist Jean Paul Riopelle offers a contrasting approach to creative, questioning curation
The anniversaries of the births or deaths of important artists have long been used as grounds for major exhibitions of their work. But the practice of curating posthumous retrospectives has become increasingly fraught.
If a gallery focuses too much on those issues, however, and not enough on, well, anybody’s art, it opens itself up to the critical pans like those received by the Brooklyn Museum’s It’s Pablo-matic: Picasso According to Hannah Gadsby, which was timed to the 50th anniversary of the Spanish artist’s death and co-curated by the Australian comedian., offers a contrasting approach to creative, questioning curation.
The first section is about the art collective Les Automatistes, and exhibits work by its founder Paul-Émile Borduas – Riopelle’s teacher who eventually lost his job for signing the art collective’s famousmanifesto that foreshadowed the Quiet Revolution – as well as fellow members Marcel Barbeau, Fernand Leduc and Jean-Paul Mousseau., meanwhile, largely centres on Joan Mitchell, the American abstract expressionist with whom Riopelle had a relationship from 1955 to 1979.
Indeed, one of his virtual-reality projects was recently “exhibited” at Toronto’s Lighthouse Immersive, an immersive art gallery run by theatre producers who have pivoted towards that more lucrative domain.
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