Cai Guo-Qiang, Impression Oil Drawing: Transient Rainbow, 2002
Oil on canvas
3 sections of 153 x 197 cm each
(Total : 153 x 591 cm)
Courtesy of the artist

View of the works presented at
the Biennale de Montréal 2002

Casagrande & Rintala , Chain Reactor, 2002
A steel structure, chains, granite benches, gravel
6,8 x 6 x 6 m

Colette in the Maison de la lumière

Marcel Dzama, Day to day with Dracula and Dante, 2002
Paper, water colour, pencil, ink, root-beer, markers
198 drawings of 11" x 8 1/2"
12 drawings of 24" x 18"
Courtesy of the artist

Anton Henning, Interior, No. 141, 2002
Courtesy of the artist and Wohnmaschine Gallery

The theme of the 3rd Montréal Biennial is "Life is Life! Pleasures, Passions, Emotions"

"Life is life!" said in a resigned tone reveals a Stoic attitude. But the same words in an optimistic tone suggest, on a day-to-day basis, a hedonist. We are here torn between stoicism and hedonism, acceptance and change, reason and emotion.

For this biennial, we have given emphasis to individual expressions, to artists whose work talks about life, life lived privately and life shared with society.

The artists unveil their relations with others and their social commitments. They confess their pleasures, their passions, their emotions. While not entirely autobiographical nor of the private diary variety, the works are nonetheless directly related to their authors. They bear the marks of specific moments in their existence. They display signs pregnant with meaning. For these artists, life cannot be reduced to a consumer good. It is a bittersweet reality. Through the works, the private meets up with the public in an intimate gesture.

Along this theme proposed to the artists comes a media that has become topical in contemporary art: drawing. It can be simple or composite, in ink, charcoal or graphite; the drawing can be done on tiny sheets of paper or fill a whole wall; it can take the form of a three-dimensional installation or a transfer on videotape.

These past few years, drawing has undergone a transformation: it has moved beyond the artist's sketchbook, it has gained fullness and volume, it mixes with painting, it becomes sculpture. Often reduced to basic, "poor" means, it moves closer, as far as the artists' spirit and attitude are concerned, to the Arte Povera works of the Sixties. Today the artist finds in the practice of drawing an autonomous and independent tool compared to the ambitious, costly means of the film and video productions-installations of late.

From a theme based on the individual and a media that allows him the solitary exercise of production, we have expressive works gathered here.

In an exemplary way, Betty Goodwin stands out by the emotion the silent, torn bodies inhabiting her works convey. These are beings in transition, emerging from the earth, floating between waters, linked to each other in opposite positions, not quite knowing what unites them. A heavy silence is within them.

With other artists, narration occupies a major place - characters and objects build relationships telling tales that are sometimes harsh, sometimes humorous. These works spring from everyday life, recall a scene lived or observed, here altered by a wild imagination or a secret fantasy.

Not all the artists favoured the drawing media for this exhibition. However, some do not hesitate to say they see painting and photography in the same spirit as drawing. This said, they share the common theme of the Biennale de Montréal.

Claude Gosselin
Commissioner of the
3rd Biennale de Montréal



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