presents

ART = LIBÉRATION

Automatist paintings by Pierre Gauvreau & Janine Carreau

September 28, 2011 – Spring 2012 Reception: Thursday October 13th, 7pm

Baron Gallery 293 Columbia St @ Cordova

Gastown, Vancouver 604.682.1114

www.barongallery.ca info@barongallery.ca

Press Kit Contents !!

Press Release!

The Automatists: Canada’s First Avant-garde Art Movement!

Pierre Gauvreau & Janine Carreau!

Artist Bio: Pierre Gauvreau!

Artist Statement: Pierre Gauvreau!

Artist Statement: Janine Carreau

Curator Bio: Ray Ellenwood!

Obituary Article by Ray Ellenwood!

Links to related articles

Curriculum Vitae: Pierre Gauvreau

Curriculum Vitae: Janine Carreau

Pierre Gauvreau, Janine Carreau et le cadavre exquis!

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Also included on the disc:

• List of selected images!• Selection of high-res images!• Slide show of selected images • PDF of Press Release

Automatist, Pierre Gauvreau was part of a circle of young artists from various discipines who gravitated around painter Paul Emile-Borduas in 1940’s Montreal. Together the Automatists revolutionized painting in restrictive Quebec of the Duplessis years. Inspired by the Surrealists, they found freedom of expression in abstraction pursued through automatism: an instinctive, unpremeditated form of creating art.

- Curator Ray Ellenwood, on the Automatists.

Pierre Gauvreau died on April 7th, 2011, and would have just passed his 90th birthday when Art = Libération was slated to open. Pierre’s wife Janine Carreau devoloped her own career as a painter and photographer while combining energies with her husband for more than 35 years. For Pierre Gauvreau and Janine Carreau, the Automatist style has produced an aesthetic of exuberance - use of vibrant colours and textures demonstrate their celebration of life and of freedom from the strict cleric culture of mid-century Quebec.

Hosted by Baron Gallery in Gastown, the exhibition features a selection of 47 works curated by long time friend to the artists, Ray Ellenwood, author of Egregore: A History of the Montréal Automatist Movement, and The Automatiste Revolution.

Opening night: 7pm Thursday October 13, 2011 Refreshments will be served

Janine Carreau and Ray Ellenwood will be present.

604.682.1114 info@barongallery.ca

September 28, 2011 - Spring 2012

ART = LIBÉRATION Automatist Pierre Gauvreau (1922-2011) & Janine Carreau

Baron Gallery293 Columbia St @ CordovaGastown, Vancouverwww.barongallery.ca

FOR IMMEDIATE RELEASE

“La jeunesse est en nous et nous sommes la jeunesse” (Claude Gauvreau)

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Their manifesto Refus global (1948) is widely recognized as a crucial expression of Quebec modernism and the unrest that would eventually lead to the so-called ‘Quiet Revolution.’ Pierre Gauvreau was very active in the production of the manifesto and eventually in defending it publicly against attacks by the clergy and newspaper columnists.

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The Automatists: Canada’s First Avant-garde Art Movement

Young and innovative, Montreal’s Automatists revolutionized painting in the 1940s. Living in the restrictive Quebec of the Duplessis years, painters, dancers and writers – led by Paul- Émile Borduas and inspired by the Surrealists- found freedom of expression in abstraction pursued through automatism: an instinctive, unpremeditated form of creating art.

On August 9, 1948, the Automatists published Refus Global, a call for the right to live and make art spontaneously and freely. Their ideas and actions had a huge impact on Canadian art and their manifesto – perhaps the single most important social document in Quebec history – helped pave the way for the Quiet Revolution of the 1960s during which the province embraced sweeping social change. Sixty years later, the Automatist legacy is alive in the paintings of Pierre Gauvreau and his co-signataries Marcel Barbeau, Paul-Émile Borduas, Marcelle Ferron, Fernand Leduc, Jean-Paul Mousseau, Jean Paul Riopelle and Françoise Sullivan, as well as in the public art of Mousseau, Ferron and Sullivan, the writings of Claude Gauvreau and Thérèse Renaud, the photography of Maurice Perron, and the dances of Françoise Sullivan, Françoise Riopelle and Jeanne Renaud.

Pierre Gauvreau

Born in 1922 in Montreal, Gauvreau became part of the Automatist movement in 1941 at the behest of Paul-Emile Borduas. He exhibited in both group and solo shows throughout the 1950s and 1960s, while developing a parallel career in film and television. Until shortly before his death in April, 2011, he continued to produce the vibrant, youthful abstractions that have characterized his work for over seventy years.

Janine Carreau

While pursuing her own career as a painter and photographer, Janine Carreau combined energies with her husband Pierre Gauvreau from the early 1970s until his death in April of this year. Their recent individual and collaborative works will be shown in the Art = Liberation Exhibition.

Janine Carreau's early works tended to mix media, combining photography and painting. More recently, she has been concentrating more on painterly abstractions, unapologetically bold in colour and gesture, often inspired by an international and multilingual selection of painters, writers, musicians, celebrities. She has been highly inventive in expanding the old Surrealist collaborative technique of "le cadavre exquis" [the exquisite corpse], producing scores of works with Pierre Gauvreau over the past twenty years, some of which are included in the Art = Liberation exhibition.

Artist Bio: Pierre Gauvreau Pierre Gauvreau was born in Montréal on the 23 August 1922. In 1941, while a student at Montréal's École des beaux-arts, Pierre discovered French modernism through magazines. This discovery influenced his work and attracted the attention of Paul-Émile Borduas who invited Gauvreau to join the radical young artists and intellectuals who met informally in Borduas’s studio. Like them, Gauvreau and his poet brother, Claude, became interested in the surrealist idea of automatism as a way of releasing creativity. As an early disciple of Borduas who gave him the nickname “born painter,” Gauvreau was a signatory of the famous manifesto, Refus global, published in 1948 by the Automatists led by Borduas. Gauvreau was represented in 1951, along with Jean-Paul Riopelle, in a series of exhibitions held in Berlin, Lille, and Brussels by the Surrealist-affiliated group, Rixes.

By the mid-1950s, Gauvreau was using looser, more gestural imagery in his work, and was also working for the new medium of TV as a writer, director and producer. He stopped painting in the early 1960s and did not start again until 1975. In 1977, after a hiatus of more than ten years during which his energies were absorbed by film and television, Gauvreau's colours intensified, his canvases grew larger, and he began working in a style that combined his earlier gestural brushwork with shapes and techniques associated usually with colour field and hard-edged painting: large areas of bright colour, geometric shapes, and the use of tape and collage to give sharply designated edges. In 1995 Gauvreau suffered through a multiple bypass operation that looked as though it might end his career (if not his life). Within a few months he was painting again but his strength and stamina were such that large works with pigment applied by brush or knife proved too challenging. As his friend Jean-Paul Riopelle, had done, Gauvreau turned to mixed media and the extensive use of acrylic sprayed over various stencils including lace doilies given to him by a friend some years ago to produce a series of works of astonishing variety, complexity, and depth. Gauverau’s most recent work continues his exploration of gesture and calligraphy.

Artist Statement: Pierre Gauvreau

Note to the Reader: Despite recent health issues, Pierre Gauvreau remains committed to the exhibition: ART = LIBÈRATION. We are fortunate in that Pierre has two advocates who, if necessary, are able to act on his behalf: his wife, Janine Carreau and Ray Ellenwood, Professor Emeritus and Senior Scholar at York University in Toronto. Professor Ellenwood is an award-winning translator and author of several books including Egregore: A History of the Montréal Automatist Movement and Total Refusal / Refus Global: The Manifesto of the Montreal Automatists. In an email Ellenwood offers the following in lieu of a formal artist’s statement: Since 1995, when he had a major bypass operation, Pierre Gauvreau's health has been precarious and his artwork has been an answer to, and refuge from, almost constant distress. The quantity and quality of paintings he had produced during the past months left me and Gille Lapointe speechless when we visited him last July (2010). There is a kind of youthfulness and vitality in his work that completely belies the conditions under which it was made. A statement made to a Montreal journalist emphasizes the spontaneity of Pierre Gauvreau's approach -- "even the materials I use are picked ad hoc, as I am proceeding with the picture. These materials are the tools of the unconscious" (Tancred Marsil as translated by Janos and Linds Szanyi). Over the years, he has maintained that quality in his work, through various changes in style. He never worked exclusively with a pallet knife, as some of his friends did; in the 1980s he adapted the tools of colour field and hard edge painting, but always in playful tension with gestural brush strokes. In a 1979 interview he spoke about learning a lot from folk artists he discovered while producing a television series, saying "They gave me a kind of aesthetic permission, an audacity I might not have had in my use of colour and also form, the forms we label beautiful or ugly, ancient or contemporary. I don't worry about those things any more. I don't think I used to, intellectually, but we develop conditioned responses to our own work." It's in this spirit that Gauvreau uses a large collection of doilies given to him by a friend some years ago, along with acrylic paint sprayed for a stencil effect, to produce a series of works of astonishing variety, complexity and depth. The spirit of the "patenteux", the spontaneous folk artists he admires, also informs the large series of exquisite corpses (works in the Surrealist tradition, to which two or more artists contribute without knowing what the others have done) that Gauvreau has created along with a veritable host of family members, friends, and colleagues from many disciplines, but especially with his wife, Janine Carreau. In the past ten years, these have become a major part of his work, almost a genre in themselves, with new techniques and materials developed by Carreau, who is an excellent photographer and painter with her own career. Ray Ellenwood, November 16th, 2010

Artist Statement: Janine Carreau

Janine Carreau began painting seriously in1973. This was around the

time she met Pierre Gauvreau, and she had been concentrating on

photography but gradually turned more and more exclusively to non-

figurative painting. Shortly after she first began to exhibit, she also

began a series of visual journals, first in 1980 and continuing over a

period of at least eight years, using a variety of materials and techniques

(pastels, acrylic, montages of clippings from magazines or collages of

her own photographs, and text, in all sorts of combinations) sometimes

producing one small work per evening over an extended period, then

combining and mounting the pieces in a large format. Her The Year of the Rat, for example is comprised

of daily visual entries from the Chinese year of the rat -- February 2, 1984 to February 19, 1985 -- 384

days. These diaries aroused considerable attention, both inside and outside Montreal.

The inclusive, allusive impulse of the journals can often be seen in paintings she was doing at the

same time, so that in 1982, for example, she had a show at the Galerie Gilles Saint-Pierre in Montreal that

included her 1980-81 journal along with a suite of paintings concerning John Lennon. Homages to

people like John Lennon, Marilyn Monroe, Leonard Cohen (see works in this exhibition), as well as to the

painter Serge Lemoyne, the poet Claude Gauvreau, and Pierre Gauvreau himself, are a staple of her work.

She was also responsible for developing new techniques for the old Surrealist game of "cadavre exquis"

(exquisite corpse) where several people collaborate on a single work, not seeing what the others are

contributing. Along with Pierre Gauvreau (see recent examples in this exhibition), but also with a number

of friends of various ages and professions, she produced more than a hundred such works in a kind of

artistic potlach that lasted many years and produced a huge variety of astonishing objects.

Like the so-called folk artists she and Pierre so much admired, Janine is willing to take the risk of

being over the top, humorous, playful, startling, garish, using unexpected materials such as lustre paints,

sparkles, and collages of exotic papers. Her excellent show at Montreal's Galerie Bernard in 2000 was

fittingly titled "Vous me pardonnerez de ne pas m'excuser" (Pardon me for not excusing myself). In

recent paintings such as "There's a crack in everything, that's how the light gets in" -- Leonard Cohen,

from 2008, we can see colours she uses often: bright areas of yellows and reds juxtaposed with deep

blues and greens, stippled or patterned in spots or lined in contrasting hues. Her works of recent years

exude a kind of boundless energy and invention, all the more impressive because they are, in a sense,

born of defiance, in spite of increasing difficulties with Pierre's health and the drain on her own physical

and emotional resources.

Curator Bio: Ray Ellenwood

Ray Ellenwood is a Professor Emeritus and Senior Scholar at York University in Toronto. He is a long time friend to both Pierre Gauvreau and Janine Carreau, as well as the author of numerous volumes of translation of French Canadian literature, including the Automatist manifesto, Refus global. He won the Canada Council Translation Prize for his translation of Entrails, a book of dramatic objects by the surrationalist poet and brother of Pierre Gauvreau, Claude Gauvreau. Ellenwood is also the author of Egregore: The Montreal Automatist Movement, and co-author of The Automatiste Revolution: Montreal 1941-1960. In November 1998, he organized a symposium, exhibition and concert at York University to celebrate the fiftieth anniversary of Refus global, and he continues to write and publish extensively about the Automatists.

Obituary Article by Ray Ellenwood

PIERRE GAUVREAU, A MAJOR FIGURE OF QUEBEC MODERNISM

“For Pierre Gauvreau, the role of painting is to express, confront, provoke, and advance thought.”

Jeanette Biondi

Just weeks ago his recent paintings hung in the Michel-Ange Gallery in Montreal, alongside works by his old friends Marcel Barbeau and Fernand Leduc. He was there for the launch on February 17th, and again on the 20th, against his doctor’s wishes because he’d had a leg amputated in October and his whole circulatory system was bad. But he sat in his wheelchair for almost two hours each time, basking in the show, joking about feeling like a sports star with all the sudden attention. He was actually able to do some painting in his studio as late as March. This was a man who’d had a major bypass operation complicated by a stroke in 1995, who found relief from almost constant pain by creating bright, youthful, vibrant canvases, even after he’d given up writing scripts for television.

Pierre Gauvreau was born in Montreal in 1922 and lived there all his life except for a brief time in the England with the armed forces in 1945-46. Beginning in 1941, he was part of a circle of young artists from various disciplines who gravitated around the painter, Paul-Émile Borduas. They were dubbed “The Automatists” by newspaper reporters in the months before the publication of their manifesto, Refus global (1948), a document widely recognized as a crucial expression of Quebec modernism and of the unrest that would eventually lead to the so-called quiet revolution. Pierre Gauvreau was very active in the production of the manifesto and eventually in defending it publicly against attacks by the clergy and newspaper columnists. In her biography, Jeanette Biondi calls him the angry young man, no doubt because of his life-long combat, in all the media he could muster, against what one commentator called “liberticidal ideologues” in the worlds of politics, religion, education, and the arts.

After his marriage to a fellow signatory of Refus global, Madeleine Arbour, in 1949, and knowing he would have difficulty surviving as a painter of abstract, avant-garde works, Pierre entered the world of public broadcasting as an announcer with the radio station CHLP, which led to other jobs in radio and

eventually to television in its early stages with both Radio-Canada and Radio-Québec. Soon after the birth of their first child, Madeleine Arbour also began a highly successful career in children’s television before concentrating on design. Pierre had a short stint with the National Film Board but then returned to television as a freelancer. By the mid-fifties, he was showing his paintings energetically at every opportunity in Montreal, as well as writing articles on art for the Journal Musical Canadien, while pursuing his career in television. Meanwhile, other painters of the Automatist group, such as Jean-Paul Riopelle, Fernand Leduc, Marcel Barbeau, Marcelle Ferron and Borduas had left, or were preparing to leave, for Paris or New York.

As a director and producer in television, Pierre Gauvreau was involved with shows that are classics in the history of the medium in his home province, such as Pépinot et Capucine, the puppet show that a generation of children grew up on, and the epic historical series Radisson and D’Iberville. There were documentaries on the women of rural Quebec, and a thirty-part series on folk artists of the province (which had a liberating impact on his own painting and led to a fabulous collection of work by “spontaneous” artists adorning every corner of his house and garden), but he is best known for having written the scripts of three very popular television serials: Le Temps d’une paix (1979-1986), Cormoran (1991-1993), and Le Volcan tranquille (1997-1998). Although Gauvreau was never a nationalist in the conservative tradition, he early realized the importance of the electronic media for the preservation of the language and culture of Québec, and his commitment to the popular media was a counterweight and complement to the formal abstraction of his painting. It’s no accident that his television trilogy covers Quebec history leading up to and following Refus global, with the same issues of oppression, fear, and liberation. Le temps d’une paix was especially popular, running to 135 episodes, and is still being broadcast.

At the height of his involvement in electronic media, Gauvreau’s painting slowed and eventually stopped for a time, and he often lamented the fact that friends who knew of his work in one medium knew nothing of the other. But he was committed to painting for over seventy years, and it was his main obsession at the end of his life. Like many painters of his generation, he began showing his work in his apartment, or in cafés, bookstores or school auditoriums before graduating to galleries at home and abroad. He was represented in major group shows, locally and internationally, starting in the mid-forties. His work was present at the historic exhibition of Canadian painting in Spoleto in 1962, and again a few weeks later in an exclusively Automatist show in Rome. There was also the “Borduas et les automatistes” exhibitions in Paris and Montreal in 1971-72 and, most recently, the “Automatiste Revolution” exhibition at Ontario’s Varley Gallery and New York’s Albright-Knox Gallery in 2009-10. Over the years, Gauvreau had individual showings in numerous galleries in Victoria, Toronto, Kingston, and across the province of Quebec. But surprisingly, except for solo exhibitions at the Musée d’art contemporain in Montreal in 1979, and at the Musée du Québec in 1981, the large public galleries seemed reluctant to offer him a major retrospective. One wonders if this had to do with his second career, or the fact that he was always slightly out of tune with his friends and fellow-painters, not so quick to move into all-over abstraction, never entirely giving up his brush for a pallet knife or a roller, often humorously juxtaposing the conventions of gestural, colour field and hard edge painting while never committing to one style. The carnivalesque use of colour and materials in his late paintings may give conservative curators pause, but it seems to appeal strongly to young viewers.

From 1960 to 1975, during the height of his work in film and television, Gauvreau lived with Monique Lepage, a stage and screen actress and theatre director. Together, they bought a country property in Abercorn that allowed him to show his talents as a carpenter. This setting in the Eastern Townships

played a large part in the photographic and film documentaries of his life and no doubt had an effect on his artwork. In 1976, he began a relationship with his third wife, Janine Carreau (painter/photographer and companion to the end) with whom he eventually developed another country property where they indulged in a common great obsession: gardening. It was in these years that he returned to painting with a rush of energy, producing truly large-scale works for the first time, including, for example, a folding screen made of four, 4!8 plywood panels, brightly painted, cut and collaged on both sides.

As Gauvreau’s agent, Janine Carreau worked to promote his work as well as producing and exhibiting her own. They often showed together and, in 1994, began an impressive series of collaborative works, stimulated by the well-known film-maker and self-taught artist, Charles Binamé. These were variations on the Surrealist game of cadavre exquis, where different players provide parts of a sentence or a drawing without seeing what others have contributed. From drawings to paintings to large, three-dimensional works in various media, these exquisite corpses grew and grew, involving family and friends of all ages and all walks of life, while Janine Carreau developed a system that seems to have truly revolutionized the game. Quantities of these works have been shown in the ensuing years, notably at an exhibition of over 150 collaborative pieces entitled “Célébrer la vie”, organized by Carreau, held during an international conference on heart disease not long after Gauvreau had his bypass. Since then, there have been a number of joint exhibitions, mostly of Gauvreau and Carreau but also of Gauvreau and his daughter Annick. Plans were afoot to have a major exhibition of Pierre Gauvreau and Janine Carreau in Vancouver in 2011. It was to begin with an intimate exhibition of works by both artists in the Baron Gallery in August. In October and November the plan was to expand into the wide-open spaces of the Pendulum gallery for a retrospective exhibition devoted to Pierre Gauvreau, especially including some of his largest pieces. Rosemary Baron Swingle reports that Gauvreau’s death has caused that project to be postponed, but it will be launched again around this time next year. Pierre Gauvreau died on Thursday, April 7. Le Devoir had a front-page picture of him with articles spread over three pages in their weekend edition of April 9-10, while other newspapers and the French-language media in general made much of him. There was an intimate gathering of friends at his studio in the Eastern Townships on Sunday, April 10, and on May 15, there was a large public commemoration at Montréal's Théâtre du Nouveau Monde, with readings and testimonials by friends and colleagues, including some of Québec's best-known actors and performers. -Ray Ellenwood

Links to other obituary statements:

link to Montreal Gazette Article on Pierre Gauvreau

link to The Globe and Mail Article on Pierre Gauvreau

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PIERRE GAUVREAU 1922- 2011

ELEMENTS OF THE CURRICULUM VITAE Public Collections Museums National Gallery of Canada, Ottawa, ON Musée National des Beaux-Arts du Québec, QC Musée d’art Contemporain, Montréal, QC Musée des Beaux-Arts de Mont Saint-Hilaire, Saint-Hilaire, QC Collection Lavalin du Musée d’art contemporain, Musée des Beaux-Arts of Sherbrooke, Sherbrooke, QC Art Gallery of Ontario, Toronto, ON Futur Musée du Portrait, Ottawa, ON The Edmonton Art Gallery, Edmonton, AB Musée des Beaux-Arts, Montréal, QC Musée regional de Rimouski, QC Musée d’art de Joliette, QC Windsor Art Gallery, Windsor, ON Beaverbrook Art Gallery, Fredericton, NB Musée du Bas-Saint-Laurent, Rivière-Du-Loup The Agnes Etherington Art Centre, Queen’s University, Kingston, ON The Robert McLaughlin Gallery, Oshawa, ON Institutions Canadian Council Art Bank of Canada, Ottawa, ON Collection prêt d’oeuvres d’art du Musée National des Beaux-Arts du Québec Collection Loto-Québec, Montréal, Qc Institut Philippe Pinel, Montréal Montréal Ubiversity Art Gallery National Archives of Canada, Ottawa Fonds Pierre Gauvreau R1318 Théâtre du Nouveau Monde, Montréal, QC The City of Laval, QC UQAM Art Gallery (The University of Québec in Montréal) Corporations A Selection Aird and Berlis, Barristers and Sollicitors, Toronto Alcan Secal, Montréal,Jarislowsky Fraser, Toronto

Esso Ressources, Calgary First City Trust Georges Lagacé, Architect, Rivière-du-Loup, Qc Imperial Oil, Calgary!"#$%&'&()!*&+!,-.++&+!/#0$1-.2&+!3&+4-2*.(+5!6#2#()#!7-).#(-1!8-(9!#:!,-(-*-5!"#()2;-1!!Osler Hoskin & Hartcourt, Montréal P.M. Best, Toronto!/#<&2!,#20#2-).#(!"#()2;-1!=#>.(+#(5!?@&00-2*5!?@-0.2#5!8-22.+)&2+5!"#()2;-1!=#A-1!8-(9!#:!,-(-*-5!"#()2;-1!?BCB!D-2.+1#<+9A!E(%&+)'&()5!"#()2;-1!Télé-Globe Canada, Montréal!!6#2#()#!3#'.(.#(!8-(95!"#()2;-1!F&+)>$2(&!E(*$+)2.&+5!"#()2G-15 Xerox Financial Services, Montréal. Selected Exhibitions 1941 Partipates in group exhibition, Dessins et Peintures Le Hall du Gèsu (Borduas gives him a prize and asks to meet him) 1943 Takes part in group exhibition, Les Sagittaires Dominion Gallery, Montréal 1943-1944 Group show, La Société D’art Contemporain Dominion Gallery, Montréal 1944 Group show, Colloque-Esposition Collège Saint-Thomas, Valleyfield Important group exhibition, Jeunes Peintres

Université de Montréal organized by the magazine, Quartier Latin 1945 Important group exhibition, Twenty Canadian Artists Eaton’s Fine Arts Gallery, Toronto 1946 Major group exhibition, Borduas’ Group Boas Studio, New York Organized by François Sullivan Takes part in 7th Annual group show, La Société d’Art Contemporain Art Association of Montréal Exhibits in what is considered the first group show of the “Automatistes”: Barbeau, Borduas, Fauteux, Gauvreau, Leduc, Mousseau, Riopelle. 1257 rue Amherst, Montréal

1947 Borduas, Leduc, Gauvreau, Mousseau, Barbeau, Fauteux 75 Ouest rue Sherbrooke, Montréal (Gauvreau apartment)

Exhibits alongside his brother, Claude Gauvreau in Salon du Printemps Art Association of Montréal Group show, Festival Mondial de la Jeunesse Prague, Czechoslovakia Solo exhibition, 33 Tableaux de Pierre Gauvreau 75 Ouest rue Sherbrooke, Montréal Exhibits in group show, La Société d’Art Contemporain Art Association of Montréal 1948 Group show, Salon du Printemps Art Association of Montréal 1948 The signing and creation of Refus Global on Aug 9

Paul-Émile Borduas wrote the manifesto, members of Automatistes signed (16 persons in total signed; Gauvreau is one of the signatories and actively participates in its publication.

1950 Pierre Gauvreau, Oeuvres Récentes 75 Ouest rue Sherbrooke, Montréal 1951 Les Étapes Du Vivant

Organized by Jean-Paul Mousseau, Jean Lefébure and Claude Gauvreau May 16 – May 31st 81 rue Ontario est, Montréal Rixes – 10 Peintures Surréalistes January to July, Exhibition sponsored by the surrealist magazine,

Rixes, and organized by Édouard Jaguer. Group show: Christine Boumeester, Pierre Gauvreau, Henri Goetz, Jarzi Kujavsky, Echaurren Matta, Francesco Nieva, Jean-Paul Riopelle, Jaroslav Serpan, Heinz Trokes, Enrique Zanartin Galerie Evrard, Lille, France

Contre-Espace Same Artists. Galerie Cavo, Bruxelles; Galerie Springer, Berlin Catalogue with reproductions of works by Gauvreau & Riopelle 1951-53 Recent Quebec Painters Organized by the Vancouver Art Gallery, Vancouver and Victoria, BC

Travelled to the U.S.A.: Portland Art Museum, Oregon; Seattle Art Museum, Washington; Pheonix, Arizonia; Stanford University; San Francisco Museum of Art, Richmond, San Jose, California.

1952 Paintings by Borduas and a Group of Younger Montréal Artists Art Association of Montréal

1953 Salon du Printemps Art Association of Montréal Gauvreau – Recent Works McDonald College of McGill University, Montréal, QC Gauvreau – 15 Paintings Y.M.C.A., Montréal 1954 Collective à la Librairie Tranquille Collective au Café l’Échourie

La Matière Chante Important event organized by Claude Gauvreau. Borduas came from New-York.

Galerie Antoine, Montréal 1955 Espace 55 Art Association of Montréal First Biennale of Canadian Painting National Gallery of Canada, Ottawa, ON 1956 Association des Artistes Non-Figuratifs de Montréal First official exhibition Restaurant Hélène de Champlain, Ile Sainte-Hélène Arts of Quebec Art Association of Montréal 1956-7 Western Canada Art Circuit – NFAAM October 1956 – July 1957. Travelling Exhibition 1961 Pierre Gauvreau: Oeuvres Récentes Galerie Denyse Delrue, Montréal 1962 Pierre Gauvreau: Nouvelles Oeuvres Récentes Galerie Denyse Delrue, Montréal La Peinture Canadienne Moderne / Festival des Deux Mondes Spoleto, Italy. Catalogue. 1967 Panorama de la Peinture au Québec, 1940-1966 Exposition internationale de Montréal, Musée d’art Contemporain. Catalogue Ontario Centennial Art Program Organized by the Ontario Council of Arts 1971-72 Borduas et les Automatistes, Montréal, 1942-1955 Galeries Nationales du Grand Palais, Paris, France Musée d’art Contemporain, Montréal. Catalogue 1976 Corridart

Vitrine in front of 75 Sherbrooke ouest, Montréal where the Gauvreau’s lived, Refus Global was printed and assembled and two major exhibitions took place. Memorabilia presented by Françoise Sullivan. Of a very short duration, one day, Mayor Jean Drapeau had the whole Corridart exhibition destroyed at night time. Pierre Gauvreau strolling with Janine Carreau was able to see it. Trois Générations d’Art Québécois Musée d’art Contemorain, Montréal Exhibition organized for the Montréal Olympics. Catalogue

1977 Les Automatistes de 46 Galerie Le Patrimoine à Chloé 1257 rue Amherst, Montréal (original place of first Automatist exhibition) 1977-78 Pierre Gauvreau 30 Tableaux Artist’s Home, Montréal 1978 Pierre Gauvreau Galerie Gilles Corbeil, Montréal Modern Painting in Canada: The Collective Unconscious The Edmonton Art Gallery, Alberta. Catalogue Tendances Actuelles Musée d’art Contemporain, Montréal. Catalogue

Trentenaire de Refus Global (Important show of the Automatists’s works) Musée d’art Contemporain de Montréal Oeuvres Québécoises de la Collection du Musée d’art Contemporain de Montréal 1940-1960 M.A.C. Montréal

1979 Frontiers of Our Dreams: Quebec Paintings in the 1940’s and the 1950’s Winnipeg Art Gallery, Winnipeg, MB. Catalogue Oeuvres de Pierre Gauvreau Musée d’art Contemporain de Montréal, April 26 to June 10 55 works. Catalogue. Interview of Gauvreau by Helen Duffy. Pierre Gauvreau Galerie Dresdnere, Toronto Collector’s Choice Art Gallery of Windsor, Ontario 1980 Contemporary Arts Society, Montréal 1939-1948 The Edmonton Art Gallery Travelling exhibition: Edmonton; Calgary; Windsor; Montréal;

Kingston; Halifax. Catalogue

Art For All Art Gallery of Windsor, Ontario Quebec Painters Shell Canada, Calgary, Alberta La Révolution Automatiste Organized by the MACM. Catalogue 1981 Pierre Gauvreau: The First Decade, 1944-1954 Agnes Etherington Art Centre, Kingston, Ontario Musée du Québec, curated by Karen Wilkin. Catalogue

Pierre Gauvreau...Maintenant Galerie Lacerte-Guimont, Québec Pierre Gauvreau: Oeuvres Récentes Galerie Dresdnere, Toronto Pierre Gauvreau: Oeuvres Récentes Galerie Gilles Saint-Pierre, Montréal 1982 Pierre Gauvreau: Oeuvres Récentes 82 Galerie Treize, Montréal Canada Art Bank Exhibition I.G.A. Gallery, Toronto, Ontario

Morrice to Borduas: Paintings in Montréal From 1900-1950 Organized by The Edmonton Art Gallery and Shell Resources, Calgary. Catalogue Les Esthétiques Modernes au Québec de 1916 to 1946 National Gallery of Canada, Ottawa. Catalogue

1983 Association des Artistes Non-Figuratifs de Montréal 1956-1962 Sir Georges Williams Galleries, Montréal. Catalogue De Durer à Saxe Gravures et Dessins Cabinet des estampes, Musée des Beaux-Arts, Montréal Le Musée du Québec: 50 ans d’Acquisitions 500 major works that are part of their Permanent Collection. Catalogue 9 x 9: Nine Monumental Paintings by Nine Artists Galerie Dresdnere, Toronto 1983-5 Group Shows (2)

Grayson Gallery, Chicago, U.S.A. 1984 Pierre Gauvreau: Paintings and Works on Paper Galerie Dresdnere, Toronto

Chefs-D’oeuvres des Collections Privées de la ville de Québec Palais de Justice, Québec La Collection Prêt d’oeuvres d’art du Musée du Québec Musée du Québec L’art du Québec Au XXième Siècle Musée du Québec. Les Vingt ans du Musée à Travers Sa Collection Musée d’art Contemporain de Montréal. Catalogue 1985 Pierre Gauvreau Galerie Joyce Goldman, Montréal

La Peinture à Montréal, Un Second Regard Memorial University Art Gallery, Saint-Jean, Terreneuve 1986 Les Automatistes – d’Hier à Aujourd’hui Galerie Dresdnere, Toronto. Catalogue 1987 Tableaux Choisis de la Collection Permanente, Nouvelles Acquisitions Musée du Québec, Québec Aspects de la Collection Lavallin Galerie Lavallin, Montréal May 22 until Septemeber 7, Catalogue

La Peinture Québécoise En Mutation: (Annés 1945-55) IIIe Festival National de Poésie, Centre Culturel de Trois-Rivières Pierre Gauvreau Invited by Le conseil du musée et des oeuvres d’art de Radio-Canada Salle Raymond-David, Maison du Radio-Canada, Montréal 1988 Borduas et ses Contemporains Galerie Waddington-Gorce, Montréal Refus Global et Ses Environs (important selection of documents) National Library of Québec, Montréal, Catalogue Nouvelles Acquisitions Musée d’art contemporain, Montréal Célébrations Inauguration of the National Gallery of Canada, Ottawa, 1989 L’Avant Garde Canadienne des Années ’50 et ‘60 Galerie Bernard Desroches, Montréal. Catalogue Une Histoire de Collections: Dons (Gifts) 1984-1989

Musée d’art Contemporain de Montréal 1990 Les Automatistes- Montreal Paintings of the ’40’s & ‘50’s Dabrinsky Gallery, Toronto 1991 Marcel, Barbeau, Léon Bellefleur, Paul-Émile Borduas, Marcelle

Ferron, Pierre Gauvreau, Jean-Paul Mousseau, Jean-Paul Riopelle Galerie Michel-Ange, Montreal, QC La Collection de dessins et d’estampes : 80 Oeuvres choisies Musée du Québec. Catalogue, plus a Gauvreau card and poster. 1992 Nouveau Parcours de l’Art Canadien 1790-1960 Musée des Beaux-Arts de Montréal, Montreal, QC Tableau Inaugural (Opening of the new Museum) Musée d’art contemporain, Montreal. Catalogue Montréal 1942-1992 L’anarchie resplendissante de la peinture Galerie de l’UQAM, Montréal. Catalogue 1992-93 La Crise de l’Abstraction au Canada – Les Années ‘50 National Gallery of Canada, Ottawa, ON Travelling exhibition: Quebec, Ottawa, Calgary, Hamilton. Catalogue. 1992-94 Achieving the Modern – Canadian Abstract Painting and Design in the 1950s Winnipeg Art Gallery, Winnipeg, MB. Catalogue Travelling show: Winnipeg, Charlottetown, Saskatoon, Edmonton, Windsor 1993 Choice Moments – Collection de la Banque Nationale du Canada Galerie de l’UQAM, University of Quebec, Montréal. La Collection Lavallin

Musée d’art Contemporain de Montréal. April to October Catalogue. Painting of Pierre Gauvreau on the cover.

1994 Pierre Gauvreau:Oeuvres inédites Maison desArts de Laval. Sept 27 to November 6. 1994-96 Prélude à l’Automatisme National Gallery of Canada, Ottawa, ON Travelling exhibition: Kenderline Art Gallery, Saskatoon, Nov 1994-January 1995; Acadia University

Art Gallery, Wolfville, February – April 1995; Gallery of Laurentian University, Sudbury, May to June 1995; National Gallery of Canada until the Spring of 1996. Catalogue. Denise Leclerc as conservator.

1995 Pierre Gauvreau Galerie Arts Sutton, Sutton, (Québec) Ouevres Choisies de La Collection Janine Carreau et Pierre Gauvreau

ainsi que ldes Oeuvres Récentes Galerie d’art Le Goéland, Rivière-du-loup, September - October

1995-96 Abstractions Faites Musée du Bas-Saint-Laurent, June 1995 – January 1996. Catalogue. 1995-97 Jamais plus comme Avant! Le Québec de 1945 à 1960 Museum of Civilization, Quebec. May 1995 – February 1997. Catalogue. 1996 Célébrer La Vie Organized by Janine Carreau at 55 rue Prince, Montreal, Qc 160 works mostly “Exquisite corpses” (A new version of the Surrealist game). Produced by Fondation des maladies du coeur, Fondation Don des arts & Pierre Laramée M.D.

pres. of the IXe International Congress of cardiac emergencies. May-June. Video produced by Blitzkrieg (20 minutes). Oeuvres Récentes de Pierre Gauvreau, Poèmes de Claude Gauvreau, Illustrés par Janine

Carreau et Visage de la Poésie de Pierre-Jérôme Coulmin, Festival international de poésie (poetry) Trois-Rivières Centre Culturel de Trois-Rivières, October until November 1996-97 Arts et Lettres : Oeuvres de Pierre Gauvreau, Roch Plante Et Saint-Denys Garneau Domaine Cataraqui, Sillery, September 1996 – January 1997 1997 Saint-Hilaire et Les Automatistes Musée d’art de Mont-Saint-Hilaire Invited curators : François-Marc Gagnon and Gilles Lapointe. Catalogue. 1998 Éternel Présent 50 ans Après Refus Global Marcel Barbeau, Marcelle Ferron, Pierre Gauvreau, Fernand Leduc, Jean-Paul Riopelle, Françoise Sullivan Musée d’art Mont-Saint-Hilaire. A presentation of the six very large works done especially for the

exhibition.Art Book coontaining a print of the 6 small works also created especially for the exhibition. Print Run 50. Also a catalogue.

Borduas et L’épopée Automatistes Musée d’art contemporain, Montreal, QC. May to November Pierre Gauvreau (1954-1998) Galerie Jean-Claude Bergeron. Ottawa. Le Refus Global, 50 ans plus tard Debate conferences. Lorraine Pintal, Ray Ellenwood, Janine Carreau and Pierre Gauvreau & Pierre Gauvreau, Maurice Perron, Janine Carreau and Gilles Lapointe. Théâtre du Nouveau monde, &Théâtre du Rideau vert, Montréal The Automatists: Barbeau, Borduas, Ferron, Gauvreau, Leduc, Mousseau, Riopelle Production of 7 stamps by Canada Post And Touring exhibition. Catalogue. Musée de la Poste, Hull, Qc. Canadian Embassy, Washington, U.S.A. Canada House, London,

England and Centre culturel Canadien, Paris, France Make Way for Magic: Montreal Automatism 1948 and Onwards Most Important Colloquium organized by Ray Ellenwood. York University Campus, Toronto, ON.

Pierre Gauvreau & Françoise Sullivan attend, as 20 other presentators. Also The Contemporary Music Ensemble of the University of Toronto & The York Dance Ensemble

& the York Theatre Group. Photographs by Maurice Perron Multiple excerps of Claude Gauvreau’s works. Etc. 3 days

1998-99 Mémoire objective-Mémoire collective. Photographies de Maurice Perron

Musée du Québec. Catalogue. Photo of Pierre Gauvreau on cover. 1999 Pierre Gauvreau: Recent Works Galerie Bernard, Montreal, Qc 2000 Pierre Gauvreau: Colours from the Deep Winchester Galleries, Victoria, BC, April. 2000-01 Les passeurs de l’an 2000. Galerie Jean-Claude Bergeron. Ottawa 2002-09 Parle-Moi d’Amour, Exhibition of The Impatients Fondation pour l’art brut et l’art thérapeutique, Montreal, QC In 2002, Pierre Gauvreau is Honourable President. In 2006 again with Janine Carreau La Soirée du Lock-Out May 6, Spectrum of Montreal, Montreal, QC

Grand event of Quebec artists and public figures from Radio Canada society. A huge canvas (30 feet) of a work by Pierre Gauvreau & Janine Carreau serves as set decoration for the event.

Pierre Gauvreau & Janine Carreau Tableaux à 4 mains (Works with 4 hands) Festiv’art,

Frelighsburg. Qc. 6 weeks. At least 14,000 people have seen this show.

2003-04 Pierre Gauvreau : Faire Parler Les Murs / Make the Walls speak (1976-2003) Musée des Beaux Arts de Sherbrooke, Sep 2003 until Jan 2004. Organized by Janine Carreau. 2003-05 Pierre Gauvreau : Dessins de Jeunesse/ Youth drawings Galerie de l’UQAM, January to March 2003. Catalogue Musée de Baie Saint-Paul, October 2004 until January 2005 2003 Le dur désir de durer Borduas, Barbeau, Ferron, Gauvreau, Leduc, Mousseau, Riopelle, Pellan, De Tonnancour, Frère

Jérôme, Carreau, Villalonga. Etc. Galerie Gala, Montréal. 2004 Pierre Gauvreau et Janine Carreau: Le Coeur et ses lumières / The Heart and it’s

Lights Galerie GALA, Montréal, Qc Du nouveau du côté de la collection d’oeuvres d’art Centre d’exposition de l’Université de Montréal. Catalogue 2005 Pierre Gauvreau “La jeunesse est en nous et nous sommes la jeunesse/Youth is in us

and we are youth” (Claude Gauvreau) (Works 1978-2005)

Galerie Montcalm, Gatineau, Qc Curated by Janine Carreau. Catalogue Pierre Gauvreau “L’humaniste aux multiples visages”/The multi-aspects humanist (Normand

Biron) (Works 1961-2005) Including Works of Pierre Gauvreau & Janine Carreau’s Collection. Director Chales Binamé’s Film on Gauvreau, Artefacts, Slide shows.. Espace Création, Loto-Québec, Montréal. Sept-Dec. An all around show.

Curators : Janine Carreau & Louis Pelletier, Director of Loto-Québec’s Collection. GAUVREAU XXIe siècle/ century Galerie Gala, Montréal. 2006 MONTRÉAL – PARIS - NEW-YORK 1929-1994 Galerie SIMON BLAIS, Montréal & Elrick-Manley Fine Arts, New-York. Catalogue. 2006-07 Acquérir pour grandir Musée National des Beaux-Arts du Québec. 2007 The Urge to Abstraction The Varley Art Gallery of Markham, Unionville, ON Gauvreau en toute liberté/ Gauvreau Totally Free Galerie Gala, Montréal, Oct ober 24 to November 29 L’abstrait d’hier à demain/Abstraction from Yesterday to Tomorrow Galerie Michel-Ange, Montréal, 2008-09 Salut Lemoyne! G. Boisvert, J. Carreau, R. Connoly, Cozic, F.Gauthier, P. Gauvreau, H. Goulet, S.Lemoyne, A. Vaillancourt. François Gauthier curator. Travelling: Musée des Beaux-arts de Mont Saint-Hilaire, Musée des Beaux-Arts de Sherbrooke,

Musée d’art contemporain de Baie Saint-Paul; Maison de la Culture Côte-des-Neiges, Montreal.

2008 Dessins de Claude Gauvreau et Tableaux de Pierre Gauvreau et Janine Carreau

inspires par celui-ci/ Works of Pierre Gauvreau inspired by his brother Claude USINE C. Montréal. Fine Canadian Art Heffel Galleries, Montréal, Toronto, Vancouver. Catalogue:Focus on Refus Global Les Automatistes Galerie Orange, Montréal. Catalogue Pierre Gauvreau at The Toronto International Art Fair Galerie Orange, Montréal & Lacerte Art Contemporain, Québec. Catalogue 2008-09 Refus Global: 60 Years Later, Recent Acquisitions Musée des Beaux-Arts de Montreal, June to January 2009 2009-2010 Nomade, La Collection de Loto-Quebec en Mouvement Organized by Louis Pellettier Travelling show: Espace Création Loto-Quebec, Montreal; Galerie

Montcalm, Gatineau, ; Musée Régional de la Côte-Nord, Sept-Îles; Musée du Bas Saint-Laurent, Rivière-du-loup. Qc. Etc.

. FINE CANADIAN ART / ŒUVRES D’ART CANADIEN Focus REFUS GLOBAL 1948 Exposition Heffel Fine Art Auction House, Montréal, Toronto, Vancouver, mai Catalogue & Tiré à

part. PIERRE GAUVREAU Galerie Orange, & Lacerte Art Contemporain, Toronto International Art Fair, du 2 au 6 octobre.

Catalogue général, & Catalogue PIERRE GAUVREAU 44 pages. Texte de Ray Ellenwood.

CANADIAN POST-WAR & CONTEMPORARY ART Exposition Heffel Fine Art Auction House, Vancouver, Montréal, Toronto novembre. Catalogue.

JANINE CARREAU CURRICULUM VITAE

Collections publiques Institutions

Musée de la photographie Ottawa. (Plus de 250 diapositives), Banque d’œuvres d’art du Conseil des arts du Canada, Ottawa Collection Loto-Québec. Montréal Théâtre du Nouveau Monde, Montréal Musée du Bas-Saint-Laurent, Rivière-du-loup Université de Montréal. Association des hôpitaux du Québec. Montréal Corporations Georges Lagacé Architecte, Notre-Dame-du-Portage Les Productions d’Antonin, Longueuil. Fasken, Martineau, Dumoulin, Avocats, Montréal. Les Productions Lauram, Montréal Frontenac Technologies, Saint-Armand Eldorado Films. Montréal. EXPOSITIONS SOLO, DUO, COMMISSARIATS ET ACCOMPLISSEMENTS PERSONNELS 2011 PIierre Gauvreau pour mémoire 1922-2011 Hommage, Théâtre du Nouveau Monde, Montréal, 15 mai.

Animé par Michel Desautels, avec Marc Béland, Vincent Bilodeau, Charles Binamé, Janine Carreau, Raöul Duguay, Ray Ellenwood, Nicole Filiatrault, Daniel Gadouas, Andrée Lachapelle, Nicole Leblanc, Monique Lepage, Pascale Montpetit, François Papineau, Yvon Trudel, des témoignages de Thérèse Bélanger, Jeanette Biondi, Gilles Lapointe et Victor-Lévy Beaulieu. Etc. Concept et production Janine Carreau, Réalisation TNM.

Programme souvenir, 20 pages, concept, réalisation et production JC. 2011-2012 Le temps d’une paix L’EXPOSITION incluant 80 photographies de tournage de Janine Carreau (1980-1985) Musée québécois de culture populaire,Trois-Rivières, 22 juin 2011 au 18 mars 2012 2010 -2011 Musée de Charlevoix, La Malbaie, 15 juin 2010 au 15 mai 2011 2009 Échos d’un autre monde Janine Carreau Pierre Gauvreau Galerie Michel-Ange, Montréal, 14 octobre au 1er novembre 2009 Conception, réalisation et production d’un livre bilingue de 192 pages 2007 Gauvreau en toute liberté, Galerie Gala, Montréal, 24 octobre au 29 novembre,

Commissaire.

2006 Janine Carreau

Les carreaux de Carreau, De l’Isle-aux-grues à Loco Locass Galerie Gala, Montréal, 17 mai au 17 juin

Parle-moi d’amour Exposition annuelle de la Fondation de l’art brut et de l’art thérapeutique, Atelier les Impatients, Montréal. Janine Carreau et Pierre Gauvreau co-présidents d’honneur. Mi-février au 22 mars.

2005 : Pierre Gauvreau : L’humaniste aux multiples visages, (Normand Biron) Commissaires Janine Carreau et Louis Pelletier L’exposition réunit des oeuvres de Pierre Gauvreau, peintre, réalisateur et

auteur, ainsi que des œuvres de la collection Gauvreau-Carreau. Espace Création de Loto-Québec, Montréal. 22 septembre au 18 décembre. Sont inclus deux journaux de Janine Carreau : Une année en photographie 1er

mars 1992 au 28 février 1993 et Journal de 80 jours pour célébrer la vie et les 80 ans de mon amour. Un diaporama de 60 de ses diapositives (1976-2004) est présenté en projection continue.

La jeunesse est en nous et nous sommes la jeunesse (Claude Gauvreau) Œuvres de Pierre Gauvreau, 1978-2005. Galerie Montcalm, Gatineau. 23 juin au 28 août. Catalogue. Janine Carreau commissaire. Exposition et reproduction de deux cadavres exquis avec Pierre Gauvreau.

2004: Janine Carreau et Pierre Gauvreau : Le cœur et ses lumières du 28 avril au 30 mai. Galerie Gala, Montréal. Huitième année du Journal quotidien Acrylique 2003-2004: Commissaire de l'exposition : Pierre Gauvreau faire parler les murs : œuvres

choisies 1976-2003. Musée des Beaux-Arts de Sherbrooke. Du 20 septembre au 18 janvier 2004 Présentation de deux œuvres inédites conjointes avec Pierre Gauvreau.. Chacune

contient 25 tableaux de P.G. et 25 photomontages de J.C. illustrant I : sa carrière de réalisateur,( Pépinot, radisson, Demain dimanche, Rue de l’Anse, D’Iberville, Aux yeux du présent) II la trilogie téléromanesque dont il est l’auteur : Le temps d’une paix, Cormoran et Le volcan tranquille.

Le jeune homme en colère, de Jeanette Biondi ! Recherche et préparation de l’iconographie. Photographies. Lanctôt Éditeur 2003: Septième année du Journal quotidien. Acrylique. 2002: Janine Carreau et Pierre Gauvreau Renconte au sein du réel : Tableaux à deux mains et à quatre mains Centre d'art de Frelighsburg et Festiv'art. 1er août au 15 septembre Environ 14,000 personnes ont vu cette exposition. Sixième année du Journal quotidien . Acrylique

6mai: La soirée du lock-out. Grand spectacle au Spectrum, Un cadavre exquis de Janine Carreau et Pierre Gauvreau Un volcan de moins en moins tranquille est reproduit sur une immense bâche et sert de décor au spectacle de solidarité pour les journalistes lockoutés de Radio-Canada.

Il est reproduit sur une affiche à 1000 exemplaires pour une levée de fonds. 2002; Tableau reproduit en page couverture d'un livre de poésie de Andrée Appercelle et Denise Boucher Traversée en trois temps. Actes de vie. Ed. Trait d'union. 2001: Janine Carreau On a tous l’éternité quelque part. Espace Laoun, Rue Sherbrooke, Montréal. 25 œuvres inédites 2000: Janine Carreau Vous me pardonnerez de ne pas m’excuser Galerie Bernard, Outremont. 27 œuvres récentes 1999: Production de 2 affiches et 15 cartons couleurs dont 6 représentent des oeuvres de Janine Carreau. 1998: Les oranges sont vertes de Claude Gauvreau Production Théâtre du Nouveau Monde, Montréal, Mise en scène Lorraine Pintal, Décors, Danielle Lévesque, Un tableau de Janine Carreau est utilisé comme accessoire de théâtre. 1997: Janine Carreau Étude de la barrière Arts Station, Productions tableaux vivants, Saint-Hilaiu j26 septembre au 5 octobre. Une seconde de l’autre côté des choses. Soirées performances inspirées des

oeuvres de Janine Carreau. Direction artistique de Nicole Filiatrault avec : Jérémie Boudreault (auteure, comédienne) Normand Canac-Marquis (auteur et comédien) Clément Canac-Marquis (guitariste) Raôul Duguay (poème et chant) Marie-Stéphane Ledoux (danseuse, chanteuse) Même lieu, 26 & 27 septembre 1996: Poèmes de Claude Gauvreau illustrés par Janine Carreau Festival International de poésie de Trois-Rivières. Centre culturel, du 4 octobre au 3 novembre. 1996: Célébrer la vie, Pierre Gauvreau, Serge Lemoyne, Pierre Granche, Nicole Leblanc, Charles

Binamé, Janine Carreau, Hélène Goulet, Luc Guérard, michel Pimparé, Alexandre Boisseau, Ann Andersson, Michel Belleau, Angela Coles, Geneviève Desrosiers, Marie-Lou Dion, Christine Germain, Laurence Grefford, André Hénault, Pénélope Harvey-Pimparé.

Une exposition de groupe en art contemporain, principalement avec la technique du

cadavre exquis. 160 œuvres. Au 55 rue Prince, Montréal. 17 mai au 2 juin.

Janine Carreau commisaire Initiative du Dr Pierre Laramée, président du Comité-hôte du IXe congrès en soins

d’urgence cardiaque co-production : Fondation des Maladies du cœur, Fondation Don des Arts, Pierre Gauvreau et Janine Carreau. Production d'un vidéo de 20 minutes, de 10 cartons couleurs et d'une affiche. Du 17 mai au 2 juin.

1996: Le calendrier 1996, Parcours l’Informateur des arts Mois d’avril. Reproduction d'une oeuvre, et d'un collage autoportrait. 1995: Production de 10 cartons couleurs représentant entre autre 4 tableaux de Carreau,

un cadavre exquis Pierre Gauvreau et Janine Carreau.. Salon des galeries, Place Bonaventure, Montréal. Kiosque de la revue Parcours l’Informateur des arts. Tableau de Janine Carreau. 1994: Janine Carreau, Journal de bord. Denise Bouchard, Contrainte par corps. Centre d'exposition de Rouyn-Noranda, du 17 février au 20 mars. Conférence de Jean Dumont sur l'oeuvre de Janine Carreau le 17 février. 1992-1993: Cinquième année du Journal quotidien. Du 1er mars 1992 au 28 février 1993.

Photographie. 1991: Performance : Exécution d'un tableau collage de 4 m 55 x1 m lors du Congrès

annuel de l’Association des Hôpitaux du Québec, le 23 mai. 1987: Janine Carreau: Une sélection de 18 oeuvres exécutées de 1981 à 1987. Galerie

Madeleine Lacerte, Québec. du 15 au 29 novembre. Carton couleurs. 1984-85: Quatrième année du Journal quotidien ; L’année du rat. Du 5 février 1984 au 19 février 1985 . Techniques mixtes. 1984: Janine Carreau : Tableaux 1981-1984 Maison du citoyen, Hull, du 5 avril au 3 mai. 1983: Janine Carreau: 19 tableaux récents Galerie Cultart, Montréal, du 16 mars au 3 avril. 1982: Janine Carreau : Journal 1980-1981 (731 dessins exécutés chaque jour) et 28 tableaux récents dont la suite sur John Lennon. Galerie Gilles Saint-Pierre, Montréal du 21 mars au 15 avril. Sculptures par Lynn Chadwick et tableaux par Janine Carreau. Warren Sanderson Beaux-Arts, Montréal, du 10 au 23 novembreB!!1982: Troisième année du Journal : Exécution d'un dessin par soir. Journal Hebdomadaire. Un tableau par semaine 1 m 22 x 61cm chacun 1981: Deuxième année du Journal. Exécution d'un dessin par soir.

1980: Janine Carreau: Expositions Flammarion de la Place des arts, Henri Barras,

commissaire, Hall de la Place des Arts, Montréal, du 2juin au 22 juillet. Performance: Exécution d'un tableau en public et exposition des 4 premiers mois

du Journal. Montréal, le 22 mai. Premier festival de création des femmes au Théâtre expérimental des femmes Première année du Journal. Exécution d'un dessin par soir. 1980: Exécution de deux tableaux et présentation du Journal, Émission Femme D'Aujourd’hui, Société Radio-Canada, le 12 juin. 1978: Janine Carreau 29 tableaux à l’Atelier-Galerie de l'artiste, Montréal, du 12 novembre au 5 décembre. 1977: Janine Carreau 43 tableaux Atelier-Galerie de l'artiste, Montréal, du 16 mars au 18 juin. 1975: P.S. un diaporama à 10 projecteurs contenant environ 260 diapositives illustrant

son travail de photographe. Production ONF, Division de la photographie Ottawa, montage: Janine Carreau et Charles Binamé. Projection continue: juin, à août incl.

1975 Pochette de disque de Jean-Pierre Ferland, Reportage pour L’Actualité. Page couverture : Photo d’Aline Desjardins 1975: Janine Carreau 10 capsules de 30 secondes à 4 minutes. co-production Radio-

Québec, Année de la femme, majoritairement des diapositives de J.C. 1975: Janine Careau 10 capsules historiques, co-production Radio-Québec, diapositives de J. C. 1974-77: Plusieurs capsules co-production Radio-Canada diapositives Janine Carreau. Émission Femme D'Aujourd’hui. 10 capsules pour les Émissions Jeunesse, de Radio-Canada, Diapositives de Janine Carreau. 1973 3e voyage en Europe, planifié seule, 70 jours. France, Italie, Londres. 1972 –73 Assistant-réalisateur à Radio-Québec. 1972 Scripte-assistante stagiaire sur le film Souris tu m’inquiète d’Aimée Danis. ONF. 1970-72 Travail au studio de films d’animation Potterton Productions. Tiki-Tiki, The selfish Giant d’après Oscar Wilde, réalisation Peter Sanders Film mis en nomination aux Oscars. 1971 Stage de cinéma, production ONF. Stage de cinéma. France, Office franco-Québécois pour la jeunesse.

1992-1993: Cinquième année du Journal quotidien. Du 1er mars 1992 au 28 février

1993. Photographie. 1991: Performance : Exécution d'un tableau collage de 4 m 55 x1 m lors du

Congrès annuel de l’Association des Hôpitaux du Québec, le 23 mai. 1987: Janine Carreau: Une sélection de 18 oeuvres exécutées de 1981 à 1987.

Galerie Madeleine Lacerte, Québec. du 15 au 29 novembre. Carton couleurs.

1984-85: Quatrième année du Journal quotidien ; L’année du rat. Du 5 février 1984 au 19 février 1985 . Techniques mixtes. 1984: Janine Carreau : Tableaux 1981-1984 Maison du citoyen, Hull, du 5 avril au 3 mai. 1983: Janine Carreau: 19 tableaux récents Galerie Cultart, Montréal, du 16 mars au 3 avril. 1982: Janine Carreau : Journal 1980-1981 (731 dessins exécutés chaque jour) et 28 tableaux récents dont la suite sur John Lennon. Galerie Gilles Saint-Pierre, Montréal du 21 mars au 15 avril. Sculptures par Lynn Chadwick et tableaux par Janine Carreau. Warren Sanderson Beaux-Arts, Montréal, du 10 au 23 novembreB!!1982: Troisième année du Journal : Exécution d'un dessin par soir. Journal Hebdomadaire. Un tableau par semaine 1 m 22 x 61cm chacun 1981: Deuxième année du Journal. Exécution d'un dessin par soir. 1980: Janine Carreau: Expositions Flammarion de la Place des arts, Henri

Barras, commissaire, Hall de la Place des Arts, Montréal, du 2juin au 22 juillet.

Performance: Exécution d'un tableau en public et exposition des 4 premiers

mois du Journal. Montréal, le 22 mai. Premier festival de création des femmes au Théâtre expérimental des

femmes Première année du Journal. Exécution d'un dessin par soir. 1980: Exécution de deux tableaux et présentation du Journal, Émission Femme D'Aujourd’hui, Société Radio-Canada, le 12 juin. 1978: Janine Carreau 29 tableaux à l’Atelier-Galerie de l'artiste, Montréal, du 12 novembre au 5 décembre.

1977: Janine Carreau 43 tableaux Atelier-Galerie de l'artiste, Montréal, du 16 mars au 18 juin. 1975: P.S. un diaporama à 10 projecteurs contenant environ 260 diapositives

illustrant son travail de photographe. Production ONF, Division de la photographie Ottawa, montage: Janine Carreau et Charles Binamé. Projection continue: juin, à août incl.

1975 Pochette de disque de Jean-Pierre Ferland, Reportage pour L’Actualité. Page couverture : Photo d’Aline Desjardins 1975: Janine Carreau 10 capsules de 30 secondes à 4 minutes. co-production

Radio-Québec, Année de la femme, majoritairement des diapositives de J.C.

1975: Janine Careau 10 capsules historiques, co-production Radio-Québec, diapositives de J. C. 1974-77: Plusieurs capsules co-production Radio-Canada diapositives Janine

Carreau. Émission Femme D'Aujourd’hui. 10 capsules pour les Émissions Jeunesse, de Radio-Canada, Diapositives de Janine Carreau. 1973 3e voyage en Europe, planifié seule, 70 jours. France, Italie, Londres. 1972 –73 Assistant-réalisateur à Radio-Québec. 1972 Scripte-assistante stagiaire sur le film Souris tu m’inquiète d’Aimée Danis.

ONF. 1970-72 Travail au studio de films d’animation Potterton Productions. Tiki-Tiki, The selfish Giant d’après Oscar Wilde, réalisation Peter Sanders Film mis en nomination aux Oscars. 1971 Stage de cinéma, production ONF. Stage de cinéma. France, Office franco-Québécois pour la jeunesse. 1969-1970 Étudiante, niveau Post-B.A. Communication Arts Department, College Loyola. Première exposition de photographies. Cours de photographie avec John Max. Cours de cinéma avec Charles Gagnon. 1968 1er voyage en Europe, planifié seule. 40 jours.

Mise à jour 3 août 2011

Pierre Gauvreau, Janine Carreau et le cadavre exquis "It is one of many terms coined by the Surrealists that have since entered the common language. More precisely, it is: "A game involving the composition of a sentence or drawing by more than one person, none of whom is aware of what the others have contributed." "The name cadavre exquis comes from the first sentence obtained in this manner: Le cadavre -- exquis -- boira -- le vin -- nouveau (The exquisite corpse will drink the new wine). Since 1995, Janine Carreau and Pierre Gauvreau have been collaborating on works done in accordance with this practice. They have two basic methods. In the first, they share a blank canvas, dividing it roughly into two parts. The initiator makes a first drawing and covers it before passing the canvas to the other participant, who goes on to finish covering the surface without seeing what has already been done. The other method involves deciding on a format and cutting a material such as wood or matt board into pieces of a determined shape, which are distributed equally among the participants. Each artist then goes away to paint his/her pieces. Time is not a factor. When the artists are finished, a year or a month later . . . the pieces are reassembled in an order designated by each before leaving the studio. The result is always fascinating. There always seems to be a harmony of light. The last works of Pierre Gauvreau in 2010 are three very large cadavres exquis done with Janine Carreau in which the pieces distributed and painted resemble those of a jigsaw puzzle. « C’est l’une des nombreuses expressions mises en circulation par les surréalistes, et passées depuis dans le langage courrant. Plus précisément encore : « Jeu qui consiste à faire composer une phrase ou un dessin par plus d’une personne sans qu’aucune d’elles ne puisse tenir compte de la collaboration des autres participants. » « L’exemple devenu classique qui a donné son nom au jeu tient dans la première phrase qui a été obtenue de cette manière : Le cadavre – exquis – boira – le vin – nouveau. »

(Dictionnaire général du surréalisme et de ses environs. Janine Carreau et Pierre Gauvreau élaborent ensemble des œuvres basées sur cette pratique depuis 1995. Ils le font à travers deux techniques. Soit en se partageant une toile vierge. Celui des deux qui initie l’œuvre doit en faire le dessin, tenter de partager la surface en deux parties à peu près égales, puis masquer sa partie avant de remettre la toile à l’autre, qui termine ainsi l’œuvre sans voir le travail déjà accompli.

L’autre technique consiste à décider d’un format, à tailler des cartons ou des morceaux de bois, pour en couvrir la surface, à se les partager. Chaque artiste part dans son atelier et peint ses cartons. Le temps n’est pas un facteur. Lorsque les deux artistes ont terminé, ce peut être un mois, un an plus tard… on assemble les cartons dans l’ordre préétabli par chaque artiste avant sa sortie de l’atelier.

Le résultat est toujours fascinant. L’unité de lumière toujours présente. Les dernières œuvres de 2010 de Pierre Gauvreau sont trois très grands

cadavres exquis, avec Janine Carreau, en forme de casse-tête.

Expositions

1995 CADAVRES EXQUIS, Galerie Arts Sutton, Sutton.

1995 ŒUVRES CHOISIES DE LA COLLECTION JANINE CARREAU ET PIERRE GAUVREAU, AINSI QUE DES ŒUVRES RÉCENTES DES DEUX ARISTES..

Galerie d’art Le goéland, Rivière-du-loup. Reproduction couleur d’un cadavre exquis.

1996 CÉLÉBRER LA VIE, au 55 rues Prince, Montréal, Conception et commissariat : Janine Carreau. 160 œuvres, prioritairement des ‘cadavres exquis’. dont 12 collaborations de Pierre Gauvreau et Janine Carreau. Ainsi que plusieurs oeuvres exécutés avec d’autres artistes : Charles Binamé, Nicole Leblanc, Serge Lemoyne, Luc Guérard, Michel Pimparé, Alexandre Boisseau Production d’un vidéo : 20 minutes, 10 cartons et une affiche.

1996 Festival international de poésie de Trois-Rivières.

PIERRE GAUVREAU, CLAUDE GAUVREAU, JANINE CARREAU. 1996-97 ARTS ET LETTRES,

Pierre Gauvreau, Roch Plante et Saint-Denys Garneau, Domaine Cataraqui, Sillery,..

2000 . PASSART, 2000 TABLEAUX POUR L’AN 2000.

Centre d’exposition de Rouyn-Noranda, Cadavre Exquis de 50 morceaux « ‘Où est passé Lemoyne ? Lemoyne est partout ! »

2002 . RENCONTRE AU SEIN DU RÉEL.

TABLEAUX À DEUX MAINS ET À QUATRE MAINS Centre d’art de Frelighsburg et Festiv’art. , prioritairement des ‘cadavres exquis’ Carton couleur, affiche,

Le 6 mai 2002 LA SOIRÉE DU LOCK-OUT. Spectrum. De Montréal.

Un cadavre exquis de Pierre Gauvreau et Janine Carreau « Un volcan de moins en moins tranquille »’est reproduit sur une immense bâche et sert de décor. Production d’une affiche pour une levée de fonds. Article et photo La Presse.

2004 LE CŒUR ET SES LUMIÈRES Galerie Gala, Montréal 2005 PIERRE GAUVREAU

« La jeunesse est en nous et nous sommes la jeunesse » (Claude Gauvreau) Janine Carreau, commissaire.

Galerie Montcalm, Gatineau. Catalogue

2007 PARLE-MOI D’AMOUR

Exposition-Encan Les Impatients Janine Carreau et Pierre Gauvreau, co-présidents d’honneur

2009 SALUT LEMOYNE!

Maison de la culture Côte-des-Neiges, Montréal Cadavre exquis de 50 morceaux « ‘Où est passé Lemoyne ? Lemoyne est

partout ! » 2009 ÉCHOS D’UN AUTRE MONDE JANINE CARREAU PIERRE GAUVREAU Galerie Michel-Ange, Montréal, 14 octobre au 1er novembre 2009, Autres diffusions Livres 1997 . LES TROIS TEMPS D’UNE PAIX,

ENTRETIENS PIERRE GAUVREAU ET MICHEL DESAUTELS, L’HEXAGONE, Montréal

2003 LE JEUNE HOMME EN COLÈRE

JEANETTE BIONDI. Lanctôt éditeur , Montréal !

HIIJ! "#$%&! '%$()$*+! ,&! '%$(-./0.(,! 1,/2*+! 34567! -.(&,8/.%$%9!'%,(-0!$(1!'%$(-./0.(,!$%&!!

! ".K@&1!8.+@#0!&)!,@2.+)#0@&2!L1+#(B!MCNO!6E6=L!C'+)&2*-'5!7&<PQ#29BB!!! (:;!"<=:!<>!?@:!,ABC<D<?:!-EFGD:!>A!=-A!L11&(<##*!R0!HIJPHIST!! ! 2009 ÉCHOS D’UN AUTRE MONDE JANINE CARREAU PIERRE GAUVREAU Bilingue- Bilingual Amours exquis- Exquisite Love par CHARLES BINAMÉ translated by Janos and Linda Szanyi pp 152-155 Le cadavre exquis est bien vivant et se trouve à Montréal traduit par Robert Paquin The Exquisite Corpse Is alive and well and living In Montreal by RAY ELLENWOOD pp 156-179 Extraits, Excerps. 2009 THE EXQUISITE CORPSE Chance and Collabiration in Surrealism’s Parlor Game Edited by Kanta Kochar-Lindgren, Davis Schneiderman and Tom Dellinger University of Nebraska Press, Lincoln & London

THE EXQUISITE CORPSE I SALIVE AND WELL AND LIVING IN MONTREAL, by RAY ELLENWOOD pp127-142

Documents audio-visuels 1995 CÉLÉBRER LA VIE Exposition consacrée aux cadavres exquis (voir plus haut)

Vidéo de 20 minutes, Réalisation PIERRE-MATHIEU FORTIN, Production Blitzkieg, diffusion privée.

DIFFUSION DE

GAUVREAU OU L’OBLIGATION DE LA LIBERTÉ, Un Film de CHARLES BINAMÉ, Production VIVAVISION. Cadavres exquis de Charles Binamé et Pierre Gauvreau, de Janine Carreau et

Serge Lemoyne, de Luc Guérard et Alexandre Boisseau 2001 FESTIVAL DES FILMS DU MONDE DE MONTRÉAL, 30 et 31 août 2001 CINÉMA PARALLÈLE, Montréal, du 23 novembre au 6 décembre 2001 Télé-Québec: L’œil ouvert. 18 et 22 novembre 2002 Société Radio-Canada: Les beaux dimanches. 29 décembre L7!/=UDL,6EU7!,U76E7NL!V!*-(+!1&+!)2#.+!LO/U?E6EU7?!?UWU!3L!!/EL==LXCNY=LCN!!HIIZ! "$+;&!*&+!8&-$[PC2)+!*&!?@&2>2##9&5!HI!+&0)&'>2&!HIIZ!-$!HI!4-(%.&2!HII\B!!HIIJ! X-1&2.&!"#()K-1'5!X-).(&-$B!HZ!4$.(!-$!H]!-#^)!!!!HIIJ! L+0-K&!K2;-).#(5!W#)#P_$;>&KB!"#()2;-15!HH!+&0)&'>2&!-$!`]!*;K&'>2&!! 2005 Société Radio-Canada, hiver 2005 Film d’ouverture 1ère édition du FEFIMOSA, Saint-Armand, 1er septembre 2006 TÉLÉ-QUÉBEC printemps 2007 ARTV Toute une soirée avec Pierre Gauvreau, 6 et 7 janvier HI``! /EL==L!XCNY=LCN!`SHHPHI``!aU""CXL!! 6@;b)2&!*$!7#$%&-$!"#(*&5!"#()2;-15!`J!'-.B!!! ,&))&!02#4&K).#(!2;0#(*!c!$(&!*&'-(*&!*&!/.&22&!X-$%2&-$!