Art

Papier is Montreal's biggest — and hippest — art fair, by far – Montreal Gazette

Published

3 years ago

November 26, 2021

Initially created as an alternative to the Art Toronto fair, Papier has become an essential meeting point for galleries here to foster an identity all their own.

Author of the article:

T’Cha Dunlevy • Montreal Gazette

“We want people to come to our galleries on a regular basis,” says gallery co-owner Antoine Ertaskiran, with Papier spokesperson Karine Vanasse. “With Papier, we’re reminding people once a year, with a big event, that contemporary art exists, galleries exist.” Photo by John Mahoney /Montreal Gazette

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“It’s easy to be intimidated by contemporary art,” said Karine Vanasse , “but hopefully that barrier is going away. We need new art lovers.”

The Quebec actress is a spokesperson for the 14th edition of Papier, which runs Friday to Sunday at the Grand Quai in Montreal’s Old Port. With 35 galleries showing works by about 400 artists, it’s the city’s biggest art fair by far, not to mention the hippest art happening of the year, every year. From high-end collectors to casual perusers, gallerists and established and up-and-coming artists, it is the convergence point for a who’s who of Montreal’s art world.

“It’s really important for Montreal, but also for Quebec and Canada,” said Antoine Ertaskiran, co-owner of the Bradley Ertaskiran gallery and vice-president of the board of the Association des galleries d’art contemporain, the Canadian non-profit organization that puts on Papier.

Initially created as an alternative to the spotlight-hogging Art Toronto fair, Papier has become an essential meeting point for galleries here to foster an identity all their own.

“Pre-pandemic, there were collectors and curators coming from all over Canada to Montreal for the fair,” Ertaskiran said. “It’s very important for galleries to showcase artists, meet clients, and for the vibrancy of the arts scene in Quebec.”

As its name suggests, Papier’s claim to fame is showcasing works on paper. It’s a unique calling card that once made the event stand out from the crowd (and kept prices affordable), but that is changing with the times.

“The goal of Papier was to be a different kind of fair, so we chose one medium,” Ertaskiran said. “It could have been photography. Over the past two years, we have opened up to other mediums.”

The fair’s parameters suggest that galleries show at least 50 per cent works on paper. Ertaskiran believes the fair may one day do away with the requirement entirely.

“I think that will be the evolution of Papier,” he said. “I think Montreal is mature enough to have a real, full-fledged art fair — a bigger fair. We have great sponsors already, who I’m sure would be on board. Time will tell.”

With more than 16,000 visitors annually, Papier is already a big deal. Ertaskiran sees the fair as a gateway to getting Montrealers interested in visiting the city’s art galleries year-round.

“It should not just be one moment of the year,” he said. “We want people to come to our galleries on a regular basis. With Papier, we’re reminding people once a year, with a big event, that contemporary art exists, galleries exist.”

For Vanasse, Papier’s appeal is all about opening the art world to everyone.

“It’s the fair atmosphere,” she said. “It’s contemporary art, but there’s something very festive and accessible about it, with the mix of knowledgeable collectors who come knowing they have access to specific artists, who are going through the fair next to someone who might be visiting an art fair for the first time in their life. That mix is very interesting.”

Papier is even more enticing this year, after last year’s event was forced to go all-virtual due to the COVID-19 pandemic. This edition takes place in a hybrid format, offering both in-person and online options.

Among the attractions is Papier’s series of educational talks, including The Uncollectible: Working With the Ephemeral Outside the Museum Walls (Friday at noon); Jean-Paul Riopelle: His Global and Contemporary Legacy (Friday at 2 p.m.); and Emergence/Transition: The Bronfman Fellows in Contemporary Art, a conversation with the 2020 and 2021 winners of the Claudine and Stephen Bronfman Fellowship in Contemporary Art, hosted by Eunice Bélidor , the Montreal Museum of Fine Arts’ curator of Quebec and Canadian contemporary art, Saturday at noon.

AT A GLANCE

Papier runs Friday, Nov. 26 to Sunday, Nov. 28 at the Grand Quai in the Old Port. For tickets and more information, visit papiermontreal.com.

tdunlevy@postmedia.com

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Art

A misspelled memorial to the Brontë sisters gets its dots back at last

Published

3 weeks ago

September 26, 2024

Anne Joseph

LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.

More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.

The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.

They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.

“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”

It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.

Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”

Rebecca Yorke, director of the Brontë Society, welcomed the restoration.

“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

1 month ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.