BORN TO RIDE: “The Start of the Rodeo,” St-Tite, 2005

Local photographer Aislinn Leggett spent her summers from 2003–2005 documenting Quebec’s rodeo scene. Her lens focused on the men who concentrate on the “rough stock” events, which means bareback, saddle bronc and bull riding. Tonight, Nov. 15 her exhibition Huit Secondes: Les Rodéos du Québec opens from 6–9:30 p.m. at Dawson’s Warren G. Flowers Gallery (4001 de Maisonneuve W.).

Leggett shoots her images on black and white film and develops them herself in her darkroom. The results are dark and punchy. “Printing them in high contrast,” she says, “makes them a lot grainier, resulting in a gutsy and dirtier feel, which is suited to the subject.”

The exhibition also includes an audio installation—a collaboration with musician Brad Barr from the Slip, as well as a video that highlights the movement of the horses and cowboys. And though the exhibition title refers to the frantic eight seconds the riders must try to stay on the animals, Leggett hopes the work captures the ritual of the rodeo and not “The hype of the actual eight seconds.” Until Dec. 5, info: www.aislinnleggett.com.

by CHRISTINE REDFERN

Black gold

THAT PETROL EMOTION: Line-up at an L.A. gas station in
anticipation of rationing, May 11, 1979

The Canadian Centre for Architecture’s 1973: Sorry, Out of Gas presents an incredible array of original material concerning the 1973 oil crisis. The exhibition ranges from photos of pedestrians in Berlin (cars were banned on Sundays in European cities), to board games inspired by the gas shortage. Anyone remember playing Gusher, Black Gold or Oil: the Slickest Game in Town?

1973 did not mark the beginning of research into alternative energies, but it was an accelerator. Back in 1929–’31, individuals realized that the sun could be used as a source of heating. There are pictures of a solar-powered house built by MIT in 1947. In the ’70s, architecture pushed further into the possibilities provided by the sun, earth and wind. We see houses built underground or from recycled cans, even out of used tires.

But in the ’80s, oil prices dropped and we decided to “forget everything—much more comfortable,” says museum director and exhibition curator Mirko Zardini. “But now,” he continues, “new technology is no longer enough. We must change how we live; food, waste, energy is all part of the same problem.” Until April 20, info: (514) 939-7000.

by CHRISTINE REDFERN

Invisible ink

A couple of Invisible Publishing authors will be throwing down at Drawn & Quarterly’s new digs (211 Bernard W.) this Sunday, Nov. 18 at 3 p.m.

Anna Leventhal, no stranger to the zine scene in Montreal, is the contributing editor of an anthology she’s currently putting together for Invisible. “It’s vaguely about infrastructure,” says Levanthal, “but what we’re looking for is stories about how activities are informed by their surroundings—frameworks and systems and structures like telephones, plumbing, sewers.”

Currently based in Toronto, Maritimer Devon Code is launching his new collection of short stories, In a Mist, about loners who interpret their world through particular cultural motifs like jazz, renaissance motets or early cinema.

“Introspection would best describe the tone of these stories,” says Code. “Plot is definitely a consideration, but the protagonists aren’t always primary actors, so the plot is related to their trying to understand what is happening to them.” Free.

by VINCENT TINGUELY

 

Quest for power?

Since he made the move to Montreal eight years ago, Aboubacar Mané has been building a name for himself with his grounded choreographies that mix and meld African dance with a contemporary spin.

Mané, originally from the Ivory Coast, performs with his collective Kaïra this weekend, Nov. 15–18, at the MAI (3680 Jeanne-Mance), in his new work, Djahilya.

He says the piece is a mélange of dance styles, which echoes the background of his dancers. “There’s capoeira, breakdancing, Québécois jig and contemporary dance,” he says, describing the look of the work. “We had to find a common language.”

Two on-stage musicians, one of whom plays the kora (an African harp) accompany the dancers in this quartet, which questions our quest for power.

After the show this Friday, Nov. 15 at 8 p.m., Mané will speak with the public in a Q&A session.

Tickets: (514) 982-3386.

by MARITES CARINO

Is it art?

Form vs. function: Designers often get a bad rap because they’re more career savvy than their art school counterparts. And the latest exhibit at UQÀM’s Centre de design (1440 Sanguinet), Québec en design, is about to test the boundaries between art and design once again.

Produced with the Musée national des beaux-arts du Québec, the exhibition celebrates the history of Quebec design. Taking the virtual De Lorean (not designed in Quebec) all the way back to the 1930s, it showcases everything from WWII-era posters, helmets (like the one above, by Toboggan design), memorabilia from the design coup of the century—Expo ’67—and enough seating to create numerous versions of the chair scene from Knocked Up. www.centrededesign.com

Arts hole

BOLLYWOOD OR BUST: Break out your saris for Andaaz 2007: A rendez-vous with Bollywood vibes. Organized by the South Asian Alliance of Quebec, this year’s festival features dancers performing everything from traditional Bollywood to hip hop. Taking place Saturday, Nov. 17, 7 p.m., at Cégep André Laurendeau (1111 Lapierre, in Lasalle), $25. • GRIMM TALES: Illustrator Alisa Baldwin captures Mother Goose’s underworld with her twisted exhibit, Hard Times, Nursery Rhymes, opening at the Green Room (5386 St-Laurent) tonight, Nov. 15, 8 p.m. • MEMORY: The Glass Seed a new memoir by Eileen Delehanty Pearkes, puts a feminist slant on dealing with a mother with Alzheimer’s. It launches Monday, Nov. 19, 7 p.m. at rad’a (841 Gilford).

Artistat

Amount of the cash prizes awarded in five categories (poetry, fiction, non-fiction, translation and first book) by the Quebec Writers Federation to English Quebec writers at their annual Literary Awards, which takes place Wednesday, Nov. 21 at 7 p.m. at le Lion d’Or (1676 Ontario E.): $2, 000