Things to do

By Gaëtan Vaudry

Before arriving in the city of La Baie, I had not even heard of Jean-Jules Soucy. However, it wasn't long before I was introduced to this artist, the pride of the entire Saguenay region. Born in 1951 in La Baie, where he has always lived and worked, he earned a Bachelor's degree in the teaching of visual arts from the Université du Québec à Chicoutimi (UQAC) in 1976. A diligent worker, he showcased his work both in Quebec and internationally.

In 1993, Jean-Jules Soucy exhibited at the Museum of Contemporary Art in Montreal, presenting Stressed Carpet, a piece composed of 60,000 liters of folded milk cartons, collected from all over Quebec! But it was in 2000 that the artist made significant waves when he unveiled the Pyramid of Ha! Ha! in La Baie. This installation was made up of 3,000 traffic signs, commemorating the Saguenay Flood of 1996.

In 2008, Jean-Jules Soucy received the Arts and Letters Council of Quebec Award for visual and media arts. 13 years later, his career was celebrated in his native region at the Order of the Blueberry ceremony, where he was inducted as a member. The Bay's pride's career has also been the subject of numerous documentaries and reports, notably the 1994 film Art is Not Without Soucy by filmmaker Bruno Carrière.

My reason for discussing the great Jean-Jules Soucy is that I had the opportunity to view the exhibition "What to Offer in Case of Water," presented by the Espace Séquence of the BANG Contemporary Art Centre in Chicoutimi. The exhibition features a selection of colorful and humorous works by the artist, who passed away in July 2022. These works, dating from the 1970s to the present, are available thanks to his sister, artist and scenographer Hélène Soucy, who began restoring them in the past year. I greatly enjoyed this vibrant exhibition. I discovered an artist with a sharp sense of humor, a master of wordplay. The exhibition is on display at the Centre BANG until December 23. A must-see!

Espace Séquence of the Centre BANG
132, East Racine Street, Chicoutimi
418 549-7830
centrebang.ca
jeanjulessoucy.net

A pioneer in LGBTQ+ cinema for 36 years, image+nation culture queer is committed to broadcasting, promoting, and showcasing LGBTQ+ life stories and experiences through films and media productions. This inclusive festival, the oldest of its kind in Canada, takes place over 11 days each year. It features award-winning films from both local and international filmmakers, with a focus on preserving the authenticity and diversity of LGBTQ2S+ voices.

VIEW THE PROMO VIDEO
  
Returning in full force in 2023, after a spring segment featuring short films and a Pride - Advocacy segment in August during the Montreal Pride celebrations, the 36th autumn edition, from November 16 to 26, both online and in theaters, offers a range of productions from around the globe that will dazzle and engage the ever-growing and interested audience of film enthusiasts.

In addition to its significant international reach, I+N36 places a strong emphasis on its local and Canadian content, with remarkable contributions from festival favorites QUEERMENT QUÉBEC, MADE IN CANADA, and INDIGENOUS VOICES.

The in-theater screenings take place at Cinéma Impérial and Cinéma J.A. de Sève at Concordia University. Online screenings of selected films are available on the same day as the theater screening, starting at midnight the day after their theater showing, for a duration of 5 days after going online.

The 2023 program in theaters features around fifty films from various countries. The majority of these are also available online. Ticket sales begin on Wednesday, November 8.

Opening on November 16 at Cinéma Impérial, the festival presents MARINETTE. Marinette Pichon, the first French female footballer, and the first overall in France to sign a professional contract in the United States, is considered the first female football star in France. Yet, she remains largely unknown to the general public. Discover the extraordinary journey of this remarkable woman in a thrilling biopic, beautifully led by actress Garance Marillier.

Adapted from Marinette Pichon's autobiography (Never Give Up, 2008), Marinette revisits the journey of a pioneer in French women's football, who was one of the first high-level French athletes to come out as lesbian.

The closing event of the I+N36 festival (Saturday, November 25 | 19h | Cinéma Impérial) will be grandiose, featuring the world premiere of Venus Envy: The House of Venus Story, a narrative based on a group of world-renowned Canadian multidisciplinary artists whose mission is to spread joy while simultaneously sparking conversations about gender expression, long before the current discourse came to the forefront.

In conjunction with the festival, the Canada Media Fund presents at the J.A. de Sève theater on November 25 and 26, I+N x FMC/CMF: meetings with the creators behind the films and TV series that engage us and showcase our diversities on screen. This new initiative takes a step further in our mission of continuous discovery of queer artists who enrich our lives, to bring to light the multiplicity of contemporary Canadian experiences and voices, and to share it all with our audiences.

About image+nation culture queer
Image+nation aims to represent, protect, and prepare the current generation of queer audiovisual and media content creators and to foster empathy by sharing their stories with audiences in Canada and beyond, thanks to its new online initiatives.

 
Through its various productions, image+nation integrates queer stories into our daily lives in a meaningful and empowering way, exploring the unique and universal nature of these stories while supporting queer art and culture.

 
Through its new brand, image+nation culture queer will continue its virtual growth while returning to its earliest roots: presenting, broadcasting, and promoting queer culture in all its artistic forms. Offering the world stories and storytellers that reflect and bear witness to queer lives.

Image+nation has established a series of training and mentorship programs to fuel emerging content, like I+N Explore, inaugurated in 2016. Now entering its fourth decade of promoting LGBT2SQ+ culture, image+nation explores new queer narrative codes as well as the singularity and universality of these stories, while encouraging diversity, inclusion, and the many intersecting aspects of queer voices and communities.

The Image + Nation Culture Queer festival was created by Katharine Setzer and Charlie Boudreau, who still lead the event. Their team consists of technicians, advisors, and numerous volunteers who ensure its smooth operation.

Image + Nation Culture Queer Festival 2023
November 16 to 26
Cinéma Impérial and Cinéma J.A. De Sève
+ Online Screenings
PROGRAM and TICKETING
Tickets on sale from Wednesday, November 8.

In Greek mythology, he is the master and regulator of the winds. In a vast cavern, Aeolus keeps the winds and noisy storms chained and imprisoned, striving to escape. In Cap-Chat, Gaspésie, since 1994, people have been visiting the great Aeolus, one of the world's largest vertical-axis wind turbines.

 
In 2019, two Gaspésie enthusiasts, Benjamin Leduc and Benoit Bénéteau, acquired the vertical-axis wind turbine of Cap-Chat. A new young and dynamic management team is in place, bringing together diverse experiences. The ambitions of these promoters are significant for this project, which was nearly abandoned at one time, but is now undergoing complete revaluation and transformation. "Former wind research laboratory becomes a laboratory on the environment and renewable energy," explain its co-owners.

"I see the site as a unique industrial heritage in the world," Benjamin Leduc declared in an interview with Radio-Canada shortly after the acquisition. The site is intended for tourist purposes and presents the project as a monument dedicated to Quebec's technological heritage and is also an interpretation center on wind energy. The artistic and educational aspects around the theme of wind energy, omnipresent all around, are also being developed.

"Our concept is a bit like a research project of a research project," he explains, to demonstrate the unique and fascinating aspect of their commitment.

Located in the middle of an important wind farm in the region that adorns the plateaus at some distance from route 132 along the Saint Lawrence estuary, Éole is a relic from the beginnings of renewable energy research in Quebec. The 110-meter-high giant was an important step in the development of wind power. Anyone traveling in the area is surprised by the immensity of this large vertical ellipse that overlooks the landscape.

Built in the mid-1980s, Éole was decommissioned since 1993, following an unexpected strong wind that damaged the main bearing of the device, probably also due to the enormous weight of this structure. The power station was not in operation long enough to transition from experimental mode to the status of a modern electric power plant. The project launched by Hydro-Québec pooled resources from the National Research Council Canada (NRCC) and the Quebec Electricity Research Institute (IREQ) to develop these technologies in North America.

It is also important to understand that this experimental wind turbine, entirely made of steel, was erected at a time when the composite materials that characterize the blades of today's wind turbines were not yet available.

   
The two partners and co-owners wish to invest more in modernizing the tourist site. They see a lot of potential. In addition to knowledge transmission, they propose discovering the Éole site through various initiatives and playful activities. The site is intended to be a leading attraction for Gaspésie. "A place of wonder and discoveries," adds Benjamin Leduc. Beyond the technological and scientific aspect, the Éole Project also wants to capitalize on the growing interest in self-production of electric energy through small wind turbines. It will offer training and workshops for those interested in getting involved.

The visit to the Éole Project includes:
- Discovering the experimental energy plant built in the 80s.
- Entering the generator and seeing all its vestiges to understand its unique design.
- Explanatory panels on the history of Éole, wind power development, and current industry facts, along with a guide to answer all your questions.
- A panoramic viewpoint with a 360 view to admire the picturesque landscape of the Nordais wind park (first in Quebec) and its surroundings (Cap-Chat, the sea, and the Chic-Chocs mountains), as well as a closer view of the tower.

A Foundation to Ensure Its Future
Finally, let us mention the creation of the Fondation Éole, a new development tool for the project. It is an organization focused on the education of renewable energies and sustainable development. It will develop in a way to popularize and share new developments related to these current topics, all within a playful framework and a purpose of integration into community and cooperative initiatives.

Conferences, educational workshops, physical and digital documentation, research and development in energy, and community involvement are the vectors of progress for the foundation. It will provide tools for exporting and disseminating information, content, and vision beyond the physical boundaries of the site. Both will evolve in synergistic development in the coming years. The foundation will synthesize the information present on the site for national dissemination.

An Attraction for the Whole Family

The Éole Project welcomes visitors every year from June 15 to October 1, 7 days a week, from 9 am to 5 pm. A visit that will interest the whole family with its originality and related educational activities. Visitors can also have a picnic, walk through flowered trails, and a permaculture garden at the foot of Éole. The wind-themed souvenir shop at the reception and on the site offers local Gaspesian crafts and unique Éole products.

Éole Project
projeteole.ca
5, chemin du Cap
Cap-Chat (Québec) G0J 1E0
418 967-8812

Old Québec is the most popular tourist destination in Québec and features many of the greatest restaurants in the city. In the tradition of Serge Bruyère, many fine chefs in Québec are found in Québec city. Let us mention Jean-Luc Boulay (Le Saint-Amour and Chez Boulay), Arnaud Marchand (Chez Boulay), Daniel Vézina (Laurie Raphaël) and Louis Pacquelin (Panache) among others. Jean-Luc Boulay and Arnaud Marchand from Chez Boulay offer the experience of northern French cuisine while highlighting typical local products. It is located on the ground floor of the elegant Manoir Victoria, on Saint-Jean Street. Close by, Mr. Boulay also presides over the kitchen activities at Saint-Amour, a prominent figure of Québec’s gastronomic scene. Moreover, Saint Amour appears in Trip Advisors’ top 10 fine dining restaurants and it is not unusual to spot a celebrity seated there.

Situated in an old 18^th century warehouse in Vieux-Québec and part of the Auberge Saint-Antoine, the restaurant Panache offers the refined menu of chef Louis Pacquelin. While there, you can discover the artefacts showcased on the walls of the building, recalling the rich history of the French colony.

Tourists will also appreciate Les Anciens Canadiens, a restaurant established in a heritage building, where you can discover or rediscover some of the classics of traditional Québec cuisine. Near Château Frontenac, the Continental is renowned for its flambés. Close by, Le Parmesan offers delicious classics of Italian cuisine

The Musée national des Beaux-Arts in Québec City will be presenting this fall the long-awaited retrospective of the seminal Canadian artist Evergon, born Albert Jay Lunt in 1946 in Niagara Falls, Ontario. This major exhibition will span his entire career, from 1971 to the present, with a view to shedding contemporary light on the artist’s long-term output. More than 200 works will be assembled for the first time to highlight this colourful individual and his multifaceted work.

Evergon is regarded as a genuine cultural icon in Canada. He is an artistic and social pioneer who focuses on contemporary questions concerning cultural and body diversity and diversity of identity. For nearly 50 years, the artist’s career has centred on bold photographic, technological, and aesthetic research. His always moving and occasionally irreverent striking imagery is often an extension of classical painting. The simultaneously political and sensualistic nature of his work raises questions on sexual orientation. He revisits with rare vitality genres such as portraits, landscapes, or nudes. Through collages, the art of photocopy and an entire array of exploratory photographic approaches, including the Polaroid, Evergon deepens the terms of queer masculine and feminine identity, thereby shaking up fixed ideas.

Numerous striking works underpin Evergon’s career, in particular the immense colour Polaroids from the 1980s, for which he is internationally recognized. Critics and several artistic institutions in the world have also paid tribute to his award-winning work in holography. His series devoted to his mother Margaret renews the representation of the ageing body as few artists have done and has received widespread recognition. Evergon is an immense creative force: identity, body diversity, love, desire, and ageing are at the root of his work. Like death and life, it is the latter in all its facets that the artist celebrates. Evergon grafts on to life notions of autobiographical fiction and extimity, a revelation of the intimate in the public sphere that is common today but that he explored early in his career. The artist deems all his works to be love letters.

Evergon’s concerns encompass social and artistic issues that go beyond the body’s socially constructed limitations. He thus abandons clichés by representing atypical bodies and goes beyond the canons of standardized beauty while relying on the seductive powers of photography, capable of inventing fictional worlds or theatres as is true of another major series in his career, in which he imagines the life of an entire community, that of the characters the Ramboys. Evergon continues to be in perfect synchronicity with the emancipatory challenges of photography: he has forcefully called into question the notion of the author by creating various alter egos. He disrupts the foundations of the photographic image through an astonishing baroque aesthetic and brushes aside the conventional canons of beauty by representing atypical bodies that he invests with panache.