Paulette Gagnon

Art historian Paulette Gagnon, a graduate of Université Laval, Québec City, and Université de Lyon, France, has been chief curator at the Musée d’art contemporain de Montréal since 1992. She is in charge of developing the Musée’s program of temporary exhibitions and shows of works from the collection, as well as multimedia events and acquisitions. Notable among the main exhibitions she has organized at the Musée are: Isaac Julien; Shirin Neshat; Head Over Heels – A Work of Impertinence (co-curator: Sandra Grant Marchand); Artcité (co-curator: Josée Bélisle); Ann Hamilton; Louise Bourgeois: The Locus of Memory, Selected Works 1946-1995 (in collaboration with The Brooklyn Museum); The Eye of the Collector (co-curator: Yolande Racine); Angela Grauerholz; Sylvie Readman: Champs d’éclipses; and Attila Richard Lukacs.

Sandra Grant Marchand

Sandra Grant Marchand, who holds a degree in art history from the Université de Montréal, has been a curator at the Musée d’art contemporain de Montréal since 1978.  She has conceived and organized several major exhibitions, among them British Now: Sculpture and Other Drawings, in 1988; La Collection: tableau inaugural (co-curators Paulette Gagnon, Josée Bélisle, Manon Blanchette, Pierre Landry), in 1992; Alfred Pellan, A Retrospective (in collaboration with the Musée national des beaux-arts du Québec), in 1993; Molinari, A Retrospective, in 1995; Head Over Heels – A Work of Impertinence (co-curator Paulette Gagnon), in 1999; Metamorphosis and Cloning, in 2001; and Yves Gaucher, in 2003. Other exhibitions she has curated include Declaration, by Jana Sterbak, in 1994; Osmose, by Char Davies, in 1995; Kim Adams, in 1996; Trevor Gould: Posing for the Public, in 1998; Eleanor Bond, in 1998; Eulàlia Valldosera, in 1999; André Martin. My Models – Self-Portrait, in 2000;  BGL. In the Shelter of the Trees, in 2001;  Nadine Norman – I’m Available. And You?, in 2002, and Henri Venne, After Nature, in 2004.

Pierre Landry

Pierre Landry worked as a curatorial assistant at the Montreal Museum of Fine Arts (1983) and then at the Musée d'art contemporain de Montréal (1983-1988), where he has been a curator since 1988. At the MACM he has conceived and organized a number of solo exhibitions on the work of such artists as Joseph Branco, Nathalie Caron and Charles Guilbert, Melvin Charney, Thomas Corriveau, Sylvain P. Cousineau, Stéphane Gilot, Micah Lexier, Jean-Paul Mousseau (retrospective) and Sam Taylor-Wood. Among the main group exhibitions he has curated are Le Geste oublié (1987), Legs René Payant (1992), The Origin of Things (1994), Triggers – Art and Society. Québec in the 60’s and 70’s (1999, in collaboration with the Musée de la civilisation de Québec) and “We come in peace…” ? Histories of the Americas (2004). He has also been responsible for the presentation at the MACM of a number of major exhibitions from abroad, including: L'Art conceptuel, une perspective (1990, Musée d'art moderne de la Ville de Paris), John Baldessari Retrospective (1991, The Museum of Contemporary Art, Los Angeles), Muntadas – On Translation: Le Public (2000, a coproduction of the MACM and Witte de With, Rotterdam) and Gillian Wearing (2003). In addition to numerous essays published in Musée d'art contemporain de Montréal catalogues, he has written exhibition reviews for various art magazines.

Josée Bélisle

A graduate of the Université de Montréal, in art history, and the École des hautes études commerciales de Montréal, in arts management, Josée Bélisle joined the Musée in 1976 as curator for travelling exhibition projects, the collection and temporary exhibitions. Since 1992, as curator of the permanent collection, she has been chiefly responsible for exhibitions of works from the collection and the sculpture garden. She has conceived and organized a number of major exhibitions accompanied by catalogues, including: Bill Viola (1993); Photographic Instants (Le Mois de la photo à Montréal, 1995, and Le Mois de la photo à Paris, 1996; travelled in Canada); Irene F. Whittome (1997; travelled in Canada); Gary Hill (1998); Borduas and the Automatist Epic (1998); Jacques de Tonnancour (1999); Roland Poulin (1999); David Rabinowitch (in collaboration with the National Gallery of Canada, 2003-2004); La Magie des signes, Oeuvres sur papier de la Collection Borduas (in collaboration with the Orangerie du Domaine de Madame Élisabeth, Versailles, 2004); and Michel Goulet (2004).