1985
First edition of the annual event Les Cent jours d’art contemporain de Montréal with the AURORA BOREALIS exhibition. Curators: René Blouin, Claude Gosselin, Normand Thériault. Les Cent jours were presented until 1996, year the event won the annual Visual Arts Prize awarded by the Conseil des arts de Montréal.
1986
Second edition of Les Cent jours d’art contemporain de Montréal with a main exhibition by curator Claude Gosselin: “Lumières : perception – projection” at Place du parc / La Cité. An exhibition “Lumière sur la ville” showcased the photographic works of amateurs and professionals. Light workshops, light walks and performances were also presented. Curating an exhibition of drawings by Canadian artists, “Traces”, on behalf of the Department of External Affairs of Canada for international circulation.
1987
Les Cent jours d’art contemporain de Montréal, for their third edition, presented the exhibitions: “Les Quatorze Stations” by curator Roger Bellemare; “Les Quatorze Stations de Francesco Clemente” and “Stations“, both curated by Claude Gosselin. In the same year, Claude Gosselin was the curator of the exhibition “Québec on Stage”, a commission from the Government of Quebec for the promotion of the performing arts at the Hollywood Bowl in Los Angeles, United States.
1989
Fourth edition for Les Cent jours d’art contemporain de Montréal presented at the Cité de l’image and curated by Claude Gosselin: exhibition and performances. The same year, the CIAC is a partner of the exhibition “Aspects de la photographie québecoise et contemporaine” by curator Philippe Cyroulnik, on behalf of the ministère des Affaires culturelles du Québec. The exhibition is presented at CREDAC, Paris.
1990
Fifth edition of Les Cent jours d’art contemporain de Montréal. Claude Gosselin was the curator of the exhibitions “Art contemporain 90 : savoir-vivre, savoir-faire, savoir-être” presented at Place du parc / La Cité and “Visions 90“, presented at the Lavallin art gallery. The same year, the CIAC presented the following exhibitions:
1. “Retrospective Fernand Leduc, Works from 1943 to 1988” by curators Sylvie Douce de La Salle and Maïthé Vallès-Bled from the Musée des beaux-arts de Chartres;
2. “Exclus : le drame des réfugiés de notre siècle” by curators Carole Kismaric and Edward Leffingwell, produced by the Los Angeles Municipal Art Gallery;
3. “Goya à Beijing” by Dr Pei Yuan Han, presented at Place du Parc / La Cité.
1991
Les Cent jours d’art contemporain de Montréal, sixth edition, at Place du Parc / La Cité. Three exhibitions: “Jes“, by curator Jean-Claude Rochefort; “Retrospective Jean-Pierre Raynaud” by curator Alfred Pacquement; and “Visions 91” by curator Sylvie Parent. An in situ work was also produced for the event on the Mount-Royal, curated by Claude Gosselin: “Gilbert Boyer, La Montagne des jours”. Other exhibitions were presented by the CIAC during the year, notably “Puissance et reflets 1991-1992” by curator Michel Yves and “Media, War and the New World Order” by curators Jody Berland, Jamelie Hassan and David Thomas.
The CIAC was also the Canadian partner for the “Anninovante” exhibition by Italian curator Renato Barilli, an exhibition presented in Bologna and other Italian cities to promote the visual arts on the international scene.
1992
Seventh edition of Les Cent jours d’art contemporain de Montréal: “Dominique Blain” by curator Sylvie Parent; “Martin Bruneau” by curator Claude Gosselin; “Diagonales Montréal” by curators Thérèse St-Gelais and Colette Tougas. The same year, Claude Gosselin and Sylvie Parent are the curators of the exhibition “Jocelyne Alloucherie. Le parcours d’une oeuvre 1974-1992“.
Les Cent jours won the 1992 Visual Arts Prize awarded by the Conseil des arts de Montréal.
1993
Eighth edition of Les Cent jours d’art contemporain de Montréal. Seven exhibitions are presented there: “L’Après Pérestroika. Ménagères ou femmes d’Etat” by curator Martha Tupitsyn; “Donigan Cumming. Détournements de l’image” by curator Nicole Gingras; “Faux Secrets” by curators Danielle Fraser and Laurence Sylvestre; “Alain Fleischer. Le cadre et le reflet” by Patrick Roegiers; “Itsvan Kantor. XX Monument temporaire” by curators Claude Gosselin and Sylvie Raymond; “Pierre Molinier. Le Précurseur” by commissioner Wayne Baerwaldt; and finally “Présence : René-Pierre Allain, Neil Campbell, John Francis, John Heward” by curator Sylvie Raymond. Les Cent jours also offered a film and video program “Le cinéma des Cent jours” (Cinéma Parallèle and Cinémathèque Québécoise) as well as public meetings and guided tours.
1994
Les Cent jours d’art contemporain de Montréal, ninth edition. Nine exhibitions were presented: “Carl Beam. The Columbus Suite, 1990” and “Gottfried Helnwein. Visages / Faces” by curator Claude Gosselin; “Alighiero Boetti et Mimmo Paladino. Huit tapisseries, 1989-1991” produced by Emilio Mazzoli of the Gelleria d’Arte Contemporeana in Modena in collaboration with the Italian Cultural Institute of Montreal; “Daniel Dion. Parcours” by curator Jean Gagnon; “Pierre Dorion. Autoportraits 1990-1994” and “Loïc Le Groumellec. Œuvres récentes” by curator Sylvie Raymond; “Entre images et matière. Neuf artistes italiens” and “Roberto Pellegrinnuzzi. Le Chasseur d’images (1989-1994)” by curator Sylvie Parent; and “Wando Koop. Paintings for Dimly Lit Rooms” by curator Claire Gravel.
1995
Tenth edition of Les Cent jours d’art contemporain de Montréal. Four exhibitions: “Christian Bisceglia. Via Crucis” by curator Elio Traina; “Irene F. Whittome. Consonance” by Commissioner Joyce Yahouda; “Daniel Buren. Neuf couleurs au vent, 1984-1995” (public art work) and “Collection-Célébration : Le Fond d’oeuvres du CIAC” by curator Claude Gosselin. In parallel, the latter organizes the exhibitions “Hiroshi Sugimoto” and “Rober Racine. Les pages-miroirs, 1980-1995” at 314 Sherbrooke East Street.
1996
Eleventh and last edition for Les Cent jours d’art contemporain de Montréal. Seven visual arts exhibitions are on the program: “Sylvie Blocher. L’annonce amoureuse” by curator Louise Déry ; “Philippe Raphanel. Poisons / Phobia” by curator Annette Hurting ; “Kcho. Para olvidar / Pour oublier”, “Komar & Melamid. Les tableaux idéals / The Most Wanted Paintings”, “Chuck Samuels. Devant l’objectif / Before the Camera”, “Chen Zhen. Incantations quotidiennes / Daily Incantations” and “Promenades, l’art dans la ville” (tour of public artworks) by curator Claude Gosselin. Electronic arts were also present with “Multimedia” (on the internet) by curator Elène Tremblay.
The same year, four other exhibitions were presented by the CIAC: “Affiches de Cuba 1959-1996” by curator Raymond Vézina; “Carnets de voyage” by curator Pierre Dessureault at the Canadian Museum of Contemporary Photography in Ottawa; “Miyajima Tatsuo” by curator Claude Gosselin and “Rainer Wittenborn / Claus Biegert, La Baie-James, 15 ans plus tard : Amazonie du Nord” by curator Sylvie Raymond.