Street Actions : Women Performing in Montréal and Toronto, 1970-1980

Commented Visit by Didier Morelli
Saturday, April 11, 3-4 pm

STREET ACTIONS: WOMEN PERFORMING IN MONTREAL AND TORONTO (1970 - 1980) SYMPOSIUM

May 7, 2026, 10:30 am – 5:45 pm
4th Space, Concordia University
J.W. McConnell Building
1400 De Maisonneuve Blvd. West

OPTICA invites the public to reactivate feminist memories in public spaces

At OPTICA, we believe that contemporary art must be experienced, touched, and discussed. Our cultural mediation program creates spaces for engagement between you, the artworks, and the artists, whether you’re a student, a senior, a curious visitor, or an art enthusiast.

Aïda Vosoughi, laureate of the 2026 Intersections residency The Conseil des arts de Montréal, OPTICA, centre d’art contemporain and the École des arts visuels et médiatiques de l’UQAM are pleased to announce that Iranian-born Canadian artist Aïda Vosoughi is the laureate of the 2026 Intersections residency.

Public Education Program | Fall - Spring 2025-2026

OPTICA’s public education program proposes various creative workshops and interactive tours for audiences of all ages, from 4 and up. Daycare centres, public and private, elementary schools, high schools, colleges, universities, retirement homes and community organizations can all participate in our activities. These ones place in an atmosphere conducive to discussion and reflection, in order to learn more about current creative production.

Claudia Goulet-Blais’s photographic practice is inextricably linked to her family environment, from which she explores the mother-daughter relationship, particularly the interplay of aging, memory, and caring for a loved one. The concept of care runs through her new series of photographs, Entre tes mains (In Your Hands), and portrays this relationship in various performative forms. In another series, she explores family history, memories, and the construction of identity through found archival photographs that she juxtaposes, documenting the intimate moments and physical gestures that form part of a universal language.

The photographic practices of Anne-Marie Proulx and Sara A. Tremblay are deeply rooted in their living environment and their choice to live in the countryside. Their collaborative project, titled Fleurs coupées, is grounded in the ecosystem of the garden and the living world. This ever-changing space allows them to address existential questions such as wounds and the trials we face in life, and to explore different forms of friendship and sisterhood—both between themselves and with the garden. The photographs create a journey through the dualities that exist in their collaboration, which are accentuated by the juxtaposition of sister images.