EN:

The Horse Fair is an iconic work by 19th century animal artist Rosa Bonheur. The immense work, which is on the scale of a history painting, has already generated numerous interpretations focusing on issues of gender and sexuality. The horses, the main subjects of the work, have been side-lined, made to serve as representations of the artist’s personality and expressions of her sexuality. My close reading of The Horse Fair reveals, by contrast, that in an era where animals were seldom accorded a voice, Bonheur sought to grant her equine subjects a measure of expressive autonomy. I consider how the work examines relational inequities between humans and horses, enabling The Horse Fair to stand as a powerful exploration of interspecies ethics.

EN:

This article examines how the battle of Austerlitz (December 2, 1805) became a symbol of Napoleonic power. It argues that this happened through deliberate propaganda efforts, with a carefully crafted written version of the events leading to the battle, found in the 30th bulletin de la Grande Armée, as well as three paintings commissioned by Napoleon in March 1806, not long after the close of the successful 1805 campaign. The fame of the battle was forged by Napoleon himself by way of a text/image system that constructs its own authority and veracity. The images commissioned and created repeat what was read in the bulletin in different genres. The bulletin and the three paintings, by Louis-François Lejeune, Louis-Albert-Guislain Bacler d’Albe, and François Gérard successfully work together to sanction a unique version of events intended for posterity, one in which the eve of the battle occupies a prominent place.

EN:

This article discusses how certain commemorative artistic creations have allowed the Montreal and Quebec communities to cope with the painful memory of the 1989 anti-feminist mass shooting at École Polytechnique. While feminist interpretations of the tragedy called on the past to reveal its causes, and official readings instead tried to keep the reflections in the present, to dissolve the tensions between the radical positions, certain artistic projects have made it possible to create a third space and to reconcile the past and the present, history and remembrance. Rose-Marie Goulet’s Nef pour quatorze reines (1999), as well as the performative event Une marche, deux parcours : In remembrance of the women of Polytechnique (2019), commemorating the 30th anniversary of the tragedy, are examples testifying to this gesture of remembrance.

FR:

En 1978, le personnel du restaurant Muckamuck de Vancouver s’est joint au Service, Office, and Retail Workers’ Union of Canada pour contester des conditions de travail injustes. Sous la direction de travailleuses en majorité autochtones, la grève a permis de conjuguer les préoccupations des mouvements féministes, de justice ouvrière et de souveraineté autochtone. Cet article examine les oeuvres de l’artiste Hunkpapa Lakota Dana Claxton, de l’artiste de la Première Nation Vuntut Gwitchin, Jeneen Frei Njootliet, et de l’organisation militante des femmes autochtones ReMatriate Collective qui traitent de la grève de 1978 pour explorer les intersections de la souveraineté autochtone, du travail et de la justice de genre dans les pratiques militantes passées et présentes. Cet article traite des manières par lesquelles ces artistes repensent la grève du Muckamuck par leurs engagements matériels avec les archives pour mettre en lumière les trajectoires de l’activisme des femmes autochtones au-delà de la conception linéaire du temps.