“Insolites走廊”是魁北克規(guī)模最大的公共藝術(shù)項(xiàng)目，由EXMURO在魁北克政府的支持下完成，如今已經(jīng)舉辦了五屆。今年所展示的一系列臨時(shí)藝術(shù)裝置位于魁北克舊城區(qū)內(nèi)，這些作品以大膽而新穎的形式融入了歷史建筑和城市景觀，為市民們帶來(lái)獨(dú)特、充滿詩(shī)意且具有互動(dòng)性的城市漫步體驗(yàn)，其創(chuàng)作者是來(lái)自加拿大當(dāng)?shù)氐乃囆g(shù)家和建筑從業(yè)者。

The 5th edition of Passages Insolites (Unusual Passages), a self-guided circuit of ephemeral public artworks in inspiring locations along a breathtaking route in historic Old Quebec. Sometimes playful, sometimes introspective, always surprising, these provocative works are boldly integrated into the historic architecture for a fresh contemporary reading of the urban landscape. Passages Insolites is best experienced by charting your own course through the historic district’s winding streets. By day or night, experience how thought-provoking art transforms its surroundings, adding a touch of whimsy and sparking poetic, socially engaged dialogue. The walking circuit offers a singular, inclusive and accessible experience and an unusually intimate glimpse of the work of some of Canada’s leading artists and architecture collectives.

“后-后現(xiàn)代主義”柱群 / LEGAGA（魁北克）

The Pillars of Post-Postmodernism by LEGAGA

在一個(gè)“后-后現(xiàn)代主義”的社會(huì)中，污水管、雕塑和花園也許沒(méi)有任何區(qū)別。該裝置在鮮艷俏皮的外表下提出了一個(gè)嚴(yán)肅的問(wèn)題：美為何為美，丑又為何為丑？我們?cè)撊绾斡谩俺蟆钡氖挛飦?lái)創(chuàng)造“美”的事物？（該藝術(shù)裝置是2018年“Insolites走廊”作品競(jìng)賽的優(yōu)勝作品）

What is the difference between sewer pipes, sculptures, and gardens? In a post-postmodern society, there isn’t any. Don’t be fooled by its colourful, playful appearance—this installation asks serious questions: What makes beauty beautiful, and ugliness ugly? How can we use ugliness to make beauty? The Pillars of Post-Postmodernism confront these ideas and invites you to imagine a completely different kind of city, one where engineers make art, architects are in charge of engineering, and architecture is left to the artists.  (LEGAGA’s installation is the winner of the 2018 Passages Insolites competition held in conjunction with the Université Laval architecture students’ association).

云雀 / Brandon Vickerd（漢密爾頓）

Alouette by Brandon Vickerd (Hamilton)

該作品是加拿大于1962年發(fā)射的衛(wèi)星“云雀1號(hào)”的復(fù)制品，仿佛與一輛汽車相撞。該作品是對(duì)未來(lái)不可預(yù)測(cè)的科學(xué)進(jìn)步的一種隱喻。墜毀的衛(wèi)星猶如現(xiàn)代版的伊卡洛斯：對(duì)科技的盲目信仰導(dǎo)致了它的迅速消亡，使其重新回到地球。

Alouette consists of a replica of the 1962 Canadian satellite Alouette-1, installed as if it has crash landed into a parked sedan. The Alouette project is a metaphor for the unfulfilled promise of a future of scientific advancement once heralded by modernism. The sleek futuristic design of the crashed satellite, resting lifelessly on the crushed car, evokes a modern-day Icarus whose blind faith in technology led to his swift demise, sending him falling back to earth.

快樂(lè)的漂流者 / Demers-Mesnard（魁北克）

Happy Castaways by Demers-Mesnard (Quebec)

在魁北克Bassin Louise的港口漂浮著一座神秘的島嶼，島上居住著各種各樣離奇的植物和動(dòng)物，這是一個(gè)遠(yuǎn)離陸地的奇妙綠洲。快樂(lè)的漂流者日夜站立在他們的島上，邀請(qǐng)人們進(jìn)入他們和諧而平靜的夢(mèng)境。

In the Bassin Louise section of Quebec City’s port lies a mysterious floating island inhabited by a diverse, surreal cast of plants and animals—a fantastic oasis that appears to have broken off from a distant land mass and drifted to our shores along with its outlandish ecosystem. Day and night, The Happy Castaways stand on their island, inviting us to join them in a shared dream of a world more harmonious and peaceful than this one.