Florence-Agathe Dubé-Moreau holds a master’s degree in art history from the Université du Québec à Montréal, where she studied the effects of exhibition reenactments in contemporary art. Most recently, her projects as an independent curator have been presented at the Galerie de l’UQAM (2016) and the Critical Distance Centre for Curators, Toronto (2018). Her articles have been published in the magazine Intermédialités and in several exhibition catalogues. She regularly contributes to esse arts + opinions, from which she received the Young Critics Competition award in 2013.
Among other professional experiences, she was assistant curator of the Canadian delegation at the 56th Venice Biennale (2015), co-editor of Questionner l’avenir. Réflexions sur la réactualisation de la Biennale de Montréal (Éditions d’art Le Sabord, 2015), and publications coordinator at the MOMENTA Biennale (2017).
Jo-Ann Kane is an art historian with a master’s degree in museology and a bachelor’s degree in art history from the Université du Québec à Montréal. She became curator of the National Bank’s art collection in 2002 and now holds the position on a contract basis. She is also a certified appraiser by the International Society of Appraisers and president of the Association des collections d’entreprises du Québec, an organization which brings together curators and owners of company collections with the objective of increasing visibility and promoting art in the business world. From 1997 to 2000, Kane was curator of the Hydro-Québec art collection.
In 2010, she was named ambassador of UQAM’s Faculty of Arts. In 2013, she sat on the Quebec government’s Groupe de travail sur la philanthropie culturelle. She sits on the board of directors of the Conseil des arts et des lettres du Québec and is a member of the Musée national des beaux-arts du Québec acquisitions committee and of the Montreal Public Art Bureau.
Marie-Claude Landry became curator of collections at the Musée d’art de Joliette in 2017. Since then, she has focused on the development, dissemination, and management of the institution’s 8,500 artworks. From 2011 to 2017, she was the museum’s curator of contemporary art from 1950 to the present. Among her achievements are the exhibitions Le musée s’expose. Regard sur les collections du Musée d’art de Joliette; Marion Wagschal, Colossus; and Yan Giguère. Croisements. In the last few years, she has sat on some thirty juries, notably the prestigious Sobey Art Award in 2013, and has coordinated various publications, including the first monograph on Yan Giguère and Récits d’un territoire révélé, a book about the cultural history of the Lanaudière region from 1939 to the present day. Over the past ten years, she has developed expertise in management, contemporary art research, and museum conservation. She studied art history at the Université du Québec à Montréal.
Anne-Claude Bacon holds a master’s in art history and museology from the Université de Montréal. She was the director of the Jacob-William Collection (TOHU) before becoming curator of the Hydro-Québec Art Collection in 2004. President of Éditions esse, she also sits on the board of directors of OPTICA and is a member of the programming committee for the Giverny Foundation for Contemporary Art.
Julie Bélisle joined the curatorial team of the Musée d’art contemporain de Montréal as head of digital content development and research in 2015. From to 2004 to 2015, she was in charge of public programming at the Galerie de l’UQAM. She was also co-curator of Projet Peinture and coordinated exhibitions and publications. Her expertise on digital technologies in a museum context was called upon for various projects (Virtual Museum of Canada, Musée national des beaux-arts du Québec, Plan culturel numérique du Québec, Art+Feminism). She was the 2017 Canadian representative at The Networked Curator workshop organized by the Association of Art Museum Curators in Washington, DC. Specialized in material culture and contemporary art, she holds a PhD in art history from UQAM. Her dissertation focused on the gathering of objects as an approach to creation, centring on issues related to consumption in art. She has written essays on current art practices and on Quebec and Canadian artists. She has sat on the board of directors of Éditions esse since 2014 and teaches museology at the Université du Québec en Outaouais.
Sylvette Babin holds a master’s in open media from Concordia University. She has been the director and editor of esse arts + opinions since 2002, while continuing her practice as a performance artist. She has participated in numerous artistic events in Canada, Europe, Asia, and Latin America. Her writings have been published in magazines, catalogues, and artist books, and she has curated several events, including Les Convertibles produced by Culture pour tous (2006), Infraction 08 (Sète, France, 2008), and Il Nostro Gusto (Triennale Orange, Saint-Hyacinthe, 2009).