{"id":121,"date":"2021-06-20T18:01:36","date_gmt":"2021-06-20T22:01:36","guid":{"rendered":"https:\/\/projetcommun.org\/?page_id=121"},"modified":"2026-03-27T20:03:32","modified_gmt":"2026-03-28T00:03:32","slug":"equipe","status":"publish","type":"page","link":"https:\/\/projetcommun.org\/en\/equipe\/","title":{"rendered":"\u00c9quipe"},"content":{"rendered":"
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FOUNDER<\/h1>\n\n\n\n
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SARAH<\/h2>\n<\/div>\n<\/div>\n\n\n\n
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Sarah Turcotte holds a bachelor\u2019s degree in linguistics and a master\u2019s degree in museology. She is currently completing a Ph.D. in museology, mediation, and heritage at the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al (UQAM), focusing on how the political and economic roles of Quebec\u2019s major art museums intersect with their scientific, educational, and social missions. Her analyses have been published in Museum Management and Curatorship<\/em> (2025), Digital studies\/Le champ num\u00e9rique<\/em> (2022, 2024) and Revue Animation, Territoires et Pratiques Socioculturelles<\/em> (2022, 2023). In addition to editing the book L\u2019essor des contre-mus\u00e9ologies<\/em> (2025), published in the Sociomus\u00e9ologie & Sociomuseology series by the Lusophone University in Portugal, she has presented her work at national conferences, such as Acfas (2023, 2024), and international conferences in collaboration with the Technical University of Crete (2024) and the Ibero-American University in Mexico City (2023). The quality of her research earned her a spot as a finalist for the Roland-Arpin Prize (2019), the Marcel-Masse Fellowship (2021), and support from Mitacs, the Fonds de recherche du Qu\u00e9bec \u2013 Soci\u00e9t\u00e9 et Culture (FRQSC), and the Observatoire des m\u00e9diations culturelles (OMEC).

While pursuing her doctoral studies, Sarah founded the organization Projet commun to explore collaborative approaches to arts and culture. The curatorial proposals, reflections, and productions resulting from her initiative have been presented at Espace Produit Rien (2022), Caf\u00e9 Reine Gar\u00e7on (2022), Parc Offsite\/Eli Kerr Gallery (2023), OMEC (2024), the Foire Plural (2024, 2025, 2026), at the PHI market (2024), and during an intimate performance in Quebec City (2025). Her involvement with Projet commun earned her the Soci\u00e9t\u00e9 des mus\u00e9es du Qu\u00e9bec\u2019s Prix Rel\u00e8ve (2024) and the grant of the Syndicat des professeures et professeurs de l\u2019UQAM (SPUQ) under the Excellence and Engagement category of the Fondation de l\u2019UQAM (2024).

Sarah has also made other professional contributions, including texts published in the journal Vie des arts<\/em>, in an exhibition catalog for the Dazibao Art Center, and on the PHI blog, where she worked for over three years as visitor experience coordinator. She currently works as the Head of Programming and Outreach at Les Impatients, an organization dedicated to art and mental health, where she continues to enrich her curatorial practice, notably through Nids communs<\/em> (2026).
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Curatorial Approach<\/strong>

My curatorial practice is based on a collaborative approach to reflection and creation. Through my organization, Projet commun, I develop various curatorial and artistic proposals by involving, at different stages of the process, other curators, artists, members of the public, cultural workers, as well as diverse community groups and venues. My approach is rooted in the movements for the democratization of culture (access to the meaning of works) and cultural democracy (diversification of discourses and artists), which have been underway since the second half of the 20th<\/sup> century. I draw inspiration in particular from \u201ccounter-museologies\u201d, encompassing currents such as social museology, critical museology, and ecomuseology, to define and enrich my approach. From a reflective perspective, I conceive of my curatorial practice as evolving, experimental, and organic, drawing inspiration from a multitude of encounters. Whether through theoretical writings or intimate conversations, I am driven as much by substantive exchanges as by those arising from the moment.

While decades of efforts in cultural mediation have sought to broaden access to art and culture, questions of inclusion, representation, and (in)utility remain unresolved. To make the art world a true \u201cshared endeavor\u201d (projet commun), artistic and cultural initiatives must reflect a plurality of voices and experiences so that everyone can see themselves reflected in them, but also so that the works created and disseminated stimulate reflection, raise questions about daily and collective life, and offer spaces for empowerment in light of the social, political, economic, and material challenges of the world we are building.

I thus seek to develop a curatorial practice that could be described as \u201ccollective curation\u201d, where people\u2014whether or not they are familiar with the art world\u2014have the opportunity to contribute to the development of \u201cgroup projects\u201d (projets communs) so that these reflect a vision that is both pluralistic and shared. Through the partnerships I establish, I not only introduce diverse audiences to a variety of community, cultural, and artistic circles, but I also create opportunities for organizations and exhibition spaces to welcome new communities. Networks thus intersect and transform in step with an evolving society.<\/span><\/p>\n\n\n\n

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PROGRAMMING COMMITTEE<\/h1>\n<\/div>\n<\/div>\n\n\n\n
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ORISE<\/h2>\n\n\n\n
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Orise Jacques-Durocher is a Quebec artist who lives and works in Montreal where she obtained a Bachelor of Fine Arts from Concordia University (2020). Her sculptural practice is driven by a desire to reimagine our understanding of objects and material world. At the center of her work, the medium of ceramics is celebrated for its exceptional possibilities of exploration and for its materiality, both trivial and extravagant. Her work has been featured in a variety of group exhibitions in Montreal as well as in Skaelskor, Denmark during a residency at the Guldagergaard International Ceramic Research Center as part of a Concordia University program.
Photo credit: No\u00e9mie Sylvestre<\/span><\/p>\n<\/div>\n\n\n\n

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TYRA<\/h2>\n\n\n\n
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Tyra Maria Trono is a Filipinx artist and cultural worker based in Tiohti\u00e0:ke\/Montreal. She holds a bachelor's degree in photography from Concordia University. Their work explores the formation of one's perception, being affected by the process of cultural identification. She is also interested in how, within this formation, their position within the diasporic community redirects the path of this process. For more information, visit their website: tyramariatrono.com<\/span><\/p>\n<\/div>\n\n\n\n

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MORGANE<\/h2>\n\n\n\n
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Morgane is responsible for communications at the Fonderie Darling. After obtaining a bachelor's degree in art history at Concordia University, she embarked on a rich professional path that allowed her to develop an interest in the public's experience. She worked in communication at the Galerie Trois Points, was responsible for the urban beekeeping experience at Alv\u00e9ole, then cultural mediator at SSENSE Montreal. Morgane has also contributed to various artistic projects, including the Bruno Sport Bar Biennale (2019) and the catalog of the exhibition Material Trace<\/em> at the FOFA Gallery (2018).<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n

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NICO<\/h2>\n\n\n\n
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Nico is a Serbo-Croatian multidisciplinary artist currently working in illustration and utilitarian ceramics. She has been collaborating as an illustrator with various design studios to develop projects for four years now and worked as a technical assistant in the Maison B\u00e9langer ceramic studio before starting her personal practice. Nico holds a Bachelor's degree of Fine Arts (Design profile) from Concordia University and is currently doing a technical course in museology at C\u00e9gep Montmorency in order to satisfy her interests in conservation and exhibition scenography.<\/span><\/p>\n<\/div>\n\n\n\n

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CHARLOTTE<\/h2>\n\n\n\n
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Trained in Art History and History and Aesthetics of Cinema, Charlotte began her professional career in the cultural field in Switzerland, then in Montreal, where she obtained a Master's degree in Museology at the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al. Since 2018, she has contributed to the design and production of large-scale exhibitions, as well as immersive and participatory experiences for various museums in Quebec. Independent since 2022, she works as a Museologist and content manager for creative firms and museums.<\/span><\/p>\n<\/div>\n\n\n\n

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FONDATRICE SARAH D\u00e9tentrice d\u2019un baccalaur\u00e9at en linguistique et d\u2019une ma\u00eetrise en mus\u00e9ologie, Sarah Turcotte ach\u00e8ve un doctorat en mus\u00e9ologie, m\u00e9diation, patrimoine \u00e0 l\u2019Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al (UQAM) qui porte sur l\u2019articulation du r\u00f4le politico-\u00e9conomique des grands mus\u00e9es d\u2019art qu\u00e9b\u00e9cois avec leurs missions scientifique, p\u00e9dagogique et sociale. Ses analyses ont \u00e9t\u00e9 publi\u00e9es dans Museum Management… Continue reading \u00c9quipe<\/span><\/a><\/p>","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"tw-no-title.php","meta":{"footnotes":""},"class_list":["post-121","page","type-page","status-publish","hentry","entry"],"featured_image_urls_v2":{"full":"","thumbnail":"","medium":"","medium_large":"","large":"","1536x1536":"","2048x2048":"","trp-custom-language-flag":"","post-thumbnail":""},"post_excerpt_stackable_v2":"

FONDATRICE SARAH D\u00e9tentrice d\u2019un baccalaur\u00e9at en linguistique et d\u2019une ma\u00eetrise en mus\u00e9ologie, Sarah Turcotte ach\u00e8ve un doctorat en mus\u00e9ologie, m\u00e9diation, patrimoine \u00e0 l\u2019Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al (UQAM) qui porte sur l\u2019articulation du r\u00f4le politico-\u00e9conomique des grands mus\u00e9es d\u2019art qu\u00e9b\u00e9cois avec leurs missions scientifique, p\u00e9dagogique et sociale. Ses analyses ont \u00e9t\u00e9 publi\u00e9es dans Museum Management and Curatorship (2025), Digital studies\/Le champ num\u00e9rique (2022, 2024) et Revue Animation, Territoires et Pratiques Socioculturelles (2022, 2023). En plus d\u2019avoir dirig\u00e9 l\u2019ouvrage L\u2019essor des contre-mus\u00e9ologies (2025), paru dans la collection Sociomus\u00e9ologie & Sociomuseology de l\u2019Universit\u00e9 Lusophone au Portugal, elle a communiqu\u00e9 ses travaux lors…<\/p>\n","category_list_v2":"","author_info_v2":{"name":"Sarah Turcotte","url":"https:\/\/projetcommun.org\/en\/author\/projetcommun\/"},"comments_num_v2":"0 comments","_links":{"self":[{"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/pages\/121","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/comments?post=121"}],"version-history":[{"count":37,"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/pages\/121\/revisions"}],"predecessor-version":[{"id":3141,"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/pages\/121\/revisions\/3141"}],"wp:attachment":[{"href":"https:\/\/projetcommun.org\/en\/wp-json\/wp\/v2\/media?parent=121"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}