Travel log

The Musée de la Mer in Havre-Aubert, located at Cape Gridley on the historic site of La Grave in the Magdalen Islands, is perched proudly on one of the region's most stunning vantage points. Since moving to this location in 1974, after spending its early years in the former parish hall of Havre following its 1969 founding, the museum has played a leading role in preserving the maritime and cultural heritage of the islands.

This mission is carried out through research, conservation, public education, and showcasing the unique insular identity that shapes life for the people of the Magdalen Islands.

For those who love striking features in museums, a highlight greets visitors in the main hall of this expanded and renovated building (completed in 2011): a whale skeleton suspended dramatically from the ceiling.

  
A historical note: In May 2008, a sperm whale washed ashore near Pointe-aux-Loups. After confirming its death, a group of Magdalen Islanders decided to exhibit the skeleton at the museum. Led by Claude Bourque, Pierre-Henry Fontaine, and Paul Grégoire, along with 20 other volunteers, the group spent three days dissecting the carcass. The bones were meticulously cleaned and numbered, and after over six years of preparation, the 215 bones were reassembled and installed in the museum’s main hall in December 2014.

Since late 2022, Gabrielle Leblanc has been the museum's director. She continues the work of its founder, Father Frédéric Landry, who led the museum for over 30 years. With a background in political science, literature, and project management, Ms. Leblanc has been active in the cultural and heritage sector for many years. From 2008 to 2021, she served as supervisor of cultural activities and as a cultural heritage and library coordinator for the Municipality of the Magdalen Islands.

On August 8, 1969, the Museum of the Islands was inaugurated in the presence of Quebec Premier Jean-Jacques Bertrand. In 1972, the museum relocated and was renamed Musée de la Mer. The Quebec government provided a $200,000 grant to construct a dedicated building for the museum.

Engaging Exhibitions and Captivating Activities
"The Musée de la Mer provides an immersive experience into Magdalen culture through its year-round exhibitions and activities. Visitors can expect a warm welcome from our inspiring and passionate staff, as well as outstanding permanent and temporary exhibitions suitable for the whole family," says Gabrielle Leblanc.

 
The permanent exhibition "Living on the Islands, Living the Islands," along with rotating displays featuring local artists, genealogical resources, maritime artifacts, and lectures, awaits the many visitors each year. Topics range from fishing traditions to shipwrecks, offering something for both locals and tourists.

From May to October 2023, visitors can explore Annie Morin’s multidisciplinary exhibit, "A Walk on the Ocean Floor." This stunning showcase features sculptural and pictorial works inspired by the organic forms of the ocean and the interplay between its fragility and strength.

  
A notable event occurred in February 1971 when the museum hosted the exhibit "The Moon Lands on the Islands," featuring moon rocks brought back by Apollo 11 in 1969.

 
In July 1987, the Islands Aquarium was inaugurated in the historic Saltworks building at La Grave. It showcased the flora and fauna of the Gulf of Saint Lawrence. Although its focus shifted in 2017, the building now features a second-floor exhibition on La Grave’s history and cultural activities on the ground floor during summer. Experts are working to secure the 1895 structure to preserve its heritage.

The Musée de la Mer is a non-profit organization managed by a board chaired by Normand Thellab. It employs a multidisciplinary team and hosts researchers in archaeology and forensic anthropology each summer.

Musée de la Mer
museedelamer-im.com
1023, chemin De La Grave
Havre-Aubert, QC G4T 9C8
418 937-5711

Old Québec is the most popular tourist destination in Québec and features many of the greatest restaurants in the city. In the tradition of Serge Bruyère, many fine chefs in Québec are found in Québec city. Let us mention Jean-Luc Boulay (Le Saint-Amour and Chez Boulay), Arnaud Marchand (Chez Boulay), Daniel Vézina (Laurie Raphaël) and Louis Pacquelin (Panache) among others. Jean-Luc Boulay and Arnaud Marchand from Chez Boulay offer the experience of northern French cuisine while highlighting typical local products. It is located on the ground floor of the elegant Manoir Victoria, on Saint-Jean Street. Close by, Mr. Boulay also presides over the kitchen activities at Saint-Amour, a prominent figure of Québec’s gastronomic scene. Moreover, Saint Amour appears in Trip Advisors’ top 10 fine dining restaurants and it is not unusual to spot a celebrity seated there.

Situated in an old 18^th century warehouse in Vieux-Québec and part of the Auberge Saint-Antoine, the restaurant Panache offers the refined menu of chef Louis Pacquelin. While there, you can discover the artefacts showcased on the walls of the building, recalling the rich history of the French colony.

Tourists will also appreciate Les Anciens Canadiens, a restaurant established in a heritage building, where you can discover or rediscover some of the classics of traditional Québec cuisine. Near Château Frontenac, the Continental is renowned for its flambés. Close by, Le Parmesan offers delicious classics of Italian cuisine

Walking in the streets of Vieux-Québec is like following in the steps of the pioneers who gave birth to this nation. Founded by Samuel de Champlain as a trading post in 1608, the colony first developed around l’Habitation de Québec before expanding into the first streets traced around the Place Royale in the heart of the Vieux-Port. Restored in the early 1970s, this historical district brings us back in time to the capital of Nouvelle-France (New France) at the end of the 17th century. This was the era of Louis XIV, a bust of whom adorns the area. As I myself am a descendant of Mathurin Gagnon, who was one of the first merchants of Québec and whose home and retail store were located at the current site of the Sault-au-Matelot park (or Parc de l’Unesco), walking on the cobblestones of these historic sites is like reconnecting with the history of our roots in this country. A few steps away, Place Royale is the main site of the annual Fêtes de la Nouvelle-France, recreating the French colonial era of its original inhabitants.

In the Vieux-Port, one must absolutely visit the Musée de la Civilisation. The neighborhood is home to many gay-friendly establishments, among them the restaurant Marie-Clarisse, which was opened at the foot of the Casse-Cou staircase by nenowned chef Serge Bruyère.

Heading up to Haute-ville, one can admire the elements of fortification which have made Québec unique, for it is the only still-fortified city in North America. It is the neighborhood commonly reffered to as Vieux-Québec. Built at the end of the 19th century near the Citadelle fort, the hotel Château Frontenac rises above Place Royal on one side of the Terrasse Dufferin. The latter is a splendid walkway offering a spectacular view of the area and is perfect for romantic strolls. One can easily understand why the founders of Québec chose this strategic spot to establish the colony, which would become the capital of New France, then Lower Canada and finally, Québec.

The gay lifestyle took root fairly early in Vieux-Québec. The Sauna-hôtel Hippocampe on Mac Mahon Street, the oldest gay establishment still operating in the province (where some might recognize the interiors used for Robert Lepage’s film Le Confessionnal), has been open for over four decades. The owner, Yvon Pépin, had previously tended bar in many Vieux-Québec clubs, in a time when homosexual life was still mostly underground.

André Gagnon

Multiple award-winning Montréal-based artist from Mauritius, Kama La Mackerel, is delighted to present their debut exhibition, Who Sings the Queer Island Body? at the Visual Art Centre's McClure Gallery from March 3 to 25, 2023.

La Mackerel’s work, for the past few years, has sought to question and counter-narrativize dominant colonial island tropes through a queer/trans lens. Their photography series Breaking the Promise of Tropical Emptiness (2017-19), for example, calls into question the colonial legacy of the visual representation of “tropical islands” by questioning the aesthetics of the postcard. In this work, La Mackerel reframes clichés of Mauritian postcards, by foregrounding their transgender body at the centre of the frame. In their most recent work in moving image, poetry, textiles and performance ritual, Queering the Is/land Body (2021), presented at 17th edition of MOMENTA, Biennale de l’image, they explore the spiritual relationship that is sustained between the transgender, racialized body and that of the “island body” in order to bring forth ancestral forms of Indo-African spirituality. In their award-winning debut poetry collection, ZOM-FAM (Metonymy Press, 2020), they invoke ancestral voices of slaves and indentured labour who worked amidst colonial silences on plantation islands.

In Who Sings the Queer Island Body?, La Mackerel expands on their previous body of work to contend with the question of island sovereignty and ocean mapping. In this new work, they further question ocean and island cartographies as these have been documented, archived and communicated through modernity: The sea as aqua nullius, a masculine space that men traverse in order to to go to islands which were regarded as terra nullius, empty feminine spaces to be colonized. Through hybrid creative forms, La Mackerel explores the unruly interstices between photography, video, sound composition, poetry, textiles and performance to offer a decolonial mapping of “the island body” and its relationship to the ocean. Who Sings the Queer Island Body? opens up new aesthetic spaces where trans and decolonial personal, ancestral, geopolitical, geological and ecological narratives make themselves heard.

This new work body of work is also heavily influenced by the tragedy of the MV Wakashio. In July 2020, the MV Wakashio – a Japanese-owned cargo ship sailing under a Panamanian flag of convenience with a team of Indian sailors and on its way to Brazil – ran aground the coral reefs of La Mackerel’s native-island, Mauritius. More than 1,000 tonnes of heavy oil were spilled, impacting the entire south-eastern coastline including ecosystems of wetlands, mangrove forests and a marine reserve. More than 50 melon-head whales and dolphins washed up dead on the island’s coast. For the inhabitants of the south-eastern coast of Mauritius (“the people of the sea,” as they are called), this signaled the end of their traditional way of life.

The tragedy of the MV Wakashio – the biggest ecological disaster in the history of Mauritius – is in many ways embedded in this exhibition. On the one hand, watching this oil spill from afar demanded that the artist work through a deep process of grief for the ecologies, the people, the “island body” in relation to their own queer Mauritian body. On the other hand, the lack of international geopolitical accountability and the failure of any country to take responsibility and take action for this oceanic environmental disaster reinforced the dominant trope of disposability with which islands have been historically construed.

Who Sings the Queer Island Body? then, is an exhibition that is a call for reframing our relationality to island territories, to bodies of water, and to the ecologies of which we are part. At the core of this work, La Mackerel grounds us in an imperative to heal our hearts, to repair our relationship to the island body, to soothe the spirit of the ocean. Through the retellings expressed in the different pieces of this exhibition, Kama La Mackerel reactivates the work of the imagination, so that we can reinvent ourselves, with purpose; so that we can reclaim the very integrity of our human life; so that we can leave a roadmap of beauty, joy, of being in relationship differently, for generations yet to come.

ABOUT KAMA LA MACKEREL

Kama La Mackerel is a Mauritian-Canadian multilingual writer, visual artist, performer, educator and literary translator who believes in love, justice and self and collective empowerment. Their practice blurs the lines between traditional artistic disciplines to create hybrid aesthetic spaces from which decolonial and queer/trans vocabularies can emerge. At once narratological and theoretical, personal and political, their interdisciplinary method, developed over the past decade, is grounded in ritual, meditation, ancestral healing modalities, auto-ethnography, oral history, archival research and community-arts facilitation.

La Mackerel is a firm believer that artistic and cultural practices have the power to build resilience, to heal and to act as forms of resistance to the status quo. With wholehearted engagement in ocean narratives, island sovereignty, transgender poetics and queer/trans spiritual histories, their body of work challenges colonial notions of time and space as these relate to history, power, language, subject formation and the body.

La Mackerel has lectured, performed and exhibited their work internationally in museums, galleries, theatres and universities. In 2021, they were awarded the Canada Council for the Arts' Joseph S. Stauffer Prize for emerging and mid-career artists in Visual Arts. Their award-winning book ZOM-FAM (Metonymy Press) was named a CBC Best Poetry Book and a Globe and Mail Best Debut. Kama La Mackerel lives and loves in Tio’tia:ke, also known as Montréal.

KAMA LA MACKEREL & THE MCCLURE GALLERY

The McClure Gallery at the Visual Arts Centre in Montréal is an independent not-for-profit gallery operating for over twenty years. The gallery has a history of hosting high-quality, professional exhibitions by early, mid and late career artists working in a variety of disciplines. The programming is chosen by a jury made up of professional artists (one from the previous season, two from the teaching staff, one from the community) and board members (many of whom are also artists). The jury was particularly taken by La Mackerel’s exhibition proposal and their interdisciplinary work. The McClure Gallery is committed to supporting this work, particularly given the ongoing systemic barriers that the artist has faced as a racialized, transgender immigrant who is also self-taught.

Photography, video, textile installations, multilingual poetry and audio compositions combine for a debut multimedia exhibition

March 3 to 25, 2023
McClure Gallery

What happens when you’re caught between bittersweet memories of youth and the realities of middle age, with only a couple of opinionated old gay friends to lend you an ear. From the writer of the hit play Mambo Italiano, another sharp-witted look at what it means to be an Italian/Canadian gay man in an ever-changing world.

https://youtu.be/ZIMZTgcIkF4

Three old friends gather and reminisce about the past — the good, the bad, and the outrageous. They talk about everything from boyfriends to Sunday night dinners, backed by a soundtrack of Blondie, the B-52s, and the Village People. Everything bubbles to the surface while memory and loss stir up questions about healing and moving on.

With an open heart, Galluccio has penned a story about his own loves and losses in an unabashed love letter to Montreal. How do you remember your past? At the beginning of time… when everything is fresh and new. Galluccio’s newest play reminds us that memories are like a good shot of espresso: best shared among friends.

“​​At the Beginning of Time is my most personal play since Mambo Italiano. It seems only fitting that 20-some-odd years later I am back at Centaur to share this new chapter. In 2018 my life exploded, and I was forced to re-imagine my existence. I was a gay man in my late 50s who thought his life was settled. Overnight I found myself at the beginning of time, in a new chapter, in a new world, and a new reality. New beginnings are frightening and overwhelming, but if you surrender to the journey, the destination will ultimately be… spectacular. Thank you Centaur Theatre for taking my broken heart and turning it into art. Theatre, much like time, heals all wounds.”

– Steve Galluccio

Centaur Theatre

February 21 - March 12, 2023

You can’t talk about Mile End gastronomy without talking about Montréal’s Jewish and Eastern European heritage. It is the centre of the emblematic institutions of this legacy in the city, where immigrant Jews, most of them from Eastern Europe, brought us the bagel, the smoked meat sandwich and cured sausages in the early 20th century. In Mile End you’ll find the two temples of bagels that are Fairmount Bagel and Saint-Viateur Bagel. The story goes that the Montréal bagel is sweeter and more delicate than its New York cousin, a probable result of adapting to local taste. Try out a sausage sandwich at Wilensky’s on Fairmount Street. Smoked meat fans will definitely want to wait in line to try Montréal’s famous smoked meat sandwiches at the restaurant Schwartz on St-Laurent, just south of the Mile End.

The specialties of bagels and sandwiches associated with the Mile End neighbourhood are most probably linked to its being a favoured brunching destination. This tradition has been well established by the restaurant Beauty’s on Mont-Royal Avenue, where bagels are a specialty. Restaurants such as B & M or Fabergé, located on St-Viateur and Fairmount respectively, offer their own updated version of the Mile End brunch. The Syrian restaurant Kazamaza on Parc Avenue even proposes a Middle Eastern version of it.

The multiethnic character of the neighbourhood is, of course, also reflected in the more refined eateries of the area, with some fine cuisine from all sides of the Mediterranean basin. In the intimate décor of bistro Barcola on Parc Avenue, you will discover authentic Northern Italian cuisine. At the limits of Outremont on the corner of Van Horne and Hutchison, the Caffé Della Pace prepares a variety of Italian coffees and offers healthy, homemade vegetarian dishes composed of fresh ingredients. The prices are very reasonable and the atmosphere is friendly, with a piano in one corner and sofas in another. Both families with children and queers rub shoulders here. The fancy bistro Chez Lévêque on Laurier West has remained a very popular spot for the past 45 years. There is a humorous, slightly irreverent tone here, and a religious theme is displayed in reference to the patronymic of chef and co-owner Pierre Lévêque (L’évêque meaning Bishop). This chic Parisian brasserie with a distinctive Montréal touch has never deviated from the concept that made its success: good food and wine, in a trendy but casual ambiance. Their “faim de soirée” menu becomes available after 9pm, with more affordable prices attracting a younger clientele.

Of course, this neighbourhood’s culinary spectrum is much larger than what we can possibly cram into this page, and Local Montréal Tours can design customized gourmet tours that allow for rich and diverse Mile End discoveries.

https://youtu.be/4CsFz9ebRuo

Put on hold for two years due to the pandemic, Igloofest is back in full force in 2023 to celebrate its 15th edition, still featuring two stages, at the Old Port of Montreal over four weekends, from January 19 to February 11. People from Quebec City and the East will not be left out as Igloofest will hold its first weekend of festivities there on March 2-3-4 at Place Jean-Béliveau, right in the heart of ExpoCité, in front of the Videotron Centre.
In Montreal, the electronic music event offers several new features for the occasion, including Après-ski evenings, warm and cozy in various Montreal venues. The family-friendly Igloofête will also be presented on four Saturdays. But first and foremost, Igloofest means 12 festive outdoor evenings with several DJs from here and elsewhere.

 The Après-Ski segment is likely to interest those who prefer to dance in the warmth. The gay community will certainly be interested in these “after” parties at Auberge Saint-Gabriel, Centre PHI, Francesco’s, Soubois, or the Society for Arts and Technology (SAT). The organizers have scheduled no less than 27 nights for the true cold warriors. From January 20 to February 11, 2023, the good beats will keep rolling all night from 11 PM to 3 AM!

For the outdoor segment at the Old Port, the evenings of February 9 and 10 will certainly please regulars of gay circuit parties with DJs TIGA and TIESTO among the invited performers. For TIESTO, it will be a first-time participation at Igloofest.

A First for Quebec City

After postponing the first edition of Igloofest Quebec last year, it will be a brilliant start in 2023.
Starting Thursday, March 2, igloosapiens will have no choice but to end their hibernation as Montreal DJ and pillar Misstress Barbara takes over the turntables to thrill the crowd. It's a safe bet that Quebec City's gay community will gather to see and hear one of their dance night icons for many years.
On Friday, March 3, the undisputed Paul Woolford, an omnipresent force on dance floors, and X-Coast, instigator of epic parties on all continents, will break the ice before making way for headliner Diplo; DJ and house music producer, recently nominated for the Grammys for the 8th time and among the most influential in the world.
The hottest party of the winter will conclude on an electrifying note on Saturday, March 4 with the infallible DJ BORING and Montreal’s own Andrea de Tour, before the anticipated performance of Claptone. It’s impossible to stay cool in front of these illustrious artists who will alternate during the three days of festivities!
Once again, the Igloofest organizers have gone all out to satisfy even the most demanding electronic music fans with artists from all over the world.

For more details on the program and tickets:
Montreal - https://igloofest.ca/fr
Quebec City - https://igloofest.ca/fr/quebec/programmation

The Musée national des Beaux-Arts in Québec City will be presenting this fall the long-awaited retrospective of the seminal Canadian artist Evergon, born Albert Jay Lunt in 1946 in Niagara Falls, Ontario. This major exhibition will span his entire career, from 1971 to the present, with a view to shedding contemporary light on the artist’s long-term output. More than 200 works will be assembled for the first time to highlight this colourful individual and his multifaceted work.

Evergon is regarded as a genuine cultural icon in Canada. He is an artistic and social pioneer who focuses on contemporary questions concerning cultural and body diversity and diversity of identity. For nearly 50 years, the artist’s career has centred on bold photographic, technological, and aesthetic research. His always moving and occasionally irreverent striking imagery is often an extension of classical painting. The simultaneously political and sensualistic nature of his work raises questions on sexual orientation. He revisits with rare vitality genres such as portraits, landscapes, or nudes. Through collages, the art of photocopy and an entire array of exploratory photographic approaches, including the Polaroid, Evergon deepens the terms of queer masculine and feminine identity, thereby shaking up fixed ideas.

Numerous striking works underpin Evergon’s career, in particular the immense colour Polaroids from the 1980s, for which he is internationally recognized. Critics and several artistic institutions in the world have also paid tribute to his award-winning work in holography. His series devoted to his mother Margaret renews the representation of the ageing body as few artists have done and has received widespread recognition. Evergon is an immense creative force: identity, body diversity, love, desire, and ageing are at the root of his work. Like death and life, it is the latter in all its facets that the artist celebrates. Evergon grafts on to life notions of autobiographical fiction and extimity, a revelation of the intimate in the public sphere that is common today but that he explored early in his career. The artist deems all his works to be love letters.

Evergon’s concerns encompass social and artistic issues that go beyond the body’s socially constructed limitations. He thus abandons clichés by representing atypical bodies and goes beyond the canons of standardized beauty while relying on the seductive powers of photography, capable of inventing fictional worlds or theatres as is true of another major series in his career, in which he imagines the life of an entire community, that of the characters the Ramboys. Evergon continues to be in perfect synchronicity with the emancipatory challenges of photography: he has forcefully called into question the notion of the author by creating various alter egos. He disrupts the foundations of the photographic image through an astonishing baroque aesthetic and brushes aside the conventional canons of beauty by representing atypical bodies that he invests with panache.

In the estuary of the Restigouche River, at the end of Chaleur Bay, lies the national historic site of the Battle of the Restigouche, 3 km west of the municipality of Pointe-à-la-Croix. This historic site commemorates the last naval battle of the Seven Years' War between the French and English for possession of New France…

But it was also near this site, to the east of Pointe-à-la-Croix, that over a thousand Acadians fleeing deportation took refuge, in what was called in 1758 the village of Petite-Rochelle. At the time of the fall of Quebec in September 1759, the village was only defended by a fortified post and a handful of soldiers. Under the English threat, this Acadian refuge was nevertheless the last French bastion to capitulate. Here's why…

The last naval battle

At the end of May 1760, the Petite-Rochelle post received unexpected aid. The winter had been harsh, and the population had suffered greatly from famine. A French flotilla commanded by Lieutenant François Chenard de La Giraudais took refuge at the end of Chaleur Bay. Comprising the frigate Le Machault and two supply ships loaded to aid Canada, they had preferred to avoid encountering a larger English fleet that preceded them at the entrance of the Saint Lawrence River. On June 27, the three French ships were trapped by an English fleet of five warships commanded by Captain John Byron, who engaged in battle. The defense of the Petite-Rochelle post, however, was organized and supported by Acadian militiamen and Mi'kmaq warriors. François-Gabriel d’Anjeac, captain of the troops aboard the French ships, had taken command of the post and directed the construction of a battery and a guard post at Pointe-à-la-Garde (east of Pointe-à-la-Croix). This battery caused real damage to the English and delayed their progression towards the French ships. But the fight was uneven…

Estuary of the Restigouche River and Van Horne Bridge
Estuary of the Restigouche River and Van Horne Bridge connecting Campbellton to Pointe-à-la-Croix, viewed from Sugarloaf Mountain, New Brunswick. It is here that remains of the Machault still lie at the bottom of the river (author Blob5825, unmodified, license CC BY 1.0)
On July 8, at the end of a fierce battle, La Giraudais scuttled his ships to prevent the English from seizing the supplies and weapons. Quickly, Captain d’Anjeac led the retreat of his troops into the woods. However, the English fleet preferred to withdraw. Thus ended the battle of the Restigouche. The English had burned all the houses they found on the shore. The disaster was total. D’Anjeac still managed to organize the resistance of the Petite-Rochelle post, which still sheltered a thousand Acadian refugees. It was in vain… The French troops had to lay down their arms on October 30, after the capitulation of Montreal. The Acadians were left in place, plunged into great uncertainty, which did not prevent the Acadian privateers from continuing a relentless privateering war against the English boats. Several families had still managed to flee along Chaleur Bay and had founded the village of... Bonaventure.

This August 24, 2022, marks the 100th anniversary of the birth of René Lévesque, former Premier of Quebec, undoubtedly the most prominent figure in contemporary Quebec history and the most eminent son of Gaspésie.

 
Among the significant reforms of his government, the LGBT community owes him a great deal for making a major step when sexual orientation was added as a prohibited ground for discrimination to the Quebec Charter of Human Rights and Freedoms in 1977, a commitment of his party when it was in opposition at the time of its adoption in 1975. Quebec then became the 2nd legislature in the world to ban this discrimination, and this advancement would pave the way for access to equality and make Quebec one of the most welcoming nations in the world for LGBT people.

Born in Campbellton on August 24, 1922, René Lévesque grew up in New Carlisle before continuing his studies in Gaspé and Quebec City. When he dropped out of law school, he turned to radio. Bilingual, he was recruited as a war correspondent by the American army in 1944-45, an experience that deeply impacted him as one of the first correspondents to discover the horrors of the Nazi concentration camps. He then distinguished himself as a journalist in the 1950s, notably for his work on the program "Point de mire". Elected as a Liberal deputy in 1960, he became one of the main architects of the Quiet Revolution.
He was entrusted with the portfolios of Public Works, Hydraulic Resources, and then Natural Resources. He used this position to pilot the electricity nationalization issue at the heart of the 1962 elections. After leaving the Liberal Party, he founded the Sovereignty-Association Movement, and then the Parti Québécois (PQ) in 1968, seeing the political sovereignty of the Quebec people as the natural culmination of the Quiet Revolution. After two defeats in 1970 and 1973, the victory of November 15, 1976, allowed him to form the first PQ government.
A year after rejecting his sovereignty-association project in May 1980, Quebecers returned René Lévesque and the PQ to power in April 1981. He left active politics in 1985. The interest in his memoirs and the reactions to his death in 1987 reflect his unique place in contemporary Quebec history.

Throughout 2022-2023, various events will highlight the centenary of René Lévesque. Those who wish to learn about or remember the unique journey of this significant Premier in Quebec's history should not miss visiting the René-Lévesque Space in his native village of New Carlisle.