                     

Montreal's Grand Quay stands as a foundational site in the history of Montreal, where layers of time and memory converge. It was here that the first encounters between Indigenous peoples and Europeans unfolded, and where, in the years that followed, goods, materials, and waves of immigrants arrived, shaping the evolving fabric of the city. Yet, long before colonization, the St. Lawrence River was already a vital artery of movement, lined with spaces of exchange, negotiation, and coexistence—its significance firmly rooted in Indigenous presence. Today, the Grand Quay remains a palimpsest of maritime, industrial, and Indigenous histories. Reimagined as a cultural and civic space, it remains a symbol of the migration paths, sharing of knowledge, and profound economic transformations that have shaped Montreal across centuries.

It is within this layered historical context that the exhibition unfolds, exploring the inextricable relationship between memory and contemporary art. Conceived as mnemonic devices, artworks function as vessels of both personal and collective memory. As a physical manifestation of thought and experience, the works brought together for this project tap into personal narratives, collective history, and shared trauma. The exhibition highlights how memory is fluid, fragmented, constantly shifting within cultural and political landscapes. It is an act of reimagining, a perpetual recontextualization of our experience. Some artists recover forgotten voices, revisiting historical moments through acts of speculative remembrance, while others engage with intimate gestures of care and transmission—embodied in the preparation of food, the braiding of hair, or the rituals of mourning. The use of metal, wood, and textiles across multiple works is far from incidental; these materials echo the architecture of our built environments, the spaces that anchor our most cherished memories. of our built environments, the spaces that anchor our most cherished memories.



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In this way, *The past tense is always longer* unfolds as a weaving of narratives and materials, where each work inscribes memory into form, gesture, and gaze. Moving between what was and what remains to be reimagined, the exhibition reveals how memory is not only preserved but also continuously reshaped—tracing the sensitive imprints of histories in perpetual transformation.

The exhibition features works by the following artists: 
- Nadia Belerique (Daniel Faria Gallery) 
- Myriam Dion (Blouin Division) 
- Berirouche Feddal (McBride Contemporain) 
- Joyce Joumaa (Eli Kerr) 
- Lotus L. Kang (Franz Kaka) 
- Gabrielle L’Hirondelle Hill (COOPER COLE) 
- Kyle Alden Martens (Patel Brown) 
- Jeneen Frei Njootli (Macaulay + Co.) 
- Sheilah ReStack (The Blue Building Gallery) 
- Michaëlle Sergile (Galerie Hugues Charbonneau) 
- Ingrid Syage Tremblay 

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By Anaïs Castro 

*Anaïs Castro is a curator and writer based in New York and Montreal. Over the past fifteen years, she has held positions at various institutions, including Arsenal Contemporary Art, Art Mûr, the Peggy Guggenheim Collection and Stills - Scotland’s Centre for Photography.  She worked alongside Gaëtane Verna as an Assistant Curator on Kapwani Kiwanga’s project for the Canada Pavilion at the 60th Venice Biennale.*

## Plural is happy to present *The past tense is always longer*, a special exhibition curated by Anaïs Castro. Come by to see it in person at the Pavilion, on the second floor of the Grand Quay of the Port of Montreal from April 11-13, 2025.  

    

Weaving through time in the exhibition “The past tense is always longer” 

## Art *can* be expensive! But contrary to popular belief, artworks are not always valued at auction house prices or only accessible to high end collectors. To help you make your first acquisition or build your collection on a budget, we’ve put together the following tips and tricks for buying affordable artworks.


## 1. It’s got to be love

- Regardless of budget, buy works that you love! What works appeal to your senses, draw you in emotionally, intellectually? Does the work scratch an itch in you? Will it not leave your mind as you tour the fair? Does it make you smile or laugh? Does it articulate a feeling or idea you can’t put into words? Look for work that not only attracts you but generates questions, tension or intrigue, that you feel like you could live with for a long time and find new ways to engage with over time.

## 2. Works by emerging artists are often more affordable

- Because they are at the start of their careers, work by younger or more emerging (not necessarily mutually true!) artists tend to be more modestly priced. Look for artists just graduating from MFA (Master of Fine Arts) programs at your local universities or colleges or ask gallerists about who has recently been added to their roster of artists they represent. Instagram is another great way to find emerging artists through channels like [@artforecast](https://www.instagram.com/artforecast/) or [@vancouverartblog](https://www.instagram.com/vancouverartblog/).
- At art fairs, like Plural, prices will often be listed on the label next to the piece. If not, don’t be afraid to ask the gallerist for a price list or to ask what works are available within your budget range.
- Investing in the work of emerging artists also shows confidence in an early artists’ practice, allowing you to build a relationship with them and, potentially, watch their career grow over time! Gallerists are often happy to introduce you to the artist so you can get to know them on a personal level.

Here are some works by emerging artists available at Plural 2024 for under $2000:

Michelle Paterok, "Sidewalk Ginkgos, November 13", 45.7 × 35.6 cm, Huile sur toile, panneau / Oil on canvas, panel,  2023, 1200 $, Duran|Mashaal

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SidewalkGinkgosNovember13.jpg

José Andrés Mora, "Dissolve", 101.6 × 50.8 cm, Jet d'encre sur fibre d'agave Hahnemühle, signé à la main, édition de 15 / Inkjet on Hahnemühle Agave Fibre, hand signed, Edition of 15, 2022, 1790 $, IOTA Studios

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Gabrielle Lajoie-Bergeron, "Fire and Flowers", 50.8 × 40.6 cm, Peinture vinylique et peinture aérosol sur tissus marouflé sur panneau de bois / Vinyl paint and spray paint on fabric mounted on wood panel, 2024, 1600 $, Artroduction

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Jenny Yujia Shi, "Régiment du Matin", 20.5 × 15.5 × 0.7 cm, Papier découpé et médias mixtes entre plexiglas avec quincaillerie / Paper cut-outs and mixed media between Plexiglas and hardware, 2023, 920 $, The Blue Building Gallery

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Michael Thompson, "Zinnia", 22.9 × 30.5 cm, Huile sur toile / Oil on Canvas, 2023, 2000 $, Franz Kaka

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Clara Cousineau, "Mise en relief A-Z - noir sur blanc (y)", Impressions en relief sur support gaufré / Relief prints on embossed support, 2022, 670 $, Collection Art Volte

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Rosi Maria Di Meglio, "Deux Mille Vingt-Trois", 25.4 × 20.3 × 6.5 cm, Huile, fusain sur panneau de papier argile fait main / Oil, charcoal on handmade clay paper panel, 2023, 950 $, Galerie Lacerte art contemporain

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## 3. Art multiples and works on paper are your friend

- Works made in multiple – for example, photographs, editioned prints (like intaglio/etchings, lithographs or giclee prints) and sculptures created using molds – as well as works on paper tend to be priced lower because they are either reproducible and therefore not one of a kind, or made from less costly materials. Works from a higher edition (ex. 1/100) will usually be lower in price than those from a lower edition (ex. 1/10), because more versions of that piece are on the market.
- Works that are unframed will also be less expensive than framed pieces; however, purchasing pre-framed pieces will ensure they are properly protected and ready to hang (and that they won’t sit in your closet for a year with the lingering intention that you’ll finally send them to the framers!)
- Also, when buying editioned prints, make sure the work is signed by the artist! This helps ensure the work is authentic.

To what your appetite, here are some editioned prints and works on paper available at Plural 2024 for under $2000:


Will Munro, "Sans titre (General Idea)", 33.0 × 48.0 cm, Sérigraphie, petite édition non numérotée / Silkscreen, small unnumbered edition, 2005, 1800 $, Paul Petro Contemporary Art

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Will Munro  Untitled (General Idea's)  2005  silkscreen small unnumbered edition  13 x 19 inches med res.jpg

Charlotte Guirestante Ghomeshi, "You are not aware of darkness when you’re asleep", 35.6 × 27.9 cm, Impression jet d’encre sur papier satin, Édition 1/5 /  Inkjet print on satin paper, Edition 1/5, 2022, 1100 $, Projet Commun

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Noémie Weinstein, "Intérieur, Palm Spring I", 11.8 × 17.8 cm, Crayon de couleur sur papier / Colored pencil on paper, 2019, 700 $, Blouin Division

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Ho Tam, "X-Birds, tiré de The Greatest Stories Ever Told (Les plus belles histoires jamais racontées)", 33.0 × 48.0 cm, Impression jet d'encre, édition de 5 / Inkjet print, Edition 1/5, 2022, 1500 $, Paul Petro Contemporary Art

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Ho Tam X-Birds  from The Greatest Stories Ever Told  2022  inkjet print on Xuan paper  edition of 5, #1  12 x 18 inches (image size), 13 x 19 inches (sheet size).jpg

Dara Vandor, "Search Portrait - May 1, 5:06 pm - May 8, 12:18 pm", 61.0 × 47.7 cm, Sérigraphie sur papier d'archives / Silkscreen on archival paper, 2023, Prix : Se renseigner auprès de Birch Contemporary / Pricing: Inquire with Birch Contemporary

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## 4. Small can be sumptuous

- Smaller works are usually lower in price and more maneuverable within your home; their size makes it easier to test them out in multiple spots within your space until you find the right fit, whereas large pieces often demand a feature wall or other place of prominence.
- In addition to providing more flexibility, smaller works often have a more intimate feel, can add intrigue to your collection and act as a good jumping off point for purchasing other pieces in the future.

## 5. Pay in portions

- Most galleries offer the ability to pay in installments, so you don’t have to cover the full cost of a pricey piece up front! Speak to the gallerist representing the artist whose work you are interested in to see if this is an option.

## 6. Attend a workshop or tour

- Though not a necessity, attending a talk or workshop on collecting and hearing other collectors’ perspectives on acquiring art can help provide a different viewpoint or insight into what can be perceived as an opaque process. Plural’s 2024 Forum features three great activities that either speak to collecting specifically or showcase emerging artists:

Friday April 12, 11am: [SéminArts for 18-30 year-olds](https://www.plural.art/en/programmation/seminarts-pour-les-18-30-ans-atelier-dinitiation-au-collectionnement-de-lart-contemporain-et-son-marche-2), an introductory workshop to contemporary art collecting and the art market (In French, registration required)

Saturday April 13, 3pm: [First Look guided tour](https://www.plural.art/en/programmation/first-look) with Tatum Dooley, featuring artists showing for the first time at Plural (In English)

Sunday April 14, 12pm: [The fair through the eyes of a collector](https://www.plural.art/en/programmation/the-fair-through-the-eyes-of-a-collector), a guided tour with collector Raja Hanna (In French)

## 7. Use Plural’s online filters to search by price

- Searching for works based on price at art fairs can sometimes be overwhelming and frustrating; it might be easy to find works you love but they’re often way out of budget. Luckily Plural has an online counterpart, featuring works showcased on site in one handy online portal, organized by gallery. This portal features search options that allow you to filter artwork results by artist name, dimensions or price. This is a great way to source works you love that you can afford, identify the artist and gallery, and then find them in person on site during the fair from April 12-14, 2024 so you can pick the right piece.

[Create an account and browse the artwork catalog (from Friday April 12 at noon – May 3, 2024)](https://www.plural.art/en/creer-un-compte)

Start your search with this selection of works available for under $2000 at Plural 2024: 

Alexandra Levasseur, "Le dernier jour de l'été", 38.0 × 30.0 cm, Gouache, peinture à l'huile et grès émaillé sur bois / Gouache, oil paint and glazed stoneware on wood, 2024, 1550 $, Galerie C.O.A

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C.J. Chueca, "TU YO", 30.0 × 20.0 × 5.0 cm, Céramiques et émaux construits à la main, Edition de 2 + 1 épreuve d'artiste (chacun unique) / Hand-built ceramics and enamels, Edition of 2 + 1 Artist Proof (each unique), 2022, 1950 $, Plataforma Artbase

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Olivier Moisan-Dufour, "Construction multicolore #11", 28.0 × 14.0 × 14.0 cm, Bois et acrylique / Wood and Acrylic, 2022, 950 $, Galerie C.O.A

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Dil Hildebrand, "Palissade", 30.0 × 54.0 cm, Gravure en relief sur papier kozo, monotype / Woodblock relief print on kozo paper, monotype, 2023, 1610 $, Pierre-François Ouellette art contemporain

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Marie-Claude Marquis, "Prête pour mon Pap Test", 23.5 × 23.5 × 5.0 cm, Typographie sur assiette vintage / Typography on vintage plate, 2023, 825 $, Galerie Robertson Arès

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Louis-Charles Dionne, "Dossier sans titre",  Tablette de quartz / Quartz Tablet, 24.1 × 28.6 × 2.5 cm, 2023, 1290 $, Collection Art Volte

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Balint Zsako, "Here We Are #147", 33.0 × 25.5 × 1.0 cm, Aquarelle et encre sur papier, 2021, 1750 $, Galerie Robert Poulin

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Michael Dumontier & Neil Farber, "You’ll never see me again. My ghost plans to wander", 25.4 × 20.3 cm, Acrylique sur panneau de bouleau / Acrylic on birch panel, 2023, Prix : Se renseigner auprès de Patel Brown / Pricing: Inquire with Patel Brown

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Josiane Lanthier, "Blackest Sapin", 35.5 × 27.9 cm, Acrylique sur toile / Acrylic on Canvas, 2024, 1500 $, Galerie Simon Blais

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Plural 2023 Participants, Photo © Jean-Michael Seminaro | Plural 2023 Attendees, Photo © Jean-Michael Seminaro

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Buying Art on a Budget

## First time visiting Plural? Not sure what to expect? To help you separate the facts from fictions about art fairs and art collecting, we’ve debunked some common misconceptions below, so you can have the best fair experience possible. 

## Myth #1: Art Fairs are for art professionals and seasoned collectors. 

Art Fairs are like festivals for the visual arts. And while they tend to act as hubs of the art world – bringing varying members of the art community together, from artists and gallerists, to collectors and dealers – they are not industry-only events! Art fairs are open to the general public and admission is usually comparable to museum entry fees ([Regular tickets](https://plural.artsvp.com/63fe13?link=plural-art) to Plural 2024 are $25 with discounted student and senior rates available). 

Art fairs are said to take the temperature of the contemporary art world; so they are a great way to see the freshest work from a wide range of artists, working across varying mediums and styles. See what you like and don’t like! Regardless of your background or whether you have any interest in collecting. They are also a great opportunity to meet artists and chat with them about your favorite pieces.


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## Myth #2: Contemporary art is expensive; you have to be rich to be a collector.

When you decide to purchase a work, it’s up to you to decide how much you want to spend. The more contemporary art you see – whether at commercial galleries, museums, artist-run centres or art fairs – the more you’ll realize there are artworks for every budget. And don’t forget! In the contemporary art world, emerging artists will usually sell their first works at more accessible prices, and as such can be a great entry point to collecting. 

To gain more insight into collecting, join us for our [guided tour “The Fair Through a Collector’s Eyes”](https://www.plural.art/en/programmation/the-fair-through-the-eyes-of-a-collector) on Saturday April 14, at 12pm. 

## Myth #3: You have to dress up to attend an Art Fair

Art fairs can be a fun occasion to dress-up, if you like, but it is far from mandatory or expected! Wear what makes you feel comfortable. Bring a sweater if you get cold easily.


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Visite guidée de Plural 2023, Photo © Jean-Michael Seminaro | Plural 2023 Guided Tour, Photo © Jean-Michael Seminaro

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## Myth #4: You have to be an expert in art history to understand and collect art. 

An artwork can hold many meanings simultaneously, and even if your interpretation differs from the intentions of the artist, this does not make your take on a work any less true or valid, just different. Visual art’s greatest strength is its ability to communicate a plethora of sensations, images or ideas beyond language. So, you don’t have to be an expert; you only need to be curious! Allow yourself to gravitate towards works you are drawn to or to be critical of works you dislike. What do or don’t you like about a piece and why?

And as there’s so much to see at art fairs and they can sometimes be overwhelming, instead of trying to take it all in, slow down and spend some quality time with a few pieces that catch your eye, as if getting to know a new friend. And if you’re interested in collecting, trust your instincts: is this the right piece for you and your space? Do you want to help support this artist’s career? Could you grow with this work over time? 


## Myth #5: What’s the point of art? My 5-year-old could do the same.

It’s often said that art holds up a mirror to society. Depending on your personal experience and aesthetic sensibilities, certain works will speak to you more than others, offering a moment to reflect on the world in which we live. Each work is the culmination of often a carefully thought-out artistic approach and many hours of work. It is also hard to assign value to a piece based on the complexity or simplicity of its visual execution: sometimes the concept carries more weight than the way it was made. Cultural, political, and socio-economic factors also come into play and deeply affect the origin stories of artworks.  Find out more by talking to the gallerist or directly to the artist who made the work in question or join one of our [free Plural Forum activities](https://www.plural.art/en/programmation) on a topic that interests you.


Still have questions? Email us at info@agac.ca! We’re happy to address any concerns you might have. 

Plural 2023 Participants s'adressant à un galeriste, Photo © Jean-Michael Seminaro | Plural 2023 Attendees Speaking to a Gallerist, Photo © Jean-Michael Seminaro

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Table ronde du Forum Plural 2023, Photo © Jean-Michael Seminaro | Plural 2023 Forum Panel Discussion, Photo © Jean-Michael Seminaro

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Myths vs. Realities of Art Fairs and Collecting

by Galadriel Avon

*[Galadriel Avon](https://galadrielavon.com/) is an independent author and curator as well as the editorial director of [Vie des arts](https://viedesarts.com/). She works in the peripheral regions of Mont-Saint-Hilaire and Kamouraska, Quebec.*

**National Bank Private Banking 1859** is proud to present the work of Claudie Gagnon at Plural 2024.

## Claudie Gagnon works with transparency and finesse. In an almost alchemical manner, she has been developing large chandelier-like devices for several years: using translucent materials, they exploit the effects of light that are welcomed, voluntarily or involuntarily, into the various exhibition spaces that house them.

A multitude of found objects make up her suspensions. Some are taken from old laboratory glassware, others are simply gleaned. They are, in turn, test and chemistry tubes, burettes, balloons; cups, spectacle lenses, blown glass shards, bottles - all blending with the crystalline sparkle of old treasures, often broken, assembled by the artist. In the studio, a filing system controls their accumulation. Here, Gagnon creates categories that she will later bring together. In a similar way, she unearths and arranges supports that will dictate the shape and symmetry of her future pieces. A way of finding the extraordinary in the ordinary, her collecting brings her to a confluence of real material nuggets.


Claudie Gagnon, "Prescription", 2020, Chiguer Art Contemporain

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Claudie Gagnon, "Prescription", Detail, 2020, Chiguer Art Contemporain

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Claudie Gagnon, "Incantations de lumière", 2024, Foire Plural

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These mirage-like creations are the prisms of projections, magnification or shrinkage effects – like a magnifying glass under the influence of a rotating light source – and interplays of mirrors. As the sun's rays caress their contours, the works change their appearance, capturing what their environment has to offer, until at times they become immaterial, ghostly and diaphanous. Artificial lighting, used in certain specific contexts, also enhances volumes and amplifies details. If the projects have the sporadic ability to disappear, they also possess the inexhaustible capacity to emit shimmering effects, each more varied than the last: depending on the air currents blowing over them, colors and reflections burst into space, sublimating the experience of their plastic qualities and of the place in which they stand. In this way, the pieces work alone and together, to move us.



Claudie Gagnon, "Pépites", Installation à Chiguer Art Contemporain, 2023, Photo © Jason Perreault

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Claudie Gagnon, "Incantations de lumière", Détail, 2024, Foire Plural

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Beyond the range of possibilities opened up by the materiality of these fragments, Gagnon is interested in the layers of life they carry within them. Their previous uses, the stories they have nurtured and those they will rewrite once reconditioned and revalued by her gesture are at the heart of her preoccupations. This way of envisioning the narrative of her pieces, which can only be achieved through the recuperation process from which the objects that make them up come from, is an integral part of the attention she pays to their amalgam of materials. These are the result of conscious, conscientious choices.

This interest, and that surrounding the possibilities of fortuity, also enables the artist to shift and play with tensions and polarities. It is the enchantment that arises in us when we receive her work that the artist subverts by introducing, sometimes in spite of herself, incidental elements into her projects. Certain insects encapsulated by the force of age in her old-fashioned test tubes, for example, provoke a form of aversion or repulsion that is completely at odds with the state of fascination provoked by the magnificence and preciousness of her hangings. They thus oscillate between the narrative of the object, a broader narrative – in this case, for instance, a questioning of wear and tear, of time – and the public's imagination, confronted with these successive symbols and meanings.

At Plural, fragile yet imposing suspensions by Claudie Gagnon will inhabit the bay window of the Grand Quai in Montreal's Old Port. We'll hoist them to the high ceilings, letting them fully embrace the open space, which we know is conducive to all kinds of shimmering. The pieces are crafted with patience and care. Be patient and attentive to the contemplative subtleties of their constitution, as you take in their conversations with tricks of light.

Claudie Gagnon is represented by Chiguer Art Contemporain.


Claudie Gagnon, "Pépites", Detail, Chiguer Art Contemporain

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Claudie Gagnon, "Ruse", Detail, 2020, Chiguer Art Contemporain

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Claudie Gagnon, "Entomologie", Détail, 2020, Installation à Chiguer Art Contemporain, 2023, Photo © Jason Perreault

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Claudie Gagnon — Incantations of light

## A lively exchange between the two curators, Manon Pouliot and Sarah Kitzy Gineau Delyon, began with two works by artist Sonny Assu from the Loto-Québec Collection. These masks carry with them the artist's ancestral heritage, each notch carved by the age-old growth rings containing the wisdom of the Kwakwaka'wakw community on Vancouver Island, to which Sonny Assu belongs.

These two works served as a catalyst for a network of inspiration made up of pieces by Miri Chekhanovich, Tong Zhou Lafrance, Mallory Lowe Mpoka, Pardiss Amerian and Charlotte Ghomeshi, all brought together in the exhibition entitled *Narrations souples*.

Sonny Assu, "Longing #19", 2011, Collection Loto-Québec, Photo © Loto-Québec

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Sonny Assu, "Longing #20", 2011, Collection Loto-Québec, Photo © Loto-Québec

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The works interrogate inherited narratives, cherished memories and collected family archive photos. They offer an immersion into the artists' stories, where narratives fold and unfold, emphasizing emotions and symbols rather than the sequential order of events. Each work focuses on key moments, recurring themes, or emotions and impressions conveyed by the gesture, color, shape or texture of the object. Miri's recipe book, for example, is designed with edible and degradable materials, Tong Zhou cuts and reweaves her photos in connection with her adoption from China, Mallory creates prints from her family's archives, while Pardiss blends time symbolism, lyrical potential, collage and painting to transcend traditional historical boundaries. Charlotte shares with us a piece of her grandfather's history.

Miri Chekhanovich, Installation "Bouche de miel" (détail 2), 2023, Photo © Guy L’Heureux et Centre des arts actuels Skol, Galerie Hugues Charbonneau

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Tong Zhou Lafrance, "Untlitled Labour: Mini Golden Pearl 2012", 2022, artch 2022

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Through this narrative ﬂexibility, the artists invite the public to connect with their sensible stories. The works lead visitors to question their own personal experience and find points of connection with the creations on display. **The exhibition is a space for empathy and mutual understanding.**

The selected body of work is an invitation to reinterpret established histories and question the narratives that have been passed down from one generation to the next. They allow us to consider new perspectives and actively engage with the past and reflect on the future, while directly questioning our role as narrators.

**Curators**: Manon Pouliot and Sarah Kitzy Gineau Delyon

Charlotte Ghomeshi, "Cappadocia", 2023, Projet Commun

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Dive into a sea of memories with "Narrations souples"

by evlyne Laurin

*"Mémoire matérielle" is a special exhibition curated by evlyne Laurin for the Plural 2024 Pavilion Space. See it in person on the second floor of the Grand Quai of the Port of Montreal from April 12-14, 2024.*

*This project is propelled by [Artys Transit](https://artystransit.ca/), with curatorial support from the* **Fonds Hamelys**.

## This exhibition evolved in a rather different framework than usual curatorial projects - the parameters are different in a broader sense and are presented outside of museum walls or institutional context. *Mémoire matérielle* aims to showcase a plurality of materials, practices, techniques, and mediums, highlighting the materiality of artworks and their cultural context to acknowledge their meaning and significance within the artistic ecosystem of Quebec and Canada.

This exhibition celebrates the tangible embodiment of current topics and the resourcefulness, creative power, and diversity of artists, whether born here or having chosen to live here, on this native land that has welcomed all of us. It was essential to my vision to showcase a variety of practices and materials, reflecting the breadth of contemporary art in our country. I firmly believe that unity in diversity strengthens the art world, fostering collaboration, shared experiences, and a welcoming embrace of differences.

Brendan Lee Satish Tang, "Manga Ormolu Version 4.0aa", 2023, Gallery Jones

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Rhonda Weppler & Trevor Mahovsky, "The Known Universe", 2017, Susan Hobbs

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Melanie Colosimo, "When is a fence a ladder?", 2021-22, The Blue Building Gallery

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P24 Melanie Colosimo, "When is a fence a ladder?", 2021-22, The Blue Building GallerY

Featuring the works of over 30 artists, *Mémoire matérielle* invites you to engage with art, culture, history, and memory. Through these expressions of cultural, historical, and aesthetic importance, and with the hope that it will spark your interest to visit one more gallery, one more museum, or to have one more conversation, to discover and celebrate our plurality, as we recognize the profound influence of art on our cultural identity and legacy. Let this exhibition be a catalyst for deeper engagement and appreciation of the diverse voices and perspectives shaping our artistic landscape.


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Alexandra Levasseur, "Prouesses génétiques", 2023, Galerie C.O.A.

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Dominic Papillion, "Humeur acéphale", 2018, Galerie Bellemare - Lambert

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The exhibition features the following artists:
 
- Ghazaleh Avarzamani (Nicolas Robert)
- Trevor Baird (Project Pangée)
- Shary Boyle (Patel Brown)
- Judy Chartrand (Macaulay & co. Fine Art)
- Zavisha Chromicz (Paul Petro Contemporary)
- Melanie Colosimo (The Blue Building)
- Ruth Cuthand (Slate Fine Arts)
- Chun Hua Catherine Dong (Patrick Mikhail)
- Sameer Farooq (Nicolas Robert)
- FASTWÜRMS (Paul Petro Contemporary)
- Marie-Ève Fréchette (Galerie C.O.A.)
- Steen Ipsen (Duran Mashaal)
- Ginette Legaré (Birch Contemporary)
- Alexandra Levasseur (Galerie C.O.A.)
- Yen-Chao Lin (TIAN Contemporain)
- Janet Macpherson (Slate Fine Arts)
- Rhonda Weppler & Trevor Mahovsky (Susan Hobbs)
- Manuel Mathieu (Galerie Hugues Charbonneau)
- Lindsay Montgomery (Patel Brown)
- Laura Moore (Zalucky Contemporary)
- Suzanna Nacha (United Contemporary)
- Dominic Papillon (Galerie Bellemare - Lambert)
- Amélie Proulx (Chiguer Art Contemporain)
- Stephen Schofield (McBride Contemporain)
- Erin Shirreff (Bradley Ertaskiran)
- Jennifer Rose Sciarrino (Galerie Daniel Faria)
- Cassie Suche (Duran Mashaal)
- Brendan Lee Satish Tang (Galerie Jones)
- Charlene Vickers (Macaulay & co. Fine Art)
- Erin Vincent (Christie Contemporary)
- Nico Williams (Blouin - Division)
- Kevin Yates (Susan Hobbs)

Also, if you'd like to dive deeper into the curatorial creative process that shaped *Mémoire matérielle*, join me for a guided tour of the exhibition on Friday, April 12th at noon! Find more info [here](https://www.plural.art/fr/programmation/memoire-materielle-au-coeur-du-projet-commissarial-2), no registration required. 

Chun Hua Catherine Dong, "Out of the Blue", Patrick Mikhail

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Manuel Mathieu, "La boule blanche", 2022, Galerie Hugues Charbonneau

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Sameer Farooq, "Pouf, Sausage, Weight, Arc (Poufs and Sausages)", 2017, Nicolas Robert

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I would like to extend a special thanks to David Lavoie, and to museum technicians Alexandre, Gabriel, Anne-Marie and Jérémie, as well as all the galleries that have generously loaned works by their artists to make this exhibition the success it is. A heartfelt thank you to all the galleries outside of Montreal who understood the importance of this showcase; your support has been greatly appreciated.

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Marie-Ève Frechette, "C.E.8 - Corps étranger", Galerie C.O.A.

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Nico Williams, "Ancestry DNA Bag", Blouin Division

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