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About the Fair

Plural celebrates the best of contemporary art in Canada. Formerly known as the Papier Art Fair, Plural is organized by the Contemporary Art Galleries Association and welcomes 45 exhibitors from 9 Canadian cities.

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VIP Programming

The artworks will be visible to the public from April 10 to May 1, 2026.
For VIP ticket holders, access begins at noon on April 2.


Come back on April 10 to access the artworks online!

The artworks will be visible to the public from April 10 to May 1, 2026.
For VIP ticket holders, access begins at noon on April 2.

Enjoy an exclusive preview of the artworks with your VIP account.

To log in, enter the 14 numbers of your VIP ID number on your ticket.  

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Do you like what you see?

## For the fourth edition of the Plural Fair, Loto-Québec is once again partnering with artch to provide a platform for emerging artists.

Saturation—or excess—is unique to each of us. Our limits are not universal, and we do not reach saturation in the same way. The emotional impact of an event does not carry the same weight for everyone and perhaps that is where the complexity of the phenomenon lies: what pushes one person over the edge may leave another still within a tolerable zone. This tipping point is inherent to each individual.

To each their own affects, to each their own threshold.

Overload feels like a call for help: the moment when the body, the heart, the senses reach their limit. A signal. An internal alarm. The body speaking when reason still refuses to listen.

That tiny moment when everything shifts, when “more” is no longer synonymous with “better”—this is where the exhibition takes root. That intrusive thought, that micro-state that tells us it’s too much, that everything is about to spill over. What was once acceptable no longer is. An imperceptible shift that changes everything. The moment when the bearable becomes unbearable, when fullness becomes overflow.

This point of no return is rich: it contains within it a whole history of accumulation, of exhausted patience, of thresholds crossed. A volcano before eruption or a Big Bang—an infinite concentration of matter and energy that can no longer contain itself and must explode in order to exist otherwise.

This exhibition considers saturation as a condition for creation, for radical transformation.

Because saturation is also ecstasy, exhilaration, pleasure, release. A loss of control that can be both gentle and fatal. The mechanism is the same, regardless of how we frame it: it builds, it builds, and then suddenly, it bursts. Whether in pleasure or collapse, it is the same upward movement seeking release.

Saturation carries within it this dual promise: that of exhaustion or revelation. The moment when something gives way, when something can finally emerge.

The breaking point as possibility.

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Featuring the artists:

Montreal-based visual artist **Janna Yotte** develops a sculptural practice that explores the body, vulnerability, and transformation. Trained in photography and graphic design, she began her career with collage before shifting toward striking three-dimensional works.

Interdisciplinary artist based in Tiohtià:ke/Montreal, **Gabrielle Turbide** works at the intersection of art, biology, and technology. Her practice examines imposed forms of erasure—of bodies, voices, and ecosystems—and the dynamics of resistance that inhabit them.

Originally from Gatineau, **Zacharie Gauvreau** is a Montreal-based interdisciplinary artist and a graduate in visual and media arts from UQAM. Recipient of the McAbbie Foundation Excellence Scholarship (2023), his work has been exhibited in galleries, artist-run centres, and festivals across Quebec, including Blouin Division (2026), Atelier Silex (2025), artch (2023), Art Souterrain (2021), and AXENÉO7 (2019).

Renowned Québécois printmaker, **Guy Langevin (Loto-Québec Collection)** practices intaglio with a mastery that makes each print a visual event. His work explores zones of shadow and light—both literally and metaphorically—through subjects where softness and darkness coexist without resolution.

Visual artist **Florence Viau** examines the memory of the image and the limits of its mediums. Her practice navigates the tension between the permanence of stone and the transience of the screen, exploring what it means to fix an image—and what is lost in the attempt.

Born in Port-au-Prince, **Vladim Vilain** is a visual artist whose practice unfolds between Haiti and Canada, where he settled in 2012. Working primarily with photography, he approaches the image as a space of transformation where memory, spirituality, and identity converge. Rooted in Afro-surrealism, his work draws on ancestral traditions and folklore to construct worlds that exist between the visible and the invisible.

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*By Manon Pouliot, Head of the Loto-Québec Collection, and Sarah Kitzy Gineau Delyon, Director of artch*




Loto-Québec presents artch: Vertige de l'excès

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###### 1. Nicholas Crombach - Art Mûr
## *Cross Section III*, 2024

*Cross Section III* explores the intertwining of natural and artificial materials through the languages of geology, museology, and exhibitions. The work reflects on the blurred boundaries between nature and culture that define our current geological era. The colour palette and the carefully composed arrangement of materials highlight how materials accumulate, persist, and transform over time. The assemblage of these objects thus suggests the emergence of a world in which natural and human histories are inseparable. *Cross Section III* invites reflection on the hybridity of materials, exhibition systems, and the way objects carry multiple histories within them, existing both as vestiges of the past and active participants in the present.

*Cross Section III will be located on the 2nd floor, across from the staircase and the Loto-Québec booth, P06.*


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###### 2. Christos Pantieras - de Montigny Contemporary
## *In Bits and Pieces*, 2018
   

*In Bits and Pieces* examines the narratives and circumstances of men who discreetly seek intimacy with other men. Phrases such as “My wife doesn’t know I’m doing this,” “I’m told I’m really good,” and “I’m new to this” reveal secrecy, overconfidence, and initiation. Drawn from the profile descriptions of online dating and hookup platforms, these statements function as condensed confessions, distilling complex personal situations into brief declarations.

The work takes the form of letter boards and pedestal board signs, objects typically used to communicate, inform, or provide direction. Repurposed here, they reference human experience, presenting emotionally charged statements lifted directly from anonymous profiles. These anthropomorphic sculptures operate both as witnesses to and participants in an online world shaped by desire, vulnerability, and concealment. As viewers, we encounter moments of anticipation, loss, and uncertainty, and are left to consider whether these stories are slowly unravelling, or being rebuilt, piece by piece.

*In Bits and Pieces will be on display on the first floor, facing *Esse arts+opinions*, booth R01.*

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###### 3. Douglas Scholes - Galerie Robertson Arès
## *(This is) What happens when a thing is maintained (?)*, 2026


Douglas Scholes explores temporality and vulnerability in this sculptural installation of roughly 1,500 beeswax bricks. Warm, organic aromas introduce an olfactory dimension, while the material’s fragility contrasts with traditional brick, underscoring the towers’ precarity. 

**Performances by artist Douglas Scholes**  
**Friday April 10, 5 p.m. / Saturday April 11, 1 p.m. / Sunday April 12, 3 p.m.**

The artist engages with the structures through gestures of maintenance, reconfiguration, and repair, revealing the subtle tension between the transient and the enduring, and inviting reflection on ephemerality, care, performativity, and the sensorial experience of sculpture and public art.

*(This is) What happens when a thing is maintained (?) will be located on the first floor across from Galerie Robertson Arès, booth 118, and next to Wishbone Galerie, booth 138.*

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###### 4. Stanley Wany - ELLEPHANT
## *Pè Béto*, 2025 & *Sur le chemin de Port-au-Prince*, 2024-2025

Inspired by the Zangbeto, the traditional night guardians of Vodún among the Ogu peoples of Benin and Togo, Pè Béto reimagines their powerful masquerade form. Hidden within the sculpture, a speaker plays music recorded by Wany’s grandfather, Albert Gibbs. In the recording, he performs mandolin songs dedicated to each of his children who left Haiti in the early 1970s. The sculpture becomes a vessel of diasporic memory, carrying stories of departure, longing, and continuity across generations.

*Sur le chemin de Port-au-Prince* draws on the history of Wany’s family in Haiti, who built and operated a coffee processing factory in the 
mid-twentieth century. From cultivation to roasting, coffee production depended on the skill and labour of those who prepared it. Drawing and ink washes combine to evoke this family history. A dominant wash leads toward the export warehouse, where farmers’ and family names were replaced by the generic label “Café d’Haïti.”

**Artist Talk with Stanley Wany**  
**Sunday April 12, 1 p.m. - In French** 

Meet artist Stanley Wany for an artist talk about the installation on view at the fair, where he will explore the concepts of heritage and tradition that lie at the heart of his practice.

*Look for Pè Béto on the first floor across from the ELLEPHANT, booth 115.*


To learn more about the Plural installations, join Léa Lanthier-Lapierre for [a guided tour](https://www.plural.art/en/programmation) in French, *Tendre le fil : un parcours des installations*, on Saturday, April 11 at 12 p.m., or in English, *Weaving the Thread: A Walk Through the Installations*, on Sunday, April 12 at 3 p.m.!



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## During your visit to Plural, let yourself be drawn to the installations of the fair. These large-scale installations are works that do not fit into the booths, due to their hybrid nature or unusual size, punctuating the space, extending freely beyond the walls. These special projects explore and redefine the interplay between art and space, offering the public an immersive experience that goes beyond conventional formats.

Step outside the booth walls and discover these installations, which are spread across the two floors of the Grand Quay:



Beyond the Booths: Discover the Installations of Plural 2026

Plural is happy to present *ANTICIPATION*, a special exhibition curated by Sophie Latouche. Come by to see it in person at the Pavilion, on the second floor of the Grand Quay in Montreal's Old Port, from April 10-12, 2026.

Inspired by science fiction, especially the writings of Octavia E. Butler, *ANTICIPATION* explores the prophetic power of artworks that, through their materialities and gestures, inhabit the present while reaching toward what is to come.

The works presented envision the future as a practice of adaptation. They mobilize the reuse of metals, wood, textiles, plastics, found objects, and images to rebuild better. Faced with economic and ecological pressures, some transform used or discarded materials into resources; a natural logic emerging from subsistence needs, availability, and ideology. Other works focus on intimate acts of reactivation, where time is understood as cyclical and event-based. By delving into archives and recomposing fragments of the past to imagine plausible worlds at the threshold of utopia, bringing together their community within a shared time and space.


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This attention to temporality also takes form in works where the process itself becomes an act of projection: choreographed movements shape matter as a way of apprehending what lies ahead. Recurring motifs run throughout the exhibition, such as the machine, both functional and allegorical. Some works establish relationships between the mechanical and the corporeal, offering a reconsideration of what autonomy means: smiles appear on inanimate objects, battery-powered flowers light up, and the breathless song of pipes echoes our own forms of expression. Textiles, ubiquitous, become a harbinger vessel: will vulnerable bodies require protection and functionality to prepare for what is to come?

In this vein, *ANTICIPATION* brings into dialogue works whose materiality and symbolism approach the future as a porous and evolving field, fragile, precious, and threatened. Visitors are invited to reflect on their own anticipations, shaped as much by loss as by the possibilities of reinvention, asserting the importance of our current actions and our collective imaginaries.


The exhibition features works by the following artists:

- David Armstrong Six (Bradley Ertaskiran)
- Michelle Bui (McBride Contemporain)
- June Clark (Daniel Faria Gallery) 
- Betty Goodwin (Galerie Simon Blais) 
- Maggy Hamel-Metsos (Galerie Eli Kerr) 
- Anique Jordan (Patel Brown)
- Kelly Jazvac (Galerie Nicolas Robert) 
- Anne Low (Franz Kaka) 
- Jenine Marsh (COOPER COLE) 
- Caroline Monnet (Blouin Division)
- Bronson Smillie (Pangée)

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By Sophie Latouche

*Sophie Latouche is an independent curator and artist based in Tiohtià:ke/Mooniyang/ Montreal. Her curatorial practice draws from a fascination with images and their entanglement between representation and reality. Prompted by the idea of staging or fixing the “present moment,” she attends to the mutations produced by economic, media, and technological conditions, and how they shape artistic practices and their materials.*

*Formerly associate director at Galerie Pangée, she co-founded and co-directs the net.art platform Galerie Galerie Web. She also organized various exhibitions under the alias Sophie présente, notably at Galerie Nicolas Robert, Vidéographe, Family, and Produit Rien.*


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From the blog

Loto-Québec presents artch: Vertige de l'excès

Beyond the Booths: Discover the Installations of Plural 2026

Speculate on possible futures in the group exhibition "ANTICIPATION"