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.*


Speculate on possible futures in the group exhibition "ANTICIPATION"

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Subsequently, in the second half of its existence, other AGAC projects continued in the same vein. Starting from 2007, under the management of Matthieu Gauvin, who was then AGAC's general director, the Papier fair became a major event over the course of its 15 editions (now taking on the name Plural). Indeed, AGAC has continued to evolve and develop through numerous other initiatives such as the Gala des arts Visuels (2011-2014), the standard contract between artist and gallery with the Regroupement des artistes en arts visuels (2012-present), Feature: Contemporary Art Fair in Toronto (2014-2015), *Collectionner - le guide* (2016-2017), the Art Market Forum (2019), the *Retrouvez l'art d'ici* campaign (2021), and more recently, Gallery Weekend (2021-present) and the Plural Contemporary Art Fair (2023-present). 

Rhéal Lanthier, owner of Montreal gallery Art Mûr, a long-standing member, and AGAC Board President between 2007 and 2013, believes that it is by building a public for these projects that the Association has been able to ensure the success and notoriety it enjoys today: “The dynamism that the Association has been able to inject into the market, by creating new collectors and an interest in collecting with several educational projects, is what makes Plural do so well today. [...] Because an audience has been developed over the years.” He points out that there is strength in numbers in this context too: “The art market is generally made up of small businesses, [...] so their weight, their promotional capacity is limited. [...] It is only by federating or working in collaboration that we can create projects that manage to get media coverage, a presence on the local scene.”


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On the other hand, over the years, AGAC has worked hard behind the scenes, federating its members according to a rigorous code of ethics designed to ensure the integrity and quality of each gallery. In addition, the Association fulfills its mandate by lobbying to represent its members before government authorities and other related institutions, in order to defend their interests, obtain funding, advocate for better support for the professions of gallerist and artist, as well as promote the recognition and vitality of the contemporary art market. Julie Lacroix emphasizes that “it's important to have a spokesperson, an advocate for all sectors, because we need one to make our mission and our vision known.”



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Today, with 34 galleries across Canada, including Montreal, Quebec City, Ottawa, Toronto, Halifax and Vancouver, AGAC remains a non-profit organization dedicated to defending the moral and economic interests of its members, ensuring the recognition and prosperity of the contemporary art market in Canada, as well as fostering public awareness of contemporary art. Looking back, Lorraine Palardy notes that “AGAC's vision seems to be bearing fruit, and [that] it is not too far removed from its original mandate: to reach out to people, to the widest possible audience, to support galleries, to support artists”. 



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## To find out more about its history, watch the round table *40 ans de l’AGAC: réflexions et perspectives* on our Youtube channel, or subscribe to AGAC’s social media and newsletter for more glimpses into the past! 

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## In 2025, the Contemporary Art Gallery Association (AGAC) celebrates its 40th anniversary, marking four decades of commitment to the defense and promotion of contemporary art. 

At the core of AGAC's mission is the representation of its members - all Canadian commercial contemporary art galleries - which goes hand in hand with its mandates to advocate for the prosperity of the contemporary art market, educate the public about the current art scene, and contribute to the promotion of contemporary art both in Canada and internationally. 

Originally the Association des galeries d'art contemporain de Montréal (AGACM), it was founded in 1985 by around twenty directors of Montreal galleries with the aim of seeking solutions to their common difficulties, as well as constituting a force that could express its needs and act in cohesion. Lorraine Palardy, founder of Les Impatients, gallerist, Chevalière de l'Ordre national du Québec, and former president of the AGAC Board of Directors, emphasizes the importance of solidarity in the milieu: “We tried to open up this association along other avenues, by solidifying ourselves with other partners. There were a lot of people around us who wanted AGAC to succeed. We could feel the support of artists and galleries alike.”

AGAC quickly established itself as a major player in the visual arts milieu, as well as in the Canadian art market, with major initiatives such as the first expo-fair dedicated to contemporary art in Canada, L'Entrée libre à l'art contemporain (1987-1993), the *Magazine ETC* (1987-1992), the Foire d'art contemporain (1994), the Prix Louis-Comtois (1991-present), the Prix Pierre-Ayot (1996-present), *Peinture Peinture* (1998), *Intersections Montréal-Toronto* (2000), Le Salon du Printemps (2002-2004) and many more. Isabelle Lelarge, who led the Association between 1988 and 1990, maintains that it is through these projects that AGAC has been able to spread its wings: “The quality of these events has enabled, each time, the emergence of a very lively, rich and creative art scene.” Indeed, Julie Lacroix, who headed the organization for over a decade, notes that this is how AGAC's mission unfolds: “We chose to extend the role of the sector's spokesperson, to not only cover its commercial interests, but also to broaden audiences in relation to what it offers, which is art, so to educate, democratize and promote.”

AGAC's 40th Anniversary: A Retrospective

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Here are a few reasons why companies might be motivated to collect art: 

## Support for artists 
The purchase of works of art by Quebec companies represents a significant percentage of annual acquisition transactions in the province, in some years almost equalling that of museum institutions. In this way, companies help to diversify funding for the arts by multiplying sources, thereby providing artists with greater independence. 

Indeed, by creating an acquisition policy and drawing up broad guidelines, corporate collectors affirm their support for the art market and equip themselves with tools to foster their relationship with artists. By setting an average number of acquisitions per year or an amount allocated to art purchases each year, they help ensure the vitality of the artistic field and demonstrate their support for local creators.


## Preservation of cultural heritage 
Corporate collections also enrich our cultural heritage, through their support of local artists and the preservation of contemporary art. They contribute to the longevity of works by ensuring that they are exhibited and disseminated in private and sometimes public settings. By collecting contemporary works, companies help to ensure that our artistic heritage is preserved and brought to light over time. 

Moreover, while many companies keep their works for posterity, others - due to a large quantity and lack of space - will sometimes have to dispose of works to prevent them from piling up in storage. Many then decide to make donations to museums and benefit auctions, thus contributing to the preservation and prosperity of Canadian art history.


## Representation of identity and values
A collection represents the ensemble of works of art purchased by a company, and is distinguished by its originality from one business to the next. It grows, consolidates and expands with each new acquisition. The works that make up a collection reflect passionate and committed purchases. Far from being tied to a single, distinct function, art collections in organizations play several roles: they can serve both as decorative objects and as vehicles for corporate identity and values. 

There are as many types of collections as there are business models. Some companies buy works of art out of passion and keep them preciously in their offices. Others will proudly show them off to visitors and display them in common areas. Some companies use artworks as a promotional tool to enhance their brand image. Others will take it upon themselves to support local artists and build up a visual archive representative of our times.

Many companies have acquisition committees and specific collecting mandates to guide their purchases. Certain organizations also develop a detailed policy regarding the medium, technique, subject, or artistic period to ensure that the works reflect the business’s intrinsic values.


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## Benefits for employees

- Facilitates social interaction; 
- Elicits emotional responses; 
- Enhances relationships between employees; 
- Improves the work environment;
- Encourages learning about artwork.

Indeed, artworks newly installed in the workplace are likely to encourage social interaction between employees. Regardless of the nature of these discussions, they create a climate conducive to exchanges relating to the works of art. The presence of art in a professional environment can also increase employees' interest in them in a broader context. If an employee enjoys being near a work of art, they may seek out more information about the artist and their approach, or even visit a gallery or museum to admire other pieces.

These benefits can be increased through mediation and promotion to employees and the general public, such as lending works to museum exhibitions, publishing a catalog of works from the collection, offering guided tours open to all, and more. 


## Tax benefits 
Companies who collect benefit from considerable tax advantages through the Quebec government in terms of amortizing the purchase of works of art. 

For all artworks purchased and destined to be displayed in the workplace, and whose author is a Canadian resident or citizen at the time of creation, businesses can amortize 33.3% of the acquisition cost on a declining balance. The following media are eligible: prints, etchings,
drawings, paintings, or any similar artwork whose cost exceeds $200.

Companies can also benefit from significant tax breaks when making a donation to a museum. To understand all the financial advantages available to companies, and those that apply to each particular situation, please consult an accountant.


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To learn more, do not hesitate to ask questions to experts in the field, such as gallerists, who will be able to guide you towards more specific answers.


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## While strolling through the fair, you may notice acquisition indications next to certain artworks, mentioning that they have been purchased by a museum or a company, and are now part of their respective collections. 

## But have you ever wondered: *why do companies decide to buy works of art?* Though art is not necessarily part of their main mission, a collection can directly benefit a company as a whole. 



Why do businesses collect art?

### A Journal of Reflections on the Endless Imaginary

### The mill turns. It bears witness to the perpetual motion of thought and the transformation of matter. With its repetitive cycle, it generates a whirlwind of air and dust, a spiral of flour, an infinite flow of possibilities.

*Sarah, December 15, 2024*

Let’s assume that the human imagination has no known end, that it can never be exhausted, but rather multiplies infinitely, creating unique imaginary worlds. Each creator can, in this sense, establish their own rules and construct their own laws within a conceived space. Since the limits of time and space do not exist in the vortex imaginarium, artists can embrace the irrational and the impossible without physical or logical constraints.

Let us define imagination as a pure space of freedom, where the inconceivable and the fantastic coexist without barriers, beyond the laws of what has already been seen. This free space does not have to represent the world as it is perceived. Each individual is free to push the impulse of creation to infinity, just as our surrealist artist friends have done, blurring the boundaries between reality and myth.

One may then wonder if the artist creates an imaginary world structured by laws, cycles, series, and patterns, or if this world surpasses human thought itself. How can this imaginary realm exist beyond the mind that conceived it? Could it stretch infinitely, especially through an artwork destined to be viewed by different individuals, each capable of shaping their own imaginary interpretations? The resonance of artworks extends this initial imaginary world into a shared one, reinterpreted and absorbed by those who experience it.


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*Manon, December 20, 2024*

We understand that artists draw inspiration from their environment: they are moved by their concerns about the current state of the world, by suffering, by beauty, by their origins. They borrow symbols, codes, and iconographies from various eras and from their daily experiences. Combined with their imagination, their creations become part of an endless, metaphorical universe, a refuge uniquely their own, where they feel free from all constraints.

This universe is composed of contrasts that both oppose and attract one another, forming an immense array of tangible and intangible possibilities, blending materiality and immateriality, which underpin the very foundation of their artistic approach:


### The seen and the unseen
### The full and the empty
### Attraction and repulsion
### Fragility and roughness
### Dream and reality
### Balance and imbalance

The artist creates based on what they wish to convey to the spectator and/or viewing public. Their imaginary world is built from personal experiences (human evolution, history, science, motherhood, fear of the other, technological advancements, the construction of dreams, etc.), which they share with others. These experiences place both the artist and the audience at the heart of this imaginary world and the creative process itself. The entirety of these feelings, material and immaterial, visible and invisible, forms an unending succession of images, where time and space dissolve into infinity.

Discover *Et si les moulins tournaient sans jamais s’arrêter*, an emerging art exhibition collaboratively curated by Loto-Québec and Artch, at booth P05 on the 2nd floor of the fair's pavilion, from April 11 to 13.


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The artists:

**Kelly Davis** explores the mystical realm of the imaginable, where abundance and infinite expansion reign. Through her abstract paintings, she creates portals to an invisible yet deeply felt reality, offering a space for personal and collective resonance. Her work is part of an ongoing dialogue, activated by the viewer’s engagement and nourished by an intuitive exchange that transcends language.

**Gabor Bata** draws and paints characters from his imagination who constantly try, but inevitably fail, to communicate and connect. He creates vibrant, voluptuous scenes that captivate the eye, influenced by his love of cinema, animation, comics, and design.

**Alfred Muszynski** sees his work as research, “a network of ideas above all.” His pieces intertwine codes and iconographies from the past and present, playing with reality and myth like a puzzle. His work is a network of symbolic references, where each painting finds its place within the system he has constructed.

**Alex Pouliot** seeks to reclaim the magic of art by exploring the invisible forces that shape appearances and individual identity. Often in dialogue with specific locations, his work questions the influence of Western cultural supremacy in mass media and its role in constructing and colonizing collective imaginaries.

**Judith Berry (Loto-Québec Collection)**: “This small painting is one of my many attempts to condense the landscape into a surface that feels manipulable. The winding spiral paths evoke an imposing form, similar to a hill. Yet, the painted surface remains opaque, with each gesture inscribed directly onto it. The image suggests vast expanses while taking on the appearance of a tangible object or a body fragment. This piece is part of a decades-long exploration aimed at blending the genres of landscape, still life, and portraiture. I confront the notion of landscape, our relationship to the environment, and the ways in which its transformations affect us.”

**Mélanie Dumas** explores materiality by engaging with space, fullness, and emptiness to reveal new geometries. Her work examines the concept of landscape through forms inspired by the living and synthetic structures that compose it. Balancing fragility and robustness, stillness and movement, she selects raw materials to highlight their properties and temporality. By incorporating active systems, she creates sculptures that reproduce natural phenomena on a small scale, questioning our relationship with the Anthropocene.

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

Loto-Québec x artch : Et si les moulins tournaient sans ne jamais s’arrêter

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It all started with an ink drawing of four chickens originally attributed to Emily Carr that Tam came across in 2017 during her research on Chinese Canadian artist Lee Chao Nam 李趙南 at the BC Archives. But Lee was a friend of Carr, and Tam says it is possible that Lee taught Carr traditional Chinese brushwork to achieve the style in this sketch. While chickens have long been considered popular subject matter in Chinese ink painting, roosters are also a ubiquitous motif in Chinese porcelain dishware designs from Southern China and Hong Kong to Southeast Asia and their diasporas. Multiplied in inky form, they instantly appeal to young and old, like festival banners celebrating the humble yet magnificent bird.


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Restaged in part for Plural 2025, Tam has made a smaller selection of bird drawings including those crowd-sourced from the Richmond Art Gallery (2017) iteration of her exhibition in which visitors produced hundreds of drawings in a community event. As in earlier installments, a flock of these drawings fly overhead like the feathered friends they depict, big swags of papers that swoop across the ceiling. Tam’s exhibition offers a different perspective on art of the Chinese diaspora—literally and figuratively—as their display method is more about how the drawings flutter collectively to comprise the installation rather than fixate on fine details of each bird. The poetry of this work is such that one drawing cannot hang without the other; each must be in company of and shown as a group.

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I have always considered Tam to be an artist who moonlighted as art historical detective, mining the annals of Canadian art history for who and what has not been seen, surfacing histories lost and forgotten. Each project feels like a deep-sea diving expedition into art historical, archival and community records which Tam then materializes into an exhibition within an exhibition. Through meticulously staged installations, she presents a speculative art history for the viewer, stepping into a time machine to imagine what life was like for Chinese newcomers, or in the case of Lee, what his life might have looked like. In all of this, embedded in Tam’s deeply rooted and intertwined research practice as art is the story of Chinese immigration in Canada and the continued struggle for visibility and belonging both inside and outside of the art world. These histories, while constantly unfurling over land and time, are only just beginning.


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by Charlene K. Lau 劉雪铃

*The National Bank is proud to present Like rain drops rolling down new paint, an installation by Karen Tam, in the Espace Banque Nationale in the Grand Quay's of Port of Montreal's Terminal.*

## On a sunny March Sunday morning, I chat with Karen Tam on Google Meet. Cracking open the exhibition catalogue *With wings like clouds hung from the sky 大鵬就振翼* (2017), it fans out across my lap, opening to a photo of a bird’s eye view of the exact installation we are about to discuss. For this, Tam hung hundreds of sketches of birds—300 of which were drawn by the artist, her mother Yin Law 譚阮嫣娜, and the elder Tam’s painting teacher, Lui Luk Chun 呂陸川—across the ceiling of Richmond Art Gallery.



Karen Tam: Birds of a Feather 

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###### 1. Marvin Luvualu António - COOPER COLE 
## *Condos*, 2024

In *Condos*, these towering acrylic boxes serve as intricate vessels, encapsulating a dynamic mix of collected objects, personal belongings, and urban artifacts. Each piece acts as a visual archive, preserving fragments of the city’s evolving landscape and the intimate experiences of those who inhabit it. By assembling these diverse materials within transparent enclosures, António explores themes of memory, identity, and the ever-changing nature of urban life. The sculptures function as contemporary relics, offering a compelling reflection on the fast-paced transformation of major metropolitan centers. Through *Condos*, the artist invites viewers to consider how personal histories and communal narratives intertwine within the structures we build and the spaces we call home.

*Find Condos on the 1st floor near the bar, across from Paul Petro Contemporary Art, booth 110.*
 

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###### 2. Sarah Wendt + Pascal Dufaux - The Blue Building Gallery 
## *Horloge de miel*, 2024


*Horloge de miel* is an apparatus that explores decelerated and embodied time, using the viscous flow of honey as its unit of measurement. Here, unlike the classic hourglass, the flow of sand is replaced by a flow of honey, thus the counting of time changes from a digital principle (grain, void, grain, void ... 1, 0, 1, 0 ...) to an analog principle (a fluid continuum without empty space). This is more faithful from a psychological point of view to the sensation that the passage of time imprints on consciousness. *Horloge de miel* offers an immersive experience entirely based on the integration of consciousness into the moment.


*Find this installation on the 2nd floor, next to the Mobilia Lounge and the restaurant.* 

 

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###### 3. Jim Holyoak - McBride Contemporain 
## *Reappearing Mountain*, 2025


Jim Holyoak will be at the fair to create this in situ work, which will evolve throughout the weekend. Painting on a wall of the fair, he will present an ephemeral creation, a work which, by its very nature, can only be captured in the current moment. 

Holyoak explores ink and graphite drawing in all its forms, from postcards and books to monumental installations. Each of his works transports the viewer into a world oscillating between the biological and the fantastic, inviting reflection on our relationship with non-human worlds. Rooted in empathy, Holyoak depicts strange creatures and their habitats, the unknown and the invisible — beings too tiny to be seen or so ancient that they have turned to stone.

*Find Holyoak’s installation on the 1st floor, on a wall of McBride Contemporain’s booth, 117.*


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###### 4. Aaron McIntosh - Pierre-François Ouellette art contemporain 
## *Entanglements: Flowers at the Border / Keeping Safe*, 2022
 

A fourth-generation quilter from Appalachian Tennessee, McIntosh's practice is deeply rooted in fiber. He uses this heritage as a language, a form and a tool, for it offers both a tactile trace of kinship and a political platform. In Entanglements, the artist takes up the metaphorical potential of plant life, where he finds speculative roots for constructing and exploring queer ecologies. McIntosh rejects the colonialist and heteronormative paradigms that dominate botany in their perpetual "othering" of homosexuality. Instead, he asks how we might imagine homosexuality through the sexual and gendered dynamics present in the plant world.


*Find McIntosh’s work on the 2nd floor, in front of the staircase and Loto-Quebec's booth, P05.* 



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###### 5. Elisabeth Perrault - Pangée 
## *Ma peau de 28 ans*, 2024 et *Bouquet de fleurs*, 2024

Elisabeth Perrault, who creates immersive and fantastical works and installations, has been archiving her body since 2019 with her series *Ma peau*, which she began at the age of 23. Her first “skins” were made of fabric, sewn around her body to conform to its shape before being removed like a snake shedding its skin. With *Ma peau de 28 ans*, she adopts a new approach: applying clay directly onto her skin to create a rigid, fragmented imprint. Covered in silk and then assembled with embroidery, these fragments reflect the artist’s meditations on the body as a trace, a perpetual transformation, and the tension between materiality and disappearance.

*Find Perrault’s installation on the 1st floor, next to the bar and accross from Pangée, booth 108.*


To learn more about Plural's installations, join Fiona Nguyen for a [guided tour](https://www.plural.art/en/programmation) in English, *Floating Narratives: A Walk Through the Key Installations*, on Friday, April 11 at 3pm or in French, *Récits flottants: un parcours des installations phares*, on Saturday, April 12 at 3pm! 



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## This year, allow yourself to be immersed in the fair's installations. These large-scale installations are the works that do not fit into the fair’s booths, by virtue of their hybrid nature or atypical size, punctuating the space and deploying themselves freely beyond the constraints of walls. These special projects question and redefine the relationship between art and space, offering the public an immersion beyond its usual formats.

Think outside the box and discover these installations, which are located on both floors of the Grand Quay: 


Beyond the Walls: Explore Plural 2025’s Installations

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For over 10 years, the National Bank has actively supported the Plural fair with numerous initiatives aimed at strengthening the connections between contemporary art and the public. Over this period, the Bank has presented the work of more than 50 artists from its collection at the fair, underlining its commitment to promoting local artists and making art accessible to all. 

After showcasing the new large-scale sculptural works from the head office last year, the National Bank Collection makes its return to the fair this year. By exhibiting a selection of works specially curated for this occasion, the Bank offers visitors an exclusive opportunity to explore the work of established Canadian artists who have left their mark on the contemporary art world, such as Tau Lewis, Marc-Aurèle Fortin and Suzy Lake. 

Come and visit the National Bank Space on the first floor at the Plural fair for a privileged glimpse of their prestigious corporate collection! 


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## Since 1971, the National Bank has been collecting works of some of the most influential professional artists as a witness to our national artistic expression. The Bank's collection, which consists of nearly 7,000 works of varying styles, represents Canadian art history from 1895 to the present day.

Year after year, by acquiring works of art, exhibiting them and lending them to museums, the Bank directly supports artists and creators across Canada and fosters a feeling of pride in our collective heritage. They also introduce Canadian and Quebec artists to thousands of employees and clients, and as such, enrich their lives.


 Spotlight on Canadian Art: Discover the National Bank Collection at Plural 

                     

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” 

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The artworks will be visible online to the public from April 11 to May 2, 2025.
For VIP ticket holders, access begins at noon on April 4. 


Come back on April 11 to access the artworks online!

The artworks will be visible online to the public from April 11 to May 2, 2025.
For VIP ticket holders, access begins at noon on April 4. 

The artworks will be visible to the public from April 11 to May 2, 2025.
For VIP ticket holders, access begins at noon on April 4.

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