Invited artists

  • ATSA / Montréal

    Le temps d'une soupe

    Le Temps d’une Soupe is a relational work in the public space that believes in our ability to overcome our fear of the unknown and brings us closer to the other in an experience of sharing.

    ATSA invites you to discover its first intra muros presentation of this public realm relational art intervention, which has involved, since its creation, over 10 000 citizens on four conti- nents and presentations in seven languages. Le Temps d’une Soupe gives participants the opportunity to exchange on important current issues with a stranger while sharing a soup, then taking poetic portraits. (You can view the portraits at

    Le Temps d’une Soupe is a moment of openness to the other that summons our emo- tional intelligence outside of social network algorithms. The Trois-Rivières edition of this experiential work was also included in the programming of Festivoix on June 26, 2020, it has been cancelled because of the pandemic. The indoor exhibition will unveil an auto- nomous mechanism that will allow the creation of human and attuned relationships to live on, calling for a world of peace.


    Annie Roy and her late partner Pierre Allard founded ATSA – Quand l’art passe à l’action in 1997. In little more than twenty-one years, ATSA’s track record already includes over 50 works. Offering relational installations and events for the public realm, ATSA echoes our world’s current social and environmental concerns. Its approach reinstates the public place as an arena of citizenship open to social discussion and debate. To learn more:

    ATSA has received, among others, the YMCA Peace Medal (2019), the Prix du Jury from the Caisse de la Culture Desjardins for the 33rd Grand Prix of the Conseil des Arts de Montréal, the 2011 Giverny Capital Prize and the Artistes pour la Paix 2008 Award.

    Photo : Manuel Baumann

  • Patrick Bérubé / Montréal


    I am interested in conflicting relationships, whether emotional, physical or carnal in nature, between Man and himself and his environment. How he has rooted the very foundation of his own existence on its uniqueness, systemizing and reducing it to his own scale, so as to render it more perceptible and forget the immeasurable character of its magnitude and strength.

    In these times of crisis, my work tackles political, societal and environmental issues through various notions of desire and power, knowledge and memory, transformation and muta- tion. It tries to demonstrate our fragility and vulnerability in the face of the inevitable... Although it addresses endlessly repetitive cycles and movement, it deals essentially with paralysis and immobility against the excesses of the world!

    The work presented here is loosely inspired by Fredrich Nietzsche’s philosophical poem Thus Spoke Zarathustra; it tells a story—with humour and irony—of man’s transition, from his origins to the advent of the superhuman. “Dead are all the gods: now we want the overman to live!” (Nietzsche)


    Patrick Bérubé a obtenu sa maîtrise en Arts visuels à l’UQAM. Conséquemment à sa participation à des expositions et événements majeurs, notamment à New York, Berlin et Londres, son travail a été remar- qué sur la scène nationale et internationale. Il compte également plusieurs résidences à son actif, dont le Hangar à Barcelone et la Cité des Arts à Paris. Membre actif du Centre Clark, Patrick Bérubé a aussi réalisé plusieurs œuvres d’intégration à l’architecture.

    Photo : Carl Raymond

  • BGL / Québec


    We are BGL, a trio of artists from Québec City that has been around since 1996. Our practice is varied, firmly anchored in matter and manual work. Our interventions often involve make-do/figurative esthetics and aims to inform on our favorite discoveries, those flirting with poe- try by generating surprise and fascination.

    For the Biennale, we intend to continue our research with replicas of bronze Popsicle sticks. Our sole prototype is the 1:1 scale model of a guitarist. This first experiment has allowed us to test the solidity of the material and the effectiveness of the faux-finish that creates the illusion of genuine Popsicle sticks.

    We approach the project with the trump card of sturdiness and illusion in fragile and makeshift materials in the back of our minds. We set out to create sculptures that would be improbable if they were made of coffee stir-sticks, yet feasible thanks to the properties of bronze and faux-finish.


    BGL, a Québec City art collective, is renowned for its installations that take hold of exhibition set- tings. Among the memorable pieces in their portfolio, a few should be mentioned, namely À l’abri des arbres at the Musée d’art contemporain de Montréal, in 2001 ; Need to believe at the Mercer Union, Toronto, in 2005 ; Le discours des éléments, presented at Œil de Poisson in Québec City in 2007, as well as Canadassimo at the Biennale de Venise, in 2015. In 2018, BGL presented its recent exhibition, Spectacle + Problem, at the London Museum, in its namesake city in Ontario.

    Photo : Ivan Binet



    Engaging with the idea of how our small actions and everyday choices have far-reaching consequences for our own future and the future of our planet as a whole, I’ve conceived a project that calls upon the rarely discussed enormous potential and abstract dimension of smell and how it can be harnessed in an art project. Subjective and contextual in nature, the human faculty of smell and its importance in our perception of the world is only now beginning to be researched and fully understood. It simply speaks to how our individual and collective perspectives are formed and underlines the fact that if there is anything we all have in common, it is that we ARE all different.

    First rain seeks to beckon audiences through a combined experience of olfactory resonance and tactility of form and material, evoking deep-seated personal responses to both per- ceived and imagined smell memories. While the primacy of sight over all other senses is a given in our contemporary society, smell remains the last bastion of materiality still resisting digitization. The tenuous embrace of the natural and the artificial is explored here through the use of industrial and post-industrial materials, such as refrigeration and air conditioning, that have become remnants of paradoxes and systems and contribute significantly to global warming: cooling the inside while warming the outside!

    Melding sculptural elements with the ephemeral and the invisible, this project seeks to appeal to each individual’s highly personal olfactory memories in the firm belief that the resonance produced by art does have the power to effect change [however subtle], as each breath taking smell deep within us travels straight to our hearts to choose between affection and contempt, disgust and lust, love and hate. How we put our collective subjectivities together in the service of the greater is perhaps one of the greatest challenges facing mankind today!


    The practice of Bangalore-based artist Krishnaraj Chonat is developed through intense periods of research and long-term projects. Working in a variety of media including painting, sculpture, ins- tallation and collaborative projects, his works explore the multitude and complexity of challenges within our contemporary society. Often delving into his own experiences and the profound changes occurring in his home country as well as in the Western world, he displays an inclination for skillfully combining the thoughts of ancient philosophies and modern attitudes and speaks about a wide range of sensitive issues in their political, cultural and environmental scope. Many of his recent pro- jects have also explored olfaction as an artistic tool for evoking an emotional response and creating a strong resonance with the audience.

    His works have been widely exhibited around the world, most notably at the Centre Pompidou in Paris, Mori Museum, Tokyo, Essl Museum, Vienna, the National Museum of Contemporary Art, Seoul, Devi Art museum, New Delhi and other prominent venues.

    Photo : Natasha Vuillon



    My project is a metaphor of time stretching out into life. It follows its course. The line ends as does existence.

    Why believe in the principles of alchemy?
    A propensity to go beyond thought by experiencing matter and the here and now.

    The transmutation of metals and ideas. Believing as source of action.

    Art is reflection.
    Believing is hope.
    Claiming the right to believe.

    This work is the result of a performance presented during the Nuit Blanche Event at the Darling Foundry in 2018; the randomness of the bronze flow illustrated in the work’s title.

    As an interventionist artist, André Fournelle does not dissociate introspection art from action art. His combined sculpture/performances still rely on light in all its technological forms (laser, neon, optical fiber, fire) and the four natural elements, earth, water, air and fire.

    The element of surprise triggered by his works draws in spectators while raising their awareness of the reality surrounding them.


    André Fournelle’s work starts gaining visibility in the early 1960s. After spending two years in an industrial foundry and working alongside Armand Vaillancourt in an art foundry, he establishes the Fonderie expérimentale et collective with Marc Boisvert. He also collaborates with Marcelle Ferron in a search for new alloys between glass and metal. In the 1970s, he joins the EAT group (Experiment in Art and Technology), an American multidisciplinary laboratory created by artist Rauschenberg. In 1994, Fournelle represents Québec in sculpture at the Jeux de la Francophonie in Paris. In 1999, he creates the intervention Lumière et silence (Une ligne de feu sur la Seine) along the Pont des Arts in Paris, in which a line of fifire crossing the Seine is ignited by French art historian and critic Pierre Restany. In 2005, he orchestrates the Les Incendiaires installation in the square facing the Centre Pompidou in Paris. Throughout his career, André Fournelle has designed and installed numerous artworks in Québec, the US and Europe. The relevance of his work stands as undeniable testimony of his social and political commitment.

    Photo : Michel Dubreuil



    Measures of Inequity features a series of sculptures that give material form to visual repre- sentations concerned with the measurement of inequality in a wide range of disciplines, from economics and sociology to management and gender studies. Focusing mostly on the past thirty years, but with references covering over a century, the starting point for these works are graphs and diagrams culled from academic journals, reports and other specialized publications.

    In the sculptures, a variety of simple techniques are employed to render the ways in which researchers have conceived and characterized the distribution of access to care, educa- tion, income, wealth and several other factors, by countries or states, and between groups of people. The linguistic articulations involved in their representation are also depicted.


    Richard Ibghy & Marilou Lemmens live in Durham-Sud, Quebec. They presented solo exhibitions at the Bemis Center for Contemporary Arts, Omaha (2019), VOLT, Bergen (2019), Audain Gallery, Vancouver (2018), Jane Lombard Gallery, New York (2017), and ISCP, New York (2016). Group exhibitions include the Fiskars Biennale, Finland (2019), OFF-Biennale Budapest (2017), Bienal de Cuenca, Ecuador (2016), Istanbul Biennial (2015), and Sharjah Biennial (2011). They have been awarded the Prix Giverny Capital in 2019.

    Photo : Sergio Urbina, HIAP



    For the 2020 BNSC, the Women Are Heroes video will be presented at the Galerie d'art du Parc de Trois-Rivières. Initially, Women Are Heroes was designed to emphasize the central role of women within communities. The enlarged portraits created by JR highlight the dignity of these women who see their photos pasted on the walls of their villages. The video recordings of their expressions of concern demonstrate their active commitment to improving living conditions and to keeping a watchful eye on the well- being of their fellow citizens. Anonymous and heroic, these women fight for equality and the respect of human rights. They believe in their own power to act and in a promising future.

    JR’s global project, combined with the expertise of the BNSC team in urban events, becomes Inside Out / sculpter le social. The outcome is a space for sharing, discussion, respect and benevolence, uniting people as well as various communities and actors for social change from Trois-Rivières, around the 2020 BNSC thematic To believe.

    Inside Out / sculpter le social, a seemingly 2D artwork, is a pretext for making 3D connections and producing a meaningful social sculpture. Drawing citizens together in a common project to create profound social relationships is to highlight the poetics emerging from differences through urban art (or Street Art), as viewed by JR.

    Over 200 portraits are unfurled on one of the last industrial buildings of Trois-Rivières and at Carré 150 in Victoriaville. They are encompassed in an action of international scope. Drawn from cultural diversity, these images provoke reflections on living together or, as astutely stated by JR, “turning the world inside out”, one global art action at a time.

    The site welcoming JR’s work in Trois-Rivières was selected with its planned vocation in mind, that is to say, to help shine a light on the knowledges and practices of agri-food producers and artisans, and to mobilize the population around a local and seasonal food supply. We wish to thank Étienne Boisvert, the professional photographer who captured the portraits, and the team of Innovation and Développement économique Trois-Rivières for recognizing the potential of the Inside Out / sculpter le social project.

    We also would like to thank the staff and members of COMSEP, the Centre d’amitié autochtone de Trois-Rivières, the Service d’accueil des nouveaux arrivants de Trois-Rivières, the Table de concertation du mouvement des femmes de la Mauricie, the Société Saint-Jean-Baptiste de la Mauricie and the CAIBF of Victoriaville for their participation to the project.


    JR is an anonymous French artist making an indelible mark through his collage and photographic projects, transforming streets into the largest art gallery in the world. His works combine art and action; they involve communities in the artistic process of his collage pasting initiatives, and deal with commitment, liberty, identity and limits.

    Author of the 28 Millimètres project started in 2004 in the Clichy-Montfermeil neighbourhood, he travels to the Middle East with Face 2 Face (2007), then to Brazil and Kenya with Women Are Heroes (2008-2011), also producing a project-inspired documentary presented at the Cannes Film Festival in 2010.

    In 2017, he teams up with Agnès Varda to co-direct Visages, Villages (Faces, Places) a film presented in the Official Selection of the Cannes Film Festival of that year. The film wins the Œil d’Or for best documentary, and is nominated in the same category at the César Awards and the Oscars in 2018.

    In 2011, he wins the TED Prize, and formulates the wish of using art to change the world. Hence, the creation of Inside Out, an international participatory art project through which people from around the world are given giant portrait of themselves and get to share the experience by pasting them in support of an idea, a project, an action. Since then, Inside Out has inspired 1,801 group actions in 142 countries, for a total of 362,700 portraits.

    PHOTO : JR



    Both installation and performance, the Union des États represents a reflection on the existence of the many political and economic institutions, a questioning on their reality, their usefulness and their functioning. By reclaiming the codes and rituals of these orga- nizations, namely the United Nations, European Union, African Union and Union of South American Nations, etc., I assert the right to create a union replacing them all since they have failed at their missions. Therefore, I suggest a critical reading of my own colonial experience while inverting its logic.

    For this installation, I will give, or not, performances in different locations that I transform into diplomatic representations of the Union des États. During these performances, I give a political speech, either long or short, or even incomprehensible; this slightly sarcastic use of time allows me to take over the territory on which I am standing. A territory that I chose to reconfigure according to the new provisions adopted during a general assembly of the Union des États—a throwback to the Berlin Conference (1884-1885) where Euro- pean powers decided the faith of an entire continent, Africa.

    My artistic approach lies somewhere between reality and fiction. Through this lens, I ques- tion the history, memory and identity of the place where I live or have lived in relation to the space I occupy and have occupied in each of them. I intentionally confuse fact and fic- tion to disrupt hegemonic narratives and create spaces where marginalized discourse can flourish. Drawing from the collective imaginary, I organize, assemble, and trace figures, as would a land surveyor, by reappropriating the codes of cultural, political, social and economic representations. In doing so, I build my own tools to better invest the territory of the other in order to enrich all the fields of research that inspire my practice.


    Moridja Kitenge Banza is a Canadian artist of Congolese descent, born in 1980 in Kinshasa, Democratic Republic of the Congo. He graduated from the Académie des beaux-arts de Kinshasa, the École supérieure de Nantes Métropole, and the University of La Rochelle in the faculty of Humanities and Social Sciences. In 2010, he received 1st prize at Dak’Art – Biennale de l’art africain contemporain. His work has been on exhibit at the Musée Dauphinois (Grenoble, France), the Museum of Contemporary Art (Rosklide, Denmark), the Arnt Gallery (Berlin, Germany), the Biennale internationale de Casablanca (Morocco), as well as at the BAnQ, the Joyce Yahouda Gallery, the OBORO artist centre and the Montreal Museum of Fine Arts (Québec, Canada).

    Photo : Paul Litherland



    Influenced by my Catholic upbringing, I investigate hybridity within the context of Christian ideology, examining an array of sources from the margins of illuminated manuscripts, lives of saints and martyrs to the depictions of medieval monsters.

    Hybrids present us with two things happening simultaneously. They are in flux, one always alluding to and challenging the other. The borders between humans and animals, the manufactured and the natural, the spiritual and the visceral are distinct yet permeable, illustrating differences while creating spaces for wonder and uncertainty.

    Bridges can allude to an uncertain passage through space and time. On this bridge, hybrid animals make their way towards an uncertain destination, suggesting the movements of human migration or perhaps a religious procession. Through the gestures of their bodies, the animals reveal their struggles; many are blindfolded, inhibiting their ability to navi- gate, several have stumbled and fallen, while a few carry their companions tethered to their backs. Migration uses molds cast from found toy animals that have been dismantled, re-composed and wrapped in porcelain sheets—binding, bandaging the figures, contem- plating the intentions of these gestures, I examine the boundaries between devotion and coercion, pleasure and pain, animal impulse and domesticity.


    Janet Macpherson studied ceramics at Sheridan College, and received her MFA at The Ohio State University in 2010. Her solo exhibition A Canadian Bestiary was mounted by the Gardiner Museum of Ceramic Art in Toronto in 2017. Most recently, she was included in the exhibition Book of Beasts at the J. Paul Getty Museum in Los Angeles. Macpherson lives and works in Hamilton, Ontario.

    Photo : Renée Lear



    Monnet uses visual and media arts to demonstrate a keen interest in communicating complex ideas around Indigenous identity and bicultural living through the examination of cultural histories. Her work is often minimalistic while emotionally charged and speaks to the beautifully intricate limbo of indigenous peoples today. Creatura Dada presents six powerful native women who gather up to celebrate a new beginning and the end of the world as we know it. Descending from a matriarchal line, she wishes to rewrite a contem- porary mythology where it is women who tell history. Monnet is committed to the idea that "art is a way of coping with trauma and reversing it", she adds: "I want to use it to break the cycle of victimization, shame and brokenness. I want to be proud of my identity and use that pride to move forward."


    Caroline Monnet is a multidisciplinary artist from Outaouais, Quebec. She is based in Montréal and represented by Divi- sion Gallery. She studied in Sociology and Communication at the University of Ottawa (Canada) and the University of Granada (Spain) before pursuing a career in visual arts and film. Her work has been programmed internationally at the Palais de Tokyo (Paris), Haus der Kulturen der Welt (Berlin), Whitney Museum (NYC), Toronto Biennial of Art (Toronto), Museum of Contemporary Art (Montréal), Arsenal Contem- porary (NYC), Axenéo7 (Gatineau), National Museum of Fine Arts (Québec) and the National Art Gallery (Ottawa). In 2016, she was selected for the prestigious Cinéfondation residency of the Festival de Cannes in Paris.



    he essence of this creative project surfaced during our visit to the Musée POP reserve's collection. In what was basically a quest for selected manufactured objects, we were unexpectedly stirred by feelings of candor, truthfulness, authenticity, spontaneity and simplicity. We then promised ourselves to weave the “hidden tales” of people through their handiwork creations and to bear witness to the precariousness of their imaginary universe.

    We attempt to shake up the issues revolving around the “folklorization” of pop culture in intergenerational transmission. All facets of our works are directly or indirectly linked to elements of an essentially language-based culture (stories, colloquial expressions, ges- tures, vernacular objects or know-hows). This is our way of updating and highlighting the transmission of a tangible and intangible cultural heritage.

    Our human scale assemblage depended essentially on our experience of the locations and meetings with various micro-communities. This is the raw material that resides at the heart of our work. Our thirst for re-enchantment is quenched through the playful prism of childhood, allowing our unassuming propositions tinged with the matter-of-course, the mundane and the run-of-the-mill to be elevated to the stature of legendary.


    La Famille Plouffe has consolidated its artistic entity with the arrival of each new life within the family group. After an artist-in-residence experience in France, with family in tow, they decided to adopt this common signature for the sake of upholding the integrity of the unit as a whole. Since then, it has continued creating a multitude of public art projects and original artworks for events, residencies, collective and solo exhibitions.



    The theme To believe is encompassed in my artistic work and in the process of gathering different materials, their transformation and their placement in space.

    The collection of works presented at the 2020 BNSC deals with the history of a territory and a community, and more largely, of human beliefs in the face of eternity.

    My sculptural installations bring out the shapes of the assemblage in an upward movement. Each of these mound tells its own story. Human quests, beliefs and desires are embodied within the various stacks of materials and their companion video projections.

    On the one side, double structures of slag "refer to the history of the mining industry, its behaviour towards the environment, as well as a citizen point of view."1 On the other side, ruins of a burnt-down church organized in a knoll/hill of charred relics, of pop culture and locally made objects.

    The structuration of these mounds carries me along a wave of gyrating movements, of endlessly repeated gestures, in a ritual where the verb believe is transposed.


    An artist in visual and media arts, Joanne Poitras lives in Rouyn-Noranda. From early on in her practice, she has been bringing art to life at artistic events both in Québec and abroad. Multi- ple CALQ grant recipient, she is actively involved in the development of arts in Abitibi-Témis- camingue. Co-founder of the Atelier Les Mille Feuilles in Rouyn-Noranda, and initiator of the Biennale internationale d’art miniature (BIAM) in Ville-Marie, Joanne Poitras is also lecturer at the Université du Québec en Abitibi-Témiscamingue.



    My presence as Anishinabe Kwe (Ojibway Woman) and my connection to where I am from are at the core of my art practice. In the sculptural work and installation Sleepwalking and Speaking with Hands and Territories, my approach is rooted in the belief of my embodied connection to my birth place and to my ancestors. Believing in my body and the memory of my ancestral lands is paramount to my creative process and research. Making a mark within the painting, sculpture or installation as material evidences of my being. I believe in the strength of my connection to my ancestors in my work as carrying on their traditions. The Sleepwalking moccasins tell stories of cultural loss, creative intervention, care and recovery from colonialism. Believing in a new process of thought and being is key to a pathway to healing. Sleepwalking’s circle of moccasins and blankets creates a sheltered starting place for this journey.

    The same is true for the space of Speaking with Hands and Territories. When we consider and acknowledge Indigenous lands and Indigenous peoples, we need to contemplate a hands-on way of thinking and active participation. The collective body activates the work and the land present within the installation through the creation of mud balls that will be placed on the hearth-like structure. The earth gathered locally and formed into mud balls by the local collectivity become markers of the initial steps of Indigenous acknowledgment and care of traditional territories.


    Charlene Vickers is an Anishnabe artist living and working in Vancouver. Born in Kenora, Ontario and raised in Toronto, she explores her Ojibway ancestry through painting, sculpture, performance and video, examining memory, healing and em- bodied connections to ancestral lands. Trained as a painter, she graduated from the Emily Carr University of Art and De- sign in 1994 and attended Simon Fraser University, BA (1998) and MFA (2013.) Her work has been exhibited across Canada and the United States and can be found in the permanent collection at the Museum of Anthropology at the University of British Columbia in Vancouver.

Your support is very important for us

Donate now