Maple Spring – Printemps d’Érable
Charcoal and watercolour on paper, Whole Earth Catalogue, Whole Earth Epilogue, maps from world Atlas c. 1955; Gestetner model of the type that printed Refus
(Mythra Myth, 1949); cinder blocks.  175 x x 85 x 45 cm

Felicity Tayler

Rewriting / Réécrire

14 June – 12 July 2017
Galerie Z Art Space (819 avenue Atwater, Montréal (Qc) H3J 2S6) – metro Lionel-Groulx

Curators: Tianmo Zhang and Jean-Michel Ross

Opening Reception: Wednesday June 14, 2017, 5 – 8pm. Artist in attendance.
Artist’s talk: Wednesday June 28th, at 5pm.

(Montreal, Quebec) – Z Art Space and Galerie Thomas Henry Ross are proud to present Montreal-based artist Felicity Tayler’s solo exhibition, Rewriting. Coinciding with the 150th anniversary of Confederation of Canada and the 375th of the settlement of Montréal, this exhibition presents White Butterfly, a series of paintings, collage, and installation works produced by the artist between 2006 and 2015., during the Harper years. Responding to this recent past, this series poses a conceptual challenge to the formation of national identity in Canada and Québec.

White Butterfly solicits an indirect, almost subconscious response to the official discourse and to the many critiques arising from the present moment of commemoration. The modernist notion of national identity is deconstructed by the artist so that it can be reconstructed by a viewer. White Butterfly proposes a ‘rewriting’ of national identity formations that takes place through the emotional process of engaging with images. Identity is experienced as an ambivalent state, both predefined and amenable to self-determination. In that sense, the artist proposes a condition of possibility for a post-national identity linked to local histories.

Tayler’s cross-media fragmentation creates a space to reflect on the emotional dimension of belonging or exclusion. The White Butterfly series uses subversive artistic strategies, such as appropriation, imitation, reproduction, and reframing, to engage with historical tropes of Canadian and Québécois nationhood. While recognizing the important place of identity-based politics, and the right to representation as structural challenges to state authority, this body of work also asks, what agency does an individual have when emotional bonds are created through long-term exposure to ubiquitous media images and Euro-Canadian modern art? Referencing magazine pictures and newspaper headlines alongside works by 20th century Canadian and Québécois art historical figures, such as Tom Tompson, Joyce Wieland, Roy Kiyooka, Alanis Obomsawin and Yves Robillard, the White Butterfly series raises issues of cultural authenticity and appropriation, as they relate to the creation of a sense of self both within and beyond national boundaries.

The exhibition includes a sound track by Christian Carrière, featuring Melted Crystal, a psychedelic rock anthem by Japan-based band, Kikagaku Moyo.

About the Artist
Felicity Tayler is an artist, researcher, and writer based in Toronto and Montreal. She holds a PhD in Humanities and a Masters in Library and Information Studies. Drawing from professional experience in libraries, her art practice is informed by “archival encounters” with print and digital media, the material substrates of social imaginaries. Her past projects have been shown at the Leonard and Bina Ellen Art Gallery, Owens Art Gallery, and SBC Gallery of Contemporary Art.

Gallery hours are Tuesdays and Wednesdays, from 10am to 5pm, or by appointment. For more information and media inquiries, please contact the gallery at or




Opening April 23rd at 3pm

Open Wednesday to Saturday from noon to 5pm

For its first edition, La Nouvelle Biennale is co-produced by Galerie Thomas Henry Ross art contemporain and Galerie Margot Eleanor Ross art actuel. The galleries will present artworks of twenty-one high-calibre artists. Unlike other biennials that operate on a more traditional model supported by the state, La Nouvelle Biennale is funded entirely by private interests, which is a considerable difference for this type of structure. Despite reduced funding, this way of working allows great flexibility in regard to where and when the biennial will eventually happen. The fact that its production schedule and funding are not linked to any external body is an invaluable advantage when reflecting on a constantly changing world. The first phase of La Nouvelle Biennale is held in Montreal, with national and international artists. It is hoped that subsequent editions can be co-produced with partners from outside of our national or cultural boundaries to allow an adoption of multiple perspectives on contemporary and artistic realities, transcending a unidirectional view of art.

Another unusual aspect of Nouvelle Biennale is the ability to acquire the works presented there, allowing on one hand to help fund subsequent editions of the event, and on the other to encourage artists, which remain the rationale for the project, present and future.

Thematically, the exhibition project of La Nouvelle Biennale focuses on the Zeitgeist­ (spirit of the time), a theme underlying the biennial since the appearance of this type of event in Venice in 1895. This is not meant to criticize the more traditional models of biennial but rather introduce a different approach, with a multitude of perspectives and resources. Historically, biennials were modeled on the formula of universal exhibitions that marked the 19th and 20th century. We cannot think about what may be a new biennial model without considering the postcolonial concerns arising from them, since they are at the heart of its development for nearly a hundred and ­­twenty years. Nouvelle Biennale initiates a reflection about these imperfect models with a proposal that is also imperfect, but indispensable and vital to understanding contemporary cultural reality as it is presented to us today.

For this first edition of La Nouvelle Biennale, the invited artists are: Vikky Alexander, Itziar Barrio, Catherine Bodmer, Catherine Bolduc, Sebastien Cliche, Sylvie Cotton, Michel de Broin, Julien Discrit, Steve Giasson, Eleanor King , Chris Kline, Dejode & Lacombe, Manuela Lalic, Daniel Olson, James Patterson, Marc- Antoine K. Phaneuf, Felicity Tayler, Lucille Uhlrich, Jonathan Villeneuve, Kim Waldron and Pavitra Wickramasinghe .

The event’s curator is also founder and director Jean-Michel Ross.


Media partner:



For immediate release




September 19th to October 23rd

Opening on September 19th starting at 3 pm

The exhibition La très honorable Kim Waldron was produced during a four month residency in China. The artist commissioned three official portraits by the painter Wang Wei, one in Xaimen in the province of Fujian and two others in Beijing. It is part of Waldron’s Public Office project where she is running as an Independent candidate in the Papineau riding. After working with self-representation for more than a decade, the artist questions the role of the image in contemporary politics.

Kim Waldron is a Montreal-based visual artist. Her artwork frequently uses self-portraiture as a means of engaging with various contemporary social situations. Through addressing the use of image and the importance of context, over the years her artwork has depicted how we construct our subjective reality.




For immediate release

PRESENTS Capitalism in the 21st Century

From the 27 of Febuary to the 19th of June 2015
Opening on Febuary 26th starting at 5 pm

Capitalism in the 21st Century

“It is as clear as noon-day, that man, by his industry, changes the forms of the materials furnished by Nature, in such a way as to make them useful to him. The form of wood, for instance, is altered, by making a table out of it. Yet, for all that, the table continues to be that common, every-day thing, wood. But, so soon as it steps forth as a commodity, it is changed into something transcendent. It not only stands with its feet on the ground, but, in relation to all other commodities, it stands on its head, and evolves out of its wooden brain grotesque ideas, more wonderful than « table-turning » ever was.”

Karl Marx

This paragraph of Marx’s Capital and the essay Capital in the Twenty-First Century by economist Thomas Piketty have been a great source of inspiration for this exhibition that incorporates all of the Waldron-Ross family’s physical capital in Montreal. It was also inspired by research about the contexts and the presentation of private collections at la maison rouge foundation in Paris. Here is a proposal to reflect on capital in terms of art works, art objects and just plain objects in the context of a private gallery.

This exhibiton aims to present works from the collection of director Jean-Michel Ross,  from the perspective of the objects and the quasi absence of their content, among furniture and everything else they were surrounded by in a large apartment on St-Denis Street between St-Zotique and Bélanger during the past eight years. This exhibition is presented on the occasion of a forced relocation from the Petit Patrie to the Outremont neighborhood. It will last a little less than four months, the period of time during which the director and his family will work on making and exhibiting art works in China, between Xiamen and Beijing.

In addition to the questions it raises about art and the object, presence and absence, the public and the private, order and disorder, value and presentation, the exhibition places its author in an ambiguous and fragile position which defines the action of the artist and that of the curator. It explores these flexible bounderies which interest all those who think about the mediation of art, without withdrawing entirely from the showing process through their choices and decisions. All curatorial proposals are subject to these tensions, but they are here exacerbated by the fact that the hundred art works present are only partially visible even if they are all clearly identified.

A conference will be organized to addresse many of those interesting issues on April 26 at 11 am during the Paper Fair 15, in collaboration with Espace Art actuel magazine though there Espace_discussion events.






Opening on January 17th starting at 15 pm








For immediate release



September 6th to September 27th
Opening on September 6th starting at 3 pm

Galerie Thomas Henry Ross art contemporain (pop-up)
7629, rue St-Hubert,
Montréal, Qc.
H2R 2N7

Gallery Hours: Wednesday to Saturday, 12 – 5 pm



September 13th to October 11th 2014
Opening on September 13th starting at 3 pm

Galerie Thomas Henry Ross art contemporain
5445, Ave de Gaspé, local 423,
Montréal, Qc.
H2T 3B2

Gallery Hours:  Tuesday to Saturday, 12 – 5 pm

With the financial support of the City of Montreal as part of the 2013 Pierre-Ayot Award, Galerie Thomas Henry Ross art contemporain presents two exhibitions by Kim Waldron. A retrospective spanning the last ten years of her career, simply named Rétrospective 2003-2013, will be installed in the gallery space, while the Public Office project will be exhibited in a pop-up on St-Hubert street, where the artist will kick off her federal election campaign in the electoral district she covets. In addition to working towards obtaining the 100 signatures required to become an official candidate, the artist will launch the English version of her memoirs, titled Honesty, Hope and Hard Work, which will allow residents to know and understand their new independent candidate. This book published by Concordia University has been made possible through the generous support of the Claudine and Stephen Bronfman Family Foundation as part of a fellowship awarded to the artist in 2013. The French version of the book will be available before the next federal election in October 2015.

Kim Waldron’s art practice frequently uses self-portraiture as a means of engaging with various contemporary social situations. Through addressing the idea that reality is always a construction, over the years her work has questioned the role of images and the importance of context as discourse. The conceptual framework of her photographic series is based on the boundary that defines reality and fiction. Not only is self-representation an integral component of her work, the contexts that she uses to create these narratives are equally as important.


Julien Discrit, N45W111-N43W109 Ashton, détail (de la série États inversés) 2014, Impression jet d’encre sur papier argent métalisé 50 X 70,55 cm




Opening on August 2nd starting at 4 pm

For his first solo exhibition in Canada, Julien Discrit presents his most recent photographic work titled Inverted States. These images have been created with elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. By changing the direction of light on the relief, the artist created an inverted landscape—valleys become crests and mountains become depressions. Instead of offering the classic bird’s-eye view, these maps give us the view from underneath.

He is also showing the installation Now is Never and a work from the Diagram series depicting one of the artist’s dreams written on the page of a notebook. By removing the ribbon from a typewriter, the paper has been pressed to create the letters and the words that make these scripts visible.

Julien Discrit’s artistic work focuses on geography, cartography and the general notion of space. His works bring perception and representation into play, directly connecting to the links that are forged between the subject and the world, between “the map and the territory”. In addition to these notions of space, there is also a temporal, human and fictional dimension strongly marked by scale.

Julien Discrit has participated in several solo shows and group shows, such as La Biennale de Lyon in 2011, Entre-Temps at the Minsheng Art museum in Shanghai, Diagrams at Martine Aboucaya Gallery, Paris, in 2010, and La consistance du visible, 10th Ricard Foundation Prize, Paris, in 2008.





Opening on April 26th starting at 4 pm
Finishing party on Saturday June 14th, 4pm – 7 pm


“One morning in September, while I was reading an article in the newspaper about recent discoveries in astrophysics, I experienced a strange sensation of emptiness under my feet. As if the ground had suddenly evaporated. The article was concerned with hypothetical “dark matter”, an impalpable and invisible matter that composes 80 % of the universe nonetheless. Apparently, the world was not exactly what I had always perceived, nor even what I had imagined. The space around me was invaded from now on by a mysterious matter, which somehow escaped my glance. I pursued my reading and, bit-by-bit, the space under my feet quietly filled. Then, this dark matter began proliferating in an exponential way. It seemed to me that soon I would not manage to discern the surrounding landscape anymore. I had lost my marks. After this destabilizing experience, I produced the works presented in the exhibition Comment encadrer un passage hypothétique. The exhibition includes a wall installation and large scale drawings consisting of sinuous lines and decorative motifs, which resemble wavy hair, baroque frames and oval mirrors. But these “frames” and these “mirrors”, rather than framing a recognizable landscape or reflecting one’s self-image, invite the gaze to get lost in a labyrinthine profusion. Comment encadrer un passage hypothétique envisions reality as a complex, maybe disturbing, maybe fabulous construction, by which outlines are left most of the time imperceptible”.

Catherine Bolduc

In the practice of her art, Catherine Bolduc is interested in the way the psyche perceives and constructs reality by feeding it with its own desires, by transgressing it with its fabrication of fantasy and fiction. The core of her work rests on subjective experiences dealing with personal memories in which fabulation and idealization produce a mental transfiguration of reality or conversely revisited desire is subjected to the ordeal of reality, illusion faces disillusion and deception head-on. Her work is an invitation to experience phantasmagorical spaces alluding to, for instance, an ideal fantasized life, exotic quests, utopian dreams of love, oneiric wanderings, but where magic also reveals its dark side. Her aesthetic intention is twofold: it oscillates between the evocation of the human vulnerability in front of the discrepancy of the reality with the desires and the reconciliation by a celebration of the poetic power of the banal.





From March 15th to April 12th 2014
Opening on March 15th starting at 4 pm

Galerie Thomas Henry Ross art contemporain is presenting the first exhibition in its permanent space located in the new central hub for visual arts on rue de Gaspé in Montreal. In addition to organizing pop-up exhibitions in various cities and countries, this fixed venue will also allow the gallery to have a regular programing. 

To mark the opening of its new space we present: J’en veux plus, toujours plus! /// And I Still Want More!, featuring a selection from the collection of the owner in the form of a salon. The exhibition consists of an excessive presentation of 42 artists in a space of about 300 square feet, and puts an emphasis on the pleasure of accumulation but also on the theme of excess found repeatedly in contemporary art and in this collection. It is also a tribute to the outstanding artists from Canada and abroad who, through their practices, expand and nourish our thinking about art and the world.

Sylvette Babin, Itziar Barrio, Bernd & Hilla Becher, Mathieu Beauséjour, Dominique Blais, Catherine Bodmer, Catherine Bolduc, Michel de Broin, Christo and Jeanne-Claude, Sylvie Cotton, Marcel Dzama, Andrea Fraser, Sarah Greig, General Idea, Raymond Gervais, Dan Graham, Minja Gu, Milutin Gubash, Diane Landry, Mark Lombardi, Louise Lawler, Emmanuelle Léonard, Norton Maza, Thérèse Mastroiacovo, Aude Moreau, Daniel Olson, Tanja Ostojic and David Rych, Nam June Paik, Elizabeth Palowski, Roberto Pellegrinuzzi, Marc-Antoine K Phaneuf, Jamie Reid, Royal Art Lodge, Gabor Szilasi, David Shrigley, Michael Snow, Jana Sterbak, Team Macho, Ève K Tremblay, Kim Waldron, Ai Weiwei, Max Wyse 



Kim Waldron, Rabbit Head, inkjet print, 33 X 33 cm, 2011

(Oeuvre que l’on peut passer clandestinement dans ses valises)

8-11 novembre 2012 / November 8-11, 2012

Galerie Thomas Henry Ross art contemporain est heureuse de vous inviter à la foire Art Market Budapest 2012 où elle présentera les oeuvres de Itziar Barrio, Richard Deschesne, Sarah Greig, Milutin Gubash, Aude Moreau, Tamas Veszi et Kim Waldron en compagnie d’oeuvres des galeries new-yorkaise Radiator Arts et Ruth Phaneuf Fine Arts pour leur exposition de groupe intitulée: Artworks You Can Smuggle in Your Suitcase (Oeuvre que l’on peut passer clandestinement dans ses valises).

Galerie Thomas Henry Ross art contemporain is pleased to invite you to Art Market Budapest 2012 where works will be presented by Itziar Barrio, Richard Deschesne, Sarah Greig, Milutin Gubash, Aude Moreau, Tamas Veszi and Kim Waldron alongside artwork from two New York galleries, Radiator Arts and Ruth Phaneuf Fine Arts in the exhibition titled Group Show: Artworks You Can Smuggle in Your Suitcase.

November 8-11, 2012
Booth G406
Building B, Ground floor
Millenaris Cultural Center, Budapest, Hungary

This project is initiated by three contemporary art galleries founded in New York City in 2011:
Galerie Thomas Henry Ross art contemporain (NYC/MTL)
Radiator Arts Gallery (NYC)
Ruth Phaneuf Fine Arts (NYC)



Itziar Barrio, Welcome to the New Paradise, C-Print, 70 x 50 cm, 2009

Press Release

For immediate release



From August 4th to August 25th 2012 at Galerie B-312
Opening on August 4th starting at 3 pm
Gallery Hours: Wednesday through Sunday, 12 – 5 pm

Founded in New York in 2011, for its inaugural pop-up exhibition in Montreal, Galerie Thomas Henry Ross art contemporain presents the works of three artists and a collective that provoke reflection on the role that context plays in the production of contemporary art. If several art sociologists, since Marcel Duchamp, are now arguing that it is the institutional spaces (gallery, museum, foundation, etc…) which place the object in the position of the artwork, instead we will affirm that it is the artists who, with full awareness of the power dynamics, incorporate these sites within their conceptual concerns which relate directly to the aesthetic and formal concerns of their work.

The exhibition Galerie Thomas Henry Ross art contemporain will address these issues of context and reflect on what is specific to impermanent spaces, such as pop-up platforms, through artworks that question, incorporate, and manipulate public and mediated spaces. The exhibition offers works made at the intersection of art as an autonomous activity. Starting from the point of view that the exhibition context always feeds to certain degrees both the artworks and the curatorial discourse, we will find in this exploratory initiative diverse approaches that are particular to the mandate of the parasitized gallery. The use of Galerie B-312 a not-for-profit artist-run centre, while closed for the summer, will promote questioning with respect to the possibilities for a commercial gallery to act as a platform for experimentation and research. Through juxtaposition and dialogue between the two entities we hope it will be possible to further our knowledge of these structures and their impact on the reception, but also on the production of the works they present. Although this proposal is being initiated by a commercial space, not all the works presented will be available for sale. The works will be exhibited for their reflexive value rather than for their strict mercantile value.

Because we believe in dissemination through a plurality of means and we support artists as well as cultural workers from the field of contemporary art in Montreal, Galerie Thomas Henry Ross art contemporain will give half the net revenues raised from its exhibition to Gallery B-312. We believe there is no contradiction between presenting and representing artists who push the boundaries of research in contemporary art and the wish to encourage the public and private funding of those projects.

To put forth exchanges on the proposed topic, a round table will also be held on August 18th with local and international speakers thus encouraging dialogue between curators, artists, researchers and collectors.

The artists in this exhibition are Itziar Barrio (born in Bilbao, Spain, lives and works in New York), Sarah Greig (lives and works in Montréal), Kim Waldron (born in Montréal, lives and works in Montréal) and Group Material (founded in New York from 1979 to 1996)

Jean-Michel Ross, director of Galerie Thomas Henry Ross art Contemporain, has also been an independent curator since 2004. B-312 is a not-for-profit artist-run-centre, currently celebrating its 20th anniversary.

Galerie Thomas Henry Ross art contemporain wishes to thank his artists and the staff and director of Galerie B-312 for their support and dedication. We also want to thank Naide D’amico, Richard Contant, Ève K. Tremblay, Emily Southwood and Jean-Sébastien Leroux. Sarah Greig would like to thank Thérèse Mastroiacovo and Jean-Michel Ross.





presents the trilogy:

Curated by Jean-Michel Ross

For the first collaborative event of this newly founded pop-up exhibition platform, Galerie
Thomas Henry Ross art contemporain invites you to an exhibition in three parts under the title

The event will take place at three different venues:

ISCP (International Studio & Curatorial Program)
Radiator Gallery
RU (Residency Unlimited)

The gallery would like to acknowledge the generous support of these three organizations that are hosting this event and Conseil des arts et des lettres du Québec which made Jean-Michel Ross’ curatorial residency at ISCP possible.


1.      Presentation by curator and director Jean-Michel Ross followed by a solo exhibition of Ève K. Tremblay (Montreal-New York-Berlin)

January 24th, 2012 at 18h30 (at ISCP)

With this first event Jean-Michel Ross will present Free Pass Magazine and Galerie Thomas Henry Ross art contemporain which he founded during his curatorial residency at ISCP. The South Korean artist Kakyoung Lee, a fellow ISCP resident, will also present her work. The presentations will be followed by a solo exhibition of Ève K. Tremblay’s new collage work. The artist will exhibit under the subtitle:  Sorry it was a misunderstanding.

(press passes from Free Pass Magazine will be available after the presentation)

International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue
Brooklyn, NY, 11211
Studio 211
For more info on this event call 718-502-6764
or write


2.    Group Exhibition

January 27th to February 18th, 2012 by appointment (at Radiator Gallery)
Gallery hours on January 28th and 29th are 12h00 to 18h00

Opening on January 27th, 2012 from 18h00 to 21h00

The second event will be a group show of artists that have contributed in defining the platform that is Galerie Thomas Henry Ross art contemporain. After two and a half months of research in residence at ISCP, it is now
time to work, play and display artworks that have had an impact on the creation of this pop-up gallery. Gallery Radiator, a newly constituted space that defines itself as a radical mediator for the arts, has generously opened its doors for the project by providing a physical space for the exhibition. This collaboration will be the first official show of this new actor on the New York scene situated about two minutes from PS1 MOMA.

The second event will present the work of the following artists:

Itziar Barrio (Bilbao-New York)
Alex Clark (North Jersey)
Petros Chrisostomou (London-New York)
Gabriela Galvan (Mexico-New York)
Sarah Greig (Montreal)
Milutin Gubash (Montreal)
Theresa Mastroiacovo (Montreal)
Ève K. Tremblay (Montreal-New York-Berlin)
Kim Waldron (Montreal)

(press passes from Free Pass Magazine will be available during the opening)

Radiator Gallery
10-61 Jackson Ave,
Long Island City, NY, 11106
For more information or appointment call Tamas Veszi 347-677-3418
or write


3.    Contemporary video art screening and presentation of Free Pass Magazine and
Galerie Thomas Henry Ross art contemporain by curator and director Jean-Michel Ross

January 31st, 2012 at 18h30 (at Residency Unlimited)

The third event will begin with a brief presentation followed by a projection of short videos by six contemporary artists working with the idea of play.

Artists presenting video work:

Itziar Barrio (Bilbao-New York)
Gabriela Galvan (Mexico-New York)
Milutin Gubash (Montreal)
Kelly Lycan (Vancouver)
Ève K. Tremblay (Montreal-New York-Berlin)
Tamas Veszi (New York)

(press passes from Free Pass Magazine will be available after the projection)

Residency Unlimited
360 Court St. unit #4
Brooklyn, Ny, 11231
For more information on this event call 718-502-6764
or write