Art Toronto 2019

October 25-27, 2019

Art Toronto 2019

Booth C10


Montrealers will have the chance to visit the retrospective of Inuit artist Shuvinai Ashoona at the Leonard and Bina Ellen Gallery (Concordia University) starting October 30. This exhibition was first presented at the Power Plant in Toronto and will be circulating in several Canadian institutions. Galerie Hugues Charbonneau will present at Art Toronto selected drawings, from 2012 to 2019, that combine representations of Cape Dorset’s daily life with imaginary scenes inspired by science fiction and popular culture.


Shuvinai Ashoona, Untitled, 2015
Crayon de couleur et encre sur papier (ENCADRÉE)
Colour pencil and ink on paper (FRAMED)
total : 58,5 x 76 cm (23” x 30”)


Shuvinai Ashoona, Untitled, 2015
Crayon de couleur et encre sur papier (ENCADRÉE)
Colour pencil and ink on paper (FRAMED)
71 x 126 cm (28” x 49,6”)


The African-Canadian artist Trevor Gould is representing here the famous 18th-century botanist explorer Alexander von Humboldt playing tourist, wearing Mickey Mouse ears. The artist notes with a smile that if Humboldt had visited America today, he would certainly have stopped at Disney Land. A full-size version of Gould’s Humboldt is currently on display at the Montreal Museum of Fine Arts. For Art Toronto, Gould entrusted us with the first representation he made of this Humboldt, in bronze. A large mural of the artist is also currently on display at the Museum of Contemporary Art in Krakow. An interview of Trevor Gould by art historian Robert Enright can be read in the magazine Border Crossings (see reference here).


Trevor Gould, The Death of Eloquence, 2013
Bronze peint
Painted bronze
12″ h


Trevor Gould, Young Activists #1, 2019
Aquarelle (NON-ENCADRÉE)
Watercolour (UNFRAMED)
61 x 46 cm (24” x 18”)

Three Prototype Bags with Jingle Sach is the first piece made of felt by Maria Hupfield (Anishinaabek artist, citizen of the Wasauksing First Nation). This artwork plays a very important role in the development of the artist’s career. It was activated during performances in Zurich, Santa Fe, Toronto, Montreal and Paris. Of note, a work by Maria Hupfield is currently on display at the Montreal Museum of Fine Arts. The artist is also preparing her first solo museum exhibition in the USA, at the Heard Museum.


Maria Hupfield, Perfromance, Santa Fe, USA, 2011
Maria Hupfield, Three Prototype Bags with Jingle Sach, 2010
Feutre industriel, clochettes
Industrial felt, jingles


Maria Hupfield. Held Up Held Down, 2018
Épreuve chromogène et feutre industriel (ENCADRÉE)
C-print and industrial felt (FRAMED)
102 x 76 cm (40” x 30”)


Although he received the first prize of the Dakar Biennial in 2010, it is through the exhibition “From Africa to Americas, Picasso Face-to-Face Past and Present”, at the Montreal Museum of Fine Arts, that Moridja Kitenge Banza became known to the Canadian public. His work addresses the “multiple” natures of his cultural heritage and deals with the representations of Africans outside their home continent.

A Christ Pantocrator is a Byzantine icon of Christ represented as almighty in his glorious body. This painting series borrows this representation as a starting point to question the artist’s relationship to masks from Africa found in Western art museums.


Moridja Kitenge Banza, Authentique #2, 2019
Impression archive au jet d’encre sur papier
Archival digital inkjet print on paper
Édition 5
86,3 x 61 cm (34” x 24”)


Moridja Kitenge Banza, Christ Pantocrator No 4, 2019
Acrylique sur bois, feuille d’or
Acrylic on panel, gold leaf
40 x 30 cm (15,75” x 11,75”)


Haiti-born, Montreal-based multidisciplinary artist, Manuel Mathieu is known for his paintings, which investigate themes of historical violence, erasure, as well as Haitian visual cultures of physicality, nature, and religious symbolism. Marrying abstract and figurative techniques, his compositions carve out space for us to reflect on Haiti’s transformative history while inviting us to consider the different futures the act of remembering creates.

Works by Manuel Mathieu can currently be seen at the Perez Art Museum in Miami, in the context of the exhibition “The Other Side of Now: Foresight in Contemporary Caribbean Art”. See here.

We invite you to read a recent interview with Manuel Mathieu in the British magazine Frieze here.



Manuel Mathieu, Equal Forces, 2019
Techniques mixtes sur toile
Mixed media on canvas
46 x 36 cm (18” x 18”)


Manuel Mathieu, Equal Study on a Movement, 2019
Techniques mixtes sur toile
Mixed media on canvas
61 x 61 cm (24” x 24”)


We will exhibit a large digital photomontage by Alain Paiement at Art Toronto. This artwork is made of thousands of image fragments representing crowds taken from all continents. Garnered from local and world news over several years, these photographic details were primarily captured during mass demonstrations with explicitly political motivations, but also during festivities, religious or sports events, or any other possible gathering.

Do not miss the opening Alain Paiement’s “Bleu de Bleu” exhibition at the Montreal Museum of Contemporary Art, on October 30. For more information, visit the museum’s website here.



Alain Paiement, Masses / Particules, 2019
Impression directe sur panneau Dibond; chassis en aluminium.
Direct print on Dibond panel, aluminium frame
244 x 351 cm (96” x 138”)


Alain Paiement, Masses / Particules, 2019
(détail / detail)


Alain Paiement
Croissants-décroissants de lunes, 2012
Épreuve numérique aux pigments montée sur alupanel (ENCADRÉE)
Digital pigment print mounted on alupanel (FRAMED)
Éd. 5
46 x 46 cm (18” x 18”)


Cindy Phenix‘s work addresses the relationship between public and private spheres. The artist draws inspiration from participation/discussion groups she organizes and directs. These aim to raise awareness of the female experience through the realization of collaborative projects as well as the discovery of common experiences.

To learn more about Cindy Phenix’s work, we invite you to read Saelan Twerdy’s text in Canadian Art here and Robert Enright’s text in Border Crossings here.


Cindy Phenix, About Birds, Blue and Strangers (left), To Confirm with their Gestures (right), 2019
Pastel, huile, acrylique et textiles trouvés sur toile de lin
Oil, acrylic, pastel and found textiles on linen
121,9 x 91,4 cm (48” x 36”) each


Cindy Phenix, Activated by Absurdity, 2019
Conté, pastel sec, feutre et collage sur papier (NON ENCADRÉE)
Conté, dry pastel, felt and collage on paper (UNFRAMED)
76,8 x 62,9 cm (30,25” x 24,75”)


Karen Tam is a Montréal artist whose research focuses on the constructions and imaginations of cultures. She engages with historical objects, whether through making her own ‘fake’ antiques, and replicating or including items from museum collections within her installations. The process of copying and the handling of these objects is a way to re-activate history and to question the modes of cultural production and consumption.

Five works by Karen Tam are currently on display at the Koffler Gallery in Toronto as part of the exhibition “Undomesticated” (a project by Mona Filip and Nicolas Fleming). Karen Tam is also preparing a solo exhibition for January 2020 in the same institution. For more information. We invite you to visit the Koffler Gallery website here.


Karen Tam, Cheer up Blue Moon!, 2012
Papier mâché (journaux chinois, colle à tapisserie avec protection contre l’humidité et la moisissure), peinture, crayon feutre doré
Papier-mâché (Chinese newspaper, wallpaper paste w/ fungicide and moisture protection), paint, gold marker
2 comp. / 17.1 x 17.1 x 3.8 cm (6 ¾” x 6 ¾” x 1 ½”)


Karen Tam, Lynx’s Pillow, 2019
Pulpe de papier, carton, encre de chine, gouache, vernis avec protection UV
Paper pulp, card, pigmented India ink, gouache
19,7 x 46,5 x 32 cm (7,8” x 18,3” x 12,6”)


Karen Tam, Pearl Divers (Café-au-lait), 2019
Papier mâché, gouache, gesso, vernis avec protection UV
Papier-mâcheì, card, gouache, gesso, UV archival varnish
3 elements : 46 x 15 x 15 cm / 43 x 18 x 18 cm / 4 6 x 15.5 x 15.5 cm

Currently on display at the Koffler gallery (Toronto)