• Jusqu'au 13 Sept Alain-Marie Tremblay & Ève K. Tremblay: Ça! Musée d'art Contemporain des Laurent

    Jusqu'au 13 Sept Alain-Marie Tremblay & Ève K. Tremblay: Ça! Musée d'art Contemporain des Laurent

    DANS LA PRESSE:  Le Devoir, La Presse, Baron Magazine, Céramique P.Q. , Journal le Nord, Journal des citoyens


    Musée d’art contemporain des Laurentides 
    101, place du Curé-Labelle, 
    Saint-Jérôme (Québec) J7Z 1X6 
    Téléphone : 450.432.7171

    Du mardi au dimanche de 12 h à 17 h



    « Un jour tu m'as fait un dessin très touchant dans mon calepin. Tu communiquais avec moi. Il communiquait beaucoup plus loin et plus fort que les mots que tu connaissais. Je me suis dit qu'il fallait que je l'écoute. Ses traits dégageaient plein de nouveaux éléments et tu étais fière de me montrer qu'avec « ça » tu m'en disais beaucoup. J'ai demandé: « c'est quoi ça? »

    Tout en suçant ton pouce pensivement tu m'as répondu :

    - C'est un « ça »
    J'ai retorqué: "Oh! Un « ça »! Que c'est gentil! J'aime beaucoup ton Ça. Je vais le garder précieusement.»

    L'exposition s'organise autour du thème de la filiation et de la communication entre Alain-Marie Tremblay, céramiste-sculpteur, et sa fille Ève Kateri, artiste photographe qui agit aussi comme commissaire. En déambulant dans l'exposition, vous pourrez découvrir ou redécouvrir des sculptures, peintures, dessins sur céramique et papier. Ève K. Tremblay présente de nombreuses œuvres photographiques récentes et inédites ainsi que quelques transferts d'images sur céramique. Venez également essayer de comprendre le dialogue qui s'est créé entre eux dans l'installation collaborative qui complète cette exposition familiale.

    Ève K. Tremblay tient à remercier : Greenwich House Pottery, New York;Centre Sagamie, Alma, & Alex Clark; galerie antoine ertaskiran, Montréal; Chuck Kelton at Kelton Labs (NY/NJ), Gale Elston and (Re) - Create Residencies (USA).

    Site internet d'Alain-Marie Tremblay :

  • Until May 10th Gallery Molly Krom, New York

    Until May 10th Gallery Molly Krom, New York

    Ève K. Tremblay, 2014-2015, Collage/Decal/Glazed Clay modelages 2-4 fire, Exhibition view of ceramics and photographs installations Madeleines Minérales & Brain Navigations, in:

    Inside Out (with Francois Ilnseher, Robin Randisi & Ève K. Tremblay)

    Gallery Molly Krom, 53C Stanton Street, New York

    April 15th- May 10th (hours Thursday-Sunday 12-6pm)

    Reception April 19th 6-8pm

  • May 2nd, Makeshift, Gallery 44, Toronto

    May 2nd, Makeshift, Gallery 44, Toronto

    Ève K. Tremblay, 2013, oeuvres photographiques de la série Clair Obscur dans l'atelier de mon père 

    Ève K. Tremblay, 2013, oeuvres photographiques de la série Clair Obscur dans l'atelier de mon père 

    Makeshift - Opening Reception May 2, 2:00PM to 5:00PM

    curated by Noa Bronstein

    with Brea Souders, Ève K. Tremblay, Maegan Hill-Carroll

    at Gallery 44 Center for Contemporary Photography

    401 Richmond Street West
    Suite #120, Toronto

    Co-presented with the Scotiabank CONTACT Photography Festival 

    Exhibition runs from May 2- May 30, 2015

    Ève K. Tremblay, 2013, oeuvres photographiques des projets

     Clair Obscur dans l'atelier de mon père  


    Madeleines Minérales (tranfers photographiques (decals) sur modelage en céramique, 3 cuissons)

  • Feb17th 2-7pm (Re)-Create Residency Award Exhibition, Whitebox Art Center, New York, NY

    Feb17th 2-7pm  (Re)-Create Residency Award Exhibition, Whitebox Art Center, New York, NY

    Laura Splan's work on the left side of image above/ Ève K. Tremblay's work on the right side above. More about this exhibition on (Re)-Create Residency website

    Images under: views of Ève K. Tremblay's Archival pigment prints, a selection of work from the Suite cônes pyrométriques

    Cône et triangle rose sur astro blanket, 2014, archival pigment print, 48"x32"

    Left: Tronc et cône rose, 2014, archival pigment print, 48"x32"

    Right: Cible au centre rose, 2014, archival pigment print, 48"x32"

    Left: Oiseau Magique Over Lake, 2014, archival pigment print, 48"x32"

    Right: Cône caché derrière tronc, 2014, archival pigment print, 48"x32"

    In situ Installation with astro (survival) blanket, hand made fired ceramics pieces with image transfers, and unfired porcelaine piece bird with pyrometric cones. Collection of (Re)-Create residency

  • Review of recent solo at G-MK in Zagreb by Leila Topic

    Review of recent solo at G-MK in Zagreb by Leila Topic

    English translation by Zeljka Himbele of  review on HRT. radio written by Leila Topic

    EKTBF451/EKTF451: Notes & Confessions (Ève K. Tremblay solo exhibition) Miroslav Kraljević Gallery/ curated by Zeljka Himbele 05.12. - 23.12.2014, Zagreb. Exhibition views

    German film production company Filmgalerie 451 is known for the production of «risky» movies, that is, films which resist common formulas or typical film genres categorization. This company has produced works by innovative German directors who became classical figures, such as Christoph Schlingensief or Heinz Emigholz. Also, they don't shy away from presenting even experimental works of the upcoming authors. Until last year, besides the production company, in Berlin there was aslo a cult movie rental facility by the same name, on the crossing of Tor and Freidrich Streets. The facility presented an earthly heaven for all the movie lovers. In a typical Berlin interior with high ceilings with intarsions, wooden stairs with elegant winding handrails made of dark oak tree, there were raws of shelves with films; from Russian experimental animation from the beginning of 20th Century, to the most recent British, Thai and Korean independent production. This place of meetings and dialogs about the art of film has vanished due to the pitiless act of gentrification of the center of Berlin, which indifferently gives its cultural goods to the highest bidder. Precisely in the video rental store Filmgalerie 451, through an accidental encounter in 2007, Canadian artist Ève K. Tremblay conceived her multimedia project Becoming Fahrenheit 451. The number 451 recalls, of course, the title of the novel by famous Sci-Fi writer Ray Bradbury- Fahrenheit 451, the elements of which have also been approprited in the film of the same title by François Truffaut.

    The plot of this novel describes not that distant future in the second half of 21st Century, in which books are considered a threat to the social peace. Books and reading, described by Bradbury, lead to unrest, reflexion on the current state of affairs and consequently, to unhappy and rebellious individual. Therefore, the books have to be destroyed by specialized squads of firemen who are burning them – 451 degrees of Fahrenheit is indeed the temperature at which the book paper burns. Only the small groups of «heretics», the so-called «book people» have the mission to save the books from oblivion, in the immaterial shape- in their own minds, through the method of photographic memorization.

    The finding and encounter at this Berlin video rental place has triggered the artist's recollection of Bradbury's book, which she had read many years ago. This was the beginning of her years long reflective and persistent effort of memorizing a part of Fahrenheit 451 book- a metaphorical attempt to «become a book.» Tremblay, who graduated in French literature in Montreal, and later photography, has used her knowledge and preferences for literary forms and visual arts, but also scientific texts, history of mnemonic systems and mechanisms, to create a unique ambiance consisting of video installations, photographs, essays, drawings, collages and assemblages  at MK Gallery in Zagreb. “Poetical approach and philosophical contemplation have come into play with constant material experimentations;” writes the curator of the exhibition Zeljka Himbele, who lives in New York City. Furthermore, notes the curator, this ambiance is also the artist’s attempt to say goodbye to this longtime project which required such deep immersion. While viewing the exhibition, the visitor finds several motifs which don’t create chronological narration but still connect multiple elements of installation, similar to the notion of cultural memory, or to the collaged cutouts of the front pages of writings that deal less directly with this phenomenon, like the poetry collection by Osip Mandelstam, titled The Noise of Time. This writer’s wife Nadezhda Mandelstam had memorized all of his poems to prevent them from disappearance while he was imprisoned in a camp near Vladivostok, between 1934 and 1938.

    Furthermore, in the artist’s collages there appears the front page of seminal book by Frances A. Yates, The Art of Memory, which describes mnemonic technics of the Ancient Greeks and Romans, as well as Renaissance thinkers who, like Giordano Bruno, linked mnemonics to the occult.

    One of the outstanding motives of the installation is a letter of the artist to Ray Bradbury himself, rewritten many times. The letter is an invitation to her opening, but it also reveals, in its diaristic form, the artist’s thoughts on the whole process of developing this project, particularly its latest iteration at MK Gallery. The letter also reveals the artist’s reflections on art making, says the curator, which the artist defines as “making and comprehending with grey matter.” This obvious reference to Duchampian intellectual legacy is clearly seen in the photographs and notes placed in open suitcases arranged on the gallery’s floor. The notes to Bradbury, also the notes to herself, are spread and assembled through the whole palette of different mediums, thus creating intriguing and inviting ambiance which, finally, reminds the viewer who is prone to literature not only of the primitive, fruitless attempts of book censorship during McCarthy’s America during the 1950s (to which, in fact, Bradbury’s book refers to), but also of the most famous syntagm –manuscripts don’t burn- that came from the pen of Mikhail Bulgakov in his The Master and Margarita.

    The photographs of many places reflect the process which the artist chose for memorizing different parts of the book- by linking the lines with various objects, locations and architecture from her own past, infulenced by the notion of «memory palace,» mentioned by Frances A. Yates. One group of videos and photographs show people from the artist's close surrounding, who were invited to read and memorize parts of the books they like, in almost phantasmagoric compozitions that recall the film adaptation by Truffaut. Furthermore, there are colorful and vivid memory cards that served in the whole process of memorizing Fahrenheit 451, with the images of courtyards by which Eve was passing by on a daily basis while living in a part of Brooklyn called Bushwick. The exhibition also features a copy of the book Fahrenheit 451- the artist's paper-made companion since 2007, bought at Berlin's flea market Mauer Park, with numerous marks and notes in different colors which facilitated memorizing of particular textual parts. The visitor, while thinking about the ambiance, cannot escape recalling another landmark of Berlin – a commemoriation palace on The Opera Square, which gives its honors to the books burnt in 1933. In the words of Heinrich Heine, written hundred years before the rise of Nazis: «Where the books are being burnt, soon the people will burn as well.»

    The new fiction writing and theory rising star, the American of Chinese descent Tan Lin, in his piece „Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking: Airport Novel Musical Poem Painting Film Photo Hallicination Landscape“ suggest a new way of reading: non-reading, that is. reading without reading. He claims, as cited by Zoran Rosko in his essay «Ambiental literature for the ambiental life,» that the most beautiful thigns in a novel are the ones which we don't even notice thinking about. He continues that the ideal novel shouldn't be read at all, and half- ideal should be read without focus, for example, by only keeping it next to our bed or looking through it while cooking. Indeed, paradoxically, in the age of the end of reading- because, let's be reminded, an average Croat reads one book per year- we read everything; clothing, brands, ads, receipts, parking tickets,... Everything becomes text but looses its meaning while becoming an ambiance, meaningless texture of reading experience. Reading thus doesn't stimulate the growth of soul, and looses its «higher purpose» since even the concentration camp guards were supposedly reading...

    More and more, reading becomes a lifestyle connected to obsessive and uncontrolled spending. Precisely because of these reasons, Eve Tremblay's project is so stimulating; in spite of not succeeding in becoming a «book woman,: she convinces us how a work of literature is a sum of multiple factors moving towards each other and becoming inseparable part of the reader's experience. By looking at Eve's copy of Fahrenheit 451, one becomes aware how a piece of literature indeed is the partner which helps us in construction of our identities, in erasing the boundaries between real and fiction, as well as our collaborator in a fight against ambiental lives in the shadow of giant TV screen, which was precisely described, in distopian way,  by Bradbury in Fahrenheit 451.

    Leila Topic

  • EKTBF451/EKTF451: Notes & Confessions (solo exhibition)

    EKTBF451/EKTF451: Notes & Confessions (solo exhibition)

    Miroslav Kraljević Gallery / www.g-mk.hrcurated by Zeljka Himbele

    05.12. - 23.12.2014/ Opening 05.12.2014 at 8pm

    Address: Šubićeva 29, 10000 Zagreb

    Hours of operation: tue - fri: 14 - 7pm  / sat: 11 - 1pm

    plus de vues d'exposition/more exhibition views

    Essay by Zeljka Himbele: 

    EKTBF451/EKTFF451: Notes and Confessions

    Eve K. Tremblay’s multimedia project Becoming Fahrenheit 451 started in 2007. Similar to many of her other works, it was triggered by an accidental event from the artist’s former nomadic life and sharp observations of her close surroundings; in this particular case, the encounter with a video-rental store in Berlin, in the neighborhood Tremblay was living at the time. The store’s name, Filmgalerie 451, was indeed symbolic; it referred to the name of a famous Sci-Fi novel by Ray Bradbury (in the 1960s loosely adapted into the film by François Truffaut) that describes not that distant future in which books and reading are treated as a threat to society’s peacefulness; as a disturbance that supposedly leads to uneasiness, doubt, criticality and consequently misfortune. Therefore, the books needed to be destroyed by specialized squads of firemen; only small groups of dissidents, the so- called “Book People,” had the mission to preserve the books from obsolescence in immaterial form- in their minds, through the specially developed photographic memorization method- - in spite of being prosecuted.

    The event of running across this video- rental store in Berlin generated remembrance of Bradbury’s book that Tremblay indeed read a long time ago. This became a starting point for several years of the artist’s immersion into contemplative, playful as much as persistent quest of memorizing Fahrenheit 451, in a metaphorical attempt of “becoming a book.” It engaged the artist’s interests in literature, theater, philosophy and visual arts as much as scientific texts, neuroscience, history of mnemonic systems and mechanisms of remembering and forgetting. Here, poetical approach and philosophical contemplation came into play with constant material experimentations; the project comprises of numerous media such as performance, video, drawing, collage, sculpture, installation, text, as well as Tremblay’s most common medium of photography.

    For MK Gallery, Tremblay envisioned an all-encompassing presentation of her Becoming Fahrenheit 451, titled EKTBF451/EKTFF45: Notes and Confessions, which, in the artist’s words, is also an attempt of saying farewell to such a long and deeply immersive artistic venture. There are several threads that run through the exhibition, escaping linear and chronological narratives while keeping numerous elements of the installation connected, as clues in a fiction book to be deciphered by the viewer. One of these threads is a letter, written and rewritten many times, to the writer Ray Bradbury himself. The letter is an invite for Bradbury to her exhibition, but also reveals, in almost diaristic form, the artist’s thoughts on the whole process of developing Fahrenheit 451, and its newest installation, EKTBF451/EKTFF45 : Notes and Confessions, in particular. The letter also reveals the artist’s reflections on art making in general, which Tremblay defines as “making and comprehending with grey matter” – both by her and by the public. The notes to Bradbury, as much as to herself, are scattered in different mediums throughout the exhibition, creating peculiar and engaging juxtapositions of these short texts and imagery and objects that surround them (“constellations,” as the artist likes to call them). Tremblay’s black and white and colored photographs and a video had captured numerous days and months of memorizing the book (quite contrary to Bradburry’s fast memorizing “Book People”) and observing what was simultaneously happening in the artist’s mind, in private interiors of Tremblay’s apartment(s), but also in various locations during her travels. The images of numerous locales resonate the very process the artist chose for memorization of different parts of the book, but also memorizing life in general- by associating them with different objects, locations and architectures from her past (the “memory palaces”), the most recent ones found in the city of Zagreb. Some videos and photographs record people from Tremblay’s surroundings; acquaintances, friends, and colleagues were asked to read and memorize parts of their own favorite books, in almost dreamlike compositions. The artist’s camera captured those people while being immersed in reading, or performing different, sometimes even odd things with their favorite books. The photographs- interiors or scenic natural historical and industrial landscapes (some of them more directly suggesting particular episodes from Bradbury’s book)- not only depict the individuals in action; in them, the books- a recurring motif in all of the compositions- become characters themselves as being brought to life by some supernatural force.

    There are also several collages in Tremblay’s exhibition, with the cutouts from scientific books surrounding the motif of the ancient poet Sappho. Moreover, there are also drawings in the exhibition, made after the portraits of the iconic artist Yves Klein (known for his deep involvement with Judo training) found on the Internet. The drawings of Klein involved in Judo training humorously adduce Tremblay’s ongoing struggle with memory slippages, or maybe her struggle with the years- long project that cannot be easily erased from her mind, in order to renew itself and develop new focuses. Several black and white gelatin silver prints, at first glance abstract compositions, are in fact imagery of paper cutouts (which are indeed also exhibited); leftovers surrounding the photographic images Tremblay captures on a daily basis, usually doomed to be thrown away. The exhibition also includes colorful and vivid memory cards that served in the process of remembering Fahrenheit 451, with images of backyards (again, particular loci) Tremblay was walking by on a daily basis while living in Bushwick quarter of Brooklyn, NY. There is also the copy of Fahrenheit 451- the artist’s companion since 2007 (purchased in Mauer Park Floh Markt in Berlin as an already used book) with numerous lines, notes and marks made in different colors by the artist (to facilitate the memorization). These layers upon layers of time and gestures are magnified and underscored in photographic close ups of the book’s used pages, onto which the artists furthermore added remarks and scripts. Throughout the gallery, the staged assemblies also contain “clay plays”- ceramic pieces with collages, drawings and video stills/photographs embedded in them. Ceramics has indeed been fascinating material for this artist in most recent times, because of the specific properties of a clay, which is, in Tremblay’s words, “material with good memory capacities”, but also because of the relation to the artist’s personal memories of her earliest engagement with art making in the studio of her father, an acclaimed ceramicist and sculptor. As an overview of the years- long project, the exhibition at MK Gallery also presents documentation of previous exhibition iterations- in some of the images, there are performances of the artist in various exhibition spaces, memorizing or uttering the book lines in deep concentration.

    The multilayered EKTBF451/EKTFF45 : Notes and Confessions envelops an homage to the particular writer and generations of thinkers and readers influenced by his book. All of the displayed material traces referring to stirring, fabrication, preservation and failure of human memory interplay with the concern with the faculty of the medium of book, as much as reading and contemplation in today’s fast paced, inadvertent culture.




  • Solo "Entre les feuilles" jusqu'au 18 janvier à Montréal

    Solo "Entre les feuilles"  jusqu'au 18 janvier à Montréal

    crédit photos vues d'installation (Installation views by Michel Pinault)

    Entre les feuilles

    Ève K. Tremblay : Photographies 2000-2014

    Présences de l'artiste en salle:

    17-18 décembre de 1-5pm

    19 décembre de 2-4pm

    7-8-9 et 14-15-16 janvier 2015 de 1-5pm

    Finissage le 17 janvier à 4pm

    L'exposition se poursuie jusqu'au 18 janvier

    Heures d'ouverture:

    Salle de diffusion de Parc-Extension
    421, rue Saint-Roch, 
    Montréal, (Québec), 
    H3N 1K2
    Entre les feuilles. Une roche. Des pages. Voguent les bateaux sur la plage. Dans le sable dessinent des cônes pyrométriques. Fondus. Liquéfiés. La psychanalyse du feu. Relire Gaston B. Céramiques. Mes madeleines minérales. Oh Proust! Petites roches liées par l'eau. Vitrifiées. Des épaves en élans. Refroidissements. Devenus bateaux, ils s'envolent. Des livres. Des voiles. Des mots. Des ailes. Récit de la réconciliation du feu et de l'eau. Chimies inédites devenues possibles.

    Réécritures photographiques. Transformations. Saisies. Rituel des photons sur verre dépoli. Menuet de nerf optique et de loupe. Les lignes circulent et s'éclaircissent. Figures dans l'espace quadrillé. Comportements ondulatoires et corpusculaires sur miroirs. Le matin des pixels. La plasticité des épreuves. Ensemble. Sous-ensembles. Sans ensemble. Entrecroiser les ponts. Les papiers. La gélatine. De minces et délicieux aspics au métal d'argent. Pour le soi et les invités. Des mots enlignés en titres ouvrent le champ des possibles: 

    Mémoire Anticipée d'une Jeune Fille rangée. Semence d'archive. Tropismes, Pause. Le buisson du pipi. La cigarette chinoise. Jeanne recueillie. Paume de pied. Vers la lumière. Memo Mishima. Cygne. Lethe. Cano rouge au château. Sabre. On the Other Side. Ensemble. Bateau blanc. La poupée Jeanne. Ariane Animae. Kofpsalat (suspended). Le baiser solitaire. Le mauvais départ. Les bois dormant. Lire un globe. Les amants du Lac Vostok. Sleepwalker In Garden. Suite cônes pyrométriques, EKTFF451/EKTFF451, Garde Mémoire, Neurones & Zoizos Préhistoriques, ...

    Ève K. Tremblay
    Novembre 2014
  • Part of group exhibition "Sketchbook" curated by Zeljka Himbele on

    Part of group exhibition "Sketchbook" curated by Zeljka Himbele on

    image: Mishima in Red Hook (doré) by Eve K. Tremblay

    Click to see the group show Sketchbook on

    Text by Zeljka Himbele (co-director of Stoyanov Gallery, New York:

    "Eve K. Tremblay creates everything from experimental films and videos to performances, photographs, and multimedia installations. Her ongoing multimedia project "Becoming Fahrenheit 451," inspired by Ray Bradbury’s classic sci-fi novel Fahrenheit 451, is an extensive and in-depth look at the fluidity and subjectivity of memory. Her photographs of people reading or performing different acts with their favorite books are especially meditative and introspective. Cold and removed at first glance, the photographs reveal intimate relationships between the readers and their favorite texts, intertwining the two narratives of subjective reader and storyteller."