This second edition of the flip book brings together the exhibitions revenons en oiseau, être un arbre est trop dur et aujourd’hui, il neige by karen elaine spencer and No Bystanders by Patrick F. Henry, , two distinct approaches that coexist and complement each other in the same work.

Conceived in direct dialogue with the exhibitions currently on show at Fonderie Darling, this publication takes the form of a two-sided catalogue: on one side, Maggy Hamel-Metsos's universe, on the other, Numa Amun's. This editorial configuration, conceived as a double-entry object, reflects the singularity of each approach while creating a space of resonance between the two practices. This editorial configuration, conceived as a double-entry object, reflects the singularity of each approach while creating a space of resonance between the two practices.

Conceptualized as an extension of the exhibitions, the publication offers an immersive, reflective reading of all the works, artistic intentions and production contexts.

Conceived as an anthology, this retrospective catalogue with an oxymoronic title is drawn from the history of Quartier Éphémère, whose original mandate was to temporarily transform places for the benefit of art, and which evolved into the realization of a permanent space, Fonderie Darling, dedicated to artists and their audiences. Éphémère Forever retraces the exhibitions and other major artistic events presented by Quartier Éphémère through 250 pages of images and memories.

With texts by Mathieu Beauséjour, Caroline Andrieux and Vincent Bonin.

Designed to emphasize the spirit of continuity between the past and the present, this exhibition and publication project highlights the coherence of an artistic practice that navigates between several mediums and disciplines, always with the objective of achieving complete technical mastery. Divided into five sections beginning with the interrogative adverb "how" - How to see in space, How to draw a line, How to build a staircase, How to know a place, How to make an image of things as they happen to be - each booklet of the publication is wrapped with silkscreen prints produced by the artist. 

Guillaume Adjutor Provost has been developing for nearly ten years a work oriented towards the development of spaces of hospitality and collaboration with a community of peers, often from the performance like him, but also with actors coming from non artistic backgrounds and from which stories need to be told. Conceived by the artist himself as a platform for invitations, discussions and exchanges, this book brings together four essays that form as many points of entry into the work.

The bilingual catalogue Drinkers of Quintessences was produced in conjunction with the eponym group exhibition presented at the Darling Foundry in spring 2018 and at the Casino Luxembourg – Forum d’art contemporain in winter 2019. Bringing together the work of twelve Canadian and European artists to explore the concept of emptiness in art, the exhibition represents a landmark  in the history of the Darling Foundry. Richly illustrated, the publication documents the works of Fortner Anderson, Steve Bates, Marie- Claire Blais, Olivia Boudreau, Claude Closky, Marie Cool Fabio Balducci, Alexandre David, Adriana Disman, Kitty Kraus, Stéphane La Rue, Kelly Mark, and János Sugár.

Following a series of monographic exhibitions held in Europe and North America between 2008 and 2011, this publication offers a first survey of the multi-facetted work of the Austrian/Canadian artist Klaus Scherübel.

Co-directed by the Darling Foundry with texts written by Marie Fraser, Anne-Marie Ninacs et David Liss.

The book, It Has a Golden Sun and an Elderly Grey Moon, edited by Alexandra Baudelot, accompanies her exhibition at the Darling Foundry. Between a monograph and an artist's book, this publication brings together texts by various authors exploring the five themes of the exhibition, and which are also present in Ulla von Brandenburg's wider work. 

This first monographic catalog of Jon Knowles covers the last ten years of the artist's exhibitions and comes in the wake of the Darling Foundry 's commitment to his production: provision of a long-term studio, presentation of his exhibition Mixed Misuse and this edition, the Last Decayed.

Persistance – Mathieu Beauséjour
Montréal, Quartier éphémère, 2008, 144 p.