New vision for TPA


New vision for TPA

Author: Maude Arsenault

Maude Arsenault is a Canadian photographer, artist and curator who first had an international career in fashion. In recent days her work has been particularly invested in the representation of young woman in the context of domesticity and intimacy. She is interested in the notion of identity and the place of women and youth in our changing society. In 2013, she founded the online collective and gallery The Print Atelier.

If there is one thing that has been of particular concern to me for some time, as an artist and citizen of this changing world, it is the influence of social medias and technologies in our lives and how they distort our relation to reality and time.

Whether as a message, in its form, dissemination or reach, we live in an age where our communications are increasingly fast, fabricated and tampered with.

Our relationships with others are undeniably tinged and altered by all the images and messages we receive every day on our devices. Our gestures on the web are dissected, categorized and sometimes judged. We often find ourselves almost sequestered by algorithms in an imposed and non-objective projection of reality. It seems like we are seeing things more and more collectively.

Even we, as individuals, are transforming ourselves into potential images, fine-tuning our appearance and poses in a world where homogeneity is taking over and the notion of intimacy and originality is slowly disappearing. As Fred Ritchin mentions it in his book Beyond Photography: “With the screens, our homes are no longer private retreats, but they have become the limits of the webcam.” The way we represent ourselves has become a form of continuous slideshow on a lit screen.

This new virtual reality makes life more intangible then ever and here at ThePrintAtelier, we have been wondering how we can make a deeper connection with our audience…Even though the number of images circulating in cyberspace can seem alarming we believe that photography can be the starting point to leading meaningful conversations…

At ThePrintAtelier we are proud to have embraced, early on, the web as a new form of diffusion for art, but now in 2019, we feel it’s time to do more!

As the founder and curator, I believe ThePrintAtelier can be more invested in the purposeful role of photography. We want the work we present to be rooted in a contextual format and more stimulating for our collectors and visitors.

Images online are viewed through the power of the eye, Aristote would say, shouldn’t we try to have more power over the way we see them?

From now on we will be more proactive…and we will give matter to the voices rather than just showing images, to make sure that the context makes its way to you, our community.

As of today, TPA won’t only be a portal to acquire and browse through amazing photographs but it will become a place to share ideas, read critical essays and articles, stimulating interviews and get the latest news in photography.

Follow us closely as this new adventure will most certainly be quite a photo enriching ride!!!


Maude Arsenault
Founder of ThePrintAtelier

**The incredible roster of artists represented on this platform all work in the perspective of helping us understand the world in a better way. They all have a practice that documents life in the aim to illustrate the complexity of our relationship to reality or again they create a commentary on the staged state of modern life.

Pulling Our Heads out of the Water


Pulling Our Heads out of the Water

Author: Eve Laliberté

Eve Laliberté holds a BFA in Art History and is currently undertaking graduate studies in Edition. Since more than five years, she has been involved in the redaction, edition, and curation of several artistic projects. Through her researches, she is mainly interested in the notion of the situated body and the concepts of the immaterial, ephemeral and imaginary. Her texts have notably been published in Pica Mag, Échelles, Anniversary Magazine and some of her poems have also been published in the art book ‘‘rien d’ordinaire’’ by doux-soft club art collective.

Yesterday I came across this black and white photograph of two young lovers kissing in a park. During the 3.46 seconds in which my eyes were focused on the image, the sharp contrast and the cinematographic setting seemed familiar. I guess it was one of those iconic images I had encountered thousands of times, or a copy of it. But I still can’t recall where it came from or who was the author.

Most images stay in our mind like a vague memory. They flow into the depth of our psyche and sometimes just become a mere list of information and characteristics. We classify images like Facebook’s AI; we list the figures, the settings and the objects present in the frame. Maybe we need to do this to better understand what we see, but does it really help? Has our appreciation of images become algorithmic?

These drawers of memories and visions are so full that almost nothing seems distinctive anymore. The real question is; how can we see if our eyes are numbed by hours of scrolling through hi-resolution targeted content?

In his book Optics. Compression. Propaganda, American artist Sean Snyder wrote that « despite the ever-increasing amount of images we are exposed to, it could be conjectured that we see less. We see less of the image itself, overpowered by the meaning imposed by the discursive context in which it appears. »

If what Snyder proposes is true; we have to ask ourselves what happens if this context is the same for the thousands of images we consume every day. How can images produce a meaning that goes beyond their capitalist framework if they are only consumed through a small screen in an app interface thought for overconsumption and marketing ?

We have to think about how images happen to strike us in the physical world. For my part, most of the images I can clearly remember are those I encountered when I did not expect it. In real life — whatever that means — we are often caught off guard. We wander, physically or mentally, and eventually are surprised, either by a scenic moment taking place in the street or by a print, meticulously placed in the window of the subway. Even an incredibly small piece of paper laying on the pavement can freeze time long enough to change the course of our day. We see more of the things that are not predictable.

For images to impact us, we have to be receptive and, to be receptive, I guess that we sometimes have to allow ourselves to be surprised. But the internet as a space doesn’t always seem fit for these kinds of impromptus and meaningful encounters — and this is even truer if we consider the influence of algorithms on the homogeneity of what we see.

Basing her research on theories by Bruno Latour and Lev Manovich, among others, Suzanne Paquet refers to cyberspace as being a hyperreal environment seemingly closer to water than to earth. This comparison seems undoubtedly appropriate, especially when we can’t shake the feeling of anxiety caused by the impression that we are drowning in images. I think that the quality of a photograph often lies in the details, in the unseen, in the context, the sense it produces and the ideas it refers to. But to come to term with any of these specificities, we need time, calmness and openness. It is normal not to understand in 3.46 seconds, it is normal not to fall in love through a single glance, and it is also normal to forget the significant part of what we see. The most powerful love stories don’t always reveal themselves at first sight.

Maybe we have to instigate a new sense of calmness in this maze that is the internet to allow for better reception of the images. But how do we do that?

I guess everything starts by pulling our head out of the water for a day or two.

Andrea Modica : The Mindfulness of Analog Photography


Andrea Modica : The Mindfulness of Analog Photography

Author: Eve Laliberté

Eve Laliberté holds a BFA in Art History and is currently undertaking graduate studies in Edition. Since more than five years, she has been involved in the redaction, edition, and curation of several artistic projects. Through her researches, she is mainly interested in the notion of the situated body and the concepts of the immaterial, ephemeral and imaginary. Her texts have notably been published in Pica Mag, Échelles, Anniversary Magazine and some of her poems have also been published in the art book ‘‘rien d’ordinaire’’ by doux-soft club art collective.

In a recent episode of the podcast A Small Voice, Ben Smith met with American photographer Andrea Modica and discussed the potential of portrait photography to be a bridge of communication with her subject. We might not always have the key to know the exact parameters of the production context of an image, but sometimes — even in non-documentary photography — the strength of the work relies on the story and in the process that led to it rather than just the result.

Considering the photographic production as being conceptual is interesting when thinking about the context of the capture of the image, but it takes another dimension when we extend our idea of the creation process to the photo printing. For people of my generation, who have not lived through the rise and fall of analog techniques, it is not instinctive to include the materialization of the photo in the reflexion. But Andrea Modica, as well as a growing number of contemporary artists, continues to use traditional photographic techniques in her work, and this aspect is of interest if we want to understand the underlying forces of her practice.

Modica works with a large-format 8×10’’ camera, uses Kodak Tri-x film, and the final prints are platinum-palladium. Developed by William Willis at the end of the 19th century, the platinumpalladium process was used primarily by The Pictorialists, a group of photographers defending the artistic value and the emotional potential of photographs. Partly led by Alfred Stieglitz, the group left an essential heritage to photographic history that can shed light on some of the reasons why many contemporary photographers decide to work with analog techniques in their work,
even if there is a much simpler and faster way to develop pictures.

Of course, platinum-palladium offers a particular finish that can motivate the choice of some artists. Its delicate tones range from warm black, to reddish brown, to expanded mid-tone grays. Platinum-palladium is also known as being one of the most durable of all photographic processes. But for some artists, this choice goes beyond mere aesthetic taste and durability.

The physical aspect of the work can be attractive because of its degree of reality. As Modica stated in the podcast, there is a right and a wrong in the process of platinum printing and going through with it requires time, attention and care. In this kind of process, the role of the photographer is thus staggered over time, and the influence of its subjectivity can be exponential.

In the past years, the photographic process has almost become entirely intangible. For people working with digital, the only physical act in the process is the capture of the image and for some artists, this act can even itself be part of an intangible procedure. Artists of the post-photographic condition — Jon Rafman and his 9-eyes series, for instance — can reduce photographic creation to a completely digital process. While this is certainly interesting and opens the way to thousands of questions, some of which are brilliantly explored in the texts of Joan Fontcuberta, it draws a line for artists like Modica, who like to have their hands in the clay.

Putting so much effort in a photograph might be a way to reclaim authorship against machines which are dematerializing the whole photographic process and allowing for infinite reproductions. In The Work of Art in the Age of Mechanical Reproduction, an eminent visionary 1935 text by Walter Benjamin, the author addressed the loss of aura of the mechanically produced copies. Even if the text initially considered analog photography as being part of the
criticized mediums, we could now argue that in the 21st century, this technique stands for similar ideas than those defended by Benjamin.

Analog and self-developed photography today is one of the rare processes that still, in some way, resist the shift of mass production and reproducibility allowed by digital mediums. By perpetuating part of the Pictorialist tradition, techniques like platinum-palladium leave significant margins for artists to explore their subjectivity through a process that is spread over time rather than immediacy.

A Small Voice Podcast: Ben Smith’s Incursion into Photographers Thoughts


A Small Voice Podcast: Ben Smith’s Incursion into Photographers Thoughts

Author: Eve Laliberté

Some might be doubtful of the consistency behind self-taught multitaskers, but wearing multiple
hats can sometimes be the key to creating profoundly significant projects. Ben Smith is
photographer, editor, journalist and founder of A Small Voice, the second most listened-to
podcast on photography in the United States.

Having always dreamt of becoming a photographer and a journalist after studying in video and
radio production — a diploma which he says got him some skills that were kept dormant for
around 25 years — he finally found his lifesaver in 2015, when he discovered the extensive
realm of podcasts. Not even a year after listening to his first ever episode, he founded his own
show, aiming to put in the world the photography podcast he hadn’t been able to find.

Only four years later, Smith has realized more than 100 episodes featuring in-depth
conversations with established and innovative photographers from all around the world including
Simon Norfolk, Martin Parr, Todd Hido and Andrea Modica.

How has he managed to come such a long way in such a short time? The secret probably lies in
Smith’s ability to make space for deep, meaningful and intimate conversations to happen. With
face-to-face recorded episodes, generally ranging from one to two hours, we are slowly driven
into the heart of the issues and are never disappointed for being cut short on some angles.

It might seem paradoxical for a show about photography to take place through such an intangible
medium. But it works, probably mainly because the ideas discussed in A Small Voice go way
beyond images and aesthetics. They ignite reflexion on rather broad subjects ranging from the
creative process, to more philosophical and political questions regarding the place of information
and representation in the current era, for instance.

Through its deeply personal and inspiring approach, Smith’s podcast reinforces the idea that
artists opinion on current issues matters.




Spring & Summer 2019 at The Print Atelier




*Maude is here with american artist Eric Pickersgill


Artists / Artistes :

Reiner Riedler   Molly Soda   Eric Pickersgill
Holly Andres  Satoshi Fujiwara  Bettina Hoffman
Brendan Geaorge Ko  Sian Davey

Art Souterrain it’s :

150 000 visitors/visiteurs
75 000 social medias shared/réseaux sociaux

Amazing Press !!!
Nombre record d’articles de presse
mettant en vedette les artistes présentés par Maude :

Le Monde, La vie des Arts,
The Eye of Photography, The Concordian +++

*From March 2nd – 24th, 2019

By Holly Andres

By Brendan George Ko

By Eric Pickersgill

By Siân Davey

By Bettina Hoffmann

By Reiner Riedler


Maude Arsenault


États féminins en mouvance, essai n ° 1,
March 20th – 23th 2019
@ Galerie ERGA

And it was a HUGE success!!!

Thank you to the hundreds of people who came by
& for the collectors who left with a piece of Maude’s work !




Summer is almost here !!!
It might not be the best time to visit
galleries or museum…

But what’s best then browsing ART while you’re
enjoying a martini under the shade ?

Watch out for our upcoming Fall program…

We are working hard to put together an amazing new selection of works, artists
amazing new content!

***Be in touch if there’s anything we should be aware of.

Art Souterrain - Maude Arsenault Commissaire invité

Art Souterrain 2019

Maude Arsenault is Curating the international photography program!

Maude Arsenault s’associe à Art Souterrain pour un festival d’art public unique en son genre, s’étendant sur 6 km durant 3 semaines du 2 mars au 24 mars 2019 !


Artistes invités :

Reiner Riedler
Molly Soda
Sian Davey
Eric Pickersgill
Holly Andres
Satoshi Fujiwara
Bettina Hoffman
Brendan Geaorge Ko

Maude Arsenault, Curator / Commissaire invitée

ART SOUTERRAIN’S FESTIVAL  is back for its 11th edition in the heart of the Montreal's underground city.

From March 2nd to 24th, 2019, contemporary art will invest 6 km of Montreal’s underground pedestrian network and 8 satellite venues to present, for 3 weeks, contemporary works of art by 60 local and international artists around the theme:

“The true of the false”

The works selected by the 3 Curators: Maude Arsenault, Martin Le Chevalier & Joyce Yahouda, will be available at all time for free.

In addition, the Festival will offer mediation activities and artistic discoveries.

Check out ARTSOUTERRAIN‘s website for all the details…

LE FESTIVAL ART SOUTERRAIN est de retour pour une 11 édition au cœur de la métropole.

Du 2 au 24 mars 2019, l’art contemporain investira 6 km du réseau piétonnier souterrain de Montréal et 8 lieux satellites pour présenter, pendant 3 semaines, des œuvres d’art contemporain d’une soixantaine d’artistes locaux et internationaux autour du thème:

« Le Vrai du Faux »

Les œuvres sélectionnées par les 3 commissaires: Maude Arsenault, Martin Le Chevallier et Joyce Yahouda, seront accessibles en tout temps gratuitement.

De plus le Festival proposera des activités de médiation et de découvertes artistiques.




The Print Atelier & Joyce Yahouda Gallery

Partner with Genesis Motors Canada for an exclusive contemporary art event!



Max Abadian, Maude Arsenault, Jacques Bilodeau, Annie Briard, David Ellingsen, Moridja Kitenge, Nicolas Mavrikakis, François Ollivier, Le Pigeon, Alana Riley, Stephen Schofield, Daniel Shipp, Victor Vargas Villafuerte, Louise Viger, Paul Wong, Lee Yanor

Watch the video...Discover Mobilità !

This video was produced by Fiz Studio

On September 19, renowned curators Joyce Yahouda and Maude Arsenault launched Mobilità, a contemporary art event presented by Genesis Motors Canada.

Mobilità is about being alive as a form of movement and seizing the opportunity as it comes. Mobilità is a striking encounter between an up-and-coming car and an open-minded, fluid selection of contemporary art reflecting people, places, shapes and ideas.

The event featured close to thirty artworks, including photography, video, and sculpture, by Canadian and international artists Max Abadian, Maude Arsenault, Jacques Bilodeau, Annie Briard, David Ellingsen, Moridja Kitenge Banza, Nicolas Mavrikakis, François Ollivier, Le Pigeon, Alana Riley, Stephen Schofield, Daniel Shipp, Victor Vargas Villafuerte, Louise Viger, Paul Wong and Lee Yanor.

“Mobilità is movement, the capacity to move; it is mobility. We live in a mobile era, undoubtedly more than ever before in the history of non-nomadic cultures.

If instability and the absence of seemingly immutable material or emotional bonds constitute the fragile face of mobility, the notion is also paired with a number of desirable conditions, such as fluidity, flexibility, adaptability, accessibility, diversity, exchange, freedom and discovery – all of which hold strength. As Lafontaine’s reed that merely bends when the winds blow wild.

Mobilità is about having seized the opportunity as it passed, one that allowed for the meeting of two curators who produced an open-minded, fluid selection of  works of contemporary art by Canadian and international artists.

Movement in these works is temporal; it traverses history or intervenes in the space-time continuum of a landscape; it is physical, visible or intensely contained; it is lyrical and suggested; it is expressed through song and dance; it is documented; it is conveyed by ideas or empathy; it is shaped in clay and stilled behind a lens.

Mobilità is being alive.”

– Jennifer Couëlle

Following the opening, last night, you are now able to continue exploring Mobilità as a collection in Browse art here on The Print Atelier.

View here the fabulous video of the evening including interviews with the curators: Joyce Yahouda and Maude Arsenault.  Browse through images of the evening and take a closer look at the works and learn more about the artists through Mobilità’s collection only for a limited time.

For over three decades, Joyce Yahouda has been promoting emerging and established artists. As director and curator of Joyce Yahouda Gallery, she has served on the boards of several art organizations. She is co-founder and one of the curators of HB, a portfolio magazine dedicated to contemporary drawing. In 2012, her gallery received the AGAC award for Gallery Owner of the Year. She has organized exhibitions in London, New York, Paris, Geneva, Rio, and Montreal, promoting Quebec artists working in various disciplines, and is currently working on a variety of projects in Canada and abroad.

The event Mobilità is a prestigious partnership between contemporary art and a luxury automotive brand, Genesis.

Thanks to our sponsor Genesis who competes with top, luxury automotive brands with vehicles that deliver refined performance and athletic elegance in design. Distinguishing Genesis is a focus on delivering a stress-free, human-centred customer experience. Through the Genesis at Home concierge-style service, Genesis comes to you, the customer, for test drive, purchase, and maintenance.

With Genesis, Canadian creative professionals like Maude Arsenault save the time they need to better pursue their passions.

This unique exhibition gives art lovers multiple touch points to explore fascinating artwork. Thanks to Genesis we’re able to provide a customized art experience.” says Maude Arsenault, curator of The Print Atelier.

Genesis goes beyond offering exceptional vehicles by providing a human-centred purchase and ownership experience based on an understanding of the value of time," says Michael Ricciuto, Brand Director of Genesis.


"By supporting Mobilità, we’re empowering one of our talented ambassadors to spend time on what she loves.”

A total of six new Genesis models will launch by 2021 and will compete with the world’s most renowned luxury automotive brands. All Genesis vehicles sold in Canada feature set, all-inclusive pricing, Genesis at Home concierge for sales and service, complimentary scheduled maintenance, an excellent comprehensive warranty, and more.

Visit to learn more.