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Bradley Ertaskiran

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Bradley Ertaskiran

Galerie d'art contemporain | Contemporary art gallery

06/20/2026

EXPOSITION EN COURS / CURRENT EXHIBITION

David Altmejd, Elle
Jusqu’au 4 juillet 2026 | Until July 4, 2026

Bien que le mouvement et la répétition aient longtemps fait partie de la démarche de l’artiste, la multiplication comme outil technique et conceptuel occupe ici une place marquante ; des êtres sculptés s’érigent à partir de rangées accumulées et répétées d’oreilles et d’autres armatures, fabriquées à la main ainsi qu’à la machine, qui s’accroissent vers l’extérieur et vers le haut avec une ténacité incontrôlable et surnaturelle.

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Though movement and repetition have long factored into the artist’s process, here multiplication as a technical and conceptual tool takes heightened prominence; sculpted beings are erected from accumulated, repeating rows of ears and other armatures, both handmade and machine-made, growing outwards and upwards with uncontrollable and supernatural fortitude.

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Heures d’ouverture
Mercredi-vendredi : 11h à 18h
Samedi : midi à 17h

Gallery hours
Wed-Fri: 11AM to 6PM
Saturday: noon to 5PM

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David Altmejd, L’oracle, 2026. Plastique, résine, fibre de verre, mousses synthétiques, argile époxy, peinture acrylique, crayon à mine, crayon de couleur, bois, feuille métallique, perles en verre, paillettes. Photos:

06/19/2026

BASEL SOCIAL CLUB

Final days to visit Basel Social Club 2026: Office, where we're presenting artworks by Alexa Hawksworth, Suzy Lake, and Yarema Malashchuk & Roman Khimei.

Lake’s photographic montage series Transformations (1973–75)—pictured here—presents two rows of black-and-white images that chart her gradual transformation into another person. Lake combines the image of her collaborator with her own by splicing their facial features from different sets of negatives and exposing them together in the darkroom. By the final frame, their bodies merge into a single unit, suggesting identity as something forged through repetition, duration, and labour.

On view in Basel until June 20th. Visit .social.club to plan your visit.

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Suzy Lake, Suzy Lake as Jay Lee Jaroslav, 1973-75. Installation view: Basel Social Club. Photo: .de

06/18/2026

Bony Ramirez's work Cuánto Daría, Simplemente Amigos 1988 (2024) is part of the exhibition Under a Plantain Tree: Notes on Liberation, opening June 19, 2026 at the Jamaica Center in Queens.

Curated by , the exhibition assembles multidisciplinary work that probe the realities of slavery, armed rebellion, surveillance, and freedom in Haiti, the Dominican Republic, and the United States.

Visit for more information.

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Bony Ramirez, Cuánto Daría, Simplemente Amigos 1988, 2024. Acrylic, soft oil pastel, color pencil, wallpaper, Bristol paper on wood panel, 72 x 48 in.

06/17/2026

BASEL SOCIAL CLUB

Bradley Ertaskiran is thrilled to participate in Basel Social Club this week, with artworks by Alexa Hawksworth, Suzy Lake, and Yarema Malashchuk & Roman Khimei.

Malashchuk & Khimei's Repetition (2019–23) presents two films of the same Kyiv rave, side by side: one shot in 2019, where the Kyiv youth reclaimed their post-revolutionary city in an intimate nighttime ritual, the other shot nearly frame-for-frame four years later, after the pandemic and Russia's full-scale invasion. Together, the films reveal both the exaltation and alienation of youth, their escape from and rejection of everyday life.

On view in Basel until June 20th. Visit .social.club to plan your visit.

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Yarema Malashchuk & Roman Khimei, Repetition, 2019-23 Installation view: Basel Social Club. Artwork presented in collaboration with Galerie Poggi. Photos: .de

06/16/2026

BASEL SOCIAL CLUB

Bradley Ertaskiran is pleased to participate in Basel Social Club 2026: Office, with artworks by Alexa Hawksworth, Suzy Lake, and Yarema Malashchuk & Roman Khimei.

Hawksworth’s Ditto paintings—pictured here—are dictated through skewed temporal planes and ripples of repeating figures, their bodies increasingly distorted as they multiply. An accumulation of chaos, rushed time, and insatiable busyness presses against the surface.

On view in Basel until June 20th. [email protected] to plan your visit.

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Alexa Hawksworth, Ditto I & III, 2025. Installation view: Basel Social Club. Photos: .de

06/13/2026

Veronika Pausova’s scenes are assembled in layers, one always informing the next. Underpaintings begin with textiles stamped into oil and turpentine-soaked surfaces, which leave tactile imprints behind, upon which diverse paint applications and exquisitely illustrated forms accumulate. Bright trails of paint-soaked thread—hair, water streams, marionette strings, a trolling fishline—chart our attention from one thing to the next.

Pausova's solo exhibition Clowning the Frets continues at the gallery until July 4th, 2026.

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Les scènes de Veronika Pausova sont assemblées en couches, chacune informant toujours la suivante. Les sous-couches débutent avec des textiles pressés sur des surfaces imprégnées d’huile et de térébenthine, qui laissent derrière eux des empreintes tactiles sur lesquelles s’accumulent diverses applications de peinture et de formes minutieusement illustrées. Des lignes lumineuses de fil imprégné de peinture — cheveux, filets d’eau, fils de marionnette, ligne de pêche à la traîne — balisent notre attention d’une chose à l’autre.

L'exposition solo de Pausova est en cours jusqu'au 4 juillet 2026.

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Veronika Pausova, Dwelling (Grab, Hold), Dwelling (Anchors), and Dwelling (Milk). 2026. Huile sur toile / Oil on canvas, 73.7 x 63.5 cm (29 x 25 in.). Photos:

06/10/2026

EXPOSITION EN COURS / CURRENT EXHIBITION

Veronika Pausova, Clowning the Frets
Until July 4, 2026 | Jusqu’au 4 juillet 2026

Veronika Pausova’s paintings contain a mix of nervousness and joy, prickling and vibrating right at the surface. A semblance of structure from the generally askew but solid frames and murmurs of a familiar narrative—rosy sunburnt arms drawing back a curtain, or the rhythmic rise and fall of the sun, or the mechanical pulse and delight of a hissing sprinkler—offer the comfort of normalcy to an otherwise teetering world, but only just.

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Les peintures de Veronika Pausova contiennent un mélange de nervosité et de joie, picotant et vibrant juste à la surface. Le semblant de structure des cadres de travers mais solides et les murmures d’un récit familier — des bras rougis de coups de soleil tirant un rideau, le rythme du soleil levant et couchant, la pulsation mécanique et le plaisir d’un arroseur qui siffle — offrent le réconfort de la normalité à un monde autrement chancelant, mais tout juste.

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Heures d’ouverture
Mercredi-vendredi : 11h à 18h
Samedi : midi à 17h

Gallery hours
Wed-Fri: 11AM to 6PM
Saturday: noon to 5PM

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📷 : Veronika Pausova, Sleep Machine and Reaching, 2026. Photos: +

06/06/2026

Dawit L. Petros’ solo exhibition, Scotiabank Photography Award: Dawit L. Petros, is currently on view until August 1, 2026 at The Image Center, Toronto.

Curated by Gaëlle Morel, the presentation draws on over 20 years of photographs, serigraphs, and books, tracing the artist’s long-standing inquiry into the legacy of colonial history across Africa, Europe and North America.

Visit for more information.

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L’exposition solo de , Scotiabank Photography Award: Dawit L. Petros, est en cours jusqu’au 1er août 2026 à la . Commissariée par Gaëlle Morel, l’exposition puise dans plus de 20 ans de photographies, de sérigraphies et de livres, retraçant la démarche de l’artiste autour de l’héritage colonial à travers l’Afrique, l’Europe et l’Amérique du Nord.

Visitez pour plus d’informations.

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Exhibition view | vue d’exposition : Dawit L. Petros, Scotiabank Photography Award: Dawit L. Petros, 2026. The Image Center, Toronto. Photo: Toni Hafkenscheid.

06/02/2026

Veronika Pausova’s paintings combine photo-like precision with experimental paint application to probe vulnerable and delightful stuff of everyday life. Fragments of the ordinary are unfurled with curiosity and care to tease out the messy complexities. Her newest solo exhibition, Clowning the Frets, offers a cheeky mouthful of seemingly distinct actions and oddities, deliberately and playfully tied together.

Clowning the Frets is on view at Bradley Ertaskiran, Montreal until July 4, 2026. We’re open Wednesday through Friday, 11AM to 6PM, and Saturday, noon to 5PM.

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📷 : Veronika Pausova, Growing Concerns (2025) and Listener (2025). Oil on canvas, 45.7 x 38.1 cm (18” x 15”). Photos:

05/31/2026

The latest issue of showcases a delightful conversation between writer and curator Daniel Fiset and artist as part of Esse’s Tête à tête, a series of exclusive interviews with artists.

“For many art historians of my generation, Suzy Lake has been a beacon. She has shaped how we think about photography, staging, performance, gender, embodiment, and the politics of representation. To map the questions that traverse her practice is, in many ways, to trace the preoccupations in contemporary art over the past six decades. Throughout, she has worked with equal measures of rigour and irony, technical mastery and conceptual precision.” – Daniel Fiset

Read the interview on Esse’s website, through the link in our bio.

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Dans le récent numéro d’Esse arts + opinions, l’écrivain et commissaire s’entretient avec Suzy Lake dans le cadre de la série Tête à tête d’Esse, qui présente des entrevues exclusives avec des artistes.

Consultez le texte sur le site web d’Esse en cliquant sur le lien dans notre bio (en anglais).

Address

3550 Saint Antoine Ouest
Montreal, QC
H4C1A9

Opening Hours

Wednesday	11am - 6pm
Thursday	11am - 6pm
Friday	11am - 6pm
Saturday	12pm - 5pm

Telephone

+15149891056

Website

http://www.bradleyertaskiran.com/

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