Karen Tam’s Ink Bird Installation Lands at Plural Contemporary Art Fair 2025

April 11-13, 2025
Grand Quay, Port of Montreal

Notes by Fête Chinoise Editorial Team
Photography: karen Tam

From April 11 to 13, the Grand Quay in Montreal’s Old Port will host the highly anticipated 2025 edition of Plural, Canada’s leading contemporary art fair. Formerly known as Papier, the fair began with a focus on works on paper and has since evolved into a reimagined event that reflects the multiplicity of voices, practices, and mediums shaping contemporary Canadian art. This year’s edition features 37 commercial galleries and 7 project spaces from Montreal, Toronto, Ottawa, Vancouver, Quebec, Regina, and Halifax.

Amongst the standout projects is Like raindrops rolling down new paint, Karen Tam’s evocative work, presented by The National Bank and staged in the Espace Banque Nationale. First shown at Richmond Art Gallery in 2017, the work returns with renewed intimacy and scale, now suspended within the architectural grandeur of the Port of Montreal’s cruise terminal.

Visitors will find themselves immersed beneath a flock of 400 ink bird drawings that swoop and sway overhead. Created by Tam, her mother Yin Law, and her mother’s teacher Lui Luk Chun, alongside contributions from past exhibition visitors, this collaborative body of work evokes memory, dispora, and the quiet beauty of community. The power of the installation lies in its collective presence: each individual drawing gains meaning when seen together, like birds flying in formation.

The chicken, long a staple motif in Chinese ink painting, is also a familiar sight on porcelain dishware from Southern China. Tam transforms this everyday symbol, inviting multigenerational connections to heritage through an act of shared remembrance.

Each day of the fair at 1:30 PM and 3:00 PM, visitors are invited to a intimate tea ceremonies. A certified tea master will serve specially selected large-leaf teas, prepared and presented in the ceremonial style.

As part of Plural’s VIP programming, Karen will join Eva Hartling, founder of The Brand is Female, and Mojeanne Behzadi, curator at the Musée d’art contemporain de Montréal, for a live conversation on Friday, April 11 at 10:00 AM. Together, they’ll explore the intersections of art, identity, and the evolving role of women shaping today’s art landscape.

This year also marks the 40th anniversary of AGAC (Association des galeries d’art contemporain), the organizing body behind Plural. A special archival booth in the Plural Pavilion will spotlight decades of groundbreaking projects, curatorial innovation, and never-before-seen material, offering visitors a deeper understanding of Quebec’s contemporary art ecosystem.

Returning as the fair’s spokesperson is beloved Canadian actress Karine Vanasse, who has been a longtime advocate of the event. “Contemporary art in Canada is abundant, varied, and touching,” she shares. “To have access to all this in one place is a real window into the art world.”

From installations to conversations, for one weekend only, visit Plural if you happen to be in Montréal—and share your experience with us! Artworks from the fair will also be viewable online from April 11 to May 2, 2025.

Ticketing & Info

Q&A with Karen Tam

We’re happy to reconnect with Karen Tam as she prepares for the previews and openings of Plural in Montréal. She shared with us some insights behind this special edition of her ongoing project:

Fête Chinoise: This edition brings together drawings from past visitors along with paintings by you, your mother, and your mother’s teacher. How has this collaborative evolution shaped your relationship with the work since 2017?
Karen: Each presentation of the project since 2014 has continued to evolve. Visitors often bring their own stories and conduct their own research, looking into their connections with Chinese heritage, and learning more about Lee Nam, his full name, his writings, and even discover mentions in publications like Chinese Times. It’s become a way for people to engage with the work and deepen their connection to Chinese culture.

Fête Chinoise: How did restaging the project at Espace Banque Nationale at the Port of Montreal influence your approach?
Karen: Every space requires a different response. At Plural, the space was smaller than previous venues, so the installation was more distilled. That said, I always adapt to what the space allows. Sometimes it’s fuller, sometimes more minimal, but always site-specific.

Fête Chinoise: The tea ceremonies are a new element in the presentation. What inspired this addition?
Karen: Tea ceremonies echo the traditions of the Chinese scholar-artist, or literati, as a way of life. Inviting a tea master to offer daily tea ceremonies was a way to continue activating the space, connecting people not just through visuals, but through ritual and atmosphere as well.

Fête Chinoise: What does it mean to finally bring this project to Montreal?
Karen: Montréal is my hometown. While the project has toured Victoria, Richmond, and Markham, it’s never been shown here. It includes paintings by my mother, so sharing it locally, especially in person, feels deeply personal and important to me.

Fête Chinoise: What kinds of audience responses have stayed with you so far at Plural?
Karen: It’s been satisfying to see visitors pause, rest, and take in all the details. Some notice the birds above or point out connections they see. There’s a sense of wonder and discovery in those interactions.

Fête Chinoise: Where do you see the project going next?
Karen: I hope to continue sharing this piece in gallery or museum settings, while also inviting people to participate in workshops. In Chinese art, copying the master is both a form of learning and a method of transmitting knowledge. These interactive elements allow us to continue sharing across generations.

To delve deeper into Karen Tam’s artistic journey and approach, revisit our 2019 interview where she shares heartfelt reflections on navigating cultural identity through art.

Artist Feature: Karen Tam 譚嘉文

Entitled Karen Tam: the chrysanthemum has opened twelve times, visitors will explore the ways the installation artist wishes to challenge perceptions of cultural identity. The Canadian-born Chinese artist finished her graduate work in Chicago and after living in the United Kingdom for over six years she has now returned to her native Montréal. Fête Chinoise interviewed her and wanted to share with you her insightful answers!

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