Nadia Myre is an indigenous and quebecois artist from Montreal who is interested in having conversations about identity, resilience and politics of belonging. A graduate from Camosun College (1995), Emily Carr (1997), and Concordia University (M.F.A., 2002), Myre is a recipient of numerous awards, notably Banff Centre for Arts Walter Phillips Gallery Indigenous Commission Award (2016), Sobey Art Award (2014), Pratt & Whitney Canada’s ‘Les Elles de l’art’ for the Conseil des arts de Montréal (2011), Quebec Arts Council’s Prix à la création artistique pour la region des Laurentides (2009), and a Fellowship from the Eiteljorg Museum (2003). Recent accomplishments include Tout ce qui reste / Scattered Remains (Montreal Museum of Fine Art, 2017),  Decolonial Gestures or Doing it Wrong? Refaire le chemin (McCord Museum, 2016) and commissions for new work: the Quebec Room carpet design (2015) for Canada House in London, England (with Karen Spencer), Orison (galerie Oboro, 2014), Formes et Paroles (Musée Dapper, Senegal, 2014), and Sakahàn (National Gallery of Canada, 2013). As well as having participated in international biennales (Shanghai 2014, Sydney 2012, and Montreal 2011), Myre’s work has featured in prominent group exhibitions such as Changing Hands 3 (Museum of Art and Design, New York, NY), Pour une république des rêves (CRAC Alsace - Centre Rhénan d’Art Contemporain, Altkirch, FR), Le temp du dessin (Ensemble Poirel, Nancy, France), Vantage Point (National Museum of American Indian National Mall, Washington, DC), It Is What It Is (National Gallery of Canada), and Femmes Artistes. L’éclatement des frontières 1965-2000 (Musée national des beaux-arts du Québec, QC).  Her work has received accolades from the New York Times, The Washington Post, and Le Devoir, and has been featured in ARTnews, Canadian Art, Parachute, American Craft, C Magazine, and Monopol.  Her works may be found on permanent exhibition at the Montreal Museum of Fine Arts, National Gallery of Canada, Musée National des Beaux-Arts du Québec, Canadian Museum of History, and the Musée des civilizations (Quebec).


Abridged Resumé


Bibliothèque et archives nationales, Bank of Montréal, Banque Nationale, Banque Nationale, Canada Council Art Bank, Canadian History Museum , Cirque du Soleil, City of Montreal, City of Ottawa, Eiteljorg Museum, Fonds Régional d’Art Contemporain (FRAC) de Lorraine Galerie Art Mûr, Government of Canada, Aboriginal Affairs and Northern Development Canada (AANDC), Government of Canada, Department of Foreign Affairs and Internal Trade, Hydro Québec, Loto Québec, MacKenzie Art Gallery, Munich Life Management Corp Musée d'archéologie et d'histoire de Montréal, Musée des beaux- arts de Montréal, Musée des civilisations, Musée national des beaux-arts du Québec, Musée régional de Rimouski, National Aboriginal Achievement Foundation, National Gallery of Canada, Royal Bank of Canada Smithsonian Institute National Museum of American Indian, TD Canada Trust, Telus, Woodland Cultural Centre.



2018 / 2019

• Show Me Your Wound, Dom Museum Wien, Vienna, AT 

• Through Lines, Koffler Gallery, Toronto, CA

• RE:Define, Heard Museum, Phoenix, US


Solo exhibitions


– Acts that Fade Away, Ryerson Image Centre, Toronto, CA

– Code Switching and Other New Works, The Briggait (Glasgow International), Glasgow, UK


– Scattered Remains / Tout ce qui reste, Montreal Museum of Fine Arts, Montreal, CA

– Code Switching, Art Mûr, Leipzig, GR


– A Casual RecCAstruction, Robert Langen Art Gallery / Sir Wilfred Laurier University, Waterloo, CA

– Decolonial Gesture or Doing it Wrong? Refair le chemin, McCord Museum, Montreal, CA (artist in residence)


– A Casual Reconstruction, Centre Vaste et Vague, Carleton-sur-mer, CA


– Orison, Galerie OBORO, Montreal, CA

– Nadia Myre: recent works, Cirque de Soleil, Montreal, CA


– Needle Works, MacLaren Art Centre, Barrie, CA

– Nadia Myre: oeuvres multidisciplinaires, Maison de la culture Marie-Uguay, Montreal, CA


– Nadia Myre: Réflexion sur le territoire, Galerie du RIFT, Ville-Marie, CA

– Meditations on Black Lake, Art Mûr, Montréal, CA


– Nadia Myre: Recontres / Encounters, Musée d’Art contemporain des Laurentides, St. Jérome, CA

– Nadia Myre: Symbology Carleton University Art Gallery, Ottawa, CA

– Nadia Myre: The Forgiveness Project La Maison des artistes visuels francophones, Winnipeg, CA


– Hide: Skin as Material and Metaphor National Museum of the American Indian, Manhattan, US

– The Scar Project Kendall College of Art and Design, Grand Rapids, US


– Rethinking Anthem and Other new Work, TIAF (Solo Spaces Program), Toronto, CA

– Landscape of Sorrow and other new work, Art Mûr, Montréal, CA


– Othered Women, Redshift Gallery, Saskatoon, CA (3-part exhibition with PAVED Arts and AKA)

– Nadia Myre: Works on Paper, St. Francis Xavier University Art Gallery, Antigonish, CA

– A fleur de peau, Musée d’Art contemporain des Laurentides, St. Jérome, CA


– The Scar Project, Urban Shaman, Winnipeg, CA


– The Want Ads and Other Scars, Urban Shaman, Winnipeg, CA 

– The Scar Project, Third Space Gallery, Saint John, CA


– Cicatrices; histories partagées, Art Mûr, Montréal, CA 

– Skin Deep or Poetry for the Blind, Union Gallery, Queen’s University, Kingston, CA


– Cicatrices ou poésie pour les aveugles, Art Mûr, Montréal, CA


– Indian Act, Grunt Gallery, Vancouver, CA 

– Cont[r]act, Galerie Oboro, Montréal, CA 


Two Person and group exhibitions


Land/Trust, Meyerhoff Gallery (Maryland Institute College of Art, Baltimore, US

In Dialogue, Art Gallery of Southwestern Manitoba, Brandon, CA

Missing or Forgotten: Akonessen, Zitya, Tina, Marie and the Others/Oubliées ou disparues : Akonessen, Zitya, Tina, Marie et les autres, Urban Shaman, Winnipeg, CA


2017 Canadian Biennial, National Gallery of Canada, Ottawa, ON

Canada Now: Tip of the Iceberg, Art Bermondsey Project Space, London, UK    

Self Abstractions, Canada House, London, UK    

Deconstructing Comfort, Open Space, Victoria, CA    

Raise a Flag: Works from the Indigenous Art Collection (2000-2015), Onsite Gallery / Ontario College of Art and Design University, Toronto, CA

Anishinaabeg Art and Power, Royal Ontario Museum, Toronto, CA    

Canadian and Indigenous Art: 1968 to Present, National Gallery of Canada, Ottawa, CA

Carry Forward, Kitchener Waterloo Art Gallery, Kitchener, CA

Relations, Heart House Gallery / University of Toronto, Toronto, CA

De quoi l'image et t'elle le nom? Momenta—Biennale de l’image, Galerie UQAM, Montreal, CA

Here: Locating Contemporary Canadian Artists, Aga Khan Museum, Toronto, CA

Endless Landscape / A perte de vue, Axenéo 7—offsite, Gatineau, CA

Dar’a / Full Circle, Article Gallery, Windsor, CA

Motion, MacKenzie Art Gallery, Regina, CA        


Culture Shift, Art Mûr, Montreal, CA

Crossing Over Place, Institute for New Connotative Action, Seattle, US

EnseCAle, Vu Photo, Québec, CA

Itasca, The Bindery Project, Saint Paul, US

Myth of Fishes, Campbell River Art Gallery, Campbell River, CA

Tributaries: midway ‘twixt earth and heaven, Canadian Glass and Clay Gallery, Waterloo, CA


N2N: Widening the Narrows, Orillia Museum of Art and History, Orillia, CA

Custom Made, Kamloops Art Gallery, Kamloops, CA

Oubliées ou disparues : Akonessen, Zitya, Tina, Marie et les autres, Maison de la culture Frontenac, Montreal, CA


Formes et Paroles, Gorée Island, SN

2014 SOBEY shortlist exhibition, Winnipeg Art Gallery, Winnipeg, CA

Before and after the Horizon: Anishinaabe Artists of the Great Lakes, Art Gallery of Ontario, Toronto, CA

Territoires partagé, Art Action Actuelle, St-Jean-sur-Richelieux, CA

–  Trajectoires – Détours – Résistance, Les Jardins du précaCArien, Val-David, CA


Resistance– And Then, We Built New Forms, MANIF d’Art 7, Quebec, CA

C’est notre histoire, Musée de civilization, Quebec, CA

Territoires partagé, Centre vaste et vague, Carleton-sur-mer, CA

L’image rôde, (curated by Louise Déry) Le Fresnoy, Tourcoing, FR

Before and after the Horizon: Anishinaabe Artists of the Great Lakes, National Museum of the American Indian, Manhattan, US

– SAKAHÀN: 1st International Quinquennial of New Indigenous Art, National Gallery of Canada, Ottawa, CA

Water Diary, Frac Haute-Normandie, Sotteville-lès-Rouen, FR

Dazzling Dancing Beads, North Dakota Museum of Art, Grand Forks, US

Changing Hands III: Art Without Reservation, Memorial Art Gallery, Rochester, US


Monographs / solo exhibition catalogues

2017     Nadia Myre: A Casual Reconstruction. Waterloo, ON: Robert Langen Art Gallery, Wilfred Laurier University

2011     Nadia Myre: En[counter]s. Montréal, CA: Éditions Art Mûr; Saint-Jérôme, CA: Musée d’art contemporain des Laurentides; and Ottawa, CA: Carleton University Art Gallery

2010    Nadia Myre: The Scar Project. Montréal, CA: Consider This Publication

2005    Rothwell, Emily.  Nadia Myre: Skin Deep, or Poetry for the Blind.  Kingston, CA: Union Gallery, Queen’s University

2004    Cont[r]act: New Work by Nadia Myre. Montréal, CA: Rhonda L. Meier / Dark Horse Productions


Reviews / essays / catalogues


– Barak, Ami, ed. What does the Image Stand For?  Momenta—Biennale de l’image, Montreal, CA

– Chaykowski, Natasha ‘Nadia Myre: Code Switching.’ Invitation Art Mur 11:5, Apr.-Jun. (2016): 4-5.

 – Clément, Éric.  ‘L'art autochtone s'affiche dans sept expos à Montréal.’  La Press (Nov. 27, 2017)

– Delgado, Jérôme.  ‘La relecture apaisante de Nadia Myre.’  Le Devoir  (Nov. 18, 2017)

– Deresti-Robinson, Olivia.  ‘Reframing history with Scattered Remains.’  The Concordian (Nov. 28, 2017)

– Farrell Racette, Sherry. ‘Tuft Life: Stitching Sovereignty in Contemporary Indigenous Art,’ Art Journal, 76:2 (2017), 114-123

– Hopkins, Candice. ‘We Are Always Turning Around on Purpose: Reflecting on Three Decades of Indigenous Curatorial Practice,’ Art Journal, 76:2 (2017), 39-47

– Goyer-Ouimette, Geneviève  'Nadia Myre: Scattered Remains / Tout ce qui reste.’ La revue du Musée des beaux arts de Montréal  (September—December 2017): 10-11.

– Mayer, Shaughnessy, et al. 2017 Canadian Biennial.  Ottawa, ON: National Gallery of Canada

– Meier, Rhonda. ‘Artwork: Nadia Myre,’ Art Journal, October 2017, 76(3-4):76-77)

– Stecker, Heidi ‘Nadia Myre: Code Switching.’ Invitation Art Mur 12:5, May.-Jun. (2017): 2-3.

– Uzel, Jean-Philippe.  ‘Faire, défaire, refaire : La décolonisation chez Nadia Myre.’ Spirale (No.260 / Printemps 2017): 15-26.

– Vigneau, Jean-Yves et al. À perte de vue / Endless Landscape  Axenéo 7, Gatienau, CA


– Beaudry, Eve-Lyne, and Fraser, Marie.  Art contemporain du Québec. Guide de Collection. Québec, CA. Musée national des beaux-arts du Québec. 2016. pp. 110-111.

– Charron, Marie-Ève.  ‘Éloquents défauts de fabrication.’  Le Devoir (Feb. 27, 2016)

– Dickinson, Sheila.  ‘Critics Picks.’  Artforum (published online August 3, 2016)

– Everette-Green, Robert.  ‘Of Montreal: Montreal exhibit examines complex heritage of indigenous artifacts.’ The Globe and Mail (Mar. 18, 2016)

– Larochelle, Claudia.  ‘La Chronique Culture.’ Avenues (Feb. 24, 2016)

– Mailloux, Amy Éloïse.  ‘Identité et histoires : La réappropriation selon Nadia Myre.’ Revue Ex_situ (Mar. 18, 2016)

– Patten, Michael et al.  Culture Shift / Une révolution culturelle Biennale d’art contemporain autochtone Invitation Art Mur 12:5, May.-Jun. (2017): 16-17, 35

– Siberok, Martin.  ‘Algonquin artist Nadia Myre recovers Indigenous identity.’  The Nation (Mar. 1, 2016)

– Sioui Durand, Guy.  ‘L’Onderha.’  INTER: art actuel (No. 122, Winter 2016): 4-19.


– Engagement, Art le Sabord, no. 100 (March 2015)

– Davis, Christine  and Lyall, Scott (Eds).  “Seeds,” PUBLIC: Art, Culture Ideas. ‘Colour,’ v. 26, issue. 51 (Summer 2015): 158-159.

– Dawang, Doreen.  ‘Why We Love the Art We Love: Novelist Joseph Boyden on our Pursuit of Beautiful Things.’ The Globe and Mail  (Feb. 28, 2015)

– Falgayrettes-Leveau, Christiane.  ‘Traverser l’ocean.’ Formes et Paroles  Paris: Éditions Dapper

– Falvey, Emilie. ‘One and Many: The Art of Nadia Myre.’ Canadian Art (Spring 2015): 130-135.

Flaherty, Shannon. ‘Disrupted translations: Legibility and identity in the works of Nadia Myre.’ International Journal of Media & Cultural Politics. Volume 11, Number 3, 1 (September 2015): 329-345 Publisher: Intellect.

– Luo, Amy and Caoimhe, Morgan-Feir.  ‘Nadia Myre at Art Mûr’s Booth.’ Canadian Art Online (Apr. 2015)

– Smith, Matthew Ryan.  ‘Nadia Myre.’ First American Art (No 6, Spring 2015):  56-61.


– Antinozzi, Gina.  ‘Nadia Myre –Oraison / Orison.’  Galerie OBORO, Montréal, CA

– Bélanger, Gagnon et al.  Resistance: And Then We Built New Forms  Quebec, CA: Manif d’Art 7

– Berco, Cristian, Caulfield, Sean and Van Grimde, Isabelle, eds. Le corps en question(s). The body in question(s). Edmonton, CA: The Department of Art and Design, University of Alberta, 2014.

– Bouchard, Anne-Marie.  ‘The Scar Project.’  Le Cahier : Galerie des arts visuels (No. 6, 2014): 13-14.

– Bouchard, Anne-Marie.  ‘Nadia Myre –The Scar Project, et Beat Nation.’  Etc (No. 101, May 2014):  40-43.

– Charron, Marie-Ève.  ‘Entreprendre la guérison en libérant la parole.’  Le Devoir (Nov. 2014)

– Cloutier, Mario.  ‘Top 10 Art contemporain La Presse 2014.’  La Press (Feb. 25, 2014) Arts 9

– Delgado, Jérôme.  ‘Nadia Myre reçoit le prix Sobey.’  Le Devoir  (Nov. 2014)

– Desloges, Josianne. ‘Crypter l’intime et l’afficher.’ Le Soleil (Mar. 15, 2014) Arts Visuels A17 

– Janin, Anaïs.  ‘Nadia Myre: penser sa dualité culturelle.’ Nikiwin Renaissance, Points de vue féminins. Val d’Or, CA: Centre d’exposition de Val d’Or

– Jinjun, Yan, Franke et al. Social Factory: 10th Shanghai Biennale. Shanghai, CN: Shanghai Biennale

– McLaughlin, Bryne.  ‘4 Questions for Sobey Winner Nadia Myre.’  Canadian Art Online (Dec. 2014)

 – Parayre and Boldt. Figuring It Out: Disfigurement in Twentieth and Twenty-First Century Art and Literature .  St. Catharines,  CA: Niagara Artists Centre, 2014

– Sabet, Aseman.  ‘Heuristic Categorizations: Contemporary Aboriginal Art in Quebec.’ Esse No. 81, May (2014):  108-117. 

– Uzel, Jean-Philippe.  “L’Autochtonie dans l’art actuel Québécoise. Une question partagée.’ GLOBE–revue internationale d’étude Québecoise (Vol. 17,  No.1, 2014): 32-57.