WILD TIMES
ISABELLE HAYEUR
Vernon Public Art Gallery
March 13 - May 13, 2025
Catalogue of an exhibition held at the Vernon Public Art Gallery
3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada
March 13 - May 13, 2025
Production: Vernon Public Art Gallery
Editor: Lubos Culen
Layout and graphic design: Vernon Public Art Gallery
Front cover: Burned forest near Lac St-Jean 03 (detail), 2020 – 2021, 41” x 61”, 104 cm x 155 cm
Land of Ashes photographic series, Inkjet on photographic paper mounted on aluminum Dibond
Printing: Get Colour Copies, Vernon, British Columbia, Canada
ISBN 978-1-927407-88-2
Copyright © 2024 Vernon Public Art Gallery
All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada. Telephone: 250.545.3173, website: www. vernonpublicartgallery.com. The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.
This exhibition is sponsored in part by:
1 Executive Director’s Foreword · Dauna Kennedy
2 Curator’s Introduction · Lubos Culen
4 Mediated Worlds · Andrea Kunard
8 Artist Statement · Isabelle Hayeur
11 Images of Artwork in the Exhibition
34 Curriculum Vitae · Isabelle Hayeur
EXECUTIVE DIRECTOR’S FOREWORD
It is with great pleasure that the Vernon Public Art Gallery presents Wild Times exhibition by artist Isabelle Hayeur. This highly recognized Canadian artist has a history of working within the context of environmental and global climate changes and has exhibited internationally with her large-scale photographs. This particular exhibition has been built around the changing landscapes pre and post forest fires in BC and Quebec during 2020 and 2021.
Helping to delve deeper into Hayeur’s work, guest writer Andrea Kunard, senior curator of photography at the National Gallery, provided an essay for this publication along with an introduction from VPAG’s Curator, Lubos Culen.
I would like to acknowledge the financial support of the Province of British Columbia, the Regional District of the North Okanagan, and the BC Arts Council, whose funding enables us to produce exhibitions such as this for the residents and visitors of the North Okanagan region and interested parties across Canada.
We hope you enjoy this exhibition and accompanying publication.
Regards,
Dauna Kennedy Executive Director
Vernon Public Art Gallery
ISABELLE HAYEUR: WILD TIMES
Isabelle Hayeur is known for her lens-based studio practice which includes photography, experimental film and video, installations, and the creation of public art commissions. In her work, she focuses on creating environmental photomontages which are digitally enhanced, which then represent new artificial landscapes. Her photography and digital manipulation reveal aspects of her subjects which are more than documentary photography.
Hayeur’s photographs are focused on environmental issues associated with climate change and our human interaction with natural landscapes. Her subject matter is varied and ranges from a critique of urban development to underwater environments, often capturing barren landscapes caused by pollution and our human mismanagement of the ecosystems. Generally, the main themes of Hayeur’s interest are urban sprawl and the environmental changes caused by this development. Her work is also a critique of industrialization and the resulting pollution and dehumanization of original natural sites.
In 2012 Hayeur participated in the group exhibition Ecotopia. Here, she and her contemporaries presented works that show “the coexistence of rural and urban, natural and manufactured, protection and exploitation, conservation and destruction, nostalgia and futuristic vision, to challenge the notion that modernity equals progress.”1 One of the ongoing themes underlying Hayeur’s focus is also the critique of capitalism. She points out that the consumerist mindset and the extreme accumulation of goods and money as well as the giant infrastructure projects contribute to the destruction of the environment.2
Generally, Hayeur’s studio practice covers a wide array of subject matter. The body of works titled Model Homes (2004 – 2007) contains digitally constructed images of opulent homes which addresses issues of development in contemporary suburbs. Similarly, Hayeur documents the vanishing prairie farmland replaced by suburbia in Somewhere Out of Memory (2012 – 2013).3 Many of her panoramic landscapes are often digitally enhanced in order to emphasize the disbalance of the natural and the manufactured.
Some of Hayeur’s photographs also focus on sociopolitical issues in Canada and abroad. In some of the images one can feel the existential angst of Europe’s marginalized ethnic groups living in makeshift shelters in urban areas. She also documented the aftermath of the mass shooting in Paris’ theather Bataclan. Her latest body of works is focused on migration at the USA Mexico border. Domestically, Hayeur documented people’s gathering in protest camp advocating against logging and oil exploration in the Gaspé area in Quebec.
Major bodies of works in Hayeur’s studio practice are focused on environmental changes caused by human development or natural causes. Her photographs document the destruction of natural habitats and whole ecosystems. The exhibition titled Wild Times presented at the Vernon Public Art Gallery consist of photographs
of landscapes affected by forest fires in Quebec and British Columbia in the 2020 and 2021 summer seasons. The photographs from sites near Las Saint-Jean depict the aftereffects of the wildfire which changed the ecosystems in the largest forest fire in the province’s history. The images captured in 2021 show the active fires in British Columbia. The oppressive plumes of raising smoke changed the appearance of the landscape and the thick smoke was hardly penetrated by the sun’s rays. The toxic smoke drifted through large areas and the images captured from satellite views exemplified the apocalyptic scale of the burning infernos.
Hayeur’s focus on environmental changes is also a critique of environmental stewardship and management of the forests. Western Canada and the United States have been affected by the climate change and, specifically, prolonged droughts contribute negatively to the fragile ecosystems. In her statement she points out that forest companies harvest timber from ecologically diverse ecosystems, but replant logged areas with mono crop species which inevitably do not contribute to the ecological diversity of healthy forests. She also questions the continuous suppression of forest fires which results in the excessive fuel load on the forest floor. Her works advocate indirectly for prescribed burning, a practice which reintroduces fire as natural part of a healthy ecosystem.4 Hayeur’s exhibition Wild Times contains images of cataclysmic active fires and resulting destruction of natural environments. The images of burnt forests invoke the feeling of existential angst which serve as powerful memento mori for all humanity to contemplate.
Lubos Culen Curator
Vernon Public Art Gallery
Endnotes
1 https://en.wikipedia.org/wiki/Isabelle_Hayeur; accessed January 24, 2025
2 https://en.wikipedia.org/wiki/Isabelle_Hayeur; accessed January 24, 2025
3 https://isabelle-hayeur.com/photo_eng_page/; accessed February 5, 2025
4 https://isabelle-hayeur.com/photo_eng_page/; accessed February 6, 2025
ISABELLE HAYEUR: MEDIATED WORLDS
By Andrea Kunard
As much as the photograph functions as a surface for the depiction of subject matter, it also has depth for its ability to provoke memories and engage individuals to speak and share stories. Especially through this latter quality, photographs create community and a means to consolidate identity and values. Photographs are also multitemporal and multi-spatial; not simply of the moment, photographs move through time and space, gathering stories that inspire new audiences. The act of framing the world through the lens, or constructing it through digital manipulations, represents a desire to see reality as one would hope and imagine. Through the numerous actions that inform photography, image, photographer, subject and viewer are intricately intertwined and in constant process. The past, retained as a continued element, is not simply a statement of absence but an active state in the present with possibilities of futured sharing and community.
This extended idea of the photographic medium accords with Isabelle Hayeur’s artistic approach that focuses on the land and its uses. Like the photograph, the land is not merely defined by surface but retains memories and cultural values that interweave people and maintain communities. The land, as both surface and depth, is also multitemporal; its past is never completely absent but preserved as an element to be activated in the present. Like the photograph, the land is a result of the human capacity to construct and configure reality as a mixture of fact, fiction, practicality and desire. Moreover, the integration of human and natural elements, commonly termed landscape, is also incorporated into the very activities of photography which harmonizes human and natural elements through the aesthetic devices of framing and composition.
As photographs are subject to numerous interpretations and engagements, so is the land a composite of varied and sometimes conflicted memories, uses, and values. The ideal would be to respect multiplicity and embrace what Édouard Glissant calls “the Whole-World” vision of the universe. To appreciate the world totality in its “physical diversity and in the representations that it inspires,” humans must occupy an ambiguous state, one that is simultaneously outside and inside reality “so that we are no longer able to sing, speak or work based on our place alone, without plunging into the imagination of this totality.”1
However, more often world totality dissolves into absolutes as numerous parties insist on exploiting or limiting it through fixed ideas. Extremism positions the photograph and the land diametrically as either a utopian vision of harmony or a dystopic demonstration of utility. In some cases, both states exist simultaneously, creating an irresolvable condition of attraction and repulsion for viewers. To investigate these concerns, Hayeur follows the beliefs of previous artists, especially those of the New Topographics (Lewis Baltz, Nicholas Nixon, Joe Deal, Stephen Shore, Frank Gohlke, and Robert Adams) who understand
the landscape as an amalgam of human and natural elements. Humans can never stand outside of nature. Believing in that detached stance results in extremes, where nature is viewed in either a romantic or utilitarian manner. Unfortunately, these dichotomies have shaped much of Western culture and Hayeur uses photography and video to highlight their impact on the environment and people’s sense of culture and identity. Hayeur has had a long-standing interest in the clashes of utopian and functional visions that have resulted in human attempts to reorganize the world. She views the landscape, in both its pictorial and actual manifestation, as representing conflicting desires, expressing, on the one hand, the wish to control the land and environment, and on the other, the longing to become immersed in it.2 Hayeur’s working method and treatment of imagery echo these ideas. She sees our world as highly mediated; our technical culture transforms, constructs and orchestrates the world in such a manner as to engineer a new space that inextricably confounds fact and fiction. Appreciation of how our vision of the world (both physically and imagistically) is shaped is crucial to the artist. As she notes, “It is impossible to consider the landscape without considering how our actions - and that of industry - have transformed it. The landscape is now inhabited everywhere and everywhere one can find traces (scars) of our having been there.”3
To convey the complexity of human engagement with the world, Hayeur crafts images that blend dichotomies into a fruitful, ambiguous relation. The resulting images are not simply artistic or documentary photographs but both; colour, texture and light are expertly employed to hold photography’s celebrated capacity to present highly detailed depictions of its subject matter. As well, in several series Hayeur exploits photography’s privileged relation to the real by digitally constructing her landscapes. For example, in her Destinations series (2003), the artist blended views of various tourist sites, such as Cape Cod, the Mohave Desert and the Everglades to present landscapes replete with strange familiarity. The resulting images play with the tropes of tourism; the fabricated landscapes appear real and entice viewers with the promise of travel. Another series that digitally blended various sources to present an unbelievably believable subject was Model Homes (2004-2007). Combining different elements through Photoshop, Hayeur created odd but credible looking houses that revealed their own constructed nature. She then placed the home in a desolate, barren landscape reminiscent of new developments. Hayeur sees suburban houses as having little or no historical connection to the places where they are built. “[T]hey are amalgams of cultural, imaginary and borrowed identities…. Some people even think that these artificial landscapes are real, leading to confusion between what is really part of our cultural heritage and what is only the market value of substitution. This generates false perceptions of who we are.”4
For Hayeur, the state of the natural world is particularly vulnerable given our present condition of dislocation and alienation. For her Underworlds series, ongoing since 2008, she has been photographing
rivers and waterways with an underwater camera to capture images of what lies beneath the surface. The waters, altered by pollution, are mostly aquatic deserts, devoid of life. Along New Jersey’s Chemical Coast and the marine cemetery of Rossville (Staten Island), as well as the Mississippi, Hayeur’s images reveal unhealthy ecosystems suffering from the lack of dissolved oxygen. However, although dying, the sites have picturesque appeal, as she notes, “These desolate expanses are suffused in a wavering light endowing them with a strange, disturbing beauty.”5 The images indicate the need to penetrate the seeming picturesque surfaces waterways and water masses provide for viewing enjoyment, to see, understand and attempt to rectify the reality existing beneath.
Ideally, human relations with the land should be caring and based on a respectful understanding of natural processes and our dependency on them. However, studies have shown that given the increased stress the planet is under due to global warming, climate change creates optimal conditions for extreme events to occur despite human efforts to manage the environment. Wildfires are one example of such phenomena; increased periods of drought, combined with higher temperatures, produce ideal conditions for wildfires which have been occurring with greater frequency over the last few decades. Hayeur addresses these concerns through long established pictorial techniques that present a sublime but disturbing landscape. The Wild Times series takes the 2021 fire in British Columbia as its subject. The intense and massive fire devasted Lytton, destroyed homes in surrounding areas, and created dense smoke and airborne particulate matter that covered central and southern British Columbia, spreading as far as central Canada and the northern and midwestern American states. Wildlife and habitat suffered dearly as well. Given such conditions, the sky darkens, and day becomes night with the rising sun appearing as a blood moon. As well, a feature of intense fires is the development of pyrocumulonimbus clouds, as seen in Hayeur’s work Pyrocumulonimbus. The image depicts a massive plume of smoke rising into the upper atmosphere. The clouds form because of the intense heat on the surface, and often develop into their own meteorological event, producing lightning storms that spark even more fires.
Feminist scholar Donna Haraway notes that “If we appreciate the foolishness of human exceptionalism, then we know that becoming is always becoming with—in a contact zone where the outcome, where who is in the world, is at stake.”7 Hayeur’s projects provide a means to consider the consequences of binary thinking, and the damage that occurs with people’s alienation to the world and others. Her aesthetic approach blurs oppositional boundaries to provide viewers with the opportunity reflect on our fundamental place in the world, our relation to it and one another. She thinks forward to future challenges informed by shared communal and individual responsibility that maintain openness to the world and others and all their possibilities.
Endnotes
1 Édouard Glissant,Treatise on the Whole-World (Liverpool: Liverpool University Press, 2020), 108.
2 Eleanor Milner, “Isabelle Hayeur: Desert Shores, ”Urbanautica https://unbanautica.com/ interview/isabelle-hayeur/783, accessed 1/7/25.
3 Eleanor Milner, “Isabelle Hayeur. Desert Shores,” Urbanica.
4 Isabelle Hayeur, “Model homes (2004-2007),” Isabelle Hayeur : Model Homes / Maisons modèles, accessed 1/7/25.
5 Isabelle Hayeur, “Troubled waters and subaquatic landscapes,” https://isabelle-hayeur.com/underworlds_ eng/ accessed 1/10/25.
6 Alison Auld, “Research reveals global increase in wildfires due to climate change despite human interventions,” Dal News, 23 October 2024, https://www.dal.ca/news/2024/10/23/wildfires-climate-change-human-im pact.html#:~:text=Research%20reveals%20global%20increase%20in%20wildfires%20due%20to%20 climate%20change%20despite%20human%20interventions,-Alison%20Auld%20%2D%20 October&text=Researchers%20have%20made%20a%20direct,over%20the%20last%20several%20decades
7 Donna Haraway, When Species Meet (Minneapolis: University of Minnesota Press, 2008), 244.
Andrea Kunard, Senior Curator, Photographs, National Gallery of Canada curates, researches and publishes on historical and contemporary photography. Exhibitions include Shifting Sites (2000) , Susan McEachern: Structures of Meaning (2004) , Steeling the Gaze (2008) , Clash: Conflict and Its Consequences (2012) , Michel Campeau: Icons of Obsolescence (2013) , Photography in Canada 1960-2000 (2017), Marlene Creates — Places, Paths, and Pauses (2017) with Susan Gibson Garvey; Photostories Canada (2017 virtual exhibition); Anthropocene (2018) with Sophie Hackett and Urs Stahel; Moyra Davey: The Faithful (2020), and Kan Azuma: A Matter of Place (2024) with Assistant Curator Euijung McGillis. Kunard has taught photo history, Canadian art and cultural theory at Carleton and Queen’s Universities. Co-editor of The Cultural Work of Photography in Canada (McGill Queen’s U.P. 2008) , she has also published in the National Gallery of Canada Review, (U of T Press) , The Journal of Canadian Art History, the International Journal of Canadian Studies , and Early Popular Visual Culture.
ARTIST STATEMENT
I first became interested in wildfires in June of 2020 when a massive inferno raged north of Lac Saint-Jean in Québec. 72,000 hectares of the boreal forest was decimated in Zec des Passes, a controlled harvesting zone. This area is exploited by Stone-Consolidated Corporation, a Canadian company specializing in forest products. The terrain is riddled with timber harvesting areas and access roads; tracked harvesters have left scars everywhere. The fire reduced what was left of these altered landscapes to ashes and the land was now completely devastated. I traveled along the rough dirt roads leading to this unorganized territory and picked my way through some of these blackened desert moonscapes.
Fire is a normal part of forest life, but when it hits hard in forests that have not yet achieved the maturity required to regenerate, it takes hundreds of years to re-establish the original plant cover. New forest plantings are comprised of young trees that do not produce many seeds and that represent only a few species destined for the lumber industry. Logging companies replant areas mainly with conifers, which burn easily, and overly homogeneous replanting fuels fires. These areas suffer from severe ecological poverty: plantings can never replace what nature took centuries to create. Logging trails and roads also have an impact on forests by breaking up the existing soil, which increases erosion and sedimentation.
The following summer, British Columbia saw the effects of a heat wave and extreme drought that led to numerous forest fires. The town of Lytton had been decimated and a number of other communities were on high alert. I travelled to the Thompson River Valley to photograph the rapidly expanding fires. The vegetation was completely parched and the tiniest twigs turned to dust under my feet. For miles around, you could see plumes of smoke and raging fire. The smoke had become so thick that you could barely make out what was around you, and the air in the vicinity was unbreathable. The sky was dark, cloaked by airborne particulate matter, and you could no longer tell day from night. Behind these toxic clouds, the rising sun looked like a blood moon. This hellish landscape was both captivating and unsettling; as a friend wrote to me later: “how is it that such fires can seem so beautiful?”
Although forest fires are relatively common in the western regions of Canada and the United States, the situation has greatly deteriorated in recent years and many communities in California, Oregon and Canada have been hit hard. We know that climate variability and drought create conditions conducive to forest fires, but are they solely responsible for such disasters? Fires are often attributed to ‘climate change’, but it is more rarely recognized that human activity, such as accidental fires and arson, is often at the root of these events. Poor land management is another neglected issue. Allowing dead trees and dry underbrush to accumulate creates the perfect conditions for disasters; if we don’t thin out woodlands it leads to a build-up of flammable matter. Some researchers feel that we also need to rethink our models of forest fire management. Systematically extinguishing forest fires interferes with the natural phenomenon of Wildfires;
It makes more sense to clear small areas by means of controlled burning. This technique is based on an ancestral practice of the Indigenous peoples, who adapted the structure of their lands to protect them from devastating fires. The First Peoples of America and Australia, who understood that forest fires were an integral part of the cycle of forest renewal, practised “cultural burning.” As it did before the era of intensive logging and fire suppression, a resilient forest can survive periodic fires. By fighting against the natural elements and overexploiting the forests, we have upset a centuries-old balance. Trying to master Nature without understanding or respecting it will never work. We need to rethink our relationship with the land and learn to co-exist with it, instead of giving way to the illusory quest for an increasingly controlled world.
Isabelle Hayeur January 27, 2025
WILD TIMES
ARTWORK IN THE EXHIBITION
78 cm x 104 cm
2021
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
Soleil de sang
31” x 41”
78
2021
Tremont Creek Wildfire 01
31” x 41”
cm x 104 cm
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
78
2021
Tremont Creek Wildfire 02
31” x 41”
cm x 104 cm
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
78
2021
Tremont Creek Wildfire 03
31” x 41”
cm x 104 cm
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
29” x 86”
Provincial Park 01
73 cm x 219 cm
2021
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
Steelhead
Steelhead Provincial Park 02
36” x 48”
91 cm 122 cm 2021
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
106
2021
Pyrocumulonimbus
41,5” x 41”
cm x 104 cm
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
Nightfall (Farmland at dusk near Cache Creek)
2021
28” x 65,5”
71 cm x 166 cm
Wild Times photographic series
Inkjet on photographic paper mounted on aluminum Dibond
Burned forest near Lac St-Jean 01
78 cm x 104 cm
2020 - 2021
Land of Ashes photographic series
Inkjet on photographic paper mounted on aluminum Dibond
31” x 41”
30,5” x 57,5”
78 cm x 146 cm
2020 - 2021
Land of Ashes photographic series
Inkjet on photographic paper mounted on aluminum Dibond
Burned forest near Lac St-Jean 02
Burned forest near Lac St-Jean 03
2020 – 2021
41” x 61”
104 cm x 155 cm
Land of Ashes photographic series
Inkjet on photographic paper mounted on aluminum Dibond
Isabelle Hayeur
CURRICULUM VITAE
Master of Fine Arts (2002), Bachelor of Fine Arts (1997), Université du Québec à Montréal
SOLO EXHIBITIONS
2025 Wild Times, Vernon Public Art Gallery (Vernon) Canada
Borderlands, Scott McLeod curator, Tangled Art Gallery / Contact Photography Festival (Toronto) Canada
2022 Histoires d’eau, Musée du Bas Saint-Laurent (Rivière-du-Loup) Canada
2020 (D)énoncer, Mona Hakim curator, Maison des arts de Laval (Laval), Galerie d’art de l’Université de Sherbrooke, Canada
Plein Sud, Centre d’exposition en art actuel à Longueuil, Canada
2018 Le camp de la rivière, Vaste et Vague (Carleton-sur-mer) Canada
2017 Solastalgia, Hiroshima City Museum of Contemporary Art, Video Art Program (Hiroshima) Japan
Dépayser, Musée d’art de Joliette (Joliette) Canada
A Part From Nature, University Art Gallery, University of Pittsburgh, United States
Corps étranger, Art Gallery of Windsor, Canada
2016 Desert Shores (Lost America), Galerie Hugues Charbonneau (Montreal) Canada
République, Vaste et Vague, Les Rencontres de la photographie en Gaspésie (Carleton) Canada
2013 Understories, Galerie Division (Montreal) Canada
Death in absentia, Pierogi Gallery (Brooklyn) United States
Corps étranger, La Chambre (Strasbourg) France
Vraisemblances, Expression (Saint-Hyacinthe), Musée régional de Rimouski, Canada
2012 Déraciné, Kortil Gallery (Rijeka) Croatia
Montréal-Brooklyn : Isabelle Hayeur & William Lamson, Galerie Division (Montreal) Canada
2011 Underworlds, Galerie Division (Montreal) Canada
Paysages incertains, Alianza Francesa de Montevideo, Uruguay
2010 Looking backstage, Pierre-François Ouellette art contemporain (Montreal) Canada
2009 Maisons modèles, Maillon-Wacken (Strasbourg) France
Formes de monuments, L’espace photographique Contretype (Brussels) Belgium
2008 Isabelle Hayeur: Nuits américaines, New York Photography Festival 08 (Brooklyn) United States
Maisons modèles, Centre Sagamie (Alma) Canada
2007 Quaternary, Galerie Thérèse Dion (Montréal) Canada
Inhabiting: the works of Isabelle Hayeur, Southern Alberta Art Gallery (Lethbridge), Musée National des Beaux-arts du Québec (Quebec City) Canada
Displacements & Relocations, Jessica Bradley art + projects (Toronto) Canada
Tunnel Vision, Netwerk CCA (Aalst) Belgium, Trinity Square Video (Toronto) Canada
2006 Inhabiting: the works of Isabelle Hayeur, Oakville Galleries, St-Mary’s University Art Gallery (Halifax) Canada
Vulnerable Light: Isabelle Hayeur and Jennifer Long, Open Space (Victoria) Canada
Paysages liminaires, Point éphémère, centre de dynamique artistique (Paris) France
2005 Excavations, Galerie Thérèse Dion (Montreal) Canada
Verge, Agnes Etherington Art Center (Kingston) Prefix ICA (Toronto) Canada
América y América, conversaciones polares, Galería Arte X Arte (Buenos Aires) Argentina
2004 Spill 03: Paysages incertains, Artspeak (Vancouver) Canada
Destinations, Massachusetts Museum of Contemporary Art (North Adams) United-States
Somewhere, Platform Center for the photographic and Digital Arts (Winnipeg) Canada
Destinations, Pari Nadimi Gallery (Toronto) Canada
2002 Quelque part, L’Espace F (Matane) Canada
2001 Chantiers, Centre des arts visuels Skol (Montréal) Canada
Drift, Eye Level Gallery (Halifax) Canada
Paysages incertains, Galerie Verticale (Laval) Canada
2000 Paysages incertains, L’Écart (Rouyn-Noranda) Canada
Beyond Gardens, Pari Nadimi Gallery (Toronto) Canada
1999 Dérives, Séquence arts visuels et médiatiques (Chicoutimi) Canada
1998 Les instants détournés, Praxis art actuel (Sainte-Thérèse), Action Art Actuel (Saint-Jean sur le Richelieu) Canada
1996 Recent photographs, Galerie Sans-Nom (Moncton) Canada
GROUP EXHIBITIONS
2026 Contrastes et indifférences, Catherine Bédard curator, Canadian Cultural Centre (Paris) France
2025 Contrastes et indifferences, Fondation Grantham pour l’art et l’environnement (St-Edmond-deGrantham) Canada
Art Souterrain, Éric Millette curator, Underground City of Montreal, Canada
Identités paysagères, Centre d’art Diane-Dufresne (Repentigny) Canada
2024 Records and Remembrance: A Selection of Recent Acquisitions, Art Gallery of Alberta (Edmonton) Canada
Face / Waste, Yuluo Wei curator, Industrial Arts (Markham) Canada
Looking Up, Looking down, Till Wave Gallery (Watertown) United-States
2023 Isabelle Hayeur : Desert Shores, Works from the permanent collection, National Gallery of Canada (Ottawa)
2022 Musée à ciel ouvert, Ville de Drummonville, Canada
Nature. Œuvres choisies de la Collection Desjardins, l’Espace culturel du Quartier Saint-Nicolas (Lévis) Canada
2021 Contemporary Ruins, Maison Interuniversitaire des Sciences de l’Homme (Strasbourg) France
Sidewalk Cinema, Art Gallery of Alberta (Edmonton) Canada
10 ans d’images. Retour sur dix années de photographies à La Chambre, La Chambre (Strasbourg) France
2020 The Extended Moment: Fifty Years of Collecting Photographs, Audain Art Museum (Whistler)
Canada
Image envoyée/Image sent, Catherine Bédard curator, Canadian Cultural Centre (Paris) France
Ecologies: A Song for Our Planet, Iris Amizlev curator, Montreal Museum of Fine arts (Montreal)
Canada
Coastlines, The Studios of Key West, Sanger Gallery (Key West) United States
2019 Apparaître / Disparaître, Bénédicte Ramade curator, Fondation Grantham (St-Edmond-deGrantham) Canada
Another Landscape Show, Art Gallery of Alberta (Edmonton) Canada
The Perennials, Crystal Mowry curator, Kitchener-Waterloo Art Gallery (Kitchener) Canada
Cul-de-sac, Art Gallery of Alberta (Edmonton) Canada
De.payser, L’arteppes, espace d’art contemporain (Annecy) France
Inscapes, Anik Glaude curator, Varley Art Gallery (Markham) Canada
Solastalgia, Mattatoio di Testaccio (Rome) Italy
Cabinet des censuré.e.s, Folie/Culture (Quebec City) Canada
2018 Fifty Years of Collecting Photographs: The Extended Moment, National Gallery of Canada (Ottawa)
Canada
Water Works, Art Gallery of Hamilton (Hamilton) Canada
Ecologies of Landscape, Barbara Edwards Contemporary (Toronto) Canada
Look Again! The AGW Collection at 75 Years, Art Gallery of Windsor (Windsor) Canada
Metaphorai, Centre Régional de la Photographie Hauts-de-France (Douchy-les-Mines) France
Regards critiques et nouvelle photographie, Maison de la culture Claude Léveillé (Montreal) Canada
Flugblätter, Pictura Dordrecht (Dordrecht) Holland
En eaux troubles, Phos 2018 Festival (Matane) Canada
2017 Out of View, Robischon Gallery (Denver) United States
Water Line, Center for Visual Art (Denver) United States
La Balade pour la Paix / An Open-Air Museum, Montreal Museum of Fine Arts (Montreal) Canada
When Form Becomes Attitude, Contemporary Calgary (Calgary Canada)
Contaminaciònes/Contaminations, El Museo de la Cancilleria / Instituto Matia Romero (Mexico City), Festival de Mayo, Ex-Convento del Carmen (Guadalajara), Centro Cultural Clavijero (Morelia)
Mexico
Spaces for Agency, Galerie Hugues Charbonneau (Montreal) Canada
Siren Song, Prelude to New Water Music, Barrister’s Gallery (New Orleans) United States
2016 Till it’s gone (as part of Art Speaks Out video program), Istanbul Modern (Istanbul) Turkey
The Edge of the Earth: Climate Change in Photography and Video, Ryerson Image Centre (Toronto)
Canada
Brussels Unlimited. Collection Contretype, Centre Wallonie-Bruxelles (Paris) France
She photographs, Montreal Museum of Fine Arts (Montreal) Canada
Glissements, Museo del Ferrocarril de Asturias (Gijón) Spain
Balance, Great Park Gallery (Irvine) United States
Currents 2016, El Museo Cultural (Santa Fe) United States
Beauvais est République, Galerie Nationale de la Tapisserie (Beauvais) France
Im/pénétrable nature, Louise-et-Reuben-Cohen Art Gallery (Moncton) Canada
Paysages et présages, Biosphère, Musée de l’environnement (Montreal) Canada
Screengrab 7 / Resistance, Pinnacles Gallery (Townsville) Australia
The Green of Her, Oakville Galleries (Oakville) Canada
Mutations, André-Louis Paré curator, Le Magasin Général (Rivière-Madeleine) Canada
2015 Stephen Batura, Elena Dorfman, Isabelle Hayeur, Sami Al Karim, Robischon Gallery (Denver) United States
The Transformation of Canadian Landscape Art: Inside & Outside of Being, Today Art Museum (Beijing) China
Water: Resource, Culture, Commodity and Crisis, Conley Gallery, California State University (Fresno)
United States
Ten years gone, New Orleans Museum of Art (New Orleans) United States
Future Fossils, Dutton Gallery (New York) United States
Passages insolites, EXMuro Arts Publics (Quebec City) Canada
Les photaumnales, Galerie nationale de la tapisserie (Beauvais) France
2014 Shine a Light: Canadian Biennial 2014, National Gallery of Canada (Ottawa) Canada
Looking Forward, The Montreal Biennial, Musée d’art contemporain de Montréal, Canada
Crossing Terrain, Art Gallery of Greater Victoria (Victoria) Canada
Luminocity, Kamloops Art Gallery, Canada
Canada, Our Country, Kitchener Waterloo Art Gallery (Kitchener) Canada
La terre en apnée, Langage Plus (Alma) Canada
Brussels Unlimited, Collection Contretype, L’Espace Photographique Contretype (Brussels) Belgium
Cities of Ash, g39 (Cardiff) England
Rencontres internationales de la photographie en Gaspésie, Centre culturel de Paspébiac, Canada
Transformation of Canadian landscape Art: the Inside and Outside of Being, The Xi’an Art Museum (Xi’an) China
Ecotopia, Kenderdine Art Gallery (Saskatoon) Canada
Destiny Manifest, Galleries of Contemporary Art at University of Colorado (Colorado Springs) United States
2013 Nocturne Halifax (Halifax) Canada
Excavations, Varley Art Gallery (Markham) Canada
R.U.R., The Soap Factory (Minneapolis) United States
Espace [im]média 2013 (Sherbrooke) Canada
Ecotopia, Southern Alberta Art Gallery (Lethbridge), Nickle Galleries (Calgary) Canada
Rencontres internationales de la photographie en Gaspésie (Nouvelle) Canada
ABC : MTL, Canadian Centre for Architecture (Montreal) Canada
Formerly Exit Five: Portable Monuments to Recent History, Art Gallery of Grande Prairie (Grande Prairie) Canada
Québec décapé, L’espace F (Matane) Canada
2012 Au milieu de nulle part, Canadian Cultural Centre (Paris) France
In Situ: Kim Kickey, Humberto Duque, Isabelle Hayeur, Ximena Labra, Center for Visual Art (Denver)
United States
Construire le paysage, Espace photographique Contretype (Brussels) Belgium
Camp Out: Finding Home in an Unstable World, Laumeier Sculpture Park (St-Louis) United States
Placemakers, Bemis Center for Contemporary Arts (Omaha) United States
Back to the land, CMCP / National Gallery Of Canada (Ottawa) Canada
Ecotopia, Kitchener-Waterloo Art Gallery (Kitchener) Canada
2011 Songs of the Future: Canadian Industrial Photographs, Art Gallery of Ontario (Toronto) Canada
Nuit Blanche Toronto 2011 (Toronto) Canada
Out of Place / Non Lieu, Art Gallery of Hamilton (Hamilton) Canada
CUBEOpen 2011, CUBE Centre for the urban built environment (Manchester) England
Cul-de-sac, Varley Art Gallery (Markham) Canada
06 émissaires, Québec 2008, Chapelle des Dames Blanches & Ancien Marché de l’Arsenal (La Rochelle), Maison Champlain & Poudrière Saint-Luc (Brouage) France
2010 It Is What It Is. Recent Acquisitions of New Canadian Art, National Gallery of Canada (Ottawa)
Canada
Formerly Exit Five: Portable Monuments to the Present and Recent Past, Kenderdine Art Gallery (Saskatoon) Canada
Fire with Fire, Vancouver 2010 Cultural Olympiad (Vancouver) Canada
Four directions, No 9 Contemporary Art & the Environment (Toronto) Canada
Expansion, Galerie de l’Université du Québec à Montréal (Montreal) Canada
2009 Troubles in Paradise, Missouri State University Art&Design Gallery (Springfield) United States
Autres mesures, Centre photographique d’île de France (Pontault-Combault) France
2008 Metamorphosis, Akbank Sanat (Istanbul) Turkey
Silverstein Photography Annual 2008, Bruce Silverstein Gallery (New York) United States
It’s Not Easy Being Green, Tampa Museum of Art (Tampa) United States
Quinzaine Photographique Nantaise, Le Lieu Unique (Nantes) France
Triennal of Quebec art, Musée d’art contemporain de Montréal (Montreal) Canada
Isabelle Hayeur et Chih-Chien Wang, Pierre-François Ouellette art contemporain (Montreal) Canada
Phénoména, Galerie de l’Université du Québec à Montréal (Montreal) Canada
Location, University of Lethbridge Art Gallery (Lethbridge) Canada
Grounded: Photography and our Contemporary Environment, Ellen Curlee Gallery (St-Louis) United States
06 émissaires, Québec 2008, VU, centre de diffusion et de production de la photographie (Quebec City) Canada
Oikos, SBC Galerie d’art contemporain (Montreal) Canada
Urbi & Orbi, 5e biennale de la photographie et de la ville (Sedan) France
2007 Is there a there there? Oakville Galleries (Oakville) Canada
Loaded Landscapes, Museum of Contemporary Photography (Chicago) United States
The Wall, Art Gallery of Windsor (Windsor) Canada
Thought provoking, sense provoking, Noorderlicht Photogallery (Groningen) Netherlands
2006 Les prix Découvertes des Rencontres d’Arles, Les rencontres de la photographie à Arles, France
The collection: recent acquisitions, Musée d’art contemporain de Montréal (Montréal) Canada
Sound and Vision, Photographic and Video Images in Contemporary Canadian Art, Montreal Museum of Fine Arts,
20 Years of Contemporary Art, Gossip and Lies: 1985-2005, Stride Gallery (Calgary) Canada
Urban Territories, Musée d’art contemporain de Montréal (Montreal), Oakville Galleries (Oakville)
2005 Paysages : constructions et simulations, Casino Luxembourg forum d’art contemporain
The Space of Making, Neuer Berliner Kuntsverein (Berlin), Stadtisches Museum (Zwickau), Kuntsmuseum (Heideinheim), Stadtische Galerie (Walkraiburg) Germany
Berlin / Toronto Exchange, Loop raum fur aktuelle kunst (Berlin) Germany
Canada Visual Arts Program for Expo 2005 (Aichi) Japan
Perceptions (Exposure 2005, The Banff-Calgary Month of Photography), Skew Gallery (Calgary)
Canada
Espaces vitaux / Extravagances, Pierre-Elliot Trudeau Airport (Dorval) Canada
2004 Awakening, VOX contemporary image (Montreal) Canada
Past Imperfect 2, Wignall Museum (Rancho Cucamonga) United States
Milutin Gubash & Isabelle Hayeur, Paved Arts (Saskatoon) Canada
2003 Lieux anthropiques, Casa Vallarta (Guadalajara) Mexico
Tomorrow’s news, Galerie Hippolyte (Helsinki) Finland
Undo, Expression (Saint-Hyacinthe) Canada
Shifts and Transfers. On Some Tendencies in Canadian Video, Ottawa Art Gallery, Canada
Quelques imprécisions sur le paysage, Maison de la culture Plateau-Mont-Royal (Montreal) Canada
2002 Past Imperfect, Kenderdine Art Gallery (Saskatoon), Canada
Yves Arcand, Colwyn Griffith, Isabelle Hayeur, Centre VU (Quebec City) Canada
2001 De la construction des images, Séquences arts visuels et médiatiques (Chicoutimi) Canada
Plan Large (N. Budzinski, I. Hayeur, A. Sà) Quartier Éphémère (Montréal) Canada
Videocentrics, YYZ Artists Outlet (Toronto) Canada
Salon international du flou, L’œil de poisson (Quebec) Canada
2000 The Documenting Eye, Detroit’s Festival of Photography, Artcite Gallery (Windsor) Canada
Proof 7, Gallery 44 (Toronto) Canada
Du métissage comme expérience, Musée régional de Rimouski (Rimouski) Canada
L’art qui fait boum! Triennale de la relève en art visuel, Marché Bonsecours de Montréal (Montreal) Canada
1999 Espace-projections vidéo d’art, Maison de la culture Côte-des-Neiges (Montreal) Canada
Art et industrie, Action Art Actuel Art Centre (Saint-Jean sur le Richelieu) Canada
PHOTOGRAPHIC SERIES
Rumination (2024), Borderlands (2024), Fault Line (2022 – 2023), Parched Earth (2022 – 2023), Wild Times (2021), Land of Ashes (2020 – 2021), Le Camp de la rivière (2017 – 2019), Strange land (2016 – 2017), République (2015 – 2016), Desert Shores (2015 – 2016), Foreign Body (2012 – 2013), Somewhere out of a memory (2012 – 2013), Formes de monuments (2008 – 2009), Underworlds (2008 – ongoing), To be there, over there, outside of oneself (2008 – 2009), Behind the scenes (2007 – 2008), Excavations (2005 – 2008), Day for night (2004 – 2008), Model Homes (2004 – 2007), Destinations (2003 – 2004), Foundations (2002 –2003), Drift (2000 – 2002), Uncertain Landscapes (1997 – 2002)
VIDEOGRAPHY
Holiday Out (2024), Borderland (2024), Patsiata, phantom of dust (2023), Dollar Tree (2022), Thank you People’s Convoy! (2022), Chimères (2021), Chlorosis (2021), The Witches Came Back To Save Us All (2021) Anomie (2021), Liquidity (2021), Hygieia (2021), Between wind and water (2020) Affluence (2020), Coal Spell (2020), Adrift (2019) Fragile Dream (2019), Desert Shores (2016), Silent Spring (2015), Solastalgia (2015) Pulse (2015), Hybris (2015), Mirages (2014), La saison sombre (2014) Aftermaths (2013), Flow (2013), Castaway (2012), Déraciné (2012), Private Views (2010),The Fire Theft (2010), Hindsight (2009), Losing Ground (2009) Drifting (2005), Vertige (2000), Traverse (1999), Si jamais la mer (1998), Voyage d’hiver (1997), Passage sous zéro (1996), Mine Eyes (1995)
SCREENINGS & FESTIVALS
Les rencontres internationales Paris-Berlin (2024, 2014, 2011, 2010, 2009, 2000, 1999)
Antimatter Media Art Festival, Victoria (2024, 2020, 2019, 2010)
ArtSpeaksOut, ikonoTV (2024, 2023, 2022)
Sustainable Stories Film Fest, Houston (2023)
Tranås at the Fringe International Art Festival, Sweden (2022)
Mysuru International Water Film Festival, India (2022)
One Earth Film Festival, Chicago (2022)
Wide Open Experimental Film Festival, Oklahoma City (2022)
FRACTO Experimental Film Encounter, Berlin (2021)
Bideodromo International Film and Video Festival, Bilbao (2021, 2019)
aCinema Space, Milwaukee (2021)
Video Arte Faenza, Bogotá (2021)
In Solidarity - Protest Films in a Time of Crisis, The New American Cinema Group/Film-Maker’s Cooperative, New York (2020)
Too Drunk To Watch, Punkfilmfest, Berlin (2020)
Ottawa Canadian Film Festival (2019)
Twisted Oyster Film & New Media Art Festival, Chicago (2019)
Grande Rencontre des arts médiatiques, Les Percéides - Festival international de cinéma et d’art (2019)
WHAT THE F**K?! Video in the Age of Sublime Uncertainty, V-Tape, Toronto (2018)
Moviecinearte Festival, Sao Paulo (2018, 2017)
Digital Carnival, Richmond BC (2018, 2017, 2016)
Les rendez-vous du cinéma québécois (2017, 2016, 2015, 2014, 2013, 2012, 2011, 2009, 2001, 1998)
Festival Images Contre Nature, Marseille (2017, 2015, 2014, 2013, 2012, 2002)
Festival International Du Film Sur L’Art, FIFA (2016)
Les instants vidéo, Marseille, France (2016, 2013, 1999)
Traverse Vidéo, Toulouse (2014, 2012, 2011)
Festival de films underground de Montréal (2014, 2013, 2012, 2011)
Simultan Festival, Timisoara, Romania (2014)
FASE - Encuentro de arte y tecnología, Buenos Aires (2013)
Art Doc Festival, Rome (2013)
Festival des nouveaux médias et de la vidéo de Montréal (2013, 2007, 2003, 1999)
Kassel Documentary Film and Video Festival, Kassel (2012)
Transmediale, Berlin (2012, 2001)
Festival international du cinéma francophone en Acadie (2011)
Rendez-vous with madness film festival (2011)
video_dumbo, Brooklyn (2011, 2010)
LOOP Videoart, Barcelona (2009)
Double Vision, LightCone, Paris (2007)
Manifestation internationale de vidéo et d’art électronique de Montréal (2004, 1999, 1997)
Tranz Tech, Toronto International Video Art Biennial, Toronto (2003, 2001, 1999)
FILE electronic language international festival, Sao Paulo (2002)
COURTisane, Gent (2002)
Vidéoformes, Clermont-Ferrand (2001, 2000, 1999, 1998)
WRO, 9th International Media Art Biennale, Wroclaw (2001)
Videoart Locarno (2001)
Weather Vane, Winnipeg Film Group’s Cinematheque (2001)
Images Festival, Toronto (2001)
Victoria Independant Film & video Festival (2001)
Hamburg International Short Film Festival, Hamburg (2001)
International Bochum Videofestival (2001)
VideoMedeja, Belgrade (2000)
Estavar-Llivia Festival (2000)
International Media Art Festival, Pärnu New Art Museum (2000)
Hummadruz Global Sounds Film Festival, Los Angeles (2000)
MVA Festival, National Art Gallery, Kuala Lumpur (2000)
Santiago International Short Film Festival (1999)
Splitski Filmski Festival, Split (1999)
Ovarvidéo, Ovar (1999)
D.ART, Sydney film festival, Sydney (1999)
Canarias international festival of video, Las Palmas de Gran Canaria (1998)
Windsor festival of independent film and video, Windsor (1998)
Videonale, Bonn (1998)
L.A. Freewaves, Los Angeles (1998)
Festival bandits-mages, Bourges (1997)
ARTIST RESIDENCY
Signal Culture (Loveland, Colorado) United States, 2024
The Volland Foundation (Alma, Kansas) United States, 2024
Sitka Center for Art and Ecology (Otis, Oregon) United States, 2023, 2019
The Studios of Key West (Key West, Florida) United-States, 2018
Bilpin International Ground for Creative Initiatives (Bilpin) Australia, 2016
Diaphane, Pôle photographique en Picardie (Clermont de l’Oise) France, 2015
Rauschenberg Residency, Robert Rauschenberg Foundation (Captiva Island, Florida) United States, 2014
A Studio in the Wood, Tulane University (New Orleans, Louisiana) United States, 2013
La Chambre (Strasbourg) France, 2012
The Bemis Center for Contemporary Arts (Omaha, Nebraska) United States, 2011
L’espace photographique Contretype (Bruxelles) Belgium, 2008
International studio & curatorial program - ISCP (New York) United States, 2007
Trinity Square Video / Drake Hotel (Toronto) Canada, 2007
Wall House #2 Foundation (Groningen) Netherlands, 2006
Le Fresnoy, Studio national d’arts contemporains (Tourcouing) France, 2006
Point Éphémère, Centre de dynamiques artistiques (Paris) France, 2005
ARTIST TALK & CONFERENCES
Université de Strasbourg, 2021
Howard and Carole Tanenbaum Lecture Series, Ryerson Image Centre (Toronto) 2016
Galerie d’art Louise-et-Reuben-Cohen, Université de Moncton, 2016
California State University (Fresno) 2015
Art Gallery of Greater Victoria, 2014
Artist-in-Residence series, NSCAD University (Halifax) 2013
Kodak Lecture series, School of Image Arts, Ryerson University (Toronto) 2012
Art Now Speaker Series, Faculty of Fine Arts, University of Lethbridge, 2012
Künstlerverein Malkasten Jacobihaus (Dusseldorf) 2006
COLLECTIONS
National Gallery of Canada
Fonds national d’art contemporain, Paris New Orleans
Museum of Art Oklahoma City
Museum of Art Museum of Contemporary Photography in Chicago
Museum of Modern and Contemporary Art of Rijeka
Musée d’art contemporain de Montréal
Musée national des beaux-arts du Québec
Canadian Museum of Contemporary Photography
Montreal Museum of Fine Arts
Musée d’art de Joliette
Musée Régional de Rimouski
Art Gallery of Ontario
Art Gallery of Alberta
Art Gallery of Hamilton
Art Gallery of Windsor
Vancouver Art Gallery
Kitchener Waterloo Art Gallery
Oakville Galleries
The Varley Art Gallery of Markham
Ryerson Image Centre
Agnes Etherington
Art Centre University of Lethbridge
Art Gallery University of Pittsburgh
Art Gallery Galerie de l’Université du Québec à Montréal
Galerie de l’Université de Sherbrooke Ottawa
Art Gallery Fondation Grantham pour l’art et l’environnement Collection Contretype, Brussels Canada Art Bank
Foreign Affairs Canada
City of Montreal, City of Joliette
FELLOWSHIP & AWARDS
The Prefix Prize, 2025
Conseil des arts et des lettres du Québec, Prix artiste de l’année dans Lanaudière, 2022
The Hnatyshyn Foundation Visual Arts Award, 2021
Duke and Duchess of York Prize in Photography, 2019
Scotiabank Photography Award (finalist) 2015
Grant program, Conseil des arts et des lettres du Québec, 2000, 2003, 2005, 2008, 2011, 2013, 2015, 2017, 2018, 2021, 2024
Grant program, Canada Council for the arts, 1999, 2001, 2009, 2014, 2018, 2020
Société de développement des entreprises culturelles (SODEC) 2014, 2016
PUBLIC COMMISSIONS
Maison Jacques-Parizeau, 2021
Centre hospitalier régional de Lanaudière, 2021
Collège de l’Assomption, 2020
Louisiana Philharmonic Orchestra, New Orleans, 2017
Notre-Dame-du-Laus Library, 2017
Denver International Airport, 2013
World Trade Centre Montreal, 2006
Maison culturelle et communautaire de Montréal-Nord, 2006
BIBLIOGRAPHY
Monographs
Gale, Peggy; Hakim, Mona; Thomas, Ann; Isabelle Hayeur, Plein sud éditions, Maison des arts de Laval, Galerie d’art Antoine
Sirois de l’Université de Sherbrooke, 360 pages, 2020
Cyr, Bilbo; Deneault, Alain; Hayeur, Isabelle; Le Camp de la rivière, Edited by Isabelle Hayeur, Rawdon, 188 pages, 2020
Hayeur, Isabelle; Beaudry, Raymond; Dépayser / Strangeland, Edited by Isabelle Hayeur, Rawdon, 2019
Hayeur, Isabelle; Goulet, Claude; République, Éditions Escuminac, Escuminac, 96 pages, 2016
Blouin, Marcel; Ramade, Bénédicte; Michel, Franck; Vraisemblances / Verisimilitudes, Expression, Centre d’exposition de Saint-Hyacinthe, Musée régional de Rimouski, 108 pages, 2014
Perrault, Marie; Isabelle Hayeur, Vu and Dazibao, Montreal, 81 pages, 2013
Balaschak, Chris; Maisons modèles / Model Homes, Centre Sagamie, Alma, 38 pages, 2008
Bérard, Serge; Inhabiting: the works of Isabelle Hayeur, Oakville Galleries, Musée national des beaux-arts du Québec, 48 pages, 2006
Charbonneau, Hugues; Hayeur, Isabelle; Loubier, Patrice; “Conversation between Hugues Charbonneau, Isabelle Hayeur and Patrice Loubier”, Destinations, Centre de recherche urbaine de Montréal, 36 pages, 2004
ANTHOLOGIES AND CATALOGUES
Photogenic Montreal: Activisms and Archives in a Postindustrial City, edited by Martha Langford and Johanne Sloan, McGill-Queen’s University Press (MQUP), Montreal, 2021
Allaire, Serge; Paré, André-Louis; Desgagnés, Alexis; Hakim, Mona; Empreintes… 10 ans de Rencontres, Rencontres de la photographie , en Gaspésie, Éditions Escuminac, 2021
Meloche, Jaclyn; “Houses, Homes, and the Horrors of a Suburban Identity Politic”, Surveillance, Architecture and Control, Palgrave Macmillan, 2019
Cheetham, Mark; Landscape into Eco Art, Articulations of Nature Since the ’60s, Penn State University Press, 2018
Thomas, Ann, McElhone, John; L’espace d’un instant: cinquante ans de collectionnement de photographies au Musée des beaux-arts du Canada, National Gallery of Canada, 5 Continents Editions, 2018
Ramade, Bénédicte; Roth, Paul; The Edge of the Earth: Climate Change in Photography and Video, Ryerson Image Centre, Toronto, 2016
Kunard, Andrea; Hill, Greg A.; Drouin-Brisebois, Josée; Shaughnessy, Jonathan L.; Vogl, Rhiannon; Shine a Light: Canadian Biennial 2014, National Gallery of Canada, Ottawa, 2014
D’Autreppe, Emmanuel; Leenaerts, Danielle; Poivert, Michel; Brussels unlimited - Photographers in Residence - Collection Contretype; Edited by CFC, Contretype, ARP2; Brussels, 2014
Mois de la photo à Paris 2012; Actes Sud et Maison européenne de la photographie, Paris, 2013
Cachia, Amanda; Callanbach, Ernest; Vidler, Anthony; Ecotopia, Kitchener-Waterloo Art Gallery / Southern Alberta Art Gallery, 2013
Verna, Gaëtane; Musée d’art de Joliette: The Collection; Musée d’art de Joliette, 2012
Benneth, Melissa; Out of Place / Non Lieu, Art Gallery of Hamilton, Hamilton, 2011
Mutations, Perspectives on Photography; Edited by Chantal Pontbriand, Steidl/Paris Photo, 2011
Klanten, R.; Schulze, F.; Erratic: Visual Impact in Current Design, Gestalten Verlag, Berlin, 2011
Campeau, Sylvain; Chantiers de l’image, Collection Nouveaux essais Spirale, Montréal, 2011
Frontline, Interviews with international contemporary photo-based artists. Edited by Ho Tam, Modern Press, Beijing, 2011
Drouin-Brisebois, Josée, Hill, Greg A., Kunard, Andrea; It is what it is, National Gallery of Canada, Ottawa, 2010
Mills, Josephine; Land Matters, The University of Lethbridge Art Gallery, Lethbridge, 2009
Thomas, Ann; Silverstein Photography Annual 2008, 10 Curators / 10 Photographers, Bruce Silverstein Gallery, New York, 2008
Metamorphosis / Metamorphoz, Akbank Sanat, Istanbul, 2008
The Québec Triennial: Nothing is lost, nothing is created, everything is transformed, Musée d’art contemporain de Montréal, 2008
6 émissaires - Québec réinventée par la photographie actuelle, Centre VU and Commission de la capitale nationale du Québec, 2008
Campeau, Sylvain; “Oikos, Habitacles”, Oikos, Habitacles / Habitable Places, SBC Galerie d’art contemporain, Montreal, 2008
Paré, André-louis; Ross, Jean-Michel; “Isabelle Hayeur”, Québec Gold, 2008
“Isabelle Hayeur & Eric Raymond” Annual 2007, Netwerk / Center for Contemporary Art, Aalst, Belgium, 2008
Pageot, Édith-Anne; Pensez le paysage: de la nature vécue, Centre d’exposition de Val-David, 2008
Fleury, Jean-Christian; “Dunes – Citadelle”, Urbi & Orbi, Biennale de la photographie et de la ville, Sedan, France, 2008
Campeau, Sylvain; “Isabelle Hayeur”, Deux relèves : Etc 1987 - 2007, Revue d’art contemporain Etc, Montréal, 2007
Thought provoking, sense provoking, Stichting Fotografie Noorderlicht, Groningen, Pays-bas, 2007
Les Rencontres d’Arles 2006, Actes Sud, 2006
Hiebert, Ted; “Vulnerable Light” Vulnerable Light, Open Space, 2006
Lamoureux, Joanne; “Isabelle Hayeur, travail souterrain”, Area Mundi, Montreal : Quartier international de Montréal, 2006
Parent, Sylvie; “Isabelle Hayeur: discordances”, Feintes, doutes & fictions; sous la direction de Rodrique Bélanger, Québec; J’ai Vu, 2005
Lussier, Réal; “Territoires urbains”, Territoires urbains, Montréal: Musée d’art contemporain de Montréal, 2005
Lunghi, Enrico; “Constructions et simulations”, Paysages, constructions et simulations, Luxembourg: Casino Luxembourg, forum d’art contemporain, 2005
Jean, Marie-Josée; “The space of making”, Zeitgenössische Fotokunst aus Kanada, Berlin: Neuer Berliner Kunstverein, 2005
Brown, Colleen; “Poring over, pouring in”, Spilled, Vancouver: Artspeak, 2004
Neumark, Devorah; “Indeterminacy and the landscape images of Isabelle Hayeur”, Montréal: Centre des arts actuels Skol, 2002
PERIODICALS
Fortin, Noémie; « Isabelle Hayeur » Esse 109 Eau, Montréal, september 2023
Grison, Baptiste; « Histoires d’eau, Musée du Bas-Saint-Laurent, Rivière-du-Loup »; Ciel variable, no. 123, Montreal, p. 87-88, 2023
Lefebvre, Nathalie; “Comme les arbres, debout bien droite, j’espère…” Le Mouton Noir, Rimouski, VOL XXVI No 6, juillet-août 2021
De Julio Paquin, Jean; “Isabelle Hayeur”; Ciel Variable, Montreal, no. 117, p. 79 – 81, 2021
De Julio Paquin, Jean; “Recensions de livres”; Vie des arts, Montreal, no. 262, 2021
“Dossier photo : Isabelle Hayeur”; L’inconvénient, Montreal, no. 84, “Qui a peur des changements climatiques”, Spring 2021
Drouin, Sophie; “Isabelle Hayeur, (D)énoncer”; Espace art actuel, Montreal, no. 127, winter 2021
Clément, Éric; “Écologies : Quand l’art s’en mêle ? “; La Presse, Montreal, March 11, 2021
Clément, Éric; “Comment a-t-on pu en arriver là ?”; La Presse, Montreal, January 13, 2021
Delgado, Jérôme; “Ouvrages à souligner”; Ciel variable, no 116, Montreal, p. 85, 2021
Delgado, Jérôme; “Le partage, à la source de la création”; Sous d’autres cieux, Ciel variable, Montreal, January 11, 2021
Fortin, Noémie; “(D)énoncer : une immersion esthétique à portée écologiste en trois temps par Isabelle Hayeur”; Vie des art, Montreal, Winter 2021
Clément, Éric; “Les expos virtuelles du temps des fêtes”; La Presse, Montreal, December 22, 2020
Clément, Éric; «Méditatif, l’art apaise»; La Presse, Montreal, November 14, 2020
“Image … Sent. Leading Canadian artists evoke pandemic themes in photographs shared with Paris”; Galleries West Magazine, Calgary, October 13, 2020
Delgado, Jérôme; “La photographie, mégaphone politique d’Isabelle Hayeur”; Le Devoir, Montreal, September 19, 2020
Delgado, Jérôme; “Quand l’époque expose ses fragilités”; Le Devoir, Montreal, September 12, 2020
Garneau, Charlotte; “Le Camp de la rivière d’Isabelle Hayeur”; Le Mouton Noir, Rimouski, Vol XXVI, No 6, juillet-août, 2020
Clément, Éric; « La machine redémarre »; La Presse, Montreal, June 13, 2020
Clément, Éric; « Quoi de neuf dans le monde numérique »; La Presse, Montreal, April 23, 2020
Révolte, Sabord, No. 155, Trois-Rivières, Québec, page 13, 2020
Walker, Daniel; “Cul-de-sac. Dead end or a chance to turn around? An Edmonton exhibition reconsider suburbia”, Galleries West, Vancouver, October 2019
Ross, Selena; “Desert Shores” Maisonneuve Magazine, Montreal, Issue 72, Summer 2019
Nadeau, Jean-François; “Isabelle Hayeur, si près, si loin” Le Devoir, Montreal, March 9 2019
Tobias, Lori; “‘Amazing landscape’ inspires Sitka Center resident artists” Oregon Art Watch, January 22, 2019
Mavrikakis, Nicolas; “La photo comme outil de vérité politique” Le Devoir, Montreal, June 23 2018
Ragain, Melissa S.; “Well Grounded” Landscape Architecture Magazine, December 19, 2018
“République” Prefix Photo, Toronto, No. 35, Nation States, 2017
Clément, Éric; “Isabelle Hayeur: paysages sous hautes tensions” La Presse, Montreal, August 20, 2017
Baillargeon, Stéphane; “Rawdon à fleur d’eau” Le Devoir, July 29, 2017
Roy, Christian; “Ravages d’hier, images d’Hayeur” Vie des arts, Montreal, September 15, 2016
Hopgood, Roger; “La photographie de paysage et son registre temporel” ESSE Arts + opinions, Montreal, 2016
Charron, Marie-Eve; “Des mondes en transformation” Le Devoir, Montreal, July 16, 2016
Dubois, Anne-Marie; “Le Magasin Général: studio international en création multidisciplinaire, Rivière
Madeleine, Mutations” ESSE Arts + opinions, Montréal, summer 2016
Horne, Stephen; “Isabelle Hayeur, Desert Shores (L’Amérique perdue) Photographier dans l’anthropocène”
Ciel Variable, No 103 Nature, Montréal, 2016
Lepage, Élise; “Le devenir paysage. De quelques paysages postindustriels entre arts visuels et poésie”
R evue d’études canadiennes, Ottawa, Volume 49, No 2, spring 2015
Paglia, Michel; “High water marks for shows at Robischon and Goodwin Galleries” Westword, Denver, Dec.16, 20015
Rush, Elizabeth; “En Louisiane, l’avenir au ras de l’eau” Le Monde diplomatique, Paris, October 2015
Shaw, Cameron; “Ten Years After Katrina, New Orleans Museums Reckon With Recovery” New York Times, Aug. 19, 2015
Wilkinson, Janes; “Visualising Water at la Biennale 2014” Prefix Photo, Toronto, May 2015
Ross, Christine; “Le nuage en vidéo: notes sur l’Aftermaths d’Isabelle Hayeur” Espace Art Actuel, Montreal, Forms of Ecology, 2015
Blanchette, Manon; “How Can We Still Believe in Art or Look Forward?” ETC Média, Montreal, 15
February - 15 June, 2015
Lelarge, Isabelle; “Art and illusions” ETC Média, Montréal, 15 February - 15 June, 2015
Clément, Éric; “Biennale de Montréal: bilan positif... mais peut mieux faire” La Presse, Montréal, January 7, 2015
Adams, James; “Meet the photographers competing for this year’s $50,000 Scotiabank Photography Award” The Globe and Mail, Toronto, March 4, 2015
“Portfolio: Isabelle Hayeur” Prefix Photo, Improbable Architecture Issue, Toronto, May 2014
Graham, Sara; “Through, between and beyond” Public Domain, The tunnel issue, Whole Train Press, Italy, 2014
Roy, Christian; “Development and Devastation: The Conquest of the World as Picture in Isabelle Hayeur’s Recent Work” Space and Culture, pp. 398-409, 2014
Pohl, John; “Visual Arts: National Gallery ‘shines a light’ on Canadian art” The Montreal Gazette, December 4, 2014
Hunter, Lisa; “Montreal Biennale 2014: Ghosts of Past, Present, and Future” Magazine, National Gallery of Canada, Ottawa, November 17, 2014
Turner, Michael; “Kamloops’ Luminocity Paints the Town Blanche” Canadian Art, Toronto, November 18, 2014
Herzog, Samuel; “Kunstbiennale von Montreal. Die Zukunft ist ein altes Schwein” Neue Zürcher Zeitung, Zürich, November 15, 2014
Petrowski, Nathalie; “Le mur, le feu et Mme Chow” La Presse, Montréal, November 15, 2014
“This Week In Art Crime” The New Inquiry, New York, November 14, 2014
Ledoux, Julie; “Retrait de Murs aveugles d’Isabelle Hayeur Aux frontières de l’espace privé et de la liberté d’expression” Voir, Montreal, November 6, 2014
Sutton, Benjamin; “Occupy-Themed Light Projection Removed from Montreal Biennale” Hyperallergic, New York, October 31, 2014
Clément, Éric; “Biennale de Montréal: une œuvre retirée” La Presse, Montréal, October 31, 2014
Fortier, Marco; “L’art qui dérange a-t-il encore sa place?” Le blogue urbain du Devoir, Montréal, October 31, 2014
Boyce, Maryse; “Isabelle Hayeur à la Biennale de Montréal: la projection Murs aveugles est suspendue” Baron Mag, Montreal, October 28, 2014
Brennan, Katie; “Interview with the Curator of Kamloops’ Luminocity, Charo Neville” Okanagan Art Review, October 28, 2014
Everett-Green, Robert; “Why La Biennale de Montréal has good reason to be looking forward” The Globe and Mail, Toronto, October 24, 2014
Doyon, Frédérique; “Un peu de BNL MTL 2014 hors les murs” Le Devoir, Montreal, October 7, 2014
Williamson, Ben; “Ecotopia. An exploration of the interplay between the natural and the constructed world”Alternatives Journal,Waterloo, Feb. 2014
Clément, Éric; “Isabelle Hayeur: documenter la machine folle” La Presse, Montréal, December 6, 2013
Mathieu, Sandra; “Les failles du monde sour l’objectif d’Isabelle Hayeur” Le Mouton Noir, Rimouski, September-October 2013
Bélanger, Julie; “Form With Function. 7 Canadian artists muse on the meaning of environmental art and why we need it”Alternatives Journal, Waterloo, Art & Media 39.3, May 2013
Haroun, Thierry; “Rimouski - Le musée reçoit Riopelle, Hayeur et de «fascinantes» fascines” Le Devoir, Montreal, 25 May 2013
Campeau, Sylvain; “Vraies images d’états faussés” Isabelle Hayeur, Huffington Post, Montreal, 2013
Dequine Harden, Kari; “New Orleans billboard artwork shows polluted waters “ The Advocate, New Orleans, April 10
Kleinschmidt, Joe; “Under construction” Minnesota Daily, Minneapolis, p. 13, February 28, 2013
Ramade, Bénédicte; “Nulle part est un lieu” L’œil, Paris, February 2013, p. 83
Bonnet, Frédéric; “Au milieu de nulle part” Le Journal des Arts, Paris, No. 383, January 2013, P. 14
Chayka, Kyle; “In Critical Awe of Humanity’s Impact on the Environment” Hyperllergic, New York, January 31
Zimmer, Lori; “Beauty From Wreackage”ARTslant, New York, January 14, 2013
“Uprooted, a video” On Site, Calgary, Spring 2012, p. 86, 2013
Doyon, Frédérique; “Déraciné, une œuvre vidéo plus engagée - L’artiste Isabelle Hayeur sur les traces del’urbanisation effrénée de la banlieue” Le Devoir, January 26, 2012
“Transforming Landscapes: An Interview with Isabelle Hayeur” Nomorepotlucks, no. 18, Nov. - Dec. 2011
Harris, Mark Ambrose; “Isabelle Hayeur strikes again with ‘Underworlds, a prophetic photo series on aquatic decay” Nightlife, Montreal, November 29, 2011
Charron, Marie-Ève; “Le paysage et son décor” Le Devoir, Montreal, October 29, 2011
“Interview with Isabelle Hayeur: Canadian visual artist” Mason Journal, Toronto, Sept. 5, 2011
Roy, Christian; “Visions doubles en eaux troubles” Vie des arts, Montréal, No 225, pp. 96-97, 2011
“Water Lines: a unique look at the life cycles of urban ecosystems” The Globe and Mail, Toronto, Sept. 2, 2011
Vaughan, R.M.; “Capturing the state of being ‘out of place’” The Globe and Mail, Toronto, Sept. 2, 2011
McCuaig, Amande; “Underworlds Takes Views of the Chemical Coast”Art Threat, Saskatoon, August 30th, 2011
Poulin, Christiane; “Québec conté par ses photographes” Sud Ouest, Bordeaux, June 9, 2011
Gazzola, Bart; “Modern Sprawl: Shauna McCabe’s Take on Landscape” Blackflash, Saskatoon, Winter 2011, pp. 34-40
Potter, Elena; “Four Directions, Evergreen Brickworks, Sept. 23 - Dec. 31, 2010” Magenta Magazine, Toronto, Winter 2011
Campeau, Sylvain; “Isabelle Hayeur: L’envers du décor” Ciel Variable, Montreal, No. 85, Summer 2010
Callaghan, Lori; “Poignant portraits of disputed spaces” The Gazette, Montreal, April 17, 2010
Whyte, Murray; “Vancouver’s host of problems” The Toronto Star, February 14, 2010
Lederman, Marsha; “A Vancouver that isn’t found on brochures” The Globe and Mail, p. R4, February 12, 2010
Rossi, Cheryl; “Alarming art installation sets city on fire” Vancouver Courier, February 12, 2010
Harris, Michael; “Fire with Fire, Vancouver, East Hasting Street, Isabelle Hayeur” Galleries West, Vancouver, Summer 2010
Egan, Danielle; “Vancouver Report: Let The Art Games Begin” Canadian Art Magazine, February 18, 2010
Bodson, Jean-Marc; “Formes de monuments” La libre Belgique, Brussels, June 17, 2009
Poulin, Patrick; “La Triennale québécoise 2008: Transformeurs / transformeuses / transformateurs” ETC
Montréal, No. 84, 2009
Milroy, Sarah; “The Quebec Triennial: A Coming-Out Party for Concordia & UQAM” Canadian Art Magazine, Toronto, Winter 2008
Robertson, Rebeccas; “Silverstein Photography Annual” ARTnews, New York, November 2008
Fitzgerald, Shannon; “Subtle warning: Photo-based Work Assembled for Essential Cause” Review Magazine, Kansas City, May 2008
Canadian Art; “Isabelle Hayeur: Model Homes” Canadian Art, Toronto, September 11, 2008
Gay, Malcom; “Grounded for Life” Riverfront Times, St-Louis, Wednesday, March 7, 2008
Bennet, Lennie; “For new Tampa Museum of Art exhibit, all colors are green” St Petersburg Times, Tampa, Sunday August 3, 2008
Delgado, Jérôme; “Isabelle Hayeur et Chih-Chien Wang: avant, après et autres instants” Le Devoir, Montreal, 16 – 17 August, 2008
Pageot, Édit-Anne; “Paysages, dépaysements. La construction de mythes identitaires dans l’art canadien moderne et contemporain” International Journal of Canadian Studies, 2007
“Model Homes” View Photography Magazine, No. 8, Brussels, September 2007
Parent, Sylvie; “Du statique au dynamique, Projets photographiques pour le Web” Ciel Variable, Montreal, No. 76, 2007
Caux, Patrick; “Paysages impossibles” Le Devoir, October 20, 2007
Redfern, Christine; “Altered Landscapes” Montreal Mirror, Vol 23, No. 11, August 30 - September 05, 2007
Bérard, Serge; “Territoires urbains” Ciel Variable, Montreal, No. 70, 2006
Lelarge, Isabelle; “Des mondes de l’entre-deux, entretien avec Isabelle Hayeur” ETC Montréal, Montreal, No. 73, 2006
Redfern, Christine; “Roll Over, Group of Seven, Defining the new Canadian landscape: an interview with the Montreal photo artist Isabelle Hayeur” Canadian Art, Toronto, spring 2006
Allen, Jan; “Self-destroying Postcard Worlds: The Synthetic Landscapes of Isabelle Hayeur” Prefix Photo, Toronto, November 2005
Mavrikakis, Nicolas; “Invisibles disparités d’échelles?” Spirale, Montreal, No 205, November-December 2005
Hellman, Michel; “Éveil / Fabulation” Ciel Variable, Montreal, No. 66, May 2005
Campbell, James; “La pensée nomade et les mondes possibles d’Isabelle Hayeur” Vie des arts, Montreal, No. 198, 2005
Delgado, Jérome; “Excavations: sublimes vertiges” La Presse, Wednesday November 9, 2005
Brayshaw, C.; “Only apparently real: the logic of Isabelle Hayeur’s landscapes” Terminal City, Vancouver, January 6, 2005
Redfern, Christine; “Dehumanize yourself “ Montreal Mirror, Vol 21, No. 19, October 27 – November 02, 2005
Lamarche, Bernard; “Interstices dans la ville” Le Devoir, Saturday October 22, 2005
Delgado, Jérôme; “Étalements urbains” La Presse, Wednesday October 12, 2005
Theodore, David; “Insites, The Desert[ed]” Canadian Architect, Toronto, November 2004
Darcey Nichols, Robert; “Éveil / Awakening” Para Para art contemporain, Montreal, No. 016, 2004
Bonenti, Charles; “What you behold is not always what you see” The Berkshire Eagle, Pittsfield, November 18, 2004
Lamarche, Bernard; “Mirages en plein désert” La Presse, Saturday 25 September, 2004
Delgado, Jérome; “Nouvelles vues sur la Main” La Presse, Sunday 30 May, 2004
Hellman, Michel; “Un rêve éveillé” Le Devoir, Saturday 22 May, 2004
Paquet, Suzanne; “Quelques fêlures” CV Photo, Montreal, No. 57, May 2002
Lelarge, Isabelle; “Non-publics et non-marchés au Québec” ETC Montréal, Montreal, No. 58, 2002
Campeau, Sylvain; “Un sublime désenchanté” ETC Montréal, Montreal, No. 57, 2002
Tinguely, Vincent; “Isabelle Hayeur, Skol, Montreal” C Magazine, Toronto, Winter 2001/02
Delgado, Jérome; “Paysages impossibles” La Presse, Montréal, April 4, 2002
Palmiéri, Christine; “Nature et culture chez Isabelle Hayeur” Spirale, Montreal, No. 180, spring 2001
Campeau, Sylvain; “Isabelle Hayeur: les paysages incertains” CV Photo, Montreal, No. 54, spring 2001
Parent, Sylvie; “Si / Jamais, Isabelle Hayeur” Le magazine électronique du CIAC, Montreal, No. 9, 2001
