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Denys Tremblay

From EverybodyWiki Bios & Wiki



Denys Tremblay

Denys Tremblay, Born on February 5, 1951, Denys Tremblay is a Canadian artist and cryptarch from Chicoutimi, Quebec. He is a transdisciplinary thinker, one of the pioneers of peripherism and the inventor of really-made.[1]. He lives in Saguenay and is a professor emeritus at the Université du Québec à Chicoutimi.[2]

Denys Tremblay
Denys Tremblay by Nicolas Lévesque.jpg Denys Tremblay by Nicolas Lévesque.jpg
BornFebruary 5, 1951
Rivière-du-Moulin - Saguenay
Other namesIllustrious Unknown, Denys 1er de L'Anse
🏳️ CitizenshipCanadian
🏫 EducationUniversité Laval

Goldsmith, University of London

University of Paris VIII-Vincennes
💼 Occupation
Artist and professor

Early life and education

Born on February 5, 1951, he is the eighth and last child of a cabinetmaker and industrialist who served as mayor of Rivière-du-Moulin, a small town in Quebec[1]. Tremblay pursued advanced artistic training at Université Laval in Quebec City and at Goldsmith, University of London, thanks to an excellence scholarship from the Quebec government[3]. Upon returning to Canada at the age of 26, he became a professor at the Université du Québec à Chicoutimi[4]. In 1987, he completed a doctorate in visual arts under the supervision of Frank Popper in Paris[5].

Alter egos

The Illustrious Unknown

The Illustrious Unknown is in fact the artist's alter ego. Through him, he represents and experiments with his peripheral ideals. The “Impersonage” exists in the neutral space of the thickness of the mirror, between representation and the represented. He is “more real than real” or “apparently imaginary.”[1]

From 1983 to 1997, Tremblay created a diplomatic character and alter ego, named the Illustrious Unknown. Over the course of those 14 years, the Illustrious Unknown performed various political and ceremonial acts, notably at the Centre Pompidou in 1983 during the performance art event of the funeral of Her Majesty Metropolitan Art History[6], as well as during an official visit to Chicoutimi City Hall in January 1985[7]. Drawing inspiration from the codes of international diplomacy, he reversed official and diplomatic protocols to promote a peripheral vision of art and politics. These performances aimed to reverse centralist, metropolitan, economic, social, and artistic hierarchies[8]. As part of one of his performances, the Illustrious Unknown proposed using the monarchical system to achieve Quebec sovereignty within the framework of the 1995 Government Commission on the Future of Quebec[9]. Through this alter ego, he created several really-mades during the 1980s and 1990s. One of the most notable and discussed was the rescue of the Maison Arthur Villeneuve and its installation in the Pulperie de Chicoutimi museum[10].

In 2023, the Illustrious Unknown lives on as Catherine Gagnon, an artist from Saguenay who is also interested in the fusion of art and life in her Master's project in art at the Université du Québec à Chicoutimi.[11] The transformation takes place during her Mariage Céladon (Celadon Wedding), a performance in which the artist marries the Illustrious Unknown and then becomes the Illustrious Unknown[12].

Denys Ier de L'Anse

Denys Ier de L'Anse is a combination of the character the Illustrious Unknown and his creator, Denys Tremblay. Although it was the Illustrious Unknown who was proclaimed Municipal King by referendum, his immediate notoriety caused him to disappear and transform into Denys Ier, a king conceived from the imagination[1].

On June 24, 1997, Saint John the Baptist Day, Tremblay had his character the Illustrious Unknown crowned king of the Kingdom of L'Anse Saint-Jean in front of 1,500 people[2]. He abdicated during a ceremony on January 14, 2000[13].

Life and career

His creative beginnings (1973-1979)

From 1973 to 1979, Tremblay created his first autonomous environments. These “environments” were part of the emancipatory movement of the 1970s, when Quebec's nationalist assertiveness of the 1960s culminated in the repressed protest of the October Crisis of 1970. Some of these environments, such as the Funeral Saloon and Obsession Beach, caused quite a stir in the media[14]. Sections of these environments were transformed into sculptures and are now part of museum collections, including those of the Musée national des beaux-arts du Québec[15], the Canada Council Art Bank[16], the Musée BPS 22 in Belgium[17] and the Musée régional de la Pulperie.

Chicoutimi International Environmental Sculpture Symposium (1980)

In 1980, Tremblay founded and directed the Chicoutimi International Environmental Sculpture Symposium, a cultural and artistic event held at the site of the Pulperie[18]. The theme of the symposium was “Sculpture: Autonomous Place or Integration into a Place.”[19] The event encouraged artists to rethink the relationship between sculpture and the surrounding space and/or viewer by breaking down the traditional boundaries of sculpture. The program included diverse activities such as a performance art festival, experimental internships and workshops and a public cultural animation program. There was also a symposium questioning the issues of environmental sculpture, featuring international guests including artists, critics, historians and art theorists.[20] This symposium is historically significant since sociologist Andrée Fortin considered it, a posteriori, as the “founding event” of art in the region[21] and is described by art historian Yves Robillard as “the staging, on a regional scale, of environmental works in order to produce a meta-work.”[22] This event was a defining moment as an artist for Tremblay, allowing him to assert his peripheral identity—a founding concept in his artistic practice—and begin creating really-made, a work of art in continuous transaction between art and reality[23].

Peripheral coup d'état - really-made (1979-1983)

Following the February 15, 1979, performance of L'Histoire de l'art est terminée (The History of Art is Over) at the Centre Pompidou, during which sociologist and artist Hervé Fischer symbolically cut the theoretical umbilical cord to declare the end of art history as we know it and proclaim the emergence of post-historical art[24], the Illustrious Unknown staged a performance a few years later to celebrate the funeral of that same history. On April 14, 1983, during this ceremony he retrieved the remains of His Majesty Metropolitan Art History from the lost and found services of the Centre Pompidou. He paraded them in a funeral carriage around the perimeter in front of the crowd and then transported them to the Diagonale gallery, which had been transformed into Invalables for the event. Other ceremonial actions followed, including presenting the remains to the crowd, firing five shots at point-blank range as a salute of dishonor, singing farewell songs with the French Scouting Federation choir, and closing the funeral crypt[1]. To carry out this ceremony, the Illustrious Unknown was accompanied by art critic Pierre Restany, who was promoted to “Minister Without Portfolio for Deviant Culture” and Hervé Fischer himself, who was now “His Excellency Mythanalyst.”[25] These two art theorists served as witnesses to the inauguration of peripheral history in the heart of the metropolitan institution that is the Centre Pompidou[12]. The film recounting this “peripheral coup d'état” and the “death certificate of His Majesty Metropolitan Art History” are part of the collections of the Centre Pompidou[26] and the BPS22 Museum of Art of the Province of Hainaut in Belgium[27].

The Creative Thesis - really-made (1987)

On October 22, 1987, during his doctoral thesis defense at the University of Paris VIII-Vincennes, artist Denys Tremblay created a second really-made. Inspired by land-art pioneers Robert Smithson, Christo and Jeanne-Claude, Tremblay presented his thesis as both a work of research and a contextual sculpture comprising three units of measurement: “the height of aspirations, the width of viewpoints and the depth of ideas,” measured in “spiritual centimeters,” or one-hundredth of the height of the Illustrious Unknown, the spiritual master. This creative thesis is thus the embodiment of a volumetric unit of peripheral powerlessness[5]. The awarding of his doctorate demonstrates that Tremblay succeeded in convincing his jury—composed of art theorist Frank Popper, French philosopher Daniel Charles and art critic Gilbert Lascault—that this thesis work is both a written and sculptural volume. This gives the thesis a dual status of a really-made object, both artistic and real[28].

The SAINT-JEAN-DU-MILLÉNAIRE Project (1992-1993)

In 1992, Denys Tremblay was commissioned to carry out a project to develop Mont Édouard in Anse-Saint-Jean.[1] The mountain had been an alpine ski resort for several years. To create a major tourist destination, the municipal council and the Société de développement de l'Anse-Saint-Jean, accompanied by the firm Samson, Bélair, Deloitte & Touche, invited several individuals and groups to present projects that would attract tourists year-round. Tremblay's reputation as an artist, director of the 1980 Symposium and professor of arts at the Université du Québec à Chicoutimi made him a potential candidate for the creation of a signature project for Mont Édouard. He was therefore approached to present a project to the committee. In 1993, the committee selected his project from among some fifteen submissions[29]. The project consisted of a large environmental and plant fresco on the side of the mountain opposite the alpine station. The fresco was composed of selective cuts and plantings of different species of hardwoods and conifers that represented the face and hand of the patron saint of the Quebec people, St. Jean Baptiste, reaching toward the future. Inspired by his reflections and interventions that began with the Illustrious Unknown, Tremblay viewed the realization of this project as the creation of a new really-made work since it had real economic, tourist and artistic value[30].

The rescue of the Arthur Villeneuve House - really-made (1985-1994)

During his unofficial visit to Chicoutimi on January 17, 1985, the Illustrious Unknown convinced the city council of his birthplace and the administration of the Université du Québec à Chicoutimi to commission his alter ego, Denys Tremblay, to find projects that would stimulate cultural and artistic development in the recession-affected region. During this visit, the Illustrious Unknown awarded the painter Arthur Villeneuve the distinction of honorary citizen of the region in front of the community gathered at the Saguenay Regional Museum[1]. As part of his mandate, the alter ego Denys Tremblay planned to showcase the home of Arthur Villeneuve, which was entirely painted with large frescoes and had attracted thousands of visitors since the 1960s[31]. The Illustrious Unknown successfully negotiated with the painter to sell the home so that it could be installed inside a glass cube adjacent to a new university pavilion dedicated to arts education. There, the artistic and student communities could gather for an annual symposium[32]. The project, which aimed to revitalize the port area of Chicoutimi downstream from the municipality and the university, was interrupted by funding delays at the provincial and federal government levels[33]. Arthur Villeneuve died in 1990[31], reigniting the urgency surrounding the preservation of his famous home. The Musée Régional Pulperie de Chicoutimi then commissioned Denys Tremblay to appraise the home and have it declared a Canadian cultural heritage site. The goal was to acquire the home and move it to the institution. Tremblay also designed the integration and interpretation concept for the home within the museum[34]. Integrated into the imagination of the Illustrious Unknown, this publicized rescue[35] demonstrates that the practice of really-made mutually enhances art and collective life.

The referendum - really-made (1997)

The estimated cost for the SAINT-JEAN-DU-MILLÉNAIRE project was high, around one million dollars, so financing was stretched and delayed. In July 1996, the Saguenay Flood hit the Saguenay–Lac-Saint-Jean region, particularly the village of L'Anse-Saint-Jean[36]. Around 50 homes were destroyed, and 125 people were evacuated after the Saint-Jean River overflowed. The village was also cut off from the outside world for several days since the roads serving it were destroyed or severely damaged[37]. Following this event, the community mobilized to rebuild the village, reigniting enthusiasm for the SAINT-JEAN-DU-MILLÉNAIRE project. To stimulate funding for the project, Tremblay developed a strategy focused on a municipal monarchy to attract media and investor attention. Since the artist already had a performative alter ego that blurred the lines between art and politics, the Illustrious Unknown was the perfect person for the role. On January 21, 1997, a municipal referendum was held, asking the population, “Do you want the Illustrious Unknown be proclaimed MUNICIPAL KING OF L'ANSE-SAINT-JEAN with a mandate to promote the SAINT-JEAN-DU-MILLÉNAIRE project?”[1]. With more than 70%[38] of the votes, the Illustrious Unknown won the referendum[2].

The Monarchy of L'Anse-Saint-Jean - really-made (1997-2000)

After the referendum was completed, a municipal coronation was organized on June 24, 1997—the Feast of Saint John the Baptist—to consecrate the Illustrious Unknown as municipal king. Covered by media from around the world, the coronation took place in the municipal church. The Illustrious Unknown was transformed into Denys I of L'Anse, and the Kingdom of L'Anse Saint-Jean was created[39]. Unlike traditional monarchies, this one was based on non-hereditary succession and service to the people. Contrary to custom, Denys I swore allegiance to the people of L'Anse-Saint-Jean at his coronation[40]. This new kingdom had a royal flag, a national anthem, a royal museum, a commercial currency and place names approved by the Commission de toponymie du Québec. The Canada Council for the Arts also funded seven jewels of the Anjeannoise crown, making this municipal monarchy increasingly tangible to both Quebec and Canadian institutions[41]. Denys I was also received during official visits, notably by the mayor of the city of Gatineau, who supports the SAINT-JEAN-DU-MILLÉNAIRE project[1]. The new monarchy also attracted the attention of tourist programs and guides in Quebec and internationally, including an article on Denys I, King of Anse-Saint-Jean[42].

Over the years, criticism of the municipal monarchy increased, particularly regarding the SAINT-JEAN-DU-MILLÉNAIRE project. Disagreements over the granting a municipal subsidy for the project, as well as media coverage, put an end to the environmental mural project and the Kingdom of L'Anse-Saint-Jean[43]. On January 14, 2000, Denys I abdicated during a ceremony in L'Anse-Saint-Jean attended by the parish priest, the mayor and a few residents[13]. The municipal monarchy lasted three years and served as an example of sovereignty, demonstrating the possible fusion of the symbolic, political and art. With really-made, there is no longer any distinction between art and life.

Really-made

Denys Tremblay invented this artistic concept and implemented it through his alter ego, the Illustrious Unknown. It is inspired by the ready-made concept (found object) popularized by artist Marcel Duchamp, in which an everyday object is elevated to the status of a work of art through the artist's will[44]. The ready-made concept, created at the beginning of the 20th century, is of great historical importance as it laid the foundations for conceptual art, a practice that is very much present in contemporary art creations.

For Tremblay, the ready-made highlights and questions the fundamental elements that enable a work of art to exist (the work, the artist, an audience, and a system). He refers to these four conditions of art in his writings. Tremblay wants to take this experiment further by introducing a new condition to art to finally bring together the material world and the world of ideas or reality.[45]

In this context, the term “ready-made” is replaced by “really-made.” These works have a dual status as both artistic creations and objects (such as clothing, theses, crown jewels, currency, flags, etc.) or actions (such as referendums, monarchies, micronations and the division of kingdoms into duchies, counties, baronies, etc.) that have a real status in the real world. This concept reaffirms that art is an experience that is lived, shared and deeply rooted in reality[46]

Art works

Films

  • 2017 : Coup d'état d'esprit périphérique Centre Pompidou 1983, 10 min 15 s[26]
  • 1984 : Chronique funéraire, 30 min couleur. Thèse: La Sculpture environnementale : point de vue historique, articulation conceptuelle et illustration par Denys Tremblay, thèse en art et archéologie sous la direction de Frank Popper[5]

Exhbitions

Solo

  • 2025 : Les habits de l'Illustre Inconnu, Langage Plus, Alma[47]
  • 2019 : BANG! SOURIEZ, Le retour du roi, centre d'art actuel Bang, Saguenay[48]
  • 2010 :A.A.A. l’art après l’apocalypse : Denys Tremblay à la périphérie des temps, Galerie Séquence, Saguenay[49]
  • 2010 : Alias : de L’Illustre Inconnu au Roi de L’Anse, Musée de la Pulperie, Saguenay[50]
  • 1997-2000 : Toute l’aventure royale, exposition permanente, Musée Royal de l’Anse-Saint-Jean[51]
  • 1994 : Saint-Jean-du-Millénaire-les quatre-temps, Galerie Séquence, Chicoutimi
  • 1987 : L'Unité volumétrique, Galerie Optica, Montréal[52]
  • 1984 : Preuves reliques, Documents du Service de la Preuve Ultime, Musée du Saguenay-Lac-Saint-Jean / Langage Plus, Alma / Galerie Lara Vinci, Paris[53]
  • 1983 : La Crypte funéraire contenant les restes mortels de Sa Majesté l'Histoire de l'Art Métropolitaine, Galerie Diagonale, Paris
  • 1982 : L'ère du Toc, Société des Arts de Chicoutimi
  • 1978 : Denys Tremblay, sculptures, Galerie de l'Anse aux Braques, Québec[54]
  • 1975 : Obsession Beach, Université du Québec à Chicoutimi, Chicoutimi[55]
  • 1973 : Le Saloon funéraire, Cégep de Jonquière, Jonquière
  • 1972 : Le Saloon funéraire, Pavillon Pollack, Université Laval, Québec[56]

Collective

  • 2021 : Lettres de misarchie : Chicoutimi-Charleroi, Musée BPS 22, Charleroi, Belgique[17]
  • 2017 :Les bijoux de la couronne, Musée d’art contemporain de Baie-Saint-Paul
  • 2017 : Une autre histoire de l’art, 35e Symposium international de Baie-Saint-Paul[57]
  • 2011 : 175 Nord : Rencontres culturelles - Saguenay-Lac-Saint-Jean - Montréal, Maison de la Culture Maisonneuve, Montréal
  • 2006 : Une histoire de la reliure d’art au Québec, BaNQ, Montréal[58]
  • 2001 : Eventus Pataphisicus, Galerie L'Œuvre de l'autre, Chicoutimi
  • 2001 : L’ailleurs est ici, Galerie l’Œuvre de l’autre, Chicoutimi
  • 1999 : Déclics arts et société, le Québec des années 60 et 70, Musée de la Civilisation, Québec[59]
  • 1998 : Exposition Le geste et les mots, Musée régional de Rimouski
  • 1991 : Multa Paucis, Galerie L'Œuvre de l'autre, Chicoutimi
  • 1990 : Passages, Galerie d'art de l'Université de Moncton, Nouveau-Brunswick / Centre universitaire St-Louis-de-Maillet, Galerie Colline, Edmundston, Nouveau-Brunswick / Centre d'exposition de Gatineau, Québec / Musée du Saguenay-Lac-Saint-Jean
  • 1986 :100 ans de sculpture au Saguenay-Lac-Saint-jean, Musée du Saguenay-Lac-Saint-Jean, Chicoutimi
  • 1982 : La Boîte, Galerie Aquatinte, Montréal / Centre National d’exposition de Jonquière
  • 1980 : 10 ans de sculpture au Québec, Symposium International de sculpture environnementale, Chicoutimi[19]
  • 1979 : Biennale II du Québec, Centre Saidye Bronfman, Montréal[60]
  • 1979 : Tendances actuelles en sculpture, Musée d'art contemporain de Montréal, Montréal[61]

Notes

  1. ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 Fischer, Hervé (2009). Un Roi américain (in français). Montreal: VLB Éditions. ISBN 978-2-89649-056-1. Search this book on
  2. ↑ 2.0 2.1 2.2 "Denys Tremblay, le roi de l'Anse-Saint-Jean | Sur demande". Télé-Québec (in français). Retrieved 2026-06-06.
  3. ↑ culturelle, La Fabrique (2017-06-23). "Le roi de l'Anse-Saint-Jean". Le Quotidien (in français). Retrieved 2026-06-06.
  4. ↑ publiques, Service des communications et des relations (2008-09-29). "Déjà... la retraite". UQACtualités (in français). Retrieved 2026-06-06.
  5. ↑ 5.0 5.1 5.2 Tremblay, Denys (1987-01-01). La sculpture environnementale : point de vue historique, articulation conceptuelle et illustration (These de doctorat thesis). Paris 8.
  6. ↑ "Coup d'état d'esprit périphérique". Centre Pompidou (in français). Retrieved 2026-06-06.
  7. ↑ "Le quotidien, 19 janvier 1985, samedi 19 janvier 1985 | BAnQ Numérique" (in français).
  8. ↑ "Les réseaux d'art : alternative au centralisme – Intervention". Érudit. Retrieved 2026-06-06.
  9. ↑ Larochelle, Gilbert (200). "Espace public et démocratie : l'expérience des commissions sur l'avenir du Québec". Revue française de science politique. 50 (4): 811–839.
  10. ↑ Vaillancourt, Benoit (Printemps 2023). "Le déménagement de la maison Arthur‑Villeneuve comme déclencheur d'émotions patrimoniales". Revue d'histoire de l'Amérique française. 76 (3–4): 15–44. doi:10.7202/1107239ar. Check date values in: |date= (help)
  11. ↑ Gagnon, Catherine (2024). Mariage entre l'art et la vie : une rencontre artistique porteuse d'échos sensibles (masters thesis) (in français). Chicoutimi: Université du Québec à Chicoutimi.
  12. ↑ 12.0 12.1 Vidal, Jean-Pierre (2024-04-04). "Un royaume sans frontières". Ligeia (in français). 209212 (1): 163–177. doi:10.3917/lige.209.0163. ISSN 0989-6023.
  13. ↑ 13.0 13.1 ICI.Radio-Canada.ca, Zone Société- (2017-06-25). "Il y a 20 ans, Denys Tremblay devenait roi de L'Anse-Saint-Jean". Radio-Canada (in français). Retrieved 2026-06-06.
  14. ↑ Robillard, Yves (1998). Vous êtes tous des créateurs ou le mythe de l'art (in français). Montreal: Lanctôt. pp. 104–106. ISBN 2-89485-052-2. Search this book on
  15. ↑ "Hommage à la conviction politique". Musée national des beaux-arts du Québec - MNBAQ (in français). Retrieved 2026-06-06.
  16. ↑ "*". banquedart.ca (in français). Archived from the original on 2026-01-06. Retrieved 2026-06-06.
  17. ↑ 17.0 17.1 "Lettres de misarchie". BPS22 (in français). 2021-06-19. Retrieved 2026-06-06.
  18. ↑ "Le Symposium international de Chicoutimi – Vie des Arts". Érudit. Retrieved 2026-06-06.
  19. ↑ 19.0 19.1 "Symposium international de sculpture environnementale de Chicoutimi (1980)". Dictionnaire historique de la sculpture québécoise au XXe siècle (in français). Retrieved 2026-06-06.
  20. ↑ "Des symposiums, un aperçu – Espace Sculpture". Érudit. Retrieved 2026-06-06.
  21. ↑ Fortin, Andrée (2000). Nouveaux territoires de l'art: Régions, réseaux, place publique (in français). Montreal: Éditions Nota bene. ISBN 978-2-89518-042-5. Search this book on
  22. ↑ Robillard, Yves (1998). Vous êtes tous des créateurs ou le mythe de l'art (in français). Montreal: Lanctôt. ISBN 9782894850527. Search this book on
  23. ↑ "Le début de la vie : Une histoire de really-made". Est-Nord-Est. 2024-06-26. Retrieved 2026-06-06.
  24. ↑ Tremblay, Jean-Marie (2005-02-02). "Hervé Fischer (1941- ), artiste-philosophe, né à Paris, L'Histoire de l'art est terminée". texte. Retrieved 2026-06-06.
  25. ↑ "Certificat Coup d'état d'esprit périphérique". Centre Pompidou (in français). Retrieved 2026-06-06.
  26. ↑ 26.0 26.1 spéciale, Daniel Côté, collaboration (2017-12-23). "Un film de Denys Tremblay au Centre Pompidou". Le Quotidien (in français). Retrieved 2026-06-06.
  27. ↑ "Chicoutimi Charleroi". BPS22 (in français). Retrieved 2026-06-06.
  28. ↑ "Denys Tremblay". SHS Cairn.info (in français). Retrieved 2026-06-06.
  29. ↑ Tremblay, Cathy (3 octobre 1993). "Le Mont Édouard annonce la réalisation d'un projet unique au Canada". Le Réveil à La Baie. Check date values in: |date= (help)
  30. ↑ "Saint-Jean-du-Millénaire – Espace Sculpture". Érudit. Retrieved 2026-06-06.
  31. ↑ 31.0 31.1 "Arthur Villeneuve". La Pulperie de Chicoutimi (in français). Retrieved 2026-06-06.
  32. ↑ Tremblay, Bernard (5 janvier 1988). "Arthur Villeneuve quittera sa maison". Le Quotidien. p. 8. Check date values in: |date= (help)
  33. ↑ "Le quotidien, 4 avril 1986, vendredi 4 avril 1986 | BAnQ Numérique" (in français).
  34. ↑ Michael, La Chance (2007). L'imaginaire du territoire de l'art d'Arthur Villeneuve. Quebec: Les Presses de l'Université Laval. pp. 57–67. ISBN 978-2-7637-8522-6. Search this book on
  35. ↑ ICI.Radio-Canada.ca, Zone Insolite- (2020-01-05). "Il y a 25 ans : le déménagement de la maison d'Arthur Villeneuve". Radio-Canada (in français). Retrieved 2026-06-06.
  36. ↑ ICI.Radio-Canada.ca, Zone Société- (2016-07-15). "L'Anse-Saint-Jean commémore le déluge". Radio-Canada (in français). Retrieved 2026-06-06.
  37. ↑ Le Groupe Madie - www.madie.qc.ca - (418) 668-7976. "Les impacts à l'Anse-Saint-Jean". www.museedufjord.com. Archived from the original on 2025-08-27. Retrieved 2026-06-06.
  38. ↑ admin (2008-06-12). "Monarchie de L'Anse-St-Jean". Voyage à travers le Québec (in français). Retrieved 2026-06-06.
  39. ↑ Porter, Isabelle (26 juin 2017). "Il était une fois... le roi du Québec". Le Devoir. Check date values in: |date= (help)
  40. ↑ Katerine_Belley-Murray (2015-08-19). "Denys Tremblay se souvient". Le Quotidien (in français). Retrieved 2026-06-06.
  41. ↑ "Denys 1er, roi de l'Anse – Inter". Érudit. Retrieved 2026-06-06.
  42. ↑ Lasnes, Raymond (2017). GEOGuide Québec. Paris: Éditions Gallimard. p. 456. ISBN 9782742446049. Search this book on
  43. ↑ Caron, Jean-François (2009-06-18). "Denys 1er : Le roi déçu". Voir.ca (in français). Retrieved 2026-06-06.
  44. ↑ "Readymade | MoMA". The Museum of Modern Art. Retrieved 2026-06-06.
  45. ↑ Tremblay, Denys (2018). UNE AUTRE HISTOIRE DE L'ART, un manifeste du refus local. Alma: Éditions SAGAMIE. Search this book on
  46. ↑ Blackburn, Ulrich (1985). Une histoire de really-made : un itinéraire périphérique. Alma: Éditions SAGAMIE. ISBN 2893330045. Search this book on
  47. ↑ Quotidien, Katherine Boulianne, Le (2025-07-22). "L'image au cœur des œuvres de Mathieu Lévesque et Denys Tremblay". Le Quotidien (in français). Retrieved 2026-06-06.
  48. ↑ spéciale, Daniel Côté, collaboration (2019-06-21). "Denys Tremblay, roi un jour, roi toujours". Le Quotidien (in français). Retrieved 2026-06-06.
  49. ↑ "Le quotidien, 13 février 2010, samedi 13 février 2010 | BAnQ Numérique" (in français).
  50. ↑ "Dossier : les détours de l'été – Vie des arts". Érudit. Retrieved 2026-06-06.
  51. ↑ validate.perfdrive.com (Macintosh; Intel Mac OS X 10_15_7) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/110.0.0.0 Safari/537.36 Citoid/WMF (mailto:[email protected])&ssu=&ssv=&ssw=&ssx=eyJyZCI6ImJhbnEucWMuY2EiLCJ1em14IjoiN2Y5MDAwZDM0ZGFlODgtMTYwOC00MzQ0LWE0YWMtYzdmMDI1ODI3YjMxMS0xNzgwNzc3NTc1MzM3MC01NWI3ZDc0YWUzYTVhMmYyMTAiLCJfX3V6bWYiOiI3ZjkwMDAyNDBhYjZjOC02MjcxLTQwZjQtOGY1Zi03YTczZjU4YTVjYTcxLTE3ODA3Nzc1NzUzMzcwLTAwMTc0N2M4YTY0YzhjMmJmMmQxMCJ9 https://validate.perfdrive.com/f30af4f43db4e2976dd4354af45c33aa/?ssa=a6b4f2be-b5f8-496c-8d9d-937f580b1cd4&ssb=22418247953&ssc=https%3A%2F%2Fnumerique.banq.qc.ca%2Fpatrimoine%2Fdetails%2F52327%2F4240020%3Fdocsearchtext%3Dmus%25C3%25A9e%2520royal%2520de%2520l%2527anse%2520saint-jean&ssi=2acf6272-dpl6-4775-875f-906f917ccd98&[email protected]&ssm=87233184295698698104211739399346&ssn=51b160670d7cfc070969c4a060d7ef372dee240ab6c8-6271-40f4-8c3ab2&sso=e460cf5f-7a73f58a5ca785c11d5797a7e61f70b204db9a599df70dea&ssp=12842257541780737393178078092060889&ssq=35241887757524294683377575587096493289101&ssr=MjA4LjgwLjE1NC43NQ==&sst=Mozilla/5.0 (Macintosh; Intel Mac OS X 10_15_7) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/110.0.0.0 Safari/537.36 Citoid/WMF (mailto:[email protected])&ssu=&ssv=&ssw=&ssx=eyJyZCI6ImJhbnEucWMuY2EiLCJ1em14IjoiN2Y5MDAwZDM0ZGFlODgtMTYwOC00MzQ0LWE0YWMtYzdmMDI1ODI3YjMxMS0xNzgwNzc3NTc1MzM3MC01NWI3ZDc0YWUzYTVhMmYyMTAiLCJfX3V6bWYiOiI3ZjkwMDAyNDBhYjZjOC02MjcxLTQwZjQtOGY1Zi03YTczZjU4YTVjYTcxLTE3ODA3Nzc1NzUzMzcwLTAwMTc0N2M4YTY0YzhjMmJmMmQxMCJ9 Check |url= value (help). Retrieved 2026-06-06. Missing or empty |title= (help)
  52. ↑ "optica". www.optica.ca. Retrieved 2026-06-06.
  53. ↑ "Les dispositifs illicites (l'Illustre Inconnu et les réglages subversifs de la lecture) – Voix et Images". Érudit. Retrieved 2026-06-06.
  54. ↑ "Denys Tremblay à l'Anse aux Barques – Intervention". Érudit. Retrieved 2026-06-06.
  55. ↑ "Provocation et défi – Espace Sculpture". Érudit. Retrieved 2026-06-06.
  56. ↑ "Hyperréalisme, Mouvement virtuel et Glorification du faux / Hyperrealism, Virtual Movement and the Extolling of the Peony – Vie des arts". Érudit. Retrieved 2026-06-06.
  57. ↑ gilles_fiset (2017-04-27). "Symposium 2017 : un roi comme président d'honneur". Le Charlevoisien (in français). Retrieved 2026-06-06.
  58. ↑ ICI.Radio-Canada.ca, Zone Aucun thème sélectionné- (2006-10-23). "250 ans de reliure d'art au Québec". Radio-Canada (in français). Retrieved 2026-06-06.
  59. ↑ "Des artistes de leur temps / Expositions collectives, Déclics. Art et société. Le Québec des années 60 et 70, Musée de la civilisation, Québec, du 26 mai ou 24 octobre 1999. Musée d'art contemporain de Montréal, du 28 mai au 10 octobre 1999 – ETC". Érudit. Retrieved 2026-06-06.
  60. ↑ "Biennale II du Québec / Biennale II du Québec, Centre Saidye Bronfman, du 7 juin au 17 juillet 1979 – Vie des arts". Érudit. Retrieved 2026-06-06.
  61. ↑ "Découvrez l'événement « Tendances actuelles au Québec », 1978". MACrépertoire (in français). Retrieved 2026-06-06.


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