“Speaking from a Wound”: Jesse Darling on Faith, Crisis, and Refusal
Over the past year, I’ve had considerable difficulty maintaining my faith in art. In the short version of this introduction to an interview, I…
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Morbid Symptoms: In Search of the Post-Contemporary at the 2016 Montreal Biennial
In the aftermath of Donald Trump’s nauseating election victory, hard on the heels of this year’s earlier Brexit vote in the UK, it has…
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Who Was Edmund Alleyn? Rediscovering a Mercurial and Untimely Talent
Staging a major retrospective of Edmund Alleyn as a flagship summer show is a bold move on the part of the Musée d’art contemporain…
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The Sadean Woman: Tricia Middleton and the Violence of Art
Tricia Middleton came late to showing in commercial galleries. In a career spanning fifteen years, her late-2014 exhibition at Jessica Bradley Gallery in Toronto…
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This Is Where It Ends: The Denouement of Post-Internet Art in Jon Rafman’s Deep Web
In a recent essay for Artforum, Jon Rafman described his early work as “romantic.” Specifically, he cited his virtual safaris of Kool-Aid Man in…
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Aiming to Please: Division Gallery Surveys Post-Internet Entertainment
In the year 2000, curator Phillippe Vergne staged an exhibition at the Walker Art Center in Minneapolis titled Let’s Entertain: Life’s Guilty Pleasures. It…
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Bad Dream of the Bauhaus: Juan Ortiz-Apuy’s IKEA Fantasia
Entering Juan Ortiz-Apuy’s Out of This Light, Into this Shadow, his second solo exhibition at galerie antoine ertaskiran, the first thing that strikes me…
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Year in Review: Montreal From the Ground Up
A principal difference between year-end lists, rankings, and recollections about art, and those about music, books, or films is that it’s much more difficult…
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Playing the Double Agent: Kathleen Ritter’s “Camoufleurs”
Kathleen Ritter is an artist. This may come as a surprise to some who knew her better as associate curator at the Vancouver Art…
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Future Forecast: The Montreal Biennale 2014
The Montreal Biennale is at once a new institution and an old one. Last year, the previous iteration of the Biennale (independently operated since…
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