The Internet is “Never Peaceful, Never Fair, Never Good”: An Interview with Joanne McNeil
One likely constant amid the uncertain reality of lockdown is that your screen time has probably gone up. While we are unable to access…
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After the Afterparty: Alan Belcher and Friends, in Retrospect
Alan Belcher’s Friends at Downs & Ross is an afterparty. The works in the exhibition are a series of mascot-like plush sculptures sitting in…
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Free Your Mind, or Else: “Acid Communism” and Contemporary Art’s Futurism
Along with the blog posts, articles, reviews, and interviews collected in K-Punk, last year’s voluminous anthology of writings by the late British cultural theorist…
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Recognition and Reckoning: Montreal’s Alternative Art Spaces at the Crossroads
On a sunny weekend in June, a multigenerational crowd of artists and art enthusiasts flocked to a series of vacant storefronts and office spaces…
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Touch, Desire, and the Trinket Box: Celia Perrin Sidarous Shifts Time
Celia Perrin Sidarous’s second solo exhibition at Montreal’s Parisian Laundry was suffused with a sense of authority and sobriety that feels new in her…
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“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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