The Temptation of Everything in Michael Dudeck’s “Messiah Complex 5.0”
When a contemporary performance artist adopts religion in general as the theme of a work, a few things are likely to occur: the work…
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How to Start an Art School
Why would you even want to? We want to be makers, not bureaucrats or lecturers. But after a dozen years of making, maybe you…
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Luc Tuymans Dares Painting to Lose
Luc Tuymans does not shy away from controversy. For his new exhibition at David Zwirner in London, for example, one of his paintings is…
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What On Kawara’s Analog Wisdom at the Guggenheim Has to Offer a Digital World
In 2009, @on_kawara flickered onto the scene. The Twitter account, whose profile picture is a black square, simply tweeted out once a day, “I…
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Ryan McNamara and the Afterlife of Performance
How does performance art survive? What artifacts, narratives, or documents testify to performance’s occurrence? For the genre’s venerable practitioners from its historic moment of…
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When Does Performing Failure Make Its Own Failure?
How can an artist enact failure without presenting a failed act? How does an artist present an ethos of collapse without making work that…
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The Many Violences of Adel Abdessemed
At first glance, Adel Abdessemed’s charcoal drawings of soldiers do not seem to be up to much. They are large, certainly: two meters in…
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The Exit Interview: Stéphane Aquin Looks Back As He Advances to the Hirshhorn
Stéphane Aquin holds a distinguished profile in the Canadian artworld and abroad, in part because he arrived to the role of curator from art…
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Loris Gréaud Smashes the Mold for Museum Shows
It’s Saturday night in Dallas, at the debut of “The Unplayed Notes Museum,” by the French art star Loris Gréaud. The cavernous, spookily lit space…
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Villa Toronto’s Failure and Provocation: How Do We Invite the Outside In?
In order to enter the Union Station’s Great Hall – a stunning keystone of Toronto’s historic architecture, with soaring coffered ceilings and heritage marble…
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