Absolute Beauty’s curators Ekaterina Andreeva and Andrei Khlobystin have tasked themselves with an unsolvable puzzle: how to capture, in a medium-sized exhibition with limited…
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It’s not easy to write about Iris Häussler. I’ve been avoiding it, though desiring it, since her daring He Named Her Amber (2008) subsumed the…
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In a 2008 commercial for the Swiffer SweeperVac, a conservatively clad woman weaves back and forth with the futuristic device, apparently engaged in an…
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Once a train station, Berlin’s Hamburger Bahnhof museum now facilitates transportive experiences. There in a large hall, forty-five paintings currently hang in pairs, one…
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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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I’d always thought of the word “disruptive” as a negative term before immersing myself in Simon Denny’s quasi-retrospective at MoMA PS1. The exhibition takes…
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Walking into the foyer of the Gardiner Museum, one comes face-to-face with what appears to be a segment taken directly from an archaeological dig, or…
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The emphatic capitalization of VIEW from HERE, Wanda Koop’s recent solo exhibition at the Winnipeg Art Gallery, implies an urgent specificity that is never…
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The frisky Toronto collective VSVSVS – a collective of emerging artists, most of whom are connected to Guelph University, and many of whom share…
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There is a fine line between being an object and a person. And it’s hard to know when it’s been traversed. The difficulty lies…
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