Disposability, Divestment, and Action: The Palestine Solidarity Movement and the State of Art in Toronto
What was the problem? I didn’t know and nobody told me and what could I do or say, anyway? Yes, I did know…
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Against Nations
At the 59th Venice Biennale, many of the stand-out pavilions were those that contested the pavilion structure itself. Consider Roma artist Małgorzata Mirga-Tas’s lustrous…
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Caribbean Being and Becoming in “Fragments of Epic Memory”
In his 1992 Nobel Lecture The Antilles: Fragments of Epic Memory, Derek Walcott characterized Caribbean poetry as a remaking of fragmented memory. The Art…
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Situating Great Ocean Art in Canadian Museums
I come from the villages of Leulumoega, Siʻumu, Salelologa and Āpia in the western islands of the Sāmoan archipelago. My family also comes from…
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The Apocalypse is Selective, Not Total: Geoffrey Pugen’s Disanthropic Moment
I clung to my ferocious habits, yet half despised them; I continued my war against civilization, and yet entertained a wish to belong to…
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It’s Okay to Laugh: The Political Turn in Bridget Moser’s Prop Art
When we meet on St. Catherine Street in Montreal on a chilly Thursday afternoon in October, Bridget Moser tells me she has recently been…
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Notes on a Crisis in Beauty
1. “I do not mourn for what I have lost. For if there is one new art that we have had to learn, those…
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“Where Does Art Get To Live?”: A Conversation Between Anique Jordan and Michèle Pearson Clarke
On a perfect spring day in late May, I found myself huddled in a crowded gallery for an artist talk, my head leaning forward,…
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Branding the Anthropocene: Canada’s Art Institutions Privilege the Artificial
Anthropocene – the wide-reaching exhibition at the Art Gallery of Ontario (AGO) and the National Gallery of Canada (NGC) – tackles perhaps the greatest…
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Performance Art in a Precarious Time: A Conversation with Johanna Householder and Francisco-Fernando Granados
In movement study of a standard North American strip-search procedure, Francisco-Fernando Granados gambols through a codified gestural sequence: “empty pockets … remove clothing ……
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