Mimi Ọnụọha: Making Data Matter
Data is often thought of as immaterial, floating in the digital sphere, and evasive. It slips away from our fingertips as we scroll, like,…
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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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Mourning at the Museum: Montreal’s Post-Sincere Send-Off for Leonard Cohen
The impulse to grieve publicly is a measure of our turbulent times. We know, lately, the need to share a collective sadness. However, before…
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Eeriness: Tracing an Unquiet Tradition in British Landscape Art
In 1971 Derek Jarman made a 10-minute film called Journey To Avebury, documenting a summer walk through the chalklands of southern England. At first…
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Flickering Insight from the Whitechapel’s “Electronic Superhighway”
“The internet does not exist,” wrote Julieta Aranda, Brian Kuan Wood, and Anton Vidokle in e-flux journal’s critical anthology of the same name. Perhaps…
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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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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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Feature Art Fair’s Focus on the Art, and the Currents That Emerged
The latest fair to arrive to Canada’s growing art market was named Feature, but could have been titled Focus. With only twenty-three galleries, and…
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