Failure in Infinitives: A Remembrance of Bernadette Mayer
A raccoon was screaming in agony with a gash in their side in Mollie’s backyard when I called to check in. “Animal control refused…
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“The Non-Places Are the Places”: Manifesta 14’s Uneasy Presence in Kosovo
The story is so symbolic, so filled with metaphor that many people thought it was an urban legend. In 1978, the Yugoslav government opened…
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It’s All About Good Timing: Goodwater at the Plumb
For the ancient Greeks, the division of time was represented by a separation of chronos from kairos. To symbolize durational or cyclical time, Greco-Roman…
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All Positions Possible: Simone Forti Across Time, Through Community
An eight-foot wooden ramp was propped up at a forty-five-degree angle in one corner. Knotted ropes hung from six holes drilled near the ramp’s…
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Mia Sandhu Holds the Gaze Hostage
Seeing You, Seeing Me, Seeing You, as a title, is a bit misleading. At first blush, you couldn’t tell whether the figures in Mia…
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Portrait of the Artist as a Young Thief
If they were lucky, novels about artists published in the past year got to ride the wave of a literary trend termed “Künstlermania.” The…
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“We’re All Tied to the Place That We’re From”: Celebrating 50 Years with Equinox Gallery
When Equinox Gallery—one of Canada’s best-established galleries, and a longstanding benchmark of Vancouver’s art scene—announced its 50th anniversary, earlier this year, I did a…
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Common Boundaries and Refused Exits: Aman Sandhu and Andrew Black
A double-sided screen hung in the middle of Centre Clark’s main gallery, suspending two landscapes like a portal. On one side was Aman Sandhu’s…
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Reviewing the Reviews: Documenta 15
The coverage and criticism of Documenta 15 was an experience in itself, whether or not you made it to Kassel this year. This edition…
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The Remains of the Day: Nadia Belerique in Glasgow
In between visits to Nadia Belerique’s exhibition, SLICE, at David Dale Gallery in Glasgow, I’d been engaged in moving flats for the first time…
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