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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Duplicity and Diptychs: The Maraya Project’s Twinned Visions of Complicity
The similarities between the seawall in Vancouver and the seawall in Dubai are eerie. You might not think to compare them unless you have…
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A Distance That I Cannot Seem to Close
My quiet mother, my Umma, used to write me letters, then regarding them, say, “I don’t speak well but I can write better. Without…
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Preoccupied with Things Left Behind: On Three Nigerian Artists
There are three Nigerian artists you must know who are preoccupied with things left behind. There’s Kelani Abass, based in an enclave between Lagos…
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On the Fear “That There Wouldn’t be Another Project”: A Conversation with Lisa Hsiao Chen
As soon as I heard about Lisa Hsiao Chen’s novel Activities of Daily Living, I wanted something from it. I had been searching Publishers…
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