In Paris last fall, critical attention crystalized around exhibitions by two darlings of the French scene and relational aesthetics, Pierre Huyghe and Philippe Parreno. The overlapping exhibition dates unconsciously led to a sort of implicit comparison in the analysis and method of viewing, indeed even
Mississippi Valley Textile Museum Almonte, Ontario October 26— December 21, 2013 The long-term effects of war on people’s personal lives are difficult to envision for those of us who have never experienced its violence. I try to imagine it as a pin-prick hole in a tiny vein that refuses
Gabion Tower Cambridge Sculpture Garden Cambridge, Ontario September 2012— September 2014 For an artist who is a sculptor by training, background and inclination, Kitchener-based artist Gareth Lichty does an awful lot of weaving. His work – typically large-scale and installational in nature – tends to foreground weaving in an aggressively
Heteropolis. Published by Adaptive Actions. Montreal, 2013, 320 pages, soft cover. Colour / black and white. Bilingual, French and English texts.
Stephen Wright, Toward a Lexicon of Usership, Ed. Eindhoven: Van Abbemuseum, 2013, 68 p. The Van Abbemuseum in the Netherlands commissioned art writer and theorist Stephen Wright to compile a lexicon of artistic and subjective political terms as a way of addressing the alleged lexical crisis
All of Claes Oldenburg and Coosje van Bruggen’s public sculptures are linked to messages of various sorts; however, in this text, it is their dialogue with urbanism and architecture that we seek to summarize, drawing on our book about their artistic work.1 In 1981, with the
Of the objects which are being carried in like manner, they would only see the shadows. To them, the truth would be literally nothing but the shadows of the images.1 —Plato, Allegory of the Cave On the spot. June, 2013 After having been welcomed by The Sun, a flamboyant work installed
Art begins not with the flesh, but with the house. That is why architecture is the first of the arts. —Gilles Deleuze and Félix Guattari 1 Tower, detour, contour In the summer of 2013, in one of Parc de la Villette meadows, in the 19th arrondissement of Paris, Tasdashi Kawamata, an
I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the mirror. The mirror is, after all, a utopia, since it is a placeless place. In the mirror, I see myself
Born in England, Peter Hutchinson began as a geometric painter in close contact with minimal artists Sol LeWitt and Tadaaki Kuwayama. However, Hutchinson turned away from minimalism and conceptualism’s rhetorical bent to follow a more overtly poetic and nature-oriented path. Being British born, Hutchinson shares
Anna Frlan: Interbellum III Ottawa school of Art Gallery January 10—February 22, 2013 Anna Frlan uses nothing but steel in her art making. The infinite possibilities of steel’s liquid state keep drawing her back to the welding machine. To her, the magic of manipulating the flowing red hot
In the early spring of 2013, for a period of six weeks, British-born, Berlin-based artist, Tino Sehgal, instigated a variety of emotions in visitors, ranging from delight to trepidation, at the Musée d’art contemporain de Montréal. Whether positive or negative, reactions were rarely indifferent to