[text available in French only]. The critic (and member of the Editorial comity of ESPACE art actuel magazine) Mathieu Teasdale publishes an analysis of several works by artist Jeremy Shaw.
The natural border is the only true border, indisputable, absolute. The others are only imitations, human constructions unable to equal natural perfection.
Wouldn’t it be wonderful if Artificial Intelligence could remedy our shortfalls and help us to surmount our hesitations and fears? If it could relieve us of the burden of existence. If AI could become human and even more than human. But let’s not get carried away. Could AI one day (…)
As artificial intelligence rapidly becomes omnipresent in our daily lives—from predictive writing to self-driving cars—it is only natural that an increasing number of artists have (…)
Using various mediums, Adam Basanta explores technological practices as socially-mediated performances, distributed and intertwined throughout a variety of human, cultural, material and computational agencies. His work (…)
[text available in French only] Ariane Lemieux is a doctor of art history specializing in the history of museums and publishes here a review of “Displacement, destruction, protection: views on endangered heritage”, a round table on November 5th, 2019 with artist Dominique Blain (…)
[text available in French only] Michelle Drapeau is a candidate for the Master’s degree in Art History at Laval University, an independent curator and cultural worker from Moncton (NB), based in Quebec City and publishes here a review of the MNBAQ’s exhibition “COZIC. Over to You. From 1967 to Now“.
[text available in French only] Anna Brunette is a master’s student in art history at UQAM and publishes here a review on the two recent Axeneo7 exhibitions: Alexis Bellavance’s “Compressions : tables préparées” and Sarah Wendt + Pascal Dufaux’s “Quelque part dans l’inachevé“.
[text available in French only] Laurent Vernet holds a Master’s degree in art history and a doctorate in urban studies and publishes here a review on the forum entitled “L’art public à l’épreuve de la commémoration corrigée” at Bibliothèque et Archives nationales du Québec on October 7, 2019.
[text available in French only] Sophie Guignard, a doctoral student in art history at the Université du Québec à Montréal (UQAM) publishes a review of the 10th edition of the Rencontres photographiques en Gaspésie.
In Granma, history, of the grand forward-marching and/or circle-turning variety, and narrative threads of the everyday and mundane sort overlap, intertwine and interweave to form a tapestry centred on the heritage of the Cuban revolution. At once intimate and (…)
