Theatre designer Teresa Przyblski on creating an environment for William Kentridge’s film series Self-Portrait as a Coffee Pot, where immersion begins with restraint.
Actor, producer, and director Alon Nashman discusses World Play, an ongoing series of readings performed in multiple languages around a theme, and the pleasures of deep listening.
How Toronto’s early punk scene erupted into life, shaped by art school, DIY spaces, and a city steeped in constraint, boredom, and borrowed influence—told by people who were there.
As Koffler Arts closes out 2025, General Director Matthew Jocelyn looks back on a year of exhibitions, experiments, and encounters—and makes the case for why cultural institutions should resist being easily summed up.
Photographer Dimitri Levanoff on his exhibition “BEING THERE: Portraits of the Toronto Art Community” and the draw of the artist as subject.
In conversation with Arcade, writer Shawn Micallef wonders whether Toronto really wants to be a city, and applies the lens of psychogeography to Tracey Snelling’s art.
Often blurring the line between documentary and dreamscape, Tracey Snelling’s sculptures, installations, and other works—now showing at Koffler Arts—cast the viewer in the role of voyeur.
In The Audacity of Relevance, Alex Sarian argues that struggling non-profit arts organizations need to adopt a more audience-based model.
In a conversation with Eleanor Wachtel presented by Koffler Arts and the Canadian Opera Company, William Kentridge discusses a career marked by indeterminacy, shadows, and restless energy, where drawing is at the heart of his work.
In Koffler301’s inaugural exhibition, Sage Szkabarnicki-Stuart uses goats, pigeons, and plastic bags to strange, slapstick effect, blurring the boundary between the mundane and the magical.
