From rave buses to Art Nest, Nathan Phillips Square is where Toronto has always gathered. Josh Greenblatt on sixty-five years of the Toronto Outdoor Art Fair and its founding idea that art is for everyone.
Forty-nine years after a York University class concert that never quite ended, Eric Cadesky on candlelight, breakage, and the world’s only ensemble that builds, plays, and tours its own glass instruments.
Polish artist and architect Natalia Romik speaks with Arcade about her exhibition Plague Crystals, now at Koffler Arts, and why fragile, translucent towers of crystal might hold what haunts us better than any stone monument.
The pioneering Toronto multidisciplinary artist speaks with filmmaker Egoyan about the thinking and creative process behind her latest work, As If by Chance..., and the two types of prejudice faced by elder artists.
A panel discussion on the uses and abuses of how urban dwellers think about their relationships with nature, patterns of gentrification in Toronto, and how people have been inhabiting spaces like the Don Valley much longer than people assume.
With her new exhibition, Glorious Catastrophe, Toronto artist Gillian Iles seeks out the paradoxes and possibilities in moments of extreme transformation.
Toronto artist Kalmplex talks with curator David Liss about the inspirations behind his current exhibition at Koffler301 and his worries over the city losing its places of culture and connection.
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.
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 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.
In conjunction with her career retrospective now at Koffler Arts, Elana Herzog speaks with curator and longtime friend Jessica Stockholder about 1970s New York, the misunderstandings of formalism, and the evolution of a practice decades in the making.
Actor, director, and playwright Christopher Morris on the intensive research and moral questioning behind his play The Runner, opening this week in a new production presented by Koffler Arts.
Another DECADE, the multi-artist show now on at Koffler Arts, shifts the spotlight onto the many arts organizations that call the Youngplace hub on Shaw Street home.
From her talk presented by Koffler Arts, producer and actor Jennifer Podemski reflects on her early years navigating her dual Jewish and Indigenous identities, what that taught her about the importance of continuity, and how her career has shaped the way she thinks about representation in media.
Poet and playwright Titilope Sonuga on her new libretto for Stravinsky’s 1918 theatrical work being performed by the Art of Time Ensemble, inspired by the story of the Canadian army’s first all-Black battalion.
As he approaches the first anniversary of his joining Koffler Arts as its new general director, Arcade spoke with Matthew Jocelyn about the tenuous position of Canadian arts organizations, and his vision for Koffler going forward.
A conversation with Brazilian artist Giselle Beiguelman about her exhibition Botannica Tirannica—now showing at Koffler Arts—and understanding the colonial imagination.
Though the original names of many native plants in Canada were lost to colonialism, with the garden he has designed in dialogue with the exhibition Botannica Tirannica, Isaac Crosby aims to show the resilience of both Indigenous knowledge and the plants themselves.
An excerpt from a recent lecture at Koffler Arts by historian and artist Natalia Romik on the hiding places Jews in Poland and Ukraine created during the Holocaust.
Fresh off of winning a Governor General’s Award in Visual and Media Arts, Barbara Astman looks back at the materials and methods behind her two works included in Koffler Arts' recent group show DECADE.
Experimental filmmaker Midi Onodera talks with Arcade about her early adoption and explorations of new technologies, how art making in Toronto has changed, and what the glut of media images might be doing to us.
The work of photographer of Vid Ingelevics, currently showing in the group show DECADE at Koffler Arts, documents moments of civic transformation with surprising intimacy.
In collaboration with Koffler Arts, the Art of Time Ensemble are heading back to the Weimar era for one of their final shows. We spoke to the ensemble’s director Andrew Burashko about his journey into the legendary “human swamp of unfettered sexual desire.”
A preview of the upcoming exhibition DECADE, opening in February, which celebrates ten years of art making at Artscape's hub on Shaw Street in Toronto.
“The Synagogue at Babyn Yar: Turning the Nightmare of Evil into a Shared Dream of Good” is as much an exhibition about how to memorialize a traumatic, genocidal event as it is about the synagogue itself. To mark the end of its run at Koffler, we look back at how this unique show came together.
From his talk at the Koffler Gallery, visual artist Rafael Goldchain on his photographic series I Am My Family and how its approach to simulation as a means of commemoration represents a “double gesture towards the past”—an attempt to both recuperate and interrogate history.
Despite the deliberate erasures of Soviet historiography, the site of the massacres at Babyn Yar reveals a story spanning several eras of Ukrainian history—though mostly by examining how that story was allowed to be told.
Commentary from the concluding panel discussion at the half-day symposium “Babyn Yar, the Holocaust and Beyond: Architectures of Memory”, organized by Koffler Arts.
Soundstreams’ inaugural event of the new season brings together two of the great Jewish artists of the twentieth century—the artist Mark Rothko and composer Morton Feldman.
Authors Gary Barwin and Cary Fagan discuss the quest as narrative device in their work, and how journey stories can help children—and even writers—navigate difficult or traumatic subject matter.
In a wide ranging on-stage conversation, the novelist Heti and Sol the poet discuss the role of religion in their work, how the loss of a parent can upend one's universe, and less reverent ways of naming God.
Manuel Herz, the Basel-based architect behind a new synagogue on the site of the Babyn Yar massacre, challenges prevailing notions of memorialization in architecture.
