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.
The images of British photographer Nadia Lee Cohen are by now widely recognizable—for their mannered artifice and cosplaying celebrity subjects. But are they saying anything more than "Look at me"?
The survey exhibition Electric Op, now at the Buffalo AKG, reconsiders the short-lived and oft-derided Op art movement within a sixty-year trajectory of digital and new media art making.
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.
Jonathan Garfinkel explores a new exhibition that attempts the sticky, contradiction-laden, and perhaps impossible task of figuring what sex means in a Jewish context, from the Mishnah to Dr. Ruth and beyond.
Arcade speaks with Toronto artist Nancy Friedland on what drove her mid-career transition from conceptual photography to painting, and how the anticipation of grief lay at the heart of much of her work.
The doubles and divided selves who populate the world of Severance are no less fragmented than the ones we inhabit everyday. Carl Wilson unravels the TV show's eeriest truths.
As with so much of her writing, Durga Chew-Bose’s directorial debut is an exercise in the poetics of close observation and studied nonchalance. But is there anything deeper going on beneath its perfectly impenetrable surface?
Tia Glista unravels the Möbius strip of narrative in Catherine Lacey’s latest book—a hybrid of memoir and fiction, about a recent break-up and an earlier loss of faith—and reflects on her own break with God, and what faith means in the first place.
In No Fault, Haley Mlotek searches for the language of love’s quiet undoing—from grief to the unexpected grace that comes with choosing to leave a marriage. Patrick Pittman traces what happens when cultural expectations, legal reform, and literary form converge in the finality of divorce.
Maybe true artistic freedom isn’t about about perseverance, but knowing exactly when to stop. Jowita Bydlowska reflects on the decision by her mentor and friend Barbara Gowdy to quit writing.
Revisiting Cynthia Ozick’s writings on Helen Keller and Anne Frank, both included in the writer’s new career-spanning essay collection, are reminders that all Ozick’s tales feel like cautionary ones—it’s just not always clear what to avoid or how.
When it comes to 20th century intellectual power-couples, no two represented more disparate ideas about marriage and freedom than the chain-smoking liberationists Sartre and de Beauvoir on the one hand, and the neoliberal economists Milton and Rose Friedman on the other.
The question of whether plants could have consciousness has not been left quietly back in the ’70s, as Linda Besner discovers in Zoë Schlanger’s new book, The Light Eaters.
The chaos and order of the garden has been a running theme through much of Olivia Laing's work, and her particular way of looking at the world. No matter how Edenic a garden, the outside world is always creeping in.
What’s the meaning of a sentence? A paragraph? Linda Besner considers the abecedarian work that makes Sheila Heti’s Alphabetical Diaries so much more than an exercise in spreadsheet manipulation.
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.
If singers and musicians are our culture’s de facto philosophers of love, what do their sometimes headline-grabbing relationships tell us about the art of creating together.
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.”
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.
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.
“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.
Commentary from the concluding panel discussion at the half-day symposium “Babyn Yar, the Holocaust and Beyond: Architectures of Memory”, organized by Koffler Arts.
An interview with Oleksiy Makukhin, CEO of the Babyn Yar Holocaust Memorial Center, on how Russia's invasion of Ukraine has disrupted the centre's activities and forced it to question its approach to memorialization.
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.
