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.
