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 art world still likes to maintain the pretense that art and commerce are somehow separate—except at fairs, where the architecture embraces the vulgar truth.
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.
In our first instalment of “Stopped in My Tracks”, a new series in which a contributor reflects on a life-altering encounter with an artwork, Carly Lewis discovers a sense of regeneration in Judit Reigl’s Guano.
At the intersection of the public and private, the clothed and unclothed, the swimming pool has long been a favoured motif among artists and writers. But as fall settles in, what about the months when it's closed? Who are the artists of the drained pool?
The fourth Bonavista Biennale in Newfoundland was an exploration of meeting points, of the communal but sometimes parasitic energy that sparks when one place becomes home to another.
