Articles

• 

  Michael Lin and Federico Herrero

  Michael Lin’s temporary commission for the private art foundation Museo Jumex is a hand-painted floor that occupies 1,300 square metres across the museum’s plaza and through the building’s main level. The work is based on a traditional tablecloth design, one found in inexpensive restaurants in Mexico and one that echoes textile designs from Lin’s native Taiwan.

• 

  “John Eisler: Lantern,” and “Janine Miedzik: Tie-Dye for Germans”

  Angell Gallery’s parallel exhibitions of Janine Miedzik’s “Tie-Dye for Germans” and John Eisler’s “Lantern” bring together two artists for whom play is serious business.

• 

  “Yearning for Comfort, Not Cure”

  I have spent the greater part of my life entangled in a search for a cure to my madness. From a young age I was made to believe that there was something wrong with the chemicals in my body, that I had a defect that ought to be fixed.

• 

  “The Impossible Museum”

  The Thomas McCulloch Museum is tucked away in one of the many brutalist buildings from the late 1960s and early 1970s that make up the stolid core of Dalhousie University.

• 

  Chen Zhe

  Beijing-based multimedia artist Chen Zhe gained international recognition with her deeply personal project “The Bearable & Bees,” 2007–2012, comprised of two related series of photographs and texts.

• 

  Lyse Lemieux

  Lyse Lemieux has, over the past 10 years, created a distinctive and compelling art practice by expanding notions of what drawing is and can be.

• 

  Susan Rothenberg

  Two days after returning home from New York, I attended a chamber music concert featuring violinist James Ehnes, accompanied on piano by Andrew Armstrong. The evening program was drawn from Beethoven’s 10 violin sonatas.

• 

  A Dependant Inquiry into Certain Normal Predicaments of Human Divinity

  “If I could do it, I’d do no writing at all here. It would be photographs; the rest would be fragments of cloth, bits of cotton, lumps of earth, records of speech, pieces of wood and iron, phials of odors, plates of food and of excrement…. A piece of the body torn out by the roots might be more to the point.”

• 

  Webbing the Nest

  Luanne Martineau created The Knitter Woman in the winter of 2019 in response to an invitation by the Art Gallery of Alberta (AGA). With a curatorial premise that asked artists to “envision and create a ‘nest’ to cope with the end of the world, however it may come about,” the group exhibition was conceived in “response to our current tumultuous and polarized world where we see the rise of Nationalism, the clashing of belief systems, environmental destruction and the fight to mitigate climate change.”

• 

  Building Ideas

  It’s true there are no visitors, but the art is still there, and I wonder if the unobserved world of the museum is changed by the absence of its requisite viewers.

• 

  Beauty’s Mindless Attention

  Irma Blank, in her ninth decade of life, what she calls her “second life,” achieves a suspension by means of her drawing that may be “writing.” She says on this point that what she is doing is writing, not words that make writing what it essentially is but the gesture.

• 

  Where Mystery Leans on the Side of Suspicion

  When she is thinking about art, Toronto-based mixed-media artist Nadia Belerique holds in her mind both space and material; for her, material is content, while space is context.

• 27
• 28
• 29
• 30
• 31

Haven’t found what you're looking for? Explore our index for material not available online.