Articles
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Blood Lines
Robert Enright writes on Jim Jarmusch’s newest, Only Lovers Left Alive.
…What saves Adam from complete despair is his undiminished love for Eve—they have married three times—and their devotion to one another is palpable throughout the film. The cinematography is luscious and slow moving; when they dance to Denise Lasalle’s “Trapped by a Thing Called Love,” you know it’s a trap they want to be in; and when we see them naked and curled towards one another, their white skin against a black background, they resemble figures eternally inscribed on an exquisite krater…
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Beautiful Parasites
Tammy Salzl is aware that her watercolours often elicit severe accusations of indulging in the brutal and the grotesque. It is a reaction she anticipates for its utility. Her intention is to repulse the viewer with the grotesque and then mediate that alienation through beauty.
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Memory Redux
The wake itself is a vehicle for remembering, and through Lisa Wood’s activity in the studio it is given another life. “Wake, Vicki,” then, is the memory of a memory.
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Conundrumming
Because Melanie Authier’s paintings are inventions and not renderings of an existing landscape, she has been reluctant to accept her work having been labelled sublime in the classic Romantic sense.
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Death’s Death
Toronto-based photographer Jack Burman has not so much taken death to task as made his lifelong obsession an engagement with its presence.
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Trust Accounts
Meeka Walsh’s introductory essay to Issue 133: we are monsters.
Growing up in Canada, I was quietly startled by the intake of breath when I would say the word “evil” to describe someone I knew. I didn’t use the term often, I assigned it carefully but I recognized its application was something that just wasn’t done and I kept the descriptive designation to myself. It’s different now. The term is broadly used to describe countless actions and the designation is received without accompanying questions…
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Lygia Clark
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“Unsettled Landscapes”
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“Convoluted Beauty: In the Company of Emily Carr”
Exhibition Artists: Thomas Zipp (Germany), Louise Lawler (USA), Mark Wallinger (UK), and commissioned projects by Canadian artists Nathan and Cedric Bomford, Karen Tam, Marianne Nicolson and Joanne Bristol. The exhibition also included work from across Carr’s career, generously loaned from the collections of the McMichael Canadian Art Collection and the Vancouver Art Gallery.
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Jeff Koons
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Robert Hengeveld
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“Who’s Afraid of Purple, Orange and Green?”
Krista Buecking, Arabella Campbell, Jessica Eaton, Marie Lannoo, Jennifer Marman and Daniel Borins, Luce Meunier, Sarah Nasby, Sasha Pierce, Jennifer Rose Sciarrino, and Celia Perrin Sidarous
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