Swiss artist Miriam Cahn’s exhibition “ME AS HAPPENING” occupies both floors of The Power Plant, a rare accommodation for a venue that generally hosts multiple artists.
In response to the question posed by the Museum of Contemporary Art (MOCA) to 21 artists and art collectives—“ What seems most urgent to you now?”—a flurry of answers surfaced.
Of the duelling ideological strands running through modernism—proclamations of utopian progress twined with on-the-ground disaster—British curator David Campany attends to the latter, focusing on the 20th century’s repressed underside— decay, debris and death.
Beyond its considerable aesthetic and cultural value, “Mickalene Thomas: Femmes Noires” signified an important moment for the Art Gallery of Ontario. Responding, if belatedly, to demands to decolonize and feminize the art institution, the AGO gave up its entire fifth floor to a queer Black woman artist.
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