Articles
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“Sovereign Intimacies”
“Sovereign Intimacies,” installed in Plug In ICA in partnership with the University of Winnipeg’s Gallery 1C03, lays out its curatorial premise in the title. “Intimacy” refers to the method invoked to create the art in the exhibition, all of which was made collaboratively.
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Couzyn van Heuvelen
Visiting SBC Gallery in Montreal on a desolate afternoon during the second wave of COVID-19 outbreaks—my own breath warming the air between my face and mask—I meet van Heuvelen’s hovering pod, part of his playful travelling exhibition, “ᐃᕐᑭᐊᒻᒥᒐᕐᒃ | BAIT | APPÂT.”
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Sarah Anne Johnson
It is a social and cultural idea, one of our most beautiful and hopeful, on one hand, and also sometimes hackneyed, on the other. “Woodland,”Sarah Anne Johnson’s first solo show at the Yossi Milo Gallery in Chelsea, Manhattan, takes on the challenge of this theme, unapologetically.
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Catherine Carmichael
Encountering Catherine Thornley Carmichael’s work is like slipping into a chair just after she’s vacated it, leaving behind the warm echo of her body. The works in this exhibition, going back into the ’80s, are as warm-blooded as you can get.
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Anna Torma
The textile work I’m referring to is Permanent Danger, 2017, displayed like a scroll and centrally installed on an opening between the galleries. Both sides of the piece form picture planes through a technique known as double-sided embroidery.
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“Heat of a Hand”
The Blinkers exhibition text introduced a subtly studious setting: “accelerating the appearance of things only touched upon by the lens with the heat of your hand,” Carlo Mollino, Message from the Darkroom. This exhibition was visually and audibly compelling.
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Everything is Relevant: Writings on Art and Life, 1991–2018 by Ken Lum
At the forefront of Ken Lum’s book Everything is Relevant are questions of art’s necessity. Written over 28 years, the questions start with introspection and move outward and backwards.
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Bertrand Carrière
Co-published in 2020 by Éditions Plein Sud and the Galerie d’art Antoine-Sirois de l’Université de Sherbrooke, the 301-page publication covers Carrière’s life work thus far, from his first street photographs, taken in the early 1970s, to his latest large-scale documentary series.
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Paul P.
“Each countenance is selected from the multitudes of young men implicated in the then-outlaw publications because they appear to possess the look and feel of art,” Paul P. wrote in the exhibition text for his recent exhibition, “Gamboling Green,” at Cooper Cole in Toronto.
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Damien Moppett
“Damian Moppett: Vignettes” is the 51-year-old Vancouver artist’s first exhibition devoted to figurative painting and the first to contain images taken from the history of modernist photography. In his words, the dozen paintings here are “defiantly a new body of work coming out of a newish way of working.”
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Bruce Nauman @ Tate Modern
Simply titled “Bruce Nauman,” this show presents a broad survey of the artist’s five-decades-long career and emphasizes its multidisciplinarity as well as his loyalty to high modernist themes. Included are a large number of his neon pieces, as well as sound and video/installation works, while the remainder exist heterogeneously.
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Through the Eyes of Another: Black and Visible
How many ways to say—and how many voices to call—systemic racism; to say unyielding white supremacy; to say invisibility that goes unremarked; to say denial of personhood?
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