Everybody reads a given exhibition differently, and half the enjoyment in art comes from exploring those different points of view. Here, Canada's leading and emerging art writers respond to must-discuss exhibitions taking place across the country and overseas.
Three summer exhibitions at Toronto’s Power Plant by artist collectives simulate conditions of radical artmaking, but ultimately reveal hollow cores.
“Stopping the Sun in its Course” brings together Canadian artists in Los Angeles, continuing the West Coast interest in wordplay. Gabrielle Moser reviews.
At the Napoleonic Museum in Rome, Josh Thorpe’s sound works, text installations and screenprints bring a touch of nature into the site’s historic rooms.
Nadia Belerique, Lili Huston-Herterich and Laurie Kang’s installation at the Power Plant has a playful air, but fails to fully alter art-space hierarchies.
“Camera Atomica” at the Art Gallery of Ontario deftly handles disaster images, translating the anxieties of a previous generation into the present day.
Michelangelo’s Sistine Chapel frescoes have been installed at the Palais des congrès de Montréal in a series of life-sized photos. Richard Rhodes reviews.
“Picturing the Americas” at the AGO assembled a diverse group of landscape paintings, but only offered part of a complex story. Christine Boyanoski reviews.
In Public Studio’s recent exhibition, the collective toyed with history, making idiosyncratic connections between objects. David Balzer reviews.