In striking collaborative works, Shary Boyle and Shuvinai Ashoona explore chimeras of imagination and otherness—as well as ideological critique.
Emily Falvey looks at the work of 2014 Sobey Art Award winner Nadia Myre, and her interest in the material extremes of sculpture and performance.
Jonathan Hobin's newest photographs continue his controversy-courting tendencies, but Emily Falvey argues that they fail to challenge stereotypes.
In her new exhibition at the Musée d’art contemporain de Montréal, Sophie Calle tests the limits of the sensory.
In revisiting a lost exhibition of conceptual art, CRUM create a singularly eccentric, yet seamless, show of their own.
"Shine a Light: Canadian Biennial 2014" has many impressive artworks, but puts them in a substandard frame, Emily Falvey writes. Our artists deserve better.
Initiated in 2012 by the commercial gallery Art Mûr, the Contemporary Native Art Biennial has the potential to play an interesting role in the Quebec scene.
An artist-run centre with a focus on social practice, Ottawa's Gallery 101 took up the nexus of art and activism in its latest exhibition.
Leonard and Bina Ellen Art Gallery, Montreal September 4 to October 26, 2013
Carleton University Art Gallery, Ottawa
Painting that unsettles our expectations can be increasingly rare. But as critic Emily Falvey contends, Carol Wainio’s work continues to step outside painting’s “proper” concerns—to superb, if challenging, effect.
It is rare to find a creative practice that harmonizes critical thinking and positive momentum. The Vancouver-based artists Rhonda Weppler and Trevor Mahovsky, however, seem to have mastered this delicate balancing act.
In their post-structural opus A Thousand Plateaus: Capitalism and Schizophrenia, the French theorists Gilles Deleuze and Félix Guattari characterized nomadic movement as “maintaining the possibility of springing up at any point.”
The results of the most recent RBC Painting Competition seem to signal a return to process painting, and particularly the kind associated with 1970s Post-Minimalism. Ottawa-based artist Deborah Margo’s work is among the more interesting branches of this vein, and her solo exhibition at Patrick Mikhail Gallery takes a provocative new direction.