With a few weeks left, the rare opportunity to see a survey of Calder’s work in Canada is an occasion for three reflections on science, systems and abstraction
You can never retire from being an artist—and other observations from a roundtable on aging and ageism in the arts
In light of the passing of former editor of artscanada Barry Lord, Bryne McLaughlin considers the publication's history, and the theme of our Spring issue.
In a recent project, Montreal-and-LA-based artist Nicolas Grenier made collectors pay for art with time; in the process, the acquirer became the acquired.
An exhibition at the Winnipeg Art Gallery looks at Indigenous relationships with the land that come through snowboarding, skateboarding and surfing.
From Expo 67 wannabe to civic relic—Ontario Place has seen it all. What does its new art festival, In/Future, mean to a critic with a history on the site?
How do you value time or action? What constitutes work? These are some of the questions that Richard Ibghy and Marilou Lemmens parse in their art.
Many have wondered why the notion of NSCAD as legendary still circulates. But it’s probably still around for the simple reason that it’s true.
Jaime Angelopoulos’s Toronto studio is filled with her vibrantly coloured and textured sculptures, while her drawings line the walls—take a look inside.
Neïl Beloufa, “The Unfinished Conversation” and Pascal Grandmaison make Bryne McLaughlin’s list of highlights from the past year.
At Susan Hobbs Gallery, Liz Magor gathers a tight selection of recent works that are as much puzzles as sculptures. Bryne McLaughlin reviews.
Dora García speaks with Bryne McLaughlin about “I SEE WORDS, I HEAR VOICES,” on view at the Power Plant in Toronto.
Caroline Andrieux, the French-born curator and founder and artistic director of Montreal’s Darling Foundry, always finds a way to make big things happen.
British artist Tacita Dean discusses her interest in land artist Robert Smithson and science-fiction author JG Ballard, and her commitment to celluloid.
Simon Brault discusses the implications of the Canada Council for the Arts's new funding model, which turns 147 programs into six non-disciplinary ones.
In celebration of Tribe Inc.'s 20th anniversary, Lori Blondeau and Wanda Nanibush discuss the organization's past, and the future for Indigenous artmaking.
Bryne McLaughlin's top three picks of 2014 loom large: artists delving into big data and big science, all under the watchful eye of Big Brother.
Bryne McLaughlin reports on recent debates between art-and-tech leaders in Banff. The ultimate lesson: being human still matters.
Respected Anishinaabe artist Nadia Myre discusses hurt, healing and artmaking as relates to her latest projects on Montreal's Plateau and Senegal's coast.
Quebec trio BGL catch up with Bryne McLaughlin on their installation at Art Toronto, their plans for Venice and their budding relationship with Bonhomme.
Video art goes well beyond the screen—and into sculpture—in an pleasantly open-ended project at Trinity Square Video in Toronto. Bryne McLaughlin reviews.
MOCCA's lease will run out soon—a crisis it takes up in "TBD," a show where artists propose and critique ideas about art museums. Bryne McLaughlin reviews.
In a recent Berlin installation, Kennedy rejigged the logos of Canada's big banks to critical effect. And in this chat, he tells us why.
Los Angeles artist Kerry Tribe wades into the hazy nether regions of shattered mental recall in “Speak, Memory,” an exhibition of three recent film-based installations currently on at the Power Plant. Bryne McLaughlin reviews, considering the fickle nature of remembrance.
Mug shots go monumental in “Pioneer Ladies [of the Evening],” a Winnipeg exhibition that draws upon—and then redraws—histories of the city’s sex trade. In this interview with Bryne McLaughlin, curator and historian Laurie K. Bertram talks about her hopes for the show.
Himalayan peaks meet Queen West sidewalks in Althea Thauberger’s latest Toronto installation, where a massive, billboard-sized image shows Kashmiri actors staging King Lear. In this interview with Bryne McLaughlin, Thauberger discusses the work’s making and meaning.
As part of his latest project, Vancouver artist Samuel Roy-Bois posted an ad promising a rent-free apartment in Canada’s most heated real-estate market. Now, he chats with Bryne McLaughlin about the results.
February is Black History Month in Canada, a tradition that gets a compelling curatorial treatment in “28 Days,” a two-venue Toronto show. Bryne McLaughlin reviews the exhibition, which features Wangechi Mutu, Dionne Simpson and 16 other artists.
Year-end best lists often highlight popular favourites. But looking back over 2011, what lingers for managing editor Bryne McLaughlin are the figures who have gone against the grain—even, impressively, in one of the fall season’s biggest shows.
Michel de Broin's new street-lamp sculpture in New Orleans is a notable return to North America for the artist, who has spent much of the past six years living and working in Europe. In this feature from our Winter 2012 issue, managing editor Bryne McLaughlin takes a closer look at de Broin's work, which is both popular and powerful.
Poetics, politics and paradox multiply in the work of India’s Raqs Media Collective, which has gained wide international attention in the past decade. Last week, as its latest exhibition opened in Toronto, Raqs’ Shuddhabrata Sengupta sat down to chat with Bryne McLaughlin.
With the Toronto International Film Festival launching this week, movie madness is gripping the city. But it’s not just about popcorn flicks; the fest’s also got Wavelengths, an experimental program. Here, Bryne McLaughlin explores its highlights with TIFF’s Andréa Picard.
From Georgia O’Keeffe to Philip Glass, Canada’s Maritimes have inspired many iconic American artists. Now, Quebecer Bertrand Carrière is retracing photographer Paul Strand’s little-known trips to the Gaspé. Find out more in Bryne McLaughlin’s interview.
There’s a certain mystique that surrounds Toronto’s Cameron House, a storied past that forms the focus of “This is Paradise,” a summer exhibition on the bar’s 1980s art heyday. Bryne McLaughlin reviews, gauging the show’s balance between historical and here-and-now.
From Rebecca Belmore to Brian Jungen, a wave of First Nations contemporary art has swept Canada. It’s worth remembering, though, that this wave has precedents in the 1970s. Find out more as curator Cathy Mattes tells Bryne McLaughlin about “the Indian Group of Seven.”
Since the early 1970s, Montreal photographer Lynne Cohen has reshaped the way we see everyday spaces. Now, with a new $50,000 award under her belt and a group show about to open in Venice, Cohen talks with Bryne McLaughlin about her infiltrative oeuvre.
Curators Claude Gosselin and David Liss bet on the benefits of contingency when they themed the current Biennale de Montréal on elements of chance. Managing editor Bryne McLaughlin reviews, finding both payoffs and problems for this fast-and-loose motif.
With solo exhibitions this winter at Galerie René Blouin and Casino Luxembourg, it’s already been a big year for Montreal artist Pascal Grandmaison. Now managing editor Bryne McLaughlin reviews Grandmaison’s current show in Toronto.
Melding collage, photography and kinetic sculpture, Roy Arden’s latest exhibition reframes his wide-angle view of the world. Now, in an interview with Bryne McLaughlin, Arden discusses production circuits, personal cosmology and past atlases.
Whether looking at films, maps or archives, managing editor Bryne McLaughlin found many rich grounds for historical and psychological projection in 2010. In discussing his three year-end picks, he sheds light on these complex effects and more.
Charles Stankievech shapes his Ghost Rockets World Tour from Dawson City
For more than four decades, London, Ontario, artist Murray Favro has been a source of perception-bending sculptural constructions. A new show at Christopher Cutts Gallery, reviewed here by Bryne McLaughlin, reveals the inner components of Favro’s conceptual handiwork.
Biennial fever continues to sweep the globe, and this fall the National Gallery of Canada joins the fray with “It Is What It Is,” a survey of contemporary Canadian art. But what is “it” exactly? Bryne McLaughlin reports on the show and a day of related panel discussions.
Some say that one of the biggest Canadian art biennials actually happens every other year in the States—namely at the regionally focused fest Beyond/In Western New York. Bryne McLaughlin reports on the opening of this fall’s sprawling, Buffalo-based event.
For the past number of years, there's been controversy regarding the future of Halifax’s Khyber Arts Society. Seen by many as a key venue locally and nationally, the Khyber was back in the news this month as a city report recommended a new three-year plan for its space.
Artists Anna Passakas and Radoslaw Kudlinski, better known as Blue Republic, have a knack for drawing perennial truths out of life’s absurdities. Now Canadian Art’s Bryne McLaughlin chats with the pair about “Weather Report,” their latest Toronto exhibition.
What happens when you set a group of artists loose for an anything-goes summer camp in an historic rural village? That’s exactly what Quebec City’s L’Oeil de poisson aimed to find out with its 25th anniversary exhibition “La Colonie.” Here, curator Jean-Michel Ross and Canadian Art’s Bryne McLaughlin discuss the merits of taking art on vacation.
Catastrophes have dominated news this year, from Haiti's earthquakes to BC's avalanches. Now, Bryne McLaughlin talks to curator Sylvie Fortin about “Catastrophe? Quelle catastrophe!” the 5th Manif d’art biennial opening in Quebec City this weekend.
Archival documents, audio works and contemporary art come together to riff on ideas and actualities of the Arctic in the exhibition “Magnetic Norths.” Bryne McLaughlin reviews, reflecting on territorial ambitions both real and imagined.
Dan Perjovschi’s large-scale installations of critically edged drawings on gallery walls have been featured at the Venice Biennale, Tate Modern and other notable venues. With his latest project now on in Toronto, Bryne McLaughlin talks with the artist about his life and work.
Marcel Duchamp and John Cage spring to mind when viewing Guido van der Werve’s latest film at Prefix. As Bryne McLaughlin observes, the intertwining of life, art, chess and music in van der Werve’s work invites rich comparisons.
“Mirroring,” the latest exhibition by Victoria’s Mowry Baden at Diaz Contemporary, consists of no mirrors—at least none of the typical kind. Instead, Bryne McLaughlin notes, Baden’s sculptures offer the idea of reflection as a tactile experience.
With General Motors declaring bankruptcy this week, there’s a lot of focus on the Windsor-Detroit region. Now Windsor Biennial co-curator Lee Rodney shares some thoughts with Bryne McLaughlin on cultural prospects in the area.
There are few contemporary image-makers who capture the essentially chaotic beauty of human existence as well as the Johannesburg-based photographer Roger Ballen. A tight overview of work at the OCAD Professional Gallery clarifies his practice.
Shary Boyle’s magical world is infused with dreams of a distinctly gothic air. Her latest show focuses on new porcelain bat sculptures set alongside pastel drawings, demonstrating further proof of Boyle’s mastery of technique and concept.
Last week Tate announced that Polish sculptor Miroslaw Balka will be the next artist using the massive Turbine Hall. Whether he’ll be able to outdo the current, sci-fi flavoured installation by French artist Dominique Gonzalez-Foerster is an open question.
From JFK at his desk in Life Magazine to blog speculation over Barack Obama’s decorative tastes, there are few better representations of a conflicted sense of history, power and celebrity than the Oval Office. A new UK exhibition by German artist Thomas Demand deconstructs the meaning of this cultural monolith.
The legacy and future of artist-run culture in Canada was on the agenda at this past weekend’s Hot Buttons conference in Ottawa. Even if the conference’s most promising panels also proved to be its most unresolved, there's still good reason to believe ARCs can break from the predictable—just as they originally did four decades ago.
The need to examine the past—personal and otherwise—to make sense of the present is a strong, if not innate, human quality. This tendency gets a fair, though sometimes uneven, treatment in the Power Plant’s summer exhibition.
The centerpiece of Simon Starling’s new exhibition at The Power Plant, Infestation Piece (Musselled Moore), demands some explanation to be fully understood.
Like an old scrapbook that we open years later, “Out of Gas” takes us back to the 1973 oil crisis and reminds us of how much we have forgotten of those times when driving a car was banned on Sundays by many European governments and gas was rationed in the United States.