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Reviews

François Lacasse

François Lacasse

The Montreal artist François Lacasse is nestled in one of those rare sweet spots for a painter: where the technical means and the aesthetic end are the same, leaving the viewer sometimes wondering whether he is looking at art or craft.

Pulp Fiction

Pulp Fiction

A review of "Pulp Fiction," a group exhibition at Museum London, from the Winter 2008 issue of Canadian Art magazine.

Sophie Calle

Sophie Calle

For 30 years the Paris-based artist Sophie Calle has been preoccupied with boundaries—especially those between private and public.

theanyspacewhatever: Collapsing Institutional Spaces, or Having Fun Trying

theanyspacewhatever: Collapsing Institutional Spaces, or Having Fun Trying

Relational aesthetics is an ever-more-popular aspect of art festivals and shows across Canada. Now the trend is given international perspective in “theanyspacewhatever,” a wacky assemblage of sculpture, installation and video at New York’s Guggenheim.

Jean-Paul Jérôme in Review: Hard-Edge Heaven

Jean-Paul Jérôme in Review: Hard-Edge Heaven

Montrealer Jean-Paul Jérôme was a reclusive, solitary artist, often overshadowed on the scene by his brasher, younger counterparts. But as a recent exhibition showed, his mastery of shape and colour deserves renewed recognition.

James Lahey in Review: Imperfect History

James Lahey in Review: Imperfect History

James Lahey's skull paintings offer a meditation on life and death, but may also draw the viewer into an obsessive questioning. At his spring 2008 show in London, phrases inscribed into steel reinforced the philosophical effect.

The Big Gift in Review: Homefront Helpfulness

The Big Gift in Review: Homefront Helpfulness

Jeff Spalding has kickstarted an art-appreciation movement in Calgary with “The Big Gift” and its display of hundreds of recent donations. At a time when the federal government has axed millions of dollars from the arts, it’s a great example of homefront support.

Evan Lee

Evan Lee

In his exhibition “Drawn from Memory,” Evan Lee, in a departure from his forays into photographic experiments and still life, takes up subject matter drawn from the everyday. Whereas his previous work often played with double meanings in a somewhat surreal, paranoid-critical way, here Lee favours a direct representation of his subjects.

Simon Starling

Simon Starling

Simon Starling’s exhibition “Cuttings (Supplement),” at The Power Plant, is part of an ongoing dialogue between artist and gallery that draws on several years of mutual support. (The Power Plant helped realize his 2005 show “Cuttings” at the Museum für Gegenwartskunst in Basel.)

Francine Savard

Francine Savard

On late-winter afternoons, daylight casts a shadowy industrial grid across the white walls and mottled cement floor of Diaz Contemporary’s main space.