The DHC/Art Foundation’s latest exhibition Re-Enactments boldly suggests that we have reached an era where new ideas can only arise through a rediscovery of the past.
In this review of “Signals in the Dark: Art in the Shadows of War,” writer Ashley Johnson notes that while “it’s questionable how effective art can be in changing public perception of war, but it’s important to continually challenge the military mindset,” as he believes is the case in this “extraordinary” exhibition.
Last October, Le Mois de la Photo à Montréal celebrated its 10th incarnation with an openingnight bash in the recently renovated Video Rooms, located in the working-class neighbourhood of Saint-Henri.
Folk tales, memories and Lewis Carroll inhabit the mind of Jude Griebel.
Warhol’s idea that a copy of a copy is an original is one of Vik Muniz’s most powerful propositions.
Unravelling the threads of meaning in the 13 images that constitute Sue Lloyd’s newest body of digital work, “VOID,” resembles the impossible task of reading for univocal meaning in Virginia Woolf ’s experimental novels.
The 19th century was an extraordinary period of colonization and cultural expansion. The European powers vied with one another to seize land and explorers were dispatched to open and record these new worlds, annexing territories as they went.
The desire to make paintings that reflect the ephemeral character of moving pictures is a time-honoured aspiration.
Potential pain lurks in Dean Drever’s show “Big Guns,” which features works that raise questions about who has the right to inflict violence upon others.
As its title suggests, David Urban’s “Actual Fiction” amounts to a one-man status report on the elusive ideals of reality and truth: an ugly-beauty, eat-the-document affair.