In their exhibition “MakeBelieve,” the curators Catherine Crowston and Barbara Fischer presented 10 artists “for whom representation is like a magic trick.” Operating on the premise that reality in art is a fictive construct—an imagining of the mind—the exhibition recalibrated the concept of the suspension of disbelief.
Steven Shearer’s exhibition gives an audience insight into a private world realized and documented through the obsessive collecting of images. Shearer’s collecting focuses on music, heavy metal in particular—a preference that resonates in the city of Birmingham, birthplace of Black Sabbath and Judas Priest.
As part of a recent spell of Luc Tuymans fever in Antwerp, Zeno X Gallery presented an exhibition of the artist’s new watercolour works on paper. The series The Spiritual Exercises investigates one of Belgium’s “ghosts,” the Jesuit order.
The natural world is a source of endless delight—if you don’t have to go outdoors to enjoy it. Having grown up in rural Canada, I harbour no sentimental feelings toward Mother Nature or her alleged charms.
Encountering Laurel Woodcock’s walkthrough wall texts at the Banff Centre was akin to seeing fragments of an invisible narrative surfacing from the surrounding architecture. The artist selected excerpts of dialogue and stage direction from movie scripts, fashioned the words in adhesive lettering and installed them onto interior walls and doors.
At the back of the darkened room, you see a projection: a drunk, well-dressed man falls down a staircase, hits bottom and then rolls back up to the top again. It is found footage caricaturing Sir Henry Pellatt, the original owner of Toronto’s Casa Loma, and its tragicomic spirit fills the room.
The art of Neo Rauch makes you feel at one with your inner spaniel. It makes you tilt your head, cock your ear and think, “I hear what you’re saying, but I am at once dumbfounded and elated by the incomprehensibility of your words.”
Sculpture, performance and photography found fusion in the exhibition “Rearrangements” at Gallery 44. Katy McCormick’s astute curation bridged aesthetic, geographical and generational divides, pairing the wall assemblages of Victoria’s Lynda Gammon with the Stacked Hotel Room photographs and videos of the British duo Sonya Hanney and Adam Dade.
Equinox Gallery, Vancouver