Geneviève Robichaud in Conversation with Benjamin Klein: “Fabrications” a Pop-Up Show

Geneviève Robichaud (GR): You’re curating a Pop-up group show with Margot Ross. What is the show’s intention? What was the curatorial frame/aim? How did you choose the work? Benjamin Klein (BK):…

Chantale Potié Short Take on Beat Nation: Art, Hip Hop and Aboriginal Culture

BEAT NATION: Art, Hip Hop and Aboriginal Culture MACM, October 17 2013 – January 5 2014 By Chantale Potié I see the colour red and think of a beating heart,…

Version Anglaise: Candice Maddy in Conversation with Steve Giasson

  1. Matérialité : Comment pensez-vous que la permanence ou l’impermanence de votre travail éclaire son sujet? Vous sentez-vous que vos œuvres moins tangibles ou de nature moins permanente vous permettent…

Words into Pictures: An Interview with Julie Doucet

By Frederik Byrn Køhlert Julie Doucet is a Montreal-based artist who reached an international audience with her personal and innovative comics from the ’80s and ’90s. While her comics work…

Theatres of the Catastrophal: A Conversation with Nathanaël

By Geneviève Robichaud On the occasion of the release of her most recent book, Sisyphus, Outdone. Theatres of the Catastrophal (Nightboat Books, 2012), Nathanaël and I shared a conversation. Geneviève Robichaud: It is…

The Artist Is Present: J. Mae Barizo on Marina Abramović

By Melissa Bull I met J. Mae in St. Petersburg, Russia, in 2007. We were both enrolled in writing classes with Summer Literary Seminars. J. Mae’s poetry workshop was in…

Sol Lewitt: Sentences on Conceptual Art

Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. Rational judgements repeat rational judgements. Irrational judgements lead to new experience. Formal art is essentially…

Centre Skol, "11"

Candice Maddy en conversation avec / with Steve Giasson

J’aurais envie de répondre comme Warhol : « …I realized that everything I was doing must have been Death. » La mort m’obsède, mais je ne peux pas dire qu’elle « m’intéresse ». J’aime cette histoire de Freud qui raconte qu’il y a longtemps, un roi britannique, atterré par la mort de sa femme, la fit transportée dans tout le royaume. Chaque fois que le cercueil fut déposé au sol, on éleva un monument à cet endroit. Certains de ces monuments existent encore aujourd’hui. Imaginons, poursuit Freud, une femme allant pleurer chaque jour devant l’un d’eux. Cette femme serait une névrosée. Je me trompe peut-être, mais il me semble que ça a quelque chose à voir avec l’art. Beaucoup d’œuvres sont des monuments qui se cachent.

Motherhood in the Work: An Inte[re]view of Montreal Visual Artist Frédérique Ulman-Gagné

I was trying to work in the house and I had a very young child that was always beside me and naturally he started picking up the paints. I would…

Writing As Performance: An Interview with Chris Kraus

Writer, filmmaker, and professor of film, Chris Kraus’ books include I Love Dick, Aliens & Anorexia, and Torpor. Her films include Gravity & Grace, How to Shoot a Crime, and…

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