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‘‘The exhibition presents a very eloquent portrait of where we currently are as a society, wavering between mimicry and stand-off, wallowing in the nostalgia of good pre-digital times, and looking at meaning outside of ourselves.”
Read More‘‘Un coup de cœur absolu pour cette œuvre poignante et magistrale’’. Carne y arena sera présentée à Montréal à compter du 18 décembre jusqu’à la fin mars à Arsenal.
Read More‘‘There are few art exhibitions that offer an interactive experience and even fewer that offer a completely hands-off interactive experience. Cercanía is one of those rare, completely unique experiences.’’
Read MoreThe internationally-acclaimed Lozano-Hemmer and his collective of 15 artists have put together "ambitious, immersive audiovisual installations" centred around the themes of proximity and shared space.
Read MoreCercanía, qui signifie en espagnol proximité physique, mais également intimité et empathie, va te transporter dans un univers complètement hypnotisant.
Read MoreSe rapprocher, mais jusqu’où ? Comment ? Pourquoi ? Rafael Lozano-Hemmer répond à toutes ces interrogations avec Cercanía, exposition et résidence de création qui regroupe plus d’une dizaine de ses œuvres.
Read MoreFrappé de plein fouet par la COVID-19, qu’il a contractée dès le début de la pandémie, l’artiste multimédia d’origine mexicaine Rafael Lozano-Hemmer s’est plongé – une fois remis – dans le projet Cercanía…
Read More‘‘Cette résidence pour moi, c’est le développement de quelque chose pour produire l’intimité, la complicité, la connexion, des liens entre les personnes…’’
Read MoreArsenal art contemporain Montréal a le plaisir d’accueillir Rafael Lozano-Hemmer, artiste de renommée internationale, pour une résidence de création intitulée Cercanía.
Read MoreAs galleries around the world begin to slowly reopen, we are spotlighting individual shows—online and IRL—that are worth your attention.
Read MoreA look at what the female gaze really means in the time of Coronavirus, as seen through the eyes of eight artists, tackling subjects from loneliness to ageing to disease.
Read MoreShelley Adler’s portraits of women are striking. With a deft economy of forms she captures the enigmatic quality of the human gaze, loaded as it is with the sorrows, pleasures, and hopes of individual experience.
Read More“The first truth is the form,” instructs a deadpan, disembodied male voice in Suzy Lake’s 1975 video The Natural Way to Draw, in which the artist, caked in a layer of white paint, shades lines and contours across her face, pausing briefly to take puffs of her cigarette.
Read MoreWith so many of the galleries we love closed for the forseeable future, many by appointment only, we are just catching up and reminding people that some great curated shows were happening recently that deserve attention.
Read MoreJoin artists Bambou Gili, Eliza Griffiths, Nadia Waheed, Janet Werner, and the curatorial fellow at the New Museum Jeanette Bisschops for a conversation in conjunction with the exhibition “This Sacred Vessel (pt.2).”
Read MoreOne of the first things Suzy Lake did after moving to Montreal in 1968 from her native Detroit—a city whose fiery upheavals had recently jolted her into political consciousness—was enroll in mime school at the Théâtre de Quat’Sous.
Read MoreThe first iteration of this group exhibition explored the ways in which climate change is influencing the firmly-entrenched tradition of landscape painting.
Read MoreFor the past six years, photographer Véronique Duplain has spent the month of February on a project that tests the limits of what the artist can achieve in one day.
Read MoreLa popularité de l'exposition immersive Imagine Van Gogh a engendré une deuxième prolongation d'un mois. Mais ce sera la dernière.
Read MoreAlthough Andreas Angelidakis trained as an architect, his art practice routinely attempts to decenter the architect’s role in building by giving his audience the task of constructing.
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