La Presse, by André Duchesne
Mar 17, 2021
‘‘Submission to the cold. The amplified sounds of a hunting helicopter. Grainy and rough ground underfoot. Terrifying images of migrants greeted at gun point…”
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La Presse, by André Duchesne
La Presse, by Éric Clément
Mar 8, 2021
‘’Les nœuds sauvages sont intimes et majestueux, à la fois élégants et mystérieux, tranquillisants mais aussi troublants à cause de leur rapport à l’infini et à leur mélange de raison et d’intuition.’’
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Peripheral Review, by Madeline Bogoch
Jan 7, 2021
‘‘Tasman Richardson mines the intimate condition of video feedback and capture to explore contemporary practices of vanity and voyeurism.”
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MTL Blog, by Teddy Elliot
Aug 26, 2020
‘‘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.’’
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Canadian Art, by Tausif Noor
Mar 9, 2020
“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.
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ArtForum, by Zack Hatfield
Mar, 2020
One 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.
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Hyperallergic, by Marisa Crawford
Jan 24, 2020
Earlier this month, the first half of Abortion is Normal kicked off at Eva Presenhuber gallery in New York. Bringing together the work of over 50 artists to raise awareness and funding in support of accessible, safe, and legal abortion…
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The New Yorker
Jan, 2020
This influential feminist artist, who moved from Detroit to Canada in the late nineteen-sixties, makes her New York solo début with a powerful show of performance-based photographs and videos.
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Whitehot Magazine, by Johnathan Goodman
Mar, 2019
Tammi Campbell lives and works in Saskatoon Canada, Her show at Arsenal Contemporary NY on the Lower East Side borrowed from major modernists and contemporary artists--Joseph Albers and Frank Stella among them--and then adds quite literally a contemporary cover, in the form of seemingly real package materials--bubble wrap, masking tape, etc.
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Le Devoir, by François Lévesque
Jan 19, 2019
Jennifer Alleyn est de ces cinéastes qui tournent trop peu. Pour toutes sortes de raisons, financières surtout, on ne se le cachera pas. Beaucoup d’appelés, peu d’élus, et encore moins d’éluEs.
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Artforum, by Rachel Churner
Jan 19, 2019
During the inaugural Antarctic Biennale in 2017, held aboard research vessels surrounded by icy desolation, the artist Juliana Cerqueira Leite met the architect Barbara Imhof while working on shee (Self-Deploying Habitat for Extreme Environments), inflatable housing for inhospitable terrain.
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La Presse, by Éric Clément
Jan 18, 2019
Découlant d'un chagrin d'amour durement vécu par Jennifer Alleyn, Impetus est une oeuvre à la fois humaniste, poétique et expérimentale sur la quête du bonheur.
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Canadian Art
Jan 9, 2019
The suggestively placed knobs and shiny surfaces of feminist artist Nicola L’s functional sculptures tempt the viewer to stroke, poke, pull and touch. A commode, coffee table, bookshelf and two “sofas” playing dress-up as furniture invite sublimation and use while mocking the impulse to realize an absurd desire.
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Le Devoir, by Jérôme Delgado
Jul 26, 2018
La mission autour du potentiel créatif des technologies les plus avancées n’a pas changé depuis 2012. Le programme est toujours aussi touffu, les lieux de diffusion, aussi nombreux, le mariage expositions/spectacles, aussi… fastidieux.
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ArtNews, by Alex Greenberger
Aug 21, 2017
Hannah Perry’s densely layered photo-based works at Arsenal Contemporary also addressed this never-ending stream of images. Pictures of eyes, palm trees, and hands, all sourced from the Web, are superimposed on each other in these silkscreened pieces, along with text that hints at violence, both emotional and physical. “Get out of my life,” reads one.
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ArtForum, by Blair Cannon
Jul, 2017
This exhibition views the human body through its dehumanization. The show’s title alone, “Sticky Fingers,” evokes all manner of flesh, tainted and tantalizing. Caroline Mesquita’s carnival of sheet-metal monsters, displayed here as sculptures, also surrounds the artist in her video The Ballad, 2017, where they engage in standoffs and sexual acts.
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Whitewall
May 25, 2017
Hannah Perry‘s “Viruses Worth Spreading” is currently on view at Arsenal Contemporary in New York. On view until July 2, the exhibition of new work is set up as an experiences for the senses.
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ArtReview, by Jeppe Ugelvig
May, 2017
During the performance at her new solo show, British artist Hannah Perry is seen sitting on the floor, hunched over her laptop and typing while smoking a cigarette. In the dark room around her, a group of performers bounce off contorted white blobs in plastic and foam scattered on the ground, momentarily enacting postures of affect such as longing, despair, anger and desire.
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