Sitemap - 2023 - ArtInMontreal’s Newsletter
On the Political Economy of Contemporary Art [Part I]
Book review: Sophie Dubois' Refus global: Histoire d'une réception partielle
Reviews: MOMENTA (IV): Ehlers, Blass, jung, Nguyen, Clarke, Leeson, Payette, Gallardo
Review: L’œil attentif at Fondation Guido Molinari
Reviews: MOMENTA (Part II): Marion Lessard at Galerie de l'UQAM | Marianne Nicolson at Centre Vox
Review: MOMENTA: Biennale de l’image 2023 (Part I)
The Birth and Death of the (Original) Montréal Biennale (1998-2011)
Review: espace art actuel's "PornO" issue
Review: Group show Volupté at Blouin | Division
Review: Peinture fraiche et nouvelle construction 2023 at Art Mûr
Review: Molinari, The Seventies at the Guido Molinari Foundation
Review: Lori Blondeau's I’m Not Your Kinda Princess at Dazibao
Reviews: Manuel Poitras at Circa | Jannick Deslauriers at 1700 La Poste
Review: Guillaume Lachapelle's Extrapolations at Art Mûr
Reviews: Louise Robert at Simon Blais | Didier Morelli at Skol
Review: Sophie Jodoin's d’un seul souffle at Artexte
Plural: The Montreal Contemporary Art Fair 2023
Reviews: Benoit Blondeau at Galerie COA | Marie-Andrée Gill at Galerie UQAM
Review: Nicolas Grenier's Esquisses d’un inventaire at Bradley Ertaskiran
Review: Mathieu Gotti at Art Mûr | Crystal Deer at Shé:kon Gallery | Maison modèle at Centre Clark
Past Triennale québécoise: Paradoxical Withdrawals
Review: Anne-Marie Proulx's Être jardin at Vox
Review: Peter Gnass' La multitude déchue at Art Mûr
Review: Clint Neufeld’s All hat No cattle and Aralia Maxwell’s Evolving Palate at Art Mûr