Polish artist and architect Natalia Romik speaks with Arcade about her exhibition Plague Crystals, now at Koffler Arts, and why fragile, translucent towers of crystal might hold what haunts us better than any stone monument.
An ongoing inquiry into the art and ideas of our time.
Forty-nine years after a York University class concert that never quite ended, Eric Cadesky on candlelight, breakage, and the world’s only ensemble that builds, plays, and tours its own glass instruments.
A new exhibition at Berlin’s Topography of Terror Foundation explores through diaries, propaganda messaging, and personal artifacts how much Germans knew about the Holocaust while it was happening.
Approaching 80, the celebrated Belgrade-born artist insists with her new exhibition at Gropius Bau that "Now it is the right time to talk about eroticism."
The pioneering Toronto multidisciplinary artist speaks with filmmaker Egoyan about the thinking and creative process behind her latest work, As If by Chance..., and the two types of prejudice faced by elder artists.
A panel discussion on the uses and abuses of how urban dwellers think about their relationships with nature, patterns of gentrification in Toronto, and how people have been inhabiting spaces like the Don Valley much longer than people assume.
Everything the wind blows on has decisions to make. The latest novel from Sarah Hall joins a growing conversation about non-human consciousness—and explores it with more joy, and more filth, than your average climate novel.
With her new exhibition, Glorious Catastrophe, Toronto artist Gillian Iles seeks out the paradoxes and possibilities in moments of extreme transformation.
Toronto artist Kalmplex talks with curator David Liss about the inspirations behind his current exhibition at Koffler301 and his worries over the city losing its places of culture and connection.
A Berlin exhibition of the beloved filmmaker's paintings and installations testifies to Lynch's 30-year connection with the city, from photographing its derelict urban spaces to an aborted attempt to establish a centre for Transcendental Meditation in Teufelsberg.
An exhibition at the Jewish Museum Berlin, offers a penetrating glimpse of the legendary documentarian as he begins to unravel the complex layers of the Shoah, and the challenges of capturing the presentness of the past.
Theatre designer Teresa Przyblski on creating an environment for William Kentridge’s film series Self-Portrait as a Coffee Pot, where immersion begins with restraint.
Actor, producer, and director Alon Nashman discusses World Play, an ongoing series of readings performed in multiple languages around a theme, and the pleasures of deep listening.
Polish artist and architect Natalia Romik speaks with Arcade about her exhibition Plague Crystals, now at Koffler Arts, and why fragile, translucent towers of crystal might hold what haunts us better than any stone monument.
Approaching 80, the celebrated Belgrade-born artist insists with her new exhibition at Gropius Bau that "Now it is the right time to talk about eroticism."
The pioneering Toronto multidisciplinary artist speaks with filmmaker Egoyan about the thinking and creative process behind her latest work, As If by Chance..., and the two types of prejudice faced by elder artists.
A panel discussion on the uses and abuses of how urban dwellers think about their relationships with nature, patterns of gentrification in Toronto, and how people have been inhabiting spaces like the Don Valley much longer than people assume.
With her new exhibition, Glorious Catastrophe, Toronto artist Gillian Iles seeks out the paradoxes and possibilities in moments of extreme transformation.
Toronto artist Kalmplex talks with curator David Liss about the inspirations behind his current exhibition at Koffler301 and his worries over the city losing its places of culture and connection.
A Berlin exhibition of the beloved filmmaker's paintings and installations testifies to Lynch's 30-year connection with the city, from photographing its derelict urban spaces to an aborted attempt to establish a centre for Transcendental Meditation in Teufelsberg.
Theatre designer Teresa Przyblski on creating an environment for William Kentridge’s film series Self-Portrait as a Coffee Pot, where immersion begins with restraint.
Patrick Pittman on David Blackwood’s lifelong devotion to the stories and storms of Newfoundland—and the fragile work of keeping a place, and its ghosts, from slipping away.
The doubles and divided selves who populate the world of Severance are no less fragmented than the ones we inhabit everyday. Carl Wilson unravels the TV show's eeriest truths.
As with so much of her writing, Durga Chew-Bose’s directorial debut is an exercise in the poetics of close observation and studied nonchalance. But is there anything deeper going on beneath its perfectly impenetrable surface?
Everything the wind blows on has decisions to make. The latest novel from Sarah Hall joins a growing conversation about non-human consciousness—and explores it with more joy, and more filth, than your average climate novel.
Actor, producer, and director Alon Nashman discusses World Play, an ongoing series of readings performed in multiple languages around a theme, and the pleasures of deep listening.
Tia Glista unravels the Möbius strip of narrative in Catherine Lacey’s latest book—a hybrid of memoir and fiction, about a recent break-up and an earlier loss of faith—and reflects on her own break with God, and what faith means in the first place.
In No Fault, Haley Mlotek searches for the language of love’s quiet undoing—from grief to the unexpected grace that comes with choosing to leave a marriage. Patrick Pittman traces what happens when cultural expectations, legal reform, and literary form converge in the finality of divorce.
Maybe true artistic freedom isn’t about about perseverance, but knowing exactly when to stop. Jowita Bydlowska reflects on the decision by her mentor and friend Barbara Gowdy to quit writing.
Revisiting Cynthia Ozick’s writings on Helen Keller and Anne Frank, both included in the writer’s new career-spanning essay collection, are reminders that all Ozick’s tales feel like cautionary ones—it’s just not always clear what to avoid or how.
When it comes to 20th century intellectual power-couples, no two represented more disparate ideas about marriage and freedom than the chain-smoking liberationists Sartre and de Beauvoir on the one hand, and the neoliberal economists Milton and Rose Friedman on the other.
The question of whether plants could have consciousness has not been left quietly back in the ’70s, as Linda Besner discovers in Zoë Schlanger’s new book, The Light Eaters.
Forty-nine years after a York University class concert that never quite ended, Eric Cadesky on candlelight, breakage, and the world’s only ensemble that builds, plays, and tours its own glass instruments.
How Toronto’s early punk scene erupted into life, shaped by art school, DIY spaces, and a city steeped in constraint, boredom, and borrowed influence—told by people who were there.
Poet and playwright Titilope Sonuga on her new libretto for Stravinsky’s 1918 theatrical work being performed by the Art of Time Ensemble, inspired by the story of the Canadian army’s first all-Black battalion.
If singers and musicians are our culture’s de facto philosophers of love, what do their sometimes headline-grabbing relationships tell us about the art of creating together.
In collaboration with Koffler Arts, the Art of Time Ensemble are heading back to the Weimar era for one of their final shows. We spoke to the ensemble’s director Andrew Burashko about his journey into the legendary “human swamp of unfettered sexual desire.”
Soundstreams’ inaugural event of the new season brings together two of the great Jewish artists of the twentieth century—the artist Mark Rothko and composer Morton Feldman.
Actor, director, and playwright Christopher Morris on the intensive research and moral questioning behind his play The Runner, opening this week in a new production presented by Koffler Arts.
“The Synagogue at Babyn Yar: Turning the Nightmare of Evil into a Shared Dream of Good” is as much an exhibition about how to memorialize a traumatic, genocidal event as it is about the synagogue itself. To mark the end of its run at Koffler, we look back at how this unique show came together.
Commentary from the concluding panel discussion at the half-day symposium “Babyn Yar, the Holocaust and Beyond: Architectures of Memory”, organized by Koffler Arts.
An interview with Oleksiy Makukhin, CEO of the Babyn Yar Holocaust Memorial Center, on how Russia's invasion of Ukraine has disrupted the centre's activities and forced it to question its approach to memorialization.
Manuel Herz, the Basel-based architect behind a new synagogue on the site of the Babyn Yar massacre, challenges prevailing notions of memorialization in architecture.
