features – Page 9 – dArt International Magazine

March 19, 2021March 15, 2022

Acts of Erasure: Museum of Contemporary Art Toronto

by Emese Krunak-Hajagos

Fatma Bucak, And so we were told, 2020, (installation from the series Remains of what has not been said, 2016), installation view: Acts of Erasure, MOCA Toronto, 2020. Photo: Toni Hafkenscheid — Fatma Bucak, **And so we were told**, 2020, (installation from the series Remains of what has not been said, 2016), installation view: Acts of Erasure, MOCA Toronto, 2020. Photo: Toni Hafkenscheid

Acts of Erasure at the Museum of Contemporary Art (MOCA), Toronto is a stunning installation that brings two prominent artistic practises together into a dialog. Fatma Bucak and Krista Belle Stewart come from different geographical areas and heritages. Bucak was born in Iskenderun, on the Turkish-Syrian border and identifies as both Kurdish and Turkish. She now resides in London, UK. Stewart is a member of the Okanagan Nation in British Columbia. Their thoughtful work integrates interlocking layers of the historical, the political and the emotional.

March 12, 2021March 18, 2022

Adrian Ghenie: The Hooligans

by Mary Hrbacek

Adrian Ghenie, The Impressionists, 2020, oil on canvas, 86-5/8″ × 118-1/8″ © Adrian Ghenie, courtesy Pace Gallery.

Pace presents “Adrian Ghenie: The Hooligans,” an exhibition of nine large-scale semi-abstract oil paintings and three charcoal drawings rendered on paper. The term “hooligans” refers to an underground group of individuals who ignore the limitations of polite society, shaping their lives to be free of constraints. In his powerful new works, Ghenie explores the artists who formed movements that rocked established academies, challenging the status quo of their times with new visions of transformed realities, reinvigorating art in the process.

March 5, 2021March 18, 2022

Church and Rothko: Sublime

by Mary Hrbacek

Frederic Edwin Churh, "After the Rainstorm," oil on canvas mounted on panel, 22 1/2 x 33 1/2, 1875 — Frederic Edwin Churh, “After the Rainstorm,” oil on canvas mounted on panel, 22 1/2 x 33 1/2, 1875. *Courtesy of Mnuchin Gallery, New York*.

“Church and Rothko: Sublime,” an exhibition of twenty-seven oil paintings on canvas, brings into focus, in the context of the ‘Sublime,’ the similarities and divergences of two deeply contrasting artists who extended the art of painting to suit their overriding visions, separated by a span of nearly 100 years.

February 7, 2021March 18, 2022

Senses Return – Miami Style

by Rupert Ravens

*Detail of Hebime acrylic on wood panel work.*

Covid-19 has smacked down our opportunity to congregate. A resulting casualty was Miami’s 2020 art bacchanal.

Fair and venue cancellations have rapidly spawned OVR (online viewing rooms). Ouch. Tech’s solution is gimmickry compared to centuries of human UX (user experience) with nature. Can any screen deliver the ultra-high infinite resolution of in-person reality?

January 16, 2021March 18, 2022

Still Sizzling… Top Ten Artists from the last live Art Basel Fair week

by Gae Savannah

*Detail of Gabe Brown, Flow, 2019, oil on linen over wood panel*

I’m dreaming of Miami. Art is a living presence, an intelligence outside of that which we already possess. Among the blows of this pandemic year, the loss of experiencing art in real space is a deep darkness. In the ecstatic buzz of a live fair, one answers the call of one booth, one artist, one artwork at a time. Dumbstruck, you feel the materiality open up in heart and mind, change, and grow.