The Halifax Conference presents a transcript of a conference held at NSCAD on October 5–6, 1970, transcribed and adapted by artist Craig Leonard. Organized by Seth Siegelaub. Attendees included Carl Andre, Joseph Beuys, Jan Dibbets, Robert Morris, Robert Murray, N.E.Thing Co. Richard Serra, Robert Smithson, Michael Snow, Lawrence Weiner and others.

Border Crossings report on AGNS exhibition “Sense of Site”. Artists took different approaches to presenting versions of their “Landmarks 2017/Repères 2017” site-specific projects. The original project was set in national parks and historical sites across Canada, featuring work by Michael Belmore, Ursula Johnson, Camille Turner and other artists.

Maura Doyle presents new screenprinted works based on her daily practice of mind-stream journaling and left-hand ink drawing. Doyle brings her background in artist publications to her Open Studio residency. The creation of her Vitruvian Mother (Flesh Knot) (2019) prints are drawn in counterpoint to the classical proportion and symmetry of Da Vinci’s Vitruvian Man.

Adrian Göllner's As the Crow Flies is a public art installation at Ottawa's LRT Bayview station. The 120-metre installation of tubular steel and fencing suggests the topography of the Gatineau Hills and rooftops of Mechanicsville as it mimics a crow's flightpath. Sandra Abma for CBC News.

This two-person exhibition brings into dialogue the work of the Australian Aboriginal artist Yhonnie Scarce (Kokatha and Nukunu peoples) and the Canadian First Nations artist Michael Belmore (Ojibway).

In Joi T. Arcand’s solo exhibition “she used to want to be a ballerina.” Arcand suggests a way to exist and dream in a re-imagined world, while not forgetting her indigeneity.

The biennale theme, The Life of Things, references consumption, overconsumption, material culture, and the still life in an age of environmental crisis, among other concepts.

Remai Modern will debut Amalie Atkins’ most expansive film project to date on April 5. Amalie Atkins and The Diamond Eye Assembly is a trilogy of films that explore ancestral connectivity and the retrieval of distant memories. Curator Sandra Fraser. Remai Modern’s first artist’s edition, an original 50 edition screen print of Atkins’ will also be released.

New Publication: ARCHI-FÉMINISTES! Art contemporain, théories féministes / Contemporary Art, Feminist Theories

Craig Leonard’s Casting the Conference, a five-part theatrical re-enactment of the 1970 Halifax Conference, was staged at Anna Leonowens Gallery in June 2016. The roster of participants of the conference included Joseph Beuys, Lawrence Weiner, Michael Snow, Carl Andre, Robert Morris and N.E. Thing Co., among others. Craig Leonard is an associate professor at NSCAD.

To me, Arcand’s work is land and spirit medicine (maskihki), taking up space and commanding presence in materiality, form and location. Arcand honours the Indigenous grandparents by marking the space for Cree speakers and shifting the balance of power in colonial structures.

The Thunder Bay Art Gallery is proud to officially announce the acquisition of Cell by artist Frank Shebageget. Made of nylon fishing nets, steel hooks, aluminum angles, and rods, this minimalist work evokes the act of fishing. Shebageget states 'I am very proud to have Cell housed in my traditional territory at the Thunder Bay Art Gallery'.

This publication accompanied Michael Belmore And A.J. Casson: Nkweshkdaadiimgak Miinwaa Bakeziibiisan / Confluences And Tributaries.

Adrian Göllner’s All the Birds I Saw Last Year, at Central Art Garage tracks the number of birds he observed and recorded on his cellphone in the course of his day-to-day life in Ottawa over one year. The result is an exercise in conceptual ornithology that draws critical attention to environments both inside and outside the gallery.

A small second-floor gallery, was recently the site of Kennedy’s exhibition “Remembering Names.” Here Gary Neill Kennedy (now 83 with dementia) has extended a project initially conceived in the early 1970s, in which he attempts to recall and record the names of people he has met since childhood. Review in Canadian Art by Craig Leonard, Najet Ghanai, and Ryan Witt.

Concord Park Place's Woodsy Park to Feature Public Art, Ebb and Flow by Sculptor Michael Belmore. Large erratic boulders, unearthed during construction were carved on site. In embellishing these stones Belmore speaks to the stone's original state of liquid fire, and the ebb and flow effect of ancient glacial forces of ice and water.

Joi T. Arcand is one of the five finalists for the 2018 Sobey Art Award. ᐁᑳᐏᔭᐋᑲᔮᓰᒧ (ekawiya akayasimo), 2017, on-site installation at the Winnipeg Art Gallery. A short video features her work exploring the Cree language, envisioning the language and the culture flourishing despite centuries of suppression by settler colonialism.

MICHAEL BELMORE is paired with the legendary painter A.J. Casson in Confluences and Tributaries / Nkweshkdaadiimgak Miinwaa Bakeziibiisan

Michael Belmore asserts an Indigenous, Anishinaabe world view, re-affirming cultural knowledge into the stories told by the mountains, lakes and rivers which make up the land now geographically defined as Canada. The places depicted in Casson’s ɶuvre are places which, historically, bore spiritual and cultural importance to the various Indigenous peoples of the region. Many of these sites are marked with the experiences, legends and knowledge of generations of Anishinaabeg through the pictographs (rock art) which still inhabit these landscapes.

Mitchell Wiebe: VampSites is an exhibition as temporary occupation. Halifax painter, performer, and installation artist Wiebe plays with the procedures and boundaries of painting, with the ebb and flow of its credibility. October 17 to April 2 2018 at the Confederation Centre, Charlottetown, PEI. Curated by Pan Wendt.