Thresholds
Nathalie Bachand, Canada Council for the Arts
Fluid, Data, Blood: New Sculptures by Michel de Broin
Anna Kovler, Arsenal Contemporary
Sculpture of Steel, City of Nerves
Bernard Schütze, Espace art actuel
Michel de Broin
Bryne McLaughlin, Art in America
Disruption From Within
Rodney LaTourelle, Plug-In ICA
Interview
Michel de Broin, Etienne Zack, Mass MoCA
Montreal’s Retired Metro Cars Are Staying Busy
Mark Byrnes, City Lab
Michel de Broin BMO Project Room
Bryne McLaughlin, Canadian Art
Where is Michel de Broin?
Anne Schreiber, Art Net Magazine
Michel de Broin at Bitform Gallery
Darren Jones, Artforum
Castles Made of Sand
Bryne McLaughlin, BMO Project Space
Entropic engines and retooled appliances: Michel de Broin and the technological unconscious
Daniel Sherer, Musée d’art contemporain de Montréal
Danger awakens the senses: An interview
Oli Sorenson, MKOS
Interview with Michel de Broin
Regine, We Make Money Not Art
Bright Matter
Sarah Milroy, Canadian Art Magazine
Michel de Broin
John K Grande, Border Crossing Magazine
Cities of Light
Bryne McLaughlin, Canadian Art Magazine
From Mad Scientist to Pied Piper
Shannon Anderson, Canadian Art Magazine
Michel de Broin at Mercer Union
Alex Snukal, Uncubed Magazine
Neue Heimat
Bernard Schutze, Berlinische Galerie
Between the Possible and the Impossible
Nathalie de Blois, Musée national des beaux arts du Québec
Art as Conspiracy
Jean-Ernest Joos, ETC Montreal
Propulsion and entropy
Bernard Schutze, C-Magazine
Reverse Entropy
Thomas Wulfen, Kunstlerhaus Bethanien
Objests for Objoys: the attraction of the unforeseen
Stephen Wright, Semaine
A Logic of Being Against?
Bernard Lamarche, Parachute
Épater la Galerie
Jean-Ernest Joos, Villa Merkel
L’espace public mis à nu par l’artiste même
Jean-Philippe Uzel, Spirale Magazine
Résistance?
André-L. Paré, Etc. Magazine

Michel de Broin, John K Grande

Border Crossing Magazine

Michel de Broin | Étant Donnés
Étant Donnés, 2013

Michel de Broin’s art is rife with sensory ambiguities. A slight attenuation of our conventional association with objects that appear functional, renders them poetic. De Broin’s unusual and exhuberant dislocation of association blends seduction with an art of resistance. Part Duchampian, overtly conceptual, de Broin plays on and with the pragmatism that forms a central feature of contemporary society’s consumer ethos. Then he gives it a twist. With a work like Bleed, a power drill sits on its side spouting water. The Great Encounter has refrigerators interlocked, as if embracing each other. With Trompe, a rifle spirals inwardly, turning on itself. These are awkward conjunctions, and conflict is part of the language, whether overt violence, or simply challenging the way the object works.

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