Thresholds
Nathalie Bachand, Canada Council for the Arts
Entropic engines and retooled appliances: Michel de Broin and the technological unconscious
Daniel Sherer, Musée d’art contemporain de Montréal
Between the Possible and the Impossible
Nathalie de Blois, Musée national des beaux arts du Québec
Sculpture of Steel, City of Nerves
Bernard Schütze, Espace art actuel
Michel de Broin at Bitform Gallery
Darren Jones, Artforum
Michel de Broin
Bryne McLaughlin, Art in America
Michel de Broin BMO Project Room
Bryne McLaughlin, Canadian Art
Disruption From Within
Rodney LaTourelle, Plug-In ICA
A Logic of Being Against?
Bernard Lamarche, Parachute
Interview
Michel de Broin, Etienne Zack, Mass MoCA
Fluid, Data, Blood: New Sculptures by Michel de Broin
Anna Kovler, Arsenal Contemporary
Where is Michel de Broin?
Anne Schreiber, Art Net Magazine
Montreal’s Retired Metro Cars Are Staying Busy
Mark Byrnes, City Lab
Interview with Michel de Broin
Regine, We Make Money Not Art
Castles Made of Sand
Bryne McLaughlin, BMO Project Space
Danger awakens the senses: An interview
Oli Sorenson, MKOS
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
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
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 at Mercer Union, Alex Snukal

Uncubed Magazine

 

“When asked in an interview with art net Magazine about the potential for change in his work, 2007 Sobey prize winner Michel de Broin claimed, “it is probably better to not be held responsible for too much change.” For de Broin, change is inextricably linked with death; it is always involved in the degradation of finite resources “slowly forwarding us towards an inexorable end.”2but what are we to make of an artist who refuses to be held responsible for change yet whose practice centers on the sly transformation of objects and their uses?”

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