Nathalie Bachand, Conseil des arts du Canada
Mécanismes entropiques et appareils remodelés : Michel de Broin et l’inconscient technologique
Daniel Sherer, Musée d’art contemporain de Montréal
Les châteaux de sable
Michel de Broin, Inter, art actuel #130
Entre le possible et l’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
Disruption From Within
Rodney LaTourelle, Plug-In ICA
La disspiation sur le virage
Laetitia Chauvin, Esse
A Logic of Being Against?
Bernard Lamarche, Parachute
Michel de Broin, Etienne Zack, Mass MoCA
Michel de Broin BMO Project Room
Bryne McLaughlin, Canadian Art
Montreal’s Retired Metro Cars Are Staying Busy
Mark Byrnes, City Lab
Where is Michel de Broin?
Anne Schreiber, Art Net Magazine
Interview with Michel de Broin
Regine, We Make Money Not Art
Une oeuvre monumentale
Éric Clément, La Presse
Construire des chateaux… Dans le ciel de Toronto
Éric Clément, La Presse
Michel de Broin: une oeuvre publique à sauver
Éric Clément, La Presse
Castles Made of Sand
Bryne McLaughlin, BMO project Space
Le vivre ensemble
Annie Gérin, Presses de l’Université Laval
Un électron libre aux confins des genres
Jérôme Delgado, Le Devoir
Danger awakens the senses: An interview
Oli Sorenson, MKOS
Un Michel de Broin un brin solennel mais redoutable
Benedicte Ramade, Zéro deux
Bright Matter
Sarah Milroy, Canadian Art Magazine
Michel de Broin
John K Grande, Border Crossings magazine
Cities of Light
Bryne McLaughlin, Canadian Art Magazine
Michel de Broin: From Mad Scientist to Pied Piper
Shannon Anderson, Canadian Art
Une éternelle semence
Jérôme Delgado, Le Devoir
Michel de Broin at Mercer Union
Alex Snukal, Uncubed Magazine
Énergie réciproque
Bénédicte Ramade, MacVal
Pièces à conviction
Marie-Ève Charron, Le Devoir
Neue Heimat
Bernard Schutze, Berlinische Galerie
L‘art comme conspiration
Jean-Ernest Joos, ETC Montréal
Propulsion and entropy
Bernard Schutze, C-Magazine
Reverse Entropy
Thomas Wulfen, Kunstlerhaus Bethanien
Objeux pour Objoies: l’attrait de l’imprévisible
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
André-L. Paré, Etc. Magazine

Where is Michel de Broin?, Anne Schreiber

Art Net Magazine


(1) Who are you?
Michel de Broin. I am what I am concentrating on.
(2) Why are you making art?
To say “I make art”, I should have a definite idea about what art is and be able to reproduce this idea – as if I was a machine with a specific purpose. I would rather say, “art is making me”. Art affects and transforms me.
(3) What does your art refer to?
Each work is constructed in relation to its context. Since the context is always changing, I can’t give a general answer to this question.
(4) Who needs your art?
There is no necessity. The conspiracy is to spread the doubt about what is established in order to create the necessity for this new thing and then make it to become real.
(5) What is the purpose of your art?
As a strategy, I often intensify the function to show its absurdity, but I see art as what frees itself from any function or intention.
(6) Who is interested in your art?
I find it difficult to talk about what I do as “my” art, generally said. If someone is interested in something, it belongs to him or her.
(7) What does your art change?
Change is understood as something positive, but we should consider that what we call change as a natural process participates in a progressive and irreversible degradation of resources, slowly forwarding us to an inexorable end. In that sense, it is probably better to not be held responsible for too much change.
(8) Is your art beautiful?
Beauty is a difficult thing. People enjoy what they understand. The task is to share which I don’t intend. The difficulty is to create a solitary instant of beauty and to communicate it.
(9) Which question do you miss here?
Art exists beyond the boundaries of the “individual”; it is always in a relation. I, therefore, miss senseful questions.

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