Marc Quinn
Last fall, Montreal’s newly established DHC/ART Foundation opened its sleek space with an ambitious mandate to exhibit and otherwise support international contemporary art and a show by the British sculptor Marc Quinn. The slim but insightful catalogue points the way to an understanding of why Quinn’s art is sometimes regarded as offensive or shocking—it persistently reminds us of something we do everything in our power to forget or hide: that each of us lives in a vulnerable, imperfect physical body that is destined to change over time. Quinn’s practice, by extension, slyly exposes the complicit role that art itself, with its built-in function of monumentalization, plays in this cycle of denial.
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