Christopher Régimbal

About The Author

“Visiting the Agnes Martin exhibition at the Solomon R. Guggenheim Museum in 2016 was a transformational experience. Seeing the horizontal lines of Martin’s late canvases framed by the gentle slope of Frank Lloyd Wright’s distinctive inclined gallery, I couldn’t help but think ’these two things belong together.’ The iconic building was under construction when Martin moved back to New York in 1957, and the museum started collecting her work in 1963. Here is a Canadian-born American artist who is so entwined with the New York art story yet in whose work you can still catch glimpses of the wide open prairies of Saskatchewan. One of the most significant Canadian artists ever to work abroad, Martin and her paintings are admired the world over. It is time to bring her story home to Canada.”

CHRISTOPHER RÉGIMBAL

Christopher Régimbal is a senior exhibitions manager at the National Gallery of Canada in Ottawa. After completing his master’s in art history at Concordia University in Montreal, he spent eight years at the Justina M. Barnicke Gallery and the Art Museum at the University of Toronto as curatorial assistant, and then as the exhibition and projects coordinator. He has coordinated more than thirty exhibitions of modern and contemporary art in museums and galleries across Canada and Europe, including Gauguin: Portraits (National Gallery of Canada, 2019), and Traffic: Conceptual Art in Canada, c. 1965–1980 (Justina M. Barnicke Gallery, 2010–2014). Régimbal also served as curatorial assistant for the Canada Pavilion at the 2009 Venice Biennale.

In addition to his work as an art administrator, Régimbal has published essays and curated exhibitions on postwar and contemporary art. His writing has examined abstract painter Eleanor Mackey, the collective General Idea, and celebrated Minimalist pioneer Sol LeWitt. In 2011 he curated a solo exhibition on the American artist Bruce Nauman. His essay “Institutions of Regionalism: Artist Collectivism in London, Ontario,” published in Fillip in 2014, examined one of the earliest manifestations of artist-run galleries in Canada and its lasting effect on the Canadian art scene.