I always like to think that the reason so many artists migrate to Montréal is due to a powerful mythical draw, which only the hypersensitive or the slightly insane are attune to.

But now this group Making It Montréal wants to rain on my parade by having rational discussions about why so many artists choose to live and work here. Still, after being snowed, sleeted and rained on for four solid months, I guess even I could use some explanation of what we are all (still) doing in this city.

The March 2nd event will be the second discussion and first show put on by Making It Montréal, who make it their mandate to present the perspectives of Anglophone artists who have chosen to call Montréal home. The discussion coincides with a showing of some fine, fine printmaking by the super-talented Kiarra Albina, Tyler Rauman,Jesse Purcell and Harley Smart. I recommend staying far, far away as they are selling work during the vernisage and you may experience strong compulsions to buy some.

The folks at Circo Hiverno sure don't need me to tell them that that their quirky variety act, ranging from stunning dance performances to an offbeat magic show delivered by a some guy in a used car salesman getup, was extremely successful. I don't doubt from the loudly appreciative packed house on Friday night that all three of their latest performances mark another victorious round for this circus act.

One of my favorite things about the show is that there is no overarching theme or grand guiding concept. What do a drunken Jazz singer, a quirky janitor and a daring aerialist have in common? Not that much, apart from all being awesome. Despite this, the many different acts were well integrated, each one led seamlessly into the next as each performer tried to outdo the last.

Last Friday, the 22nd of January, three very different artists presented their work together at EasternBloc. While I often associate EasternBloc with the loud, the wild and the psychedelic, this gathering was quiet and contemplative.

One of six plays featured at this year's Wildside Festival, Dust is the story of two soldiers working in the Abu Ghraib, falling in love in a desperate situation.

Written and is this case directed by Jason Maghanoy, the play has been performed several times since 2006 when it was first presented as a solo show at the National Theatre School of Canada. For the Wildside, the two main (and only!) characters are played by Brandon Coffey, in the role of Jonathan and Jessica Moss, as Jenny. Both actors really give this play a lot- delivering energetic performances that pull off everything from sweetly sincere to chillingly sinister. Jessica Moss pushes especially hard at these limits, showing both a charming exuberance as well as a chilling lack of empathy or understanding.

Two artist run centres exhibit baffling re-interpretations of objects previously known as books.

Silly name, solid concept. If you feel like cooking (and eating) and maybe even seeing some good art (I'm usually in the mood for all of these things), get yourself down to 6250 rue Hutchison to the Made of Stills Studio to share some potluck-y goodness while watching a slideshow by some bigger (and smaller) names in Canadian photography.

Why are there so many artists' collectives in Montreal? And why do I still want more of them? There is something really endearing about a group of artist all banding together to get collectively what they can't on their own (maybe I just find it amusing because visual artists are often SO introverted); which is why the idea of nesting seems appropriate for just such a collective.

Leslie Bell's current exhibition at Les Territoires presents the viewer with a selection of her supersaturated colour works in painting, installation and animation. Normally I would consider this a recipe for disaster, but as any piece Bell works on is generally an exercise in excess, I think the show represents her eyeball-overwhelming practice fairly.

Thriller-documentary The Cove is currently showing in Montreal theatres. First time film project of devout activist and acclaimed National Geographic photographer Louie Psihoyos, the film attempts to uncover a moral and environmental problem from an angle that is both entertaining and relevant.

The cove from which the movie takes its name is located in Japan, where every year large numbers of dolphins are killed or captured for captivity, as dolphin themed amusement parks have become an economic force to recon with. The film deals with the issue from many angles: from the questionable practice of keeping dolphins in captivity to the misguided attempts of the Japanese government to promote dolphin meat as a food despite its' toxic mercury content, because of the government's blind pursuit of whale hunting as a symbol of national autonomy.

The concept: A mashup of Baroque and Postmodern experiences combining opera and ballet with spoken word and cardboard unicorns. The result: an evening thick with atmosphere, overloading all of your audio-visual receptors, possibly resulting in the urge to balance out the experience by spending time in sensory deprivation, or the poor man's version thereof i.e. consuming alcohol.

The brainchild of director Aleks Schurmer, Party Likes It's 1699 runs for two more nights at Interstice -242 Young Street. Doors are are 8, the show is at 9. If last night was any indication it's going to be busy, so arrive early to claim your couch.

What is it with feminists and karaoke? In order to further my research on this important topic, I plan on heading down to the Cagibi this Saturday around 9ish for an evening of musical reclamation at the All Girl Summer Fun Fest.

Body Break is showing at Redbird Gallery, 135 Van Horn, from 1-7pm this Friday, Saturday and Sunday. It's a short stretch of time to check out a well put together and ambitious show.

While I'm not convinced that everything in the show is a success, Vincent Chevalier and David Whitten, the artists behind the exhibitions, took a lot of risks with this work and you can really feel its' integrity. Dealing with ideas of disclosure, the commodification of hygiene, mass media and gender, the show still manages to remain personal, relevant and sincere.