Through 3D-rendered black and white images, Moni Omubor creates a fictional museum where Yoruba artifacts exist beyond colonial possession. This artist project, titled “The Backroom” employs speculative fiction and Afro-Surrealism to interrogate Western museum practices and imagine new possibilities.
BlackFlash Magazine Posts
In conversation with Lodoe Laura, artist Annie Macdonell discusses her recent exhibition “The Beyond Within,” which delves into the history of psychedelic therapy. She explores her collaborative films with Maïder Fortuné and the historical ripples that help us read our fractured moment, sustaining an uncynical belief in art even as its institutions falter.
Yaniya Lee advocates for a critical approach grounded in material practice. Drawing on her recent work with textile artists in Edmonton, Lee makes a case for criticism that attends to how black artists work, focusing on their materials, methods, and processes, while calling for more diverse voices to engage with these practices.
In a profile of Edmonton-born, Berlin-based artist Adam Shiu-Yang Shaw, writer Lauren Lavery examines how Shaw’s treatment of industrial materials lends insight into our evolving relationship with urban landscapes and technology.
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From BlackFlash Expanded
“Each night, movie attendees gather on the shoreline to watch the beach films, projected on an eleven-meter screen erected directly in the lake. Viewers dig themselves makeshift seats in the sand. Feasting mosquitos gather. Waves lap. Frogs chirp. Credits roll.”
From the archives
Out of the international underground film movement of the 1960s, an alchemical avant-garde slowly formed. It formed in the home darkrooms and studios of artists who imagined a new cinema, an altogether handmade thing, wherein the conventional processes of the photochemical lab could be reshaped, the recipes refigured, to transmute the film strip’s latent image into something nobler than an image merely processed.