Traces act as evidence of repression, dispersion, unlikely affinities, secret histories, kinship, and artistic lineages.
Articles
the evolving nature of solidarity in fraught moment
Expanding on a discussion that took place at Anthology Film Archives following a screening of Lily Jue Sheng’s work, Steff Huì Cí Ling examines what it means to organize as arts workers while building solidarity beyond the sector and create art with “working-class intention” in a “bourgeois context.”
Use augmented reality to expose clues in the “Celestial Throne” game show.
A chance encounter at a thrift store sparked artist Juan Ortiz-Apuy’s (QC) project ‘Shirleys’. Inspired by vintage Kodak cards used to calibrate colour and skin tone, Ortiz-Apuy challenges the illusion of neutrality in lens-based technology.
“Following the work of Morehshin Allahyari, Aziza Kadyri, and Rah Eleh, I am increasingly interested in the potential uses of AI and other generative tools to rethink our relations to our bodies, archives, and the potential of technology. Yet, my enthusiasm involves a hesitation and an embodied fear that goes beyond the promise of an abundant future.”
“A cool draft comes through each time a takeout order is picked up and there is always an open table for those who choose to stay. The soup of the day never changes and there is nutmeg in the meat sauce. The unevenly lit sign out front reads The [insert here] House. There is something for everyone.”
“Kiki is Boult’s realized fantasy. Among other characteristics, she is an unreliable narrator, a heightened version of the artist’s subconscious, and a political fault-finder. Kiki is ultimately someone Boult hasn’t yet resolved and thus, an open canvas to be continuously explored.”
“We are drawn to our source material out of a mutual fascination, appreciation, and morbid curiosity. For both of us, the collages provide a space to simultaneously celebrate and satirize mainstream notions of taste and sophistication. We get to poke fun at the aesthetics of the past but also to pay tribute (albeit in a subversive, gaudy, and often humorous way).”
Artist and scholar Clint Enns interviews filmmaker and photographer Judah Iyunade about cinematic style and influences, following Iyunade’s recent solo exhibition “Alara” at the Centre for Cultural Arts + Practices (C’CAP) in Winnipeg, Manitoba.
In Eyres’ world, the tragicomic reigns, and something is always thrillingly off.