“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.”
Articles
“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.
The articles and projects in this issue stem from commissioned responses to the theme of “taste,” framed in part by sociologist Pierre Bourdieu’s text Distinction, which examines the relationship between taste and class.
“The material reliance of photography—and the artworld—on mining is often overlooked. Palu’s body of work is a corrective to this blind spot in photography and all camera-based image-making.”
“I’d love to stop working, but clicking is work. Scrolling is work. Posting is work. Commenting is work. Changing my thermostat is work. Talking to my friends is work. Even activities that were already forms of work are now multiplied. This feels like the apotheosis of bullshit work.”
“Writing about art has become a way for me to explore my own identity and cultural heritage, to engage with complex ideas about representation, history, and creativity. […] Art has become a mirror, reflecting not just the world around me, but also my internal landscape—my memories, emotions, and thoughts.”
“In the beforetimes, you would never have worked like this: through two hypothetical fifteen- minute breaks and a lunch, with no concept of overtime, entirely alone. There was time to distract yourself with images—a plentiful supply in a seemingly endless scroll. The work seemed less urgent then; yesterday’s rest was a risk of different proportions.”
“Re-working traditional Islamic art forms and objects by employing a variety of media (ink drawing, painting, printmaking, digital print, laser cutting, and video projection), I attempt to reconsider the attachment of divineness and depth in art making. I want to highlight how the meticulous process of creating art—once celebrated in ancient Persia as a symbol of beauty, precision, and spirituality—has become obscured in today’s art world.”
An essay by the Aisle 4 Collective shares findings from their ongoing research project into the role of non-disclosure agreements.