At the beginning of the pandemic’s first wave, Rhiannon Vogl had the unique opportunity to experience Chrysanne Stathacos’ work “1-900 Mirror Mirror” at Cooper Cole, Toronto. The interactive installation was first exhibited in New York in the 1990s in response to the AIDS crisis and continues to comfort and inspire as we struggle to envisage the future.
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Two weeks prior to the opening of “Untitled (Entitled),” between a hectic schedule of dance rehearsals, installation, photo shoots, and sound tests, Jacqueline Hoàng Nguyễn and Bonniers Konsthall’s curator Yuvinka Medina took a moment to reflect on their time working together and how the exhibition came to fruition. Over coffee cups and computers, and keeping COVID safety measures in mind, a conversation between artist and curator unfurled.
Our Spring 2021 issue features a selection of candid conversations between artist Erika DeFreitas and Tarin Dehod, Jessie Ray Short and Laura St. Pierre, and Jacqueline Hoàng Nguyễn and Yuvinka Medina. It also presents the work of Chrysanne Stathacos, Timothy Yanick Hunter, and Christopher Lacroix as well as writing by Derek Coulombe, Nicole Leroy, and Lodoe Laura.
Each print publication contains a beautiful limited-edition lenticular postcard by Jacqueline Hoàng Nguyễn in partnership with Bonniers Konsthall, Stockholm.
“As a child, unable to enter the temple myself, I understood it as a special place where sacred rituals were performed, and that inside, everything was white and beautiful. In Cuthand’s paintings, the temple has an imposing presence, not simply because of the weight of its solid granite walls, but because of the belief system it symbolizes as it floats, totemic, in the background.”
Featuring the work of Arpita Shah, Clea Christakos-Gee, Jennifer Long, and Margaret Mitchell, this collection of images reflects some of the strange pain and beauty of being raised and moving through this world in bodies designated “female.”
Although the two documentaries were made 30 years apart, these stories help us understand the true scope of loss and the way reverberations from trauma can stretch out further than it’s possible to see.
Amalie Atkins’ artistic practice has been indebted to the sublime prairie landscape for over a decade. “The Diamond Eye Assembly” expands this devotion, creating a magical tale of matriarchal futures inspired by the depths of loss and mourning.
“A material exploration of identity appears in the raw linen canvas of his paintings, often exposed through a series of puzzle-piece-like shapes that rupture the picture plane and, as deForest describes, leave an opening for the viewer to burrow into the painting.”
It is in the garden of decay and of growth, the garden of manicured nature, that Tagny recognizes the potentialities of gestures of care, and the significance of attuning to the rhythms of nature.
Like many Sublime images, both beauty and tragedy mark the two major emotive qualities of Koke’s landscape works, and in spite of these definitions being oppositional, there’s almost no other way to describe them.
In conversation with the artists about their relationship to object agency, Lum and Desranleau elaborated on their history with materials and their performative potential.