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Art & Architecture
C Magazine

C Magazine Autumn 2017

C Magazine provides rigorous and thought-provoking coverage of contemporary art practices in Canada and internationally. Publishing culturally engaged essays and reviews by both new and established writers, as well as artists’ projects, C Magazine is widely recognized as an essential platform for critical debate about contemporary art.

Country:
Canada
Language:
English
Publisher:
C The Visual Arts Foundation
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4 Issues

In this issue

3 min.
voice

Discussions of voice in contemporary art can reflect anything from the shape and form of sound and orality; the many manifestations of the spoken word in performance, video or artists’ talks; language as material in art works; to the broader ways in which voice is entangled with power and influence. Here the issue takes voice simply, as the act of speaking to one another and to the world. But the thread throughout this issue is voice as it is tied to agency and self-determination – who can speak, who is heard; when is it advisable – or political – to stay silent and when to scream; and when staying silent can betray those around us or ourselves. As voice comes with being heard, it is always tied to listening. This issue…

10 min.
the past, the present and the same

THE PRESENT It’s the morning of the James Comey hearings in America and hordes of people, young and old, are passively anticipating the change they have been so desperately seeking. Even though I’m living in the land we call Canada, I am by all free trade agreements a byproduct of American imperialist media. This will be important later when we think about Deanna Bowen’s representation of Blackness in Canada. Also keep this note in mind the next time white Canadians cry afoul, but are unwilling to make any changes themselves. I’m half listening to the Comey live stream on my phone and half trying to get out the door to meet Deanna for this “interview.” In all honesty, I don’t really know how to interview anybody anymore given that I have…

10 min.
sisyphus’ music box

Prathna: Our dialogue opens with a poem thatserves as the epigraph to Walter Benjamin’s The Arcades Project. I suppose I chose this poem because I wanted to think about Orientalism and ornamentation, about race and desire, about body and gesture and how such things commingle at the level of ethics and aesthetics. Fan and I met at school and our styles of friendship are immensely divergent – I mean, you could say that about a lot of people, but it’s these styles which, I think, come out in this “dialogue.” I say that with some stubborn reticence because it might not look like we’re actually talking to one another. Our conversation quickly spirals out and, if anything, it’s a demonstration of how – and not what – one desires. According…

10 min.
making us look

Internationally recognized for writing, directing and producing films about Black Canadians in sectors ranging from sports to culture to activism, Charles Officer works mostly in Toronto these days. It’s the city where he grew up and one he’s come to hold politically accountable. His conscientious scrutiny is evident in recent work, specifically Unarmed Verses (2017), which profiles Toronto’s soon-to-be-developed Villaways neighbourhood through conversations with its youth, and The Skin We’re In (2017), a documentary about anti-Black racism in Canada structured as a long-form conversation with Desmond Cole. This past June, amid the fervid afterglow of Unarmed Verses’ success at the Hot Docs festival, I spoke to Officer about the challenges and rewards of working in Canada. During our conversation, Officer remarked upon the complex dynamics of pitching and producing films for…

12 min.
a new generation

It only makes sense to claim that there are “too many artists” if artists rely on existing institutional structures to exhibit and legitimize their work. Throughout history, artists have demonstrated that creativity in the studio can be matched in developing new models for exhibiting their work. In Canada, artists have played an important role in developing independent artist-run spaces, ranging from publicly funded, anti-commercial ones like Vancouver’s Western Front in the ’70s to the likes of Cold City Gallery in Toronto in the ’80s, which strove to fully engage with the art market. Today, the expansion of graduate programs in both studio art and curatorial practice, and the overhaul of former art colleges into universities, has created more degree-holding artists and curators than ever before – an increase not necessarily matched…

11 min.
soft listen

Aliya Pabani hosts The Imposter, a podcast affiliated with the news site and podcast network Canadaland, where she follows her curiosity to conduct memorable interviews with everyone from music producer and storyteller Jarrett Martineau, to the sister of dead Vancouver novelist Betty Lambert, to art psychic Cindy Mochizuki, alongside visual artists like Rajni Perera and Kiera Boult. On air and off she pulls stories out of people with warmth, sensitivity and keen interest. I wanted to adapt Aliya’s strategies to Aliya herself as I learned about them. Lena Suksi: I listen to The Imposter at my part-time job. In that time, I tend to avoid podcasts, which reinforce my passivity, as opposed to other media on the web, but The Imposter is different because it’s grounded in a local cultural scene,…