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C Magazine

C Magazine Spring 2018

C Magazine, established in 1984, is an essential platform for critical debate about contemporary art. With an emphasis on Canadian practitioners and international contexts, each thematic issue engages with emergent perspectives through original art writing, criticism and artists’ projects. C is committed to facilitating meaningful, pluralistic, interdisciplinary, historically-engaged and imaginative conversations about art.

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C The Visual Arts Foundation
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3 Issues

in this issue

4 min

Assembling a 72-page magazine on a broad and lofty theme like “Time” is no easy feat and the issue could have gone in many directions – to be explored in future issues. For now, however, there is something satisfying and generative about taking such an open-ended word and seeing where it lands among a diverse group of writers, artists, curators and organizers at this particular moment. Many commonalities emerged – for instance, the most tangible sub-theme in this issue is that of the archive. What do archives look like in 2018? Who is included and under which frameworks, rules and systems of classification? What might archives of the future look like? Maandeeq Mohamed’s essay on the ways in which black queer and trans art practices have (or have not) been archived…

11 min
somehow i found you: on black archival practices

“There are benefits to being without nostalgia” —Claudia Rankine While researching black collections at the Canadian Lesbian and Gay Archives, I came across a curious object. Among the vertical files was a box containing a speech by Rinaldo Walcott, crumpled into a paper ball. Walcott, I was told, had crumpled the speech he had once prepared for a talk. After the archives approached him with interest in adding the speech to their collections, Walcott agreed on the condition that the speech remain in its original, crumpled condition. A single crumpled piece of paper preserved in a box is a refusal of legibility. When you take into account that black life has been so violently understood by centuries of essentialism, I would like to take our archival silences, gaps and ethnographic refusals…

23 min
pollyanna and peppermint: libraries as a site of praxis

On January 17, 2018, Sepake Angiama and Clare Butcher of documenta 14’s aneducation team, spoke with Jesse McKee and Brian McBay from 221A in Vancouver about models for art education and programming, and the role of the library in creating ways of thinking and working together. JESSE MCKEE: We are here today to talk about two different programs in art and education – aneducation, which was part of documenta 14 in both Athens and Kassel, and 221A, in Vancouver, which recently changed its programming model to a distributed system of research, public programs, fellowships and infrastructure production that is rooted in a new space called Pollyanna Library that hosts the organization’s praxis at large. 221A was a participant at documenta 14’s gathering Under the Mango Tree in Athens and Kassel, and…

13 min
…in memoriam: the sonority, the together sound, outside of time

On what was maybe an otherwise unremarkable afternoon in 1885 on land newly minted as Treaty 6 territory in St-Paul-de-Métis (in what is now Alberta), Eleanor (Helene) Thomas Garneau calmly went to the kitchen cupboard where her husband, Laurent, who was in league with the Métis resistance, had stashed a letter written by Louis Riel. The buffalo were disappearing, the treaty-promised medicine chest proved insufficient in the face of settler- introduced small pox and English colonial forces were defaulting on all manner of promised land. The treaty was broken, is broken. When a sergeant and four constables from the North-West Mounted Police, clad in Imperial red, self-righteousness and inane waxed moustaches, barged through the Garneaus’ doors to take away Laurent, Eleanor took the incriminating pages and softly, carefully submerged them…

3 min
mary cecil, victoria callihoo (née belcourt) and eleanor (helene) thomas garneau

Cantata INSTRUCTIONSFor three vocal groups (of four or more singers) and four or more auxiliary performers STAGING Voices Cloth Clothes lines Libretto (pp. 15–61) Washbasins Washboards Water The score is a diagram that describes the positions, movements, and performance actions of the singers. All the actions take place within a large circle composed of the vocalists, the auxiliary performers and the washbasins. There are six positions in the circle for washbasin, buckets, and hanging cloth. The corresponding pages of the libretto are placed in a pile next to each basin. The piece begins with a single sonority established by the four auxiliary performers dipping pieces of cloth of various sizes in buckets of water and then hanging them over metal basins. The basins and buckets are amplified with contact microphones and/ or condenser microphones and the level should be set…

1 min
in memoriam...

Postcommodity & Alex Waterman 7:00 pm Opening remarks 7:10 pm in memoriam... Esteban Gómez (Robert Ashley, 1963) 7:25 pm in memoriam... Crazy Horse (Robert Ashley, 1963) 7:40 pm Intermission 7:55 pm in memoriam... Mary Cecil, Victoria Callihoo (née Belcourt and Eleanor Helene Thomas Garneau (Postcommodity & Alex Waterman, 2017) Performed by the following musicians from across Alberta, along with youth and community participants, Postcommodity, Alex Waterman and Ociciwan: Malaya Bishop, seth cardinal, Curtis Lefthand, Jaynine Lena McCrae, nêhiyawak (Kris Harper, Matthew Cardinal and Marek Tyler), Jared Tailfeathers. Curated by Ociciwan Contemporary Art Collective Francis Winspear Centre for Music July 18, 2017…