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Art & Architecture
C Magazine

C Magazine Summer 2019

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.

C The Visual Arts Foundation
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$4.73(Incl. tax)
$15.75(Incl. tax)
4 Issues

In this issue

1 min.
c magazine

EDITORIAL DIRECTOR Kari Cwynar EDITOR Jaclyn Bruneau EDITORIAL FELLOW Merray Gerges EDITORIAL ASSISTANT Kate Kolberg WRITER IN RESIDENCE Chelsea Rozansky COPY EDITOR Holland Gidney PROOFREADER Jovana Jankovic SECOND READER Esme Hogeveen PUBLISHER Kate Monro DESIGNER Raf Rennie PROGRAM MANAGER Keiko Hart ADVERTISING SALES Esme Hogeveen COMMUNICATIONS ASSISTANT Elora Crawford SOCIAL MEDIA INTERN Lucas Regazzi ARCHIVE INTERN Anton Oehmsen-Clark COLOUR MANAGEMENT Dave Herr PRINTER sonicprint.ca C IS PUBLISHED BY C The Visual Arts Foundation EXECUTIVE DIRECTOR Kate Monro BOARD OF DIRECTORS Gesta Abols, Christina De Marchi, Karie Liao, Frances Loeffler, Katie Lyle, Michael Prokopow, Evelyn Salvarinas, Fraser Serles, Rebecca Travis, Annie Wong, Vicky Wong COPYRIGHT COUNSEL Kevin Holbeche AUDITOR David Burkes C.A. NATIONAL ADVISORY BOARD Ken Aucoin, David Birkenshaw, Jim Drobnick, Barbara Fischer, Sylvie Fortin, Joanne Hames, Chris Lee, Robert Mitchell, Amish Morrell, Gabrielle Moser, Magda Gonzalez Mora, Jenifer Papararo, Brian Pel, Francine Perinet, Paul Petro, Carol Weinbaum, Carlos Yep EDITORIAL ADVISORY Billy-Ray Belcourt,…

7 min.

DEAR C MAG, Thank you for highlighting so many smart, alternative design practices that have nothing at all to do with that already mile-high stack of slick-looking photo-lifestyle magazines that drain my soul and make me question the role of publishing. In respect to Chris Lee and Ali S. Qadeer’s question, “how graphic design as a visual practice gives form to power,” I couldn’t help but think of the many artists and micro-publishers I know working around me today (many of them, internet-savvy millennials) whose practices are similarly involved in calling out the design industry’s obvious complicity with the status quo. What’s different about these practices, though, is that most often they take a playful and/or ironic approach to this warfare—one that, in its self-consciously “bad” design, takes into account our own…

4 min.

Around the editorial advisory table at C Magazine, we had long been mulling over the idea of an issue on public art or public space. Last year we finally landed on “the monument” as one of the most consequential areas of discussion to be had around art in the public realm today. In the last two years, attention has been placed on monuments with unprecedented urgency. This is my final issue as Editorial Director at C Magazine and the theme seemed both vital to address and a significant swan song. C Magazine addresses critical issues from the perspective of art and artists. As such, this issue circumvents broader and more frequently asked questions like, “what do we do with monuments that no longer reflect us?” and instead takes up the monument…

9 min.
we didn’t know what the monument meant until someone said it should be removed

In July 2016, I, along with thousands of smartphone users across Canada, became captivated by an appbased game called Pokémon Go, built upon Google mapping and location-service technology. Users must venture to specific locations in order to progress to new levels. Public spaces are designated locations where users can “level up,” which means landmarks, monuments, memorials and sites of historical significance become destinations for players on a regular basis. I lived in Halifax at the time of the game’s release and can attest to the short distances I had to walk between monuments—the city is rife with them. I often looked around and wondered if other players in the vicinity were taking any opportunity to engage with and learn from these objects. By August, this question began to be addressed when…

9 min.
not one monument but 12: re-memorializing the stonewall riots

How can a riot be memorialized? Specifically, in the case of the Stonewall riots—the legendary five days of rioting in 1969 that launched the gay liberation movement in New York—how did the act of fighting back against cops enforcing the criminalization of being queer and trans so quickly become a corporate-sponsored parade in which the police participate? Why does the Gay Liberation monument (1980), a George Segal commission for the 10th anniversary of the riots, depict four figures quietly socializing in Christopher Park instead of scores of drag queens throwing high heels and ripping parking meters out of the ground? In the leadup to this year’s celebration of the 50th anniversary of Stonewall, artist Chris E. Vargas chose, in his residency and exhibition at the New Museum, to focus on…

5 min.
trauma as monument

I was very young when I heard about the death of Neil Stonechild, but I remember the story well and I remember how it unravelled for years after. I did not know Neil, but we were both from Treaty 6 territory. We were only a few years apart in age and living in urban centres, with roots in rural First Nations within the territory. There is no doubt in my core that we encountered the same systemic and structural barriers imposed upon Indigenous people that, with age, I have had the opportunity to name and frame. He did not have that opportunity. Almost 30 years later, in March 2019, I read an article on the CBC website1 reporting the vandalism of Freeze: Stonechild Memorial (2019), a sculptural installation by Rebecca Belmore…