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C Magazine

C Magazine Winter 2017 - 2018

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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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3 Edities

in deze editie

5 min.
the bush manifesto

BUSH gallery is a space for dialogue, experimental practice and community engaged work that contributes to an understanding of how gallery systems and art mediums might be transfigured, translated and transformed by Indigenous knowledges, traditions, aesthetics, performance and land use systems. This model of decolonial, non-institutional ways to engage with and value Indigenous knowledge and Indigenous creative production is at the heart of BUSH gallery. BUSH gallery is a trans-conceptual gallery space. To be trans-conceptual is to reposition ideas born within Indigenous and western epistemological conditions. A trans-conceptual space requires your body to be in a constant state of flux – never settling, like the flow of water in a river. One of the goals of BUSH gallery is to articulate Indigenous creative land practices which are born out of…

2 min.

BUSH gallery is located on the traditional territories of the Secwepemc Nation, hosted on Tania Willard’s land. BUSH gallery is a series of on-going gatherings of like-minded folks united under questions concerning art making, land, Indigenous art history and interventions into the colonial. These gatherings focus on experimental investigations that enable the complexities of Indigenous knowing along with an active disengagement with western logic. In this issue of C Magazine we dared to ask this question about land: does it still mean art if we make it on the reserve? We dared to ask this question about art: does it help us to realize the depth of Indigenous art history when we make art on the reserve outside of gallery and museum systems? We present here a decolonization of the idea…

3 min.
to be at the mercy of the sky

in front of me, 1947; a fractured door; rotted wooden beams. behind me, an old forest of gone peoples. these are what’s left of an indian residential school in joussard, alberta. what remains exceeds the infrastructural remains. we are caught up in the afterlife of captivity. cages were made out of bodies, and then bodies out of anything that was left behind. this is the world we have inherited. it is infused with the violence of being left to float in the air like an unanswered question. it is an afternoon in june when i return to this primal scene, this open wound. the air clots, as if to make a fool out of my lungs, as if to remind me that having a body were a sick joke i was…

5 min.
refracting bush

This is not an essay, nor a review, nor very much of an interrogation, which means (perhaps) it fails to fulfill the intended desires of the editors. Nor does this fractured writing posit itself as daring to do much of anything, whether confronting binaries of Bush versus Cube or otherwise interrupting the hubris of established and power-bent art criticism. Instead, this is a speculation and a way of reflecting through. This writing is more of a consideration. Of openings and opportunities that happen through what Bush might be. What Bush reaches for and pulls a muscle in doing so. In other words (and there are so many other words dragging in different directions), in order to breathe, drink, ingest Bush, there may need to be a straggling outside the struggle, a way…

19 min.
coney island baby

In the winter of 2016, Gabrielle L'Hirondelle Hill, Chandra Melting Tallow, Jeneen Frei Njootli, Tania Willard, Amy Kazymerchyk and Aaron Leon came together at BUSH gallery to make a film about trapping rabbits. Gabrielle, a previous resident at BUSH and a long-time collaborator of Tania’s, had proposed the project the year before, after speaking with Jeneen about her experiences hunting and trapping in Gwich’in territory. Chandra, a sound artist who heads the musical project Mourning Coup, was invited to score the film, as well as to come trapping. Amy, a curator who has made films, was asked to be the Director of Photography and Aaron, a photographer who had also previously worked with BUSH gallery, joined the group as a camera person. In this interview, four of the artists involved…

15 min.
a feast for the stewards of the land: contemporary art and netukulimk on unama’ki

This past summer’s LandMarks2017/Repères2017, a nationwide public art program held in 20 national parks and historic sites across Canada as part of reflections on Canada 150, provides a rare opportunity to think about how contemporary art might engage with rural communities and wild places. Including projects by 12 artists, along with corresponding curricula at 16 universities across the country, LandMarks2017/Repères2017 sought to engage a broad public in exploring the meaning and use of Canada’s national parks and historic sites. While we might rely upon an image of these sites as wild places, separate from human activity, and often perceive their surrounding communities as being untouched by the contemporary, this is often far from the case. The creation of the parks system, and the concept of wilderness itself, as Kwantlen writer…