C Magazine Winter 2020

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.

C The Visual Arts Foundation
3 期號


5 分鐘

HI, The latest issue fondly reminded me of José Saramago’s words in the short story “The Tale of the Unknown Island” (1997): “Liking is probably the best form of ownership,” he wrote, “and ownership the worst form of liking.” Despite the danger of dismissing the phrase as an all-too-easy chiasmus, I believe it illuminates a little-acknowledged truth in our world. Marie Fraser’s piece on acquiring a Tino Sehgal work in C143 problematizes the relation of ownership to its (non)lasting temporality. The author emphasizes new ways to think the possibility of ownership as pure trust and intersubjective connection, in the absence of all tangible attribution of matter, rights or meaning. Shockingly, the artist’s endeavour disowns even the seemingly indispensable foreknowledge of the thing to be owned. In the light of these new findings, for…

5 分鐘
déjà vu

I began to formulate the questions and concerns that drive this issue when I went to a major biennial, in summer 2018, in which two thirds of the almost 50 artists were people of colour. The celebration of its unprecedented diversity epitomized the sentiment I’d been hearing echoed in Canada after sesquicentennial funding allowed for a seemingly unprecedented inclusion of BIPOC. I was reminded of a prescient quip by artist James Luna, when the 500-year anniversary of Christopher Columbus’s invasion signaled a “gold rush” for Indigenous artists in 1992, that Paul Chaat Smith recalls: “[Luna] knew the sudden attention Indian artists were receiving wasn’t likely to last, and it didn’t.”1 Smith quotes Luna: “So when people call me I have to ask ‘Why didn’t you call me before? You’re calling…

16 分鐘
communing with (art) ancestors

“The art and the culture of emergent groups who choose to find their affiliation through issues of race or gender or sexuality or AIDS, those groups and their art is labelled in the negative, belated sense, as some kind of medieval […] culture of complaint. And this easy attribution of victimage is deeply troubling to me because it isn’t aware of the new […] social sense of community as it emerges. It isn’t aware [of how] those kinds of communities are creating very particular notions of themselves.” Homi K. Bhabha, speaking to Jamelie Hassan and Monika Kin Gagnon at the AGO, as part of a public program series titled Locating Communities, on May 4, 1995. In the middle of a protracted period of depression, and suffering from a sense of decades-long neglect…

15 分鐘
trajet: an interview with dean baldwin and caroline monnet

“Perhaps history is not about the past. At least, not primarily. Perhaps it is first of all about the future. This may be exactly what makes history political. For whoever owns history owns the future.”Jan Verwoert1 In July 2019, artists Dean Baldwin and Caroline (Coco) Monnet circulated invitations to a “performance-not-performance” at Maker Technical Sculpture Services where the first stage in the fabrication of a new public artwork would be witnessed in intimate company. This collaborative project, Trajet, memorializes the footsteps found on the floor of Lake Ontario in 1908 that evidenced Indigenous habitation dating to 11,000 BP. Having been cemented over and destroyed—a powerful indication of cultural attitudes of the time—only descriptions and a crude rendering remain in the municipal archives of T:karonto/Toronto. At its simplest, Trajet is the effort of…

11 分鐘
we relate, therefore we are: relation-making in jin-me yoon’s practice

Our bus drove us through the active construction site for the Southwest Calgary Ring Road before it pulled into the remains of a movie set simulating a bombed Belgian city. The set is located on a former military training site, which the Department of National Defence leased from the Tsuut’ina First Nation for military training from 1901 to 1996.1 Part of this land was used for the production of the film Passchendaele (2008), about a white Canadian soldier in World War I. While the rest of the 380-acre plot is still embedded with unexploded landmines left behind by the military, this small section was cleaned up for the film shoot. The ruins lured me in, and I could see the exposed core material of these buildings—weathered Styrofoam—underneath the dilapidated layers…

15 分鐘
speaking ourselves into being

In 2014, Andrea Fatona initiated The State of Blackness conference to congregate artists, curators, academics and students around the conditions of the production, presentation and dissemination of Black art in Canada. Using the conference as a catalyst to continue a public discourse and to create an archive of Black artistic production, The State of Blackness has continued in various forms. Fatona remains a guiding voice and devoted advocate for practising care through considered critique, while she supports her students and mentees in producing the in-depth scholarship and criticism that was significantly lacking in Canada. Fatona heads the Criticism and Curatorial Practice program at OCAD University, with decades of scholarship on the contemporary art of the Black diaspora. When I joined the program in 2016, I was certain there was no other…