C Magazine

C Magazine Summer 2019

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


7 最少

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 最少

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 最少
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 最少
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 最少
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…

15 最少
histories and setups: interview with life of a craphead

I met up with Amy Lam and Jon McCurley for a casse-croûte breakfast at Canada Hot Dog in Montreal's Rosemont neighbourhood following the opening of their exhibition Entertaining Every Second at Centre Clark and a few weeks before the unveiling of their two-part billboard project $100 Bill With South Asian Scientist Added Back In (2019) with Dazibao. Having rarely shown or performed in Montreal, Lam and McCurley arrived with an exhibition tuned to a fine pitch, following presentations in Calgary at Truck Gallery and in Saskatoon at AKA artist-run. Addressing Western imperialism in Asia—Vietnam in particular—and systemic anti-Asian racism within the Canadian art milieu, the exhibition at Centre Clark marks a turning point in their more-than-a-decade-long practice, notably occupied by the long production period for their feature film, Bugs (2015),…