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20 Articles

Dear C, Grief is natural, and yet there are communities that experience deathrelated grief as an exceptional, persistent phenomenon. This is made plain in Nya Lewis’s discussion of an inheritance by Kosisochukwu Nnebe, and in Rana Nazzal Hamadeh’s essay, “The Impulse to Share Evidence: Tensions in Representing the Unity Uprising.” Both writers are examining ideas that I am continuously trying to wrestle with as a Black grieving mother whose son was killed in his 17th year of life. In particular, they examine ideas around: resilience when there hasn’t been a reckoning against the conditions that produced the grieving circumstances in the first place, the demand for evidence, and who gets to grieve. I have grown wary of calls for “proof,” because as history has demonstrated, there will never be enough…

Extraction is the political-ontological basis for the circulation of resources under neoliberal capitalism—and agents of such appropriation scarcely do enough to respect, heal, and replenish their sources. Companies inflict harm knowing that potential fines for environmental damage pale in comparison to the profits that can be gleaned. Things get spilled, air changes, the water tastes different, records are broken. People are pushed out, poisoned, left disoriented, sick, cheated. And the doom goes on, ripples out. Maggie Flynn’s Trickle Down offers a substantial network of impacts, connecting entities and individuals in extractive industries and the art world. Years of research allow us to see connections between corporations, art institutions, and Indigenous communities impacted by intervention. The artist explains that she “prioritized information coming directly from leadership or grassroots groups of affected…

Cooked Earth: Ambivalence in Terracotta

Terracotta—literally “cooked earth” from the Latin terra cocta—is a clay-based earthenware ceramic, porous and often unglazed. From the Terracotta Warriors, the approximately 7,000 individually crafted, life-sized ceramic warriors discovered in the mausoleum complex of Qin Shihuang, the First Emperor of China who ascended to the throne in 247 BCE,1 to the façade of the London Natural History Museum, terracotta has a venerated place in art and architecture history. Simultaneously, it is a fundamentally commonplace and domestic material, as many cultures’ ongoing traditions of culinary and other household vessels demonstrate.2 Today, in Canada, terracotta is primarily synonymous with building materials, with the majority of clay production in the manufacturing of brick, block, and tile.3 Although most clay is mined by openpit methods, artists working with terracotta in artisanal, land-based, site-responsive, and…

Cooked Earth: Ambivalence in Terracotta

Golden Jubilee: An interview with Suneil Sanzgiri

Aamna Muzaffar: Golden Jubilee is the most recent in a set of three films you’ve made since 2019; to start off, can you tell me about the way these works are situated within your practice and, thinking about the arc of this triad, what brought these stories together for you? Suneil Sanzgiri: This series of works really began with one image, or rather screenbased experience, which actually opens up the first film in the trilogy called At Home But Not At Home (2019). I had grown quite homesick for a place I had never even been to yet—Goa—but with which I have an ancestral connection. My uncles, aunties, and cousins who live there would often say to me, “You belong to Goa”—the first time I had heard those words, “you…

Golden Jubilee: An interview with Suneil Sanzgiri

Dowsing for Remediation, with Alana Bartol

I learned then that dowsing, also known as water witching or radiesthesia, is an embodied practice of divination long used to detect entities underfoot: water sources, mineral ores, oil, and even lost objects. Using an instrument—such as a forked branch, a pendulum, or alternatives—the practitioner locates the desired entity by being attentive to the chosen tool’s movements in response to asking yes and no questions while hovering it above the ground. Bartol descends from a long line of water witches on her mother’s side, adept at detecting sources of groundwater. After learning of this matrilineal history in 2013, the artist began incorporating the divination form into her art practice as a method with which to navigate her relationship to place and read sites of extraction, activating her body as a…

Dowsing for Remediation, with Alana Bartol

A quick reading of this work might induce scorn toward certain entities. But mining, oil, and gas companies work within the system offered to them by the government of Canada. And when companies are caught stepping out of bounds of the law, the resulting fines pale in comparison to their profits. In other words, every piece of bad news in this work is enabled by this nation’s legal and regulatory environment. With this in mind, how do the choices made by Canadian museums, galleries, and art festivals to partner with extractive industries shape culture in Canada? How do the relationships between cultural institutions, extractive industries, Indigenous communities, workers, and ecosystems contribute to belief systems that influence economic choices, political will, and legislation? Corporate sponsorships are mutually beneficial agreements between non-profits…

Dreaming of Decriminalization

I was struck by a scene in the new HBO series Tokyo Vice (2022) when Samantha, the blonde American woman who is living and working in Tokyo, confrontationally asks Jake Adelstein, the Jewish male protagonist and real-life author of the memoir on which this show is based: “Do I look like a prostitute to you?” The subtext is whether she is the “kind of person” who would be a prostitute—who has the “look,” whatever that “look” might be. After all, the work she does exists inblurryproximitytosexwork: she is a “hostess” at a club where men pay for women to sit with them and talk. Men pay “by the bottle” for the woman’s time. In her introductory scene, she croons Japanese karaoke songs in a glamorous halter dress, men at tables…

Dreaming of Decriminalization

Transplant Collaborations

The Eramosa River was carved out as a glacial spillway over 20,000 years ago. It flows through the treaty lands of the Mississaugas of the Credit and the ancestral territory of the Chonnonton (known to some as Attawandaron). Fed by underground springs, it flows along the course of a bedrock moraine south-west into the city of Guelph where it meets the Speed River. Together they flow into the Grand River and the Haldimand Tract treaty lands, the territory of the Haudenosaunee.1 The impacts of colonization, industrialization, and capitalist growth are evident along the riverbanks. In the first 100 years of settler colonization in the area, dams, levees, and ponds were constructed along the Eramosa to contain its flow, and many of the surrounding wetlands were drained for farming. Before this,…

Transplant Collaborations

Plastic: An Autobiography — Allison Cobb Nightboat Books, 2021

In 2012, Patricia Corcoran, Charles Moore, and Kelly Jazvac coined the term “plastiglomerates” to describe the peculiar geological phenomenon of rock sediment fusing to plastic refuse, a fossil-like embodiment of the Anthropocene. Allison Cobb’s Plastic: An Autobiography (2021) begins with a similar entanglement of synthetic materials as she collects an unidentifiable, discarded plastic part near her home. Like an artefact, the plastic will sit by Cobb’s desk and eventually accompany her on many cross-country trips as she attempts to locate the origins of its creation. Plastic: An Autobiography contains, in fact, many biographies beyond Cobb’s own story. Like the splintered fragments of roadside litter and polystyrene detritus pushed by ocean currents between continents, Cobb’s poetic prose takes us beyond her fascination with plastic to: the coastline of Hawai‘i where photographer…

Plastic: An Autobiography — Allison Cobb Nightboat Books, 2021

If From Every Tongue it Drips — Sharlene Bamboat 2021

“Should I translate?” asks the figure on the bed, lying at the feet of the camera operator, in reference to the Hindi song playing on her phone. In this opening scene from Sharlene Bamboat’s If From Every Tongue it Drips, this innocuous question serves as a road map of what is to come: a film whose documentary medium is intimacy itself and whose axis of rotation is so often a lover’s translation. Traversing an epic ambit of themes—from the 1857 rebellion in India, to the erasure of queer desire in Urdu poetry, to quantum physics—it is notable that for all its reflections on politics, history, and identity, this is also a deeply amorous film. This is partly a result of its production. Set in Batticaloa in eastern Sri Lanka, Bamboat’s…

If From Every Tongue it Drips — Sharlene Bamboat 2021

“The Children Have to Hear Another Story” — Alanis Obomsawin Haus der Kulturen der Welt, Berlin, 12 February to 18 April 2022

Spanning more than five decades worth of material, “The Children Have to Hear Another Story” (2022) is a comprehensive retrospective celebrating the cinematic voice of Alanis Obomsawin and the blurry lines between artist, activist, musician, and filmmaker that have defined her career. Starting in the ’70s, Obomsawin developed a process of recording conversations on tape long before the arrival of any camera—part of a careful method of relationship-building that would come to lie at the core of her film works. Removed from the cinema and installed in the thoughtfully designed, elliptical exhibition space of the Haus der Kulturen der Welt (HKW), Obomsawin’s work takes on an affecting physicality, turning the patient duration of her films into objects of great scale. The result is a generous, cumulative experience echoing Obomsawin’s approach…

“The Children Have to Hear Another Story” — Alanis Obomsawin Haus der Kulturen der Welt, Berlin, 12 February to 18 April 2022

“Out of Many” — Jorian Charlton Art Gallery of Ontario, Toronto, 18 December 2021 to 7 August 2022

In her essay “Homeplace: A Site of Resistance,” late feminist scholar bell hooks describes how the private space of the home can be a radical site for Black liberation. She highlights the caretaking role that Black women adopt in the home—whether actively chosen or thrust upon them by gendered divisions of labour—to frame nurturing as “a political commitment,” where community building begets political resistance. It is a fascinating essay that encourages us to think through the ways in which the spaces we create for ourselves and each other can be both restorative and transformative. hooks’s writing on the space of the home was on my mind as I encountered “Out of Many,” Jorian Charlton’s solo exhibition curated by Emilie Croning and presented in collaboration with Wedge Curatorial Projects and Gallery…

“Out of Many” — Jorian Charlton Art Gallery of Ontario, Toronto, 18 December 2021 to 7 August 2022

“Time Holds All the Answers” — Postcommodity Remai Modern, Saskatoon, 18 September 2021 to 23 January 2022

In many Indigenous cultures of Turtle Island, the Medicine Wheel is a symbol of abundance and healing that weaves the spiritual and physical worlds together. The four colours depicted on the wheel—black, red, yellow, white—symbolize the four directions, seasons, or stages of life, serving as a reminder that our lives, too, are governed by cycles. Depending on the Nation, the Medicine Wheel can take various forms: an artwork or a physical structure on the land. For me, the Wheel is a representation of the connective values of my people, the Tāłtān Nation of Northwest British Columbia. Despite my participation in this newfound colonized society, I am nonetheless surrounded by my Ancestors, wherever I go. They whisper to me in the wind, they envelop me in their calm waters, and they…

“Time Holds All the Answers” — Postcommodity Remai Modern, Saskatoon, 18 September 2021 to 23 January 2022

“Letters for Occasions” — Farah Al Qasimi Esker Foundation, Calgary, 29 January to 26 June 2022

For some of us, home cannot be understood as a specific place. In “Letters for Occasions,” Farah Al Qasimi’s photo-based installation, the artist looks at home in less spatial terms: home is joy, rest, family. Time collapses and expands through photographs that collage a global landscape of domestic interiors. In Kimball Hotel, Springfield (2021), a photograph depicts shrimp and strawberries scattered across a thick, pale turquoise fabric, with a pink canopy bordering the bottom of the image. On the right side of the image is a postcard and a menu from the Kimball Hotel. Shrimp and strawberries may be inviting, luscious foods, but the wall text reveals that Al Qasimi’s grandmother discovered she was allergic to both shrimp and strawberries while working as a cook at the Kimball Hotel. In…

“Letters for Occasions” — Farah Al Qasimi Esker Foundation, Calgary, 29 January to 26 June 2022

Carnation, Vol. 2 (Pleasure) Ed. by Christina Hajjar, Luther Konadu, Mariana Muñoz Gomez Carnation, 2021

Carnation is a self-published zine that centres BIPOC artists and writers who, in the words of editors Christina Hajjar, Luther Konadu, and Mariana Muñoz Gomez, contemplate “displacement and diaspora.” In the second volume of Carnation, the editors invited contributors to think about/around pleasure. What resulted was a compilation of beautifully complex, sensorial explorations of pleasure from the perspectives of racialized people, spanning joyous moments crystallized in short stories, tender portraits, and erotic scenes. The invitation for BIPOC artists and writers to meditate on pleasure is one of tremendous power. An intentional move toward pleasure signals a transition from survival to thriving. To centre pleasure is the shift from thinking “What if we died tomorrow?” to “But, what if we lived?” In a section titled “Letters Between the Editors,” readers get…

Carnation, Vol. 2 (Pleasure) Ed. by Christina Hajjar, Luther Konadu, Mariana Muñoz Gomez Carnation, 2021

João Onofre Daniel Faria Gallery, Toronto, 20 November 2021 to 22 January 2022

In just over two decades of art-making, Portuguese artist João Onofre has taken great stock of grand themes such as failure, irony, endurance, performance, connection, and love. The artist’s first solo exhibition in Canada, at Daniel Faria Gallery in Toronto, consists of only three pieces, but still encapsulates Onofre’s thematic oeuvre and multimedia practice in photography, sculptural objects, performance, and video works. Shown together, Untitled (1997), two conjoined stethoscopes arranged on a plinth, to be used by a pair of listeners to hear one another’s heartbeats; Your closed hand makes the size of your heart and together they make the minimum distance that it could be from another one (2001), a chromogenic print of two fists referencing the relative size and proximity of two human hearts; and the video work Untitled…

João Onofre Daniel Faria Gallery, Toronto, 20 November 2021 to 22 January 2022

“The Meaning of Life” — Hannah Black Art Gallery of York University, Toronto, 11 February to 10 April 2022

Upon entering “The Meaning of Life” (2022), the viewer encounters a plywood panel marked with laser-cut holes resembling those in broken glass. A wall-sized video of young people speaking about their participation in the June 2020 SoHo protests in the wake of George Floyd’s murder is projected through the holemarked panel. The wooden pane also recalls the boards business owners placed over their property to prevent looting during the protests. Combining the dynamism of formal, perceptual exploration with a charged social field, an image of a wooden circle projected over the protesters’ faces conceals their identity as they describe the rush and thrill of crossing the legal line from street protest to breaking glass shopfronts. Because their faces are covered, the cacophonous sound of young voices erupting through these holes…

“The Meaning of Life” — Hannah Black Art Gallery of York University, Toronto, 11 February to 10 April 2022

“The best stories I know come from late night car rides or kitchen tables.” — Brenda Draney and Tanya Lukin Linklater Catriona Jeffries, Vancouver, 29 January to 5 March 2022

“What are we tethered to when everything seems to collapse/shatter/erupt simultaneously?” This is the question posed by Tanya Lukin Linklater in the text accompanying a recent exhibition at Catriona Jeffries, which brings together Lukin Linklater’s multimedia installations with paintings by Brenda Draney. The exhibition is a multilayered response to this question, a meditation on storytelling as that which binds us to place, family, and memory, both cultural and personal. Lukin Linklater’s two-channel video …you are judged to be going against the flow because you are insistent., Parts 1 & 2 (2017) is presented across a corner of the gallery. As I allow my attention to swing between the videos, several young women perform sections of various dance routines, as if in rehearsal, while in voiceover they conversationally describe their experiences…

“The best stories I know come from late night car rides or kitchen tables.” — Brenda Draney and Tanya Lukin Linklater Catriona Jeffries, Vancouver, 29 January to 5 March 2022

Permanence for Black Diasporic Art in Canada

Educational institutions perhaps have the most to learn. The newly established Centre for the Study of Black Canadian Diaspora (CSBCD) is under construction at OCAD University’s (OCAD U) Toronto campus. A research and exhibition hub, the Centre is dedicated to Black visual cultures in Canada. Among its stated aims is a mission to conduct inquiries that reject anthropological, extractivist, even scientific frameworks long entrenched in the academic study of specific cultural groups. Throughout the 20th century, Western scholars in the manner of artefact hunters generally extracted from local knowledge systems what they desired based upon self-interest. Black populations in the unceded and brutally settled lands that compose Canada share with First Nations, Inuit, and Métis communities the fact that they have been studied as research subjects, with epistemological harm adding…

Mâkochî Nîbi Îhonîach (The Land is Close to Death)

On the first page of this issue, Soloman Chiniquay shows a ’70s-era mattress, resting upon a Forest Service Road, lit by the high contrast of midday sun, with a haphazardly folded piece of fabric interrupting a bold red text proclaiming “STOP.” Many Indigenous folks have an embodied understanding of the longstanding history of the government denying sovereign Nations their right to self-determination. Transcending linear time while fighting on the front lines, Indigenous activists portal through resistance movements of the ’90s like the Oka Crisis (1990), the War in the Woods (1993), and the Gustafsen Lake Stand off (1995). All of those resistances were met with intense militarized response. Before the RCMP, there was the North West Mounted Police, who were established in 1870 to control Indigenous people as the “possession”…

Mâkochî Nîbi Îhonîach (The Land is Close to Death)

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