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• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Currently, as we live through a pandemic with government mandated self-isolation, we are facing increasingly online and networked existences. So many interactions and behaviours that consisted of physical humyn...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  Yet, art institutions have fallen under more scrutiny in the context of the pandemic.⁸Though artists are expected to continue production for income and reputation, online art production has changed the...

• SPAM: No More Plastic Humyns! I Want Affective Indoctrination.

  If existing media systems and networks maintain and monetize off of colonialism, exploitation, state-sanctioned violence, and follow patriarchal operation manuals, then how do practices intent on resisting these motives...

• Calling All Queers: A Spotlight on NFB Animation

  In I Like Girls, when Marie goes to live with her girlfriend’s family, her mother shows up to take her away: “She sent me to live in a farm...

• Calling All Queers: A Spotlight on NFB Animation

  We hear the story from a third person perspective about how the couple initially grew up together in a group home. One night they pushed their beds together...

• The Instability of Place: Kevin Lee Burton, Paul Wong & Amanda Strong on grunt gallery’s Urban Screen

  Vancouver artist Paul Wong, created six short 10-second videos titled, CHINESE ONLY Television Bumpers. These brightly colored digital graphics are written specifically in Chinese characters. The characters, “Chinese Only” are overlaid...

• Telling Women’s Stories: A Spotlight on NFB Animation

  She takes up a job as a bearded lady in a sideshow but eventually comes back to her partner. It would seem that she misses flying through the...

• A Formalism of Feeling: Queer Temporalities and Memory in PORTRAIT OF A LADY ON FIRE

  The temporal structure takes us from the film’s present to the past of memory, or what theorist Gilles Deleuze calls “a sheet of the past.”¹ The opening credits are...

• A Land I Know as Well as Myself: Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ’s MASKEKEWAPOY ᒪᐢᑫᑫᐊ

  I think about this idea a lot. I’m Pakistani by heritage, born and raised on stolen land. I live in Alberta, knowing that Whiteness has claimed this land as...

• Alone Together, Fast and Slow: Browsing through the films of Greetings from Isolation

  These short films have been released online since May 2020 and, for the most part, were produced during the early stages of the pandemic. They capture the feelings...