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• Culture & Capital: “Real failure needs no excuse” at the Esker Foundation

  A REAL JOB  A major reason that Ibghy and Lemmens have chosen to focus so intently on non-productivity in their studio practice is to disrupt the enormous external and...

• Culture & Capital: “Real failure needs no excuse” at the Esker Foundation

  GOOD ONE, GUYS In a time when Calgarians are feeling vulnerable around the definitions of their labour and employment, the Esker sets an example for effective mainstream cultural programming...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  Despite a highly acclaimed Cannes debut, the film struggled to find an audience and disappeared into total obscurity, unavailable for over four decades. In 2009, a restored version (selected...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  TS: So the hyper-masculinity was a result of industry? TK: Maybe it sounds like a pathology. It’s not. There was nothing else to do. TS: Do you feel colonization played...

• Re-presentations, Adaptations, and VARIATIONS

  Snow’s works and methods are re-presented and re(-)ferenced both aesthetically and formally throughout VARIATIONS. Dan Browne and Steve Richman’s Poem riffs on Snow’s concerns for framing by transcribing some of his experiments with...

• Re-presentations, Adaptations, and VARIATIONS

  Furthermore, the individual works also contain references to the lives and practices of their makers. The remainder of Belzile and Craig’s Untitled, for example, feels like a narrative depiction of...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The similarities begin in the depiction of our killers, the psychotic Billy in Black Christmas, and the blood-thirsty Duke in The Bloody Chamber. Before we get any visual details,...

• Christopher McKinnon

  *Christopher McKinnon* is a writer and community organizer who lives in Toronto.

• Slay, Okay

  It is with the much-discussed visual album’s disorienting ambition to simultaneously “challenge the ongoing present day devaluation and dehumanization of the black female body” and “to seduce, celebrate, and...

• An object is a slow event.

  Based now in Mexico City after having spent the last several years studying at Edinburgh College of Art and at CalArts in Los Angeles, De Laborde’s practice has evolved...