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• What’s Found & What’s Wrought: On Abbas Kiarostami’s CLOSE-UP

  Images of flowers are repeated throughout the film. A man finds flowers in a pile of scraped up refuse on the road. We then see the flowers again...

• Such partnerships, too: Eveline Kolijn’s THE OCEAN INSIDE

  Kolijn’s installation relies on the integration of science technologies and art-making as a way to engage and educate viewers on important conversations about climate change and the effects of...

• Such partnerships, too: Eveline Kolijn’s THE OCEAN INSIDE

  Much has been written and discussed about the gaze of the camera: it’s patriarchal, steely glare simultaneously fetishizing and sterilizing its subjects into submission. From the lens of a...

• Such partnerships, too: Eveline Kolijn’s THE OCEAN INSIDE

  Nature works both of its own accord and in reaction to intervention from human activities. Scientific advancements seek to simplify the complex mechanisms of nature in order to apply...

• Such partnerships, too: Eveline Kolijn’s THE OCEAN INSIDE

  Though there are many ways we can frame our relationship to climate crisis, colonialism, and patriarchal legacies, Kolijn’s The Ocean Inside is fertile ground for discussion around a collaborative...

• Ziwei Huang

  *Ziwei Huang* was born and raised in Guangzhou, a coastal city in south-east China. He came to Canada in 2016. Since then, he has been working as a...

• Chelsea Yang-Smith

  *Chelsea Yang-Smith* is a visual artist currently based in Calgary, Alberta. Using digital and analogue photography, she merges emotional intimacy with process through monumental banners depicting the Albertan landscape...

• That Battle is Over, Girl: Alice Schoenberg

  The perceived achievement of equality is an insidious form of repression itself. It manifests in the statement, “Well I sure don’t feel oppressed”. In creating a lack of challenging...

• That Battle is Over, Girl: Alice Schoenberg

  The superwoman, now resting easily on the top of the ladder, forgets her climb. Now, she ponders how the ladder arrived under her. “I must say, I’m not...

• Editor's Note

  This issue of Luma Quarterly looks at film, video, performance, and media art grounded in a sense of discomfort. Whether it is the abject, ejaculating cactus in Matthew Rankin’s...