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• Sanaa Humayun

  *Sanaa Humayun* is a second-year student completing her BFA in painting at AUArts and an emerging visual artist residing in Mohkinstsis, trying to make art and make space for marginalized folks....

• Zach Green

  *Zach Green* is a writer and filmmaker located in Mohkinstsís (Calgary) currently in the final year of his BA in Film Studies at the University of Calgary, where he is writing...

• Kate Barry

  *Kate Barry* has performed and exhibited in galleries and festivals throughout Canada and internationally, including the National Gallery of Canada, Vancouver Art Gallery, Open Space (Victoria), 7a*11d Festival of Performance Art (Toronto),...

• Editor's Note

  The second video art installation that has been replaying in my mind like a loop in a black box gallery is Steve McQueen’s Deadpan from 1997. McQueen recreates...

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

  The urban screen sits on the unceded, traditional territories of the Coast Salish peoples sḵwx̱wú7mesh (Squamish), sel̓íl̓witulh (Tsleil-Waututh), and xʷməθkʷəy̓əm (Musqueam) nations. Traditionally Kingsway followed the Indigenous trail used by...

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

  In Flawed (2010), Andrea Dorfman takes on the issue of body image. She draws and paints in real time as she tells a series of stories from her...

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

  Izabela Pluckinska uses Claymation to portray an older couple as sexual beings in Sexy Laundry (2012). The couple has rented a hotel room in attempt to rekindle their physical...

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

  Sam Decoste’s Mary & Myself from 2013 follows two Chinese Canadian women as they rehearse for a production of Eve Ensler’s The Vagina Monologues¹³ where they are going to play...

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

  The animation uses first person narration to tell not only the story of the performance but also to call attention to the history of “comfort women”. More historical information...

• 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...