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

  Through the absence of nature’s voice, The Ocean Inside asks us what it means to take away the agency of the coral reefs in order to save them,...

• 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

  Swaying drums link up to organs and synths that create an expanding field for Hval’s sharp-witted lyrics. She moves between deep murmurs to high crests, polysyllabic runs to drawn...

• That Battle is Over, Girl: Alice Schoenberg

  This shift from the superwoman engaging with the mirror to facing the camera drove home Schoenberg’s critical engagement with feminist movements. The inclusion of the camera demonstrates how easily...

• 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...

• That Battle is Over, Girl: Alice Schoenberg

  In Systemic Activism (by and for this body only) (2019) Schoenberg positions the Woman’s March¹⁰as a case study for the failures of contemporary feminist movements. A massive, full wall...

• 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...

• Matthew Rankin Asks “Who Owns The Twentieth Century”?

  The film is a beautiful mixture of history, satire, dedication, and deep questioning. Rankin has been absorbed in all of the aesthetic power of Winnipeg, and taken it...