FUSE 21-2 / Spring 1998


Writing the editorial for each issue of FUSE is always a difficult task. The concerns and positions of the articles that FUSE has published over the last twenty years are always diverse. This issue of FUSE is no different. Articles ranging from the consideration of art practices in Turkey and Argentina; to articles discussing the challenges that exhibiting artists must deal with; to articles investigating the tensions between ethnic absolutism and hybridity in Native cultures; to the return of performance art; to book reviews, CD reviews and reviews of various festivals, this issue of FUSE is filled with considerations of various communities. Communities that are often not represented within the confines of “mainstream” public spaces. As well the two artists’ projects in this issue of FUSE remind us and return us to history and the memory of the post-industrial moment. Alternative magazines continue to matter and will continue to matter in a cultural climate where consumption seems to define our citizenship.


/ The Problem with Killing Columbus: Relativism, Ethnic Nationalism and Hybridity by Richard William Hill
/ Inside Out/Outside In? Ruminations on Media Arts Festivals, Arts Funding, Video Art, AIDS, Queerness and Community by Andrew James Paterson
/ Artists’ Project: Philippe Maurais
/ Artists’ Project: Michael Belmore (image); Paul Seesequasis (text)
/ To Knit the Country with Iron Bars: Art and Politics in Contemporary Turkey by Deborah Root
/ Going to Market: Art and Community in c by Karl Beveridge
/ “Ceci N’est Pas Une Archive” Browser-Artropolis ’97, Vancouver review by Caterina Pizanias
/ Big-Box Knockout: Community vs. Consumerism, Ed Video, Guelph Ontario review by Sherri Telenko
/ Miasma: Clear and Cold at the Higher Elevations: Myra Davies and Gudrun Gut review by Steve Heimbecker
/ 7A*11D Performance Art Festival: August 7-11, 1997, Toronto review by Paul Couillard
/ Representing Dissent: Talking About Politically Speaking: Judy Rebick and Kiké Roach, Vancouver, 1996 review by Mary-Jo Nadeau and Renuka Sooknanan

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