FUSE 20-4 / August 1997

After twenty years, FUSE continues to address the politics of cultural representation both at home and broad: representations still matter. In this issue Aoife Mac Namara’s feature article on Wilie Doherty, Daniel Yon’s interview with British cultural theorist Kobena Mercer and Katarzyna Rukszto’s column on the selling of Canadian culture, the pertinent issues of representation, race, nation, colonial histories and community are problematized and critically reflected on. As always, a substantial review section continues the engagement with the issues of cultural representation. FUSE also features an artist project by Martha Fleming and Lyne Lapointe, in tandem with a review of Studiolo, by Camilla Griggers and Nell Tenhaaf.

INSIDE:

/ Up for Sale: The Commodification of Canadian Culture by Katarzyna Rukszto
/ The Only Good One is a Dead One: The Art of Willie Doherty by Aoife Mac Namara
/ A Vous De Nous (Hoping This Finds You As It Leaves Us, Well And Happy) by Martha Fleming & Lyne Lapointe
/ Interview with Kobena Mercer by Daniel Yon
/ Better Yet When Dead: Coco Fusco review by Alberto Gomez
/ City on the Verge of Nervous Breakdown – City at the End of Time: Hong Kong 1997 review by Kuan Foo
/ (Be)longing: Ellen Pau, Laiwan, Xui Li Young, Yau Ching review by Alice Ming Wai Jim
/ Notes on “Scoping Boys” and “Scoping Girls”: Scoping Girls and Scoping Boys review by Robert Lee and Lee Rodney
/ Desperation Disrupted – Sunnybrook: A True Story with Lies by Persimmon Blackbridge review by Ann Decter
/ Poetry’s Posse: My Mother’s Last Dance by Honor Ford-Smith review by Rinaldo Walcott
/ Studiolo – Studiolo: The Collaborative Work of Martha Fleming and Lyne Lapointe by Martha Fleming, with Lyne Lapointe and Lesley Johnstone review by Camilla Griggers and Nell Tenhaaf

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