Beginning with an agile reading of the sequence of disasters that constitute the narrative of Voltaire’s Candide (1759), the Israeli architect Eyal Weizman has, in his latest monograph, The Least of All Possible Evils (LPE), initiated another productive foray into our optimized “humanitarian present.” — Etienne Turpin
When I slip Nadim Mishlawi’s Sector Zero DVD from its sleeve, my heart is already in my throat. I am expecting to be hurt by these pictures from Lebanon, and the cruel accident of this country’s geography, but from the very opening images I am assured that beauty will be a regular accompaniment. — Mike Hoolboom
In shifting the position of the viewer from a passive recipient of such representations to the active roles of gamer and witness, Blown Up creates new spaces through which to build diasporic disidentifications and migrant self-representations that reframe militaristic violence within mediated space. — Marty Fink
While Féminismes Électriques is on the one hand an archive of a decade in La Centrale’s history, the focus of the collection is the pivotal shift in official mandate that took place in 2007, to better reflect the commitments of its members. Most notably, the new mandate seeks to prioritize solidarity, trans-inclusion and inter-generational dialogue, focusing on local and global struggles and relationships of power, while continually engaging with, and critiquing, feminist discourses and debates. — Sara Rozenberg
Symposium organized by Candice Hopkins and the Art Gallery of Alberta 24/06/2012
Review by Amy Fung
Independent filmmaker Angad Singh Bhalla’s Herman’s House had its Canadian premiere at this year’s Hot Docs Festival in Toronto. The film traces the relationship between artist Jackie Sumell and political prisoner Herman Wallace, who has been held in solitary confinement for the past four decades, longer than anyone else in the United States. —Nahed Mansour and Konstantin Kilibarda
A Film by Roz Owen & Jim Miller
Premiered at the 2011 Planet in Focus Festival (Toronto).
Film (72 minutes), 2011
Reviewed by Chris Gehman
The 2011 colloquium, Revisioning the Indians of Canada Pavilion: Ahzhekewada (Let us look back), co-produced by the Aboriginal Curatorial Collective and OCAD University’s Aboriginal Visual Culture Program, traced a history of decisive moments for Aboriginal art and curatorial practice.
It’s difficult to know how to best find meaning or coherence in the work of an artist who, in all apparent seriousness, refers to himself as “Michael Dudeck WITCHDOCTOR.” In the case of Amygdala, Dudeck’s exhibition and “ritual” performance at Winnipeg’s Aceartinc., the second work in what is ominously described as “a 10-year project,” any attempt to do so raises only further doubt.
Inspired by Rainer Herrn’s 2008 group exhibition Sex brennt/Sex Burns at The Charité Hospital in Berlin, PopSex! showcases 12 artists from Berlin and Calgary. Pauline Boudry and Renate Lorenz, David Folk, Jean-René Leblanc, Kurtis Lesick, Wednesday Lupypciw, Anthea Black and Mr. and Mrs. Keith Murray, Mireille Perron and Heather Stump, Benny Nemerofsky Ramsay and RICHard SMOLinski were brought together by the curators to respond to the remnants of Magnus Hirshfield’s archive from the Institute for Sexual Science.