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Category: Back Issues

FUSE 34.1: Winter 2011


In this issue we bring you a number of features that explore the art and politics of food, the environment, civic engagement and critical writing. In our feature article, Winnipeg-based writer Jeanne Randolph recounts her road trip from Winnipeg, Manitoba to Shawinigan, Quebec as she makes her way to Richard Purdy’s exhibition L’echo/l’eau. Given the environmental impact of the aluminum industry – the site of the exhibition is a retired smelter – Randolph considers the impact of this industrial legacy, models of engagement based on free association, and the pros and cons of wading barefoot through an exhibition that raises questions about toxicity.

FUSE 34.2: Spring 2011


Populist politics are the subject of much debate as people at different ends of the politicala spectrum try to capture the popular imagination. The role of art and artists in this debate is one of the central concerns of this issue of Fuse. As many thinkers move away from models that prioritize deconstruction in search of overarching progressive social narratives that appeal to broader audiences – especially in this time of active democratic and citizen-led movements – we consider the importance of emancipatory myths, politics that appeal to the imagination and possibilities for constructing after many years of deconstructing.

FUSE 32.1: Winter 2008


Barack Obama’s victory in the United States, the forced bailout packaged doled out by governments around the world in response to the economic crisis, and what at this writing looks like an ousting of the Harper Conservatives just six weeks after their election, clearly indicate that the tides are turning against the rule of the free market. The crisis we are in has beyond a doubt proven that ideologues who insisted that the markets would regulate themselves were mistaken. The markets and the free-marketeers who ran them, have proven themselves to be both greedy and reckless. While a crisis in the economy has many fearing for their jobs, savings and well-being, it also presents an opportunity to re-vision the ways in which our society is governed – including the place of the market in social and economic planning. Nothing has been more indicative of this opportunity than the election of Barack Obama and the fight over the Harper government’s proposed budgetary cuts this fall.

FUSE 31.4: Fall 2008


Since taking power in 2006, the Harper Conservatives have eliminated almost $60 million dollars from Cultural and Heritage Granting Programs. The programs affected by the recent wave of cuts – Promart, Trade Routes, the Canadian Arts and Heritage Sustainability Program, Canadian Independent Film and Video, National Training Program in Film and Video, the Audio Video Preservation Trust and the Canadian New Media Fund – were designed to assist artists, art institutions and not-for-profit charitable organizations to create, develop, promote and disseminate Canadian art both nationally and internationally. As opposition MP Peggy Nash noted about the recent justifications for the cuts, “There is real concern the government is picking and choosing which artists it is supporting and which artists it is not supporting. I suggest, in a democracy, that is a dangerous thing.”

FUSE 30.1: Winter 2007


We begin the anniversary year with a focus on precarity in Nothing Fails like Prayer: Notes on the Cult of San Precario by Alessandra Renzi and Stephen Turpin, an article that examines the iconography, tactics and culture of San Precario along with the history of the precarious workers movement in Europe. Proposing possibilities for organizing under the concept of precarity in North America, the authors argue that “a key to posing the program of precarity in a meaningful way is to understand precarity not as a simple reinvocation of dichotomies but a tendency towards the precarization of life that threatens every aspect of social existence.”

FUSE 30.2: Spring 2007


This issue of FUSE deals with the processes of establishing equity not only within our institutions but also within our communities. As we have explored in past issues, equity work must address the politics of identity, the role that institutions play in perpetuating oppression, the necessity of self-representation and the value of an integrated analysis.

FUSE 30.4: Fall 2007


When we set out to produce this 30th anniversary issue, we had in mind to offer an assessment of the present through a series of conversations that would highlight the dialogic nature of social change and stand as testament to the conditions that Canada’s diverse communities struggle within, to our critical responses and our ideas for creating alternatives for the future. Engaging a large and diverse group of artists, activists and academics as contributors, this issue of FUSE surveys the ground for action, contributes to critical analysis and reflects on much of the organizing that people are engaged in across the country and internationally. This issue also introduces a redesign that gives FUSE a visual clarity in dialogue with our aesthetic engagements and political visions.

FUSE 31.2: Spring 2008


The invention of the creative city as a global phenomenon intended to attract financial capital with cultural capital followed hot on the heels of the spread of neo-liberal economic policies in the mid-1980s. In Canada, as the social welfare state model began to be slowly phased out to make room for the needs of the market oriented “global economy,” so was a great deal of the public funding that served as a staple to the work of artists, researchers, not-for-profits, community groups and universities.

FUSE 32.4: Fall 2009


This issue explores the work of a number of artists and collectives who are engaged in projects intended to dislodge popular narratives and propose models and value systems that offer alternatives to the existing order.

FUSE 29.4: Fall 2006


This issue of FUSE examines the question of mobilization on many fronts. How do we respond to our circumstances in ways that are empowering and challenging to dominant structures? How do we create new opportunities for self-representation that contest established and institutional perspectives in ways that are creative and proactive?