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Category: Back Issues

FUSE 31.1: Winter 2008


This issue of FUSE returns to the question of framing, examining the ways in which a conceptual approach, applied to a debate or used as a curatorial strategy, directs our readings of artworks, events and future possibilities. Frames are inevitably ideological ways of conceiving of our circumstances and while it is impossible to invoke an event without framing it, the conceptual approach that gets deployed shapes our imaginings and ways of understanding. Debra Antoncic takes up this question in Trans-border Talks: Carlos Garaicoa on Tour, drawing connections between the ROM’s expansion project and the framing of Carlos Garaicoa in the new Institute of Contemporary Culture.

35-2 / NORTH

Issue 35-2 Contributors: Jackie Price; Vanessa Dion Fletcher; Lucas Ittulak; Ravi de Costa; Art and Cold Cash; Agata Durkalec; Heather Iloliorte and Billy Gauthier; Mark Igloliorte; Anna Hudson; Amy Zion; Chris Gehman; Bart Gazzola; Amy Fung


The winter 2011-12 issue of FUSE, Forms of the Struggle, has developed out of a formative engagement with the condition of occupation. A special collection of writing and images from contributors Harsha Walia, Syed Hussan, Max Haiven, Erin Konsmo and Louis Esme Cruz on the #Occupy movement introduces the issue.

FUSE 33.4: Fall 2010


The fall issue of Fuse sees writers and artists considering how they imagine, participate in and construct their communities. Creating alternatives despite opposition or interference, or simply using unexpected methods, contributors explore how they shift their own circumstances and broader belief systems by going DIY.

FUSE 33.3: Summer 2010


In this issue of Fuse, we consider the different ways in which community-based interventions and collaborations can create alternatives at the local level. In Microfunding: A little goes a long way, Amber Landgraff reflects on the importance of community dinners, especially when they lead to alternative systems for funding art. Looking outside of established systems and toward community funding initiatives, Landgraff considers artist projects that facilitate the redistribution of community money in order to effect positive change within that community.

FUSE 33.2: Spring 2010


Amy Zion begins her article in this issue with a discussion of how over the past two years the arts in Vancouver have accessed a lot of money through the funding initiatives of VANOC. She points out that there are very few people, herself included, who have not benefited from VANOC’s patronage. Given this patronage, it is unsurprising that while many artists have been vocal about the impacts of the Olympics on Vancouver communities, many others are conflicted about vocalizing their opposition — particularly since many forums exist as a direct result of VANOC’s funding. Of course, discussing the money in art practice often returns us to the fact that there never seems to be enough to go around (see below) — but following the money raises interesting questions regarding who and what kind of work gets funded and the benefits and problems that come with money: problems that can follow from both having and not having enough.

FUSE 33.1: Winter 2010


In the third of her trilogy on critical pedagogy, bell hooks reflects on how one of the roles of critical education is to ask people to consider the necessity of protecting and participating in democracy. Democracy cannot be assumed, she argues, it must constantly be manifested and enacted. This act of manifestation is part of a participatory process that positions the responsibility, benefits and rights of civic society at its very core, with each individual responsible to the collective good of the whole.

FUSE 32.3: Summer 2009


The surge of interest over the past 20 years in relational and interventionist art practices, set alongside widespread and aestheticized social and economic precarity, raises a number of questions about effective artistic intervention. What is the role of art in relation to the communities it happens in? Many artistic interventions that skirt the surface of social networks – when divorced from the desire for community empowerment and transformation – can actually have the effect of institutionalizing the negative social impacts of a neo-liberalizing society. What responsibilities do artists working in relation to communities have to engage not just with their surface but also with their underlying politics and realities?