This issue of FUSE is in keeping with our attempts to pay special attention to Canada, while not being limited by any too easy assertions of national borders.
“The thing is, the library is not a collection of the coolest or best art books coming out of the Middle East—although we may possess many of them—it is in fact a material critique of cultural production and the discourses that presuppose such books…They are no longer just the transparent envelopes for discourse, they are objects—and as objects are subject to the pressures and incentives of material production and a wide range of material objectives; economic, historical and political.” —Babak Radboy (Bidoun Library)
Film curation and exhibition necessarily become essayistic practices, critical programs in poetic dialogue with social reality. While history offers innumerable instances in which the imperialist impulse of commercial film distribution and exhibition has used the developing world as grist for its mill… —Aliza Ma
A striking aspect of the Egyptian revolution is the frenzy of creative response and accelerated cultural production that has gripped Cairo and other parts of the country. The creativity and sense of urgency expressed in the streets continue on as competing groups give voice to their visions for the country’s future. —Joseph Banh
“I think institutions perform their independence in order to survive and be able to receive the little financial support that is available. I think that as an institution there is a certain performativity of independence that calls for constant posing as the alternative to the official discourse. But with ACAF, on a working level, we’ve tried to avoid that as much as we can.” —Bassam el Baroni (Alexandria Contemporary Arts Forum)
Let’s say I love you from afar, so I visit a magician who places our photographs in a bowl with (perhaps) pieces of paper with out names written on them and several spoonfuls of honey. Candles are lit, words are said, and it is done. You and I are together in a bowl, cemented with sticky sweetness. At the level of appearance, we are together, even if events in the world have yet to catch up with events in the bowl…
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.
Curated by Christine Conley, Crossings covered a program of performance art and discussion, which included a workshop component in Ottawa. The program sought to bring artists from Belfast together with First Nations artists. The core artists were Bbeyond members Alastair MacLennan, Sandra Johnston and Sinéad Bhreathnach-Cashell, representing three generations of artists based in Belfast, and Aboriginal artists Jackson 2bears (Kanien’kehaka (Mohawk)), Maria Hupfield (Anishnaabe (Ojibway)) and Skeena Reece (Tsimshian/Gitksan and Cree).