Tag: immigration

FUSE 20-2 / Spring 1997

This anniversary edition of FUSE brings together a selection of thirty pieces: articles, interviews, reports and reviews from the past twenty years. Contributors include heavy hitters Dot Tuer, Bruce Barber, John Greyson and Sara Diamond.

FUSE 22-1: Winter 1999

At this time of year when temperatures are at their lowest and the sun peeks only half-heartedly over the southern horizon, many minds and some bodies in Canada turn to the south. At the same time, many people in the Caribbean look longingly, if ambivalently, toward North America. The International Monetary Fund and other branches of global capitalism’s police force have fostered large-scale un- and underemployment in the Caribbean, and have torn mercilessly at what little safety net existed.

FUSE 23-2: September 2000

One thing that sets FUSE apart from other magazines covering similar territory is its consistent, continuous attention to issues that get short shrift elsewhere. One case in point is the pleasant overlap between the last issue and this one. Adrienne Lai’s essay in vol. 23, no. 1, “Renegotiating the Terms of Inclusion,” is a thought-provoking critical analysis of Jin-me Yoon’s A Group of Sixty-Seven.

The Migrating Sound Scape: Dipna Horra’s Avaaz

Sound artist Dipna Horra uses field and voice recordings to create aural environments that simultaneously present a sense of location and dislocation. With Avaaz, Horra recounts a narrative of migration from India to Africa and then Canada, a narrative that undergoes translation and transposition. Horra’s sound installation consists of a central table set for tea, a wheeled tea trolley in the corner, a suspended window pane on the left of the gallery space and an unobtrusive air vent at our feet. Simple furniture, understated architectural features and fine china are the conduits through which the sound artefacts, that tell the artist’s story are emitted. Horra’s kitchen installation is a theatrical space in which the continuity of ancestral memory both reassures and unsettles.

Undoing Identities: Brendan Fernandes’ Haraka Haraka

The centerpiece of Brendan Fernandes’ exhibition Haraka Haraka is Nyumba ata Choma, a makeshift hunting village composed of six camouflage sniper tents, each housing a small television screen that plays a looped video of a Yule log superimposed on an archival news still from the torching of three million dollars worth of illegal ivory seized by the Kenyan government in 1989.