For several years I have remained disturbed by three aesthetic actions: Rebecca Belmore’s yell as a prelude to a panel discussion; Guillermo Gómez-Peña’s threat to decapitate a woman during a work of performance art; and Terrance Houle’s presentation of his naked, fleshy belly in photographs and performances. —David Garneau
Illustrious artist Marina Abramović to debut new work at Luminato Festival Friday 14 June, 2013. Preview FUSE editorial committee member Francisco-Fernando Granados’s exclusive interview with the artist here, and stay tuned for the full interview in the fall!
Cooking became an entry-point for me to introduce myself, as a human being who is also a Palestinian, to my peers in Canada. Cuisine became a way for me to express myself, my history, my cultural identity, with a lot of specificity but without being over-determined by certain politics. — Basil AlZeri
In many ways the criminal justice system maintains the illusion of effectiveness because it absolves us of our responsibilities to our communities. The trial of Pussy Riot highlights some of these dynamics, but at the same time, public support for these three individuals highlights another power dynamic centred around fame and popularity. -Jessica MacCormack and Sarah Mangle
Let the fireworks begin! Donna Scott’s recent announcement of resignation from the Ontario Arts Council might yet be a good thing for the arts in Ontario. If Bronwyn Drainie’s recent criticism of Hal Jackman’s matching grants program is any indication, we might yet see a renewed public debate about the arts, a debate that moves beyond the immediate arts community.
You’ll cover a lot of territory in this issue of FUSE: from the La Jolla Indian Reservation in California to the Banff Centre for the Arts, from Vancouver to Mexico City. These diverse places have an impact upon the production of art and culture on levels ranging from institutional policy to the highly personalized politics of memory and community.
The world has changed – or so the claim goes – since 9.1.1. Just how it has changed, or how much, can be seen as a question of perspective: whether one perceives “it” as an unprecedented world event, or as a particularly horrific event that has brought anglo-North America into the real time that much of the world was already living. Either way, much is changing fast: public opinion polls are reporting alarming stats about citizens willing to give up civil liberties for a comfort and safety they thought they had, but never really did.
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.
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).
“Hi. My name is Keith Cole and I am running for Mayor. Can I give you a colour flyer?”
On February 12th, 2010, in front of a very large, unsuspecting crowd at Buddies In Bad Times Theatre I announced that I would be a candidate for the top job in the City of Toronto. That’s right, I was running to be the Mayor.