This issue of FUSE connects the politics of identity, food and representation.
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.
In this issue Aoife Mac Namara’s feature article on Wilie Doherty, Daniel Yon’s interview with British cultural theorist Kobena Mercer and Katarzyna Rukszto’s column on the selling of Canadian culture, the pertinent issues of representation, race, nation, colonial histories and community are problematized and critically reflected on.
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.
Antonia Zerbisias’ rant in the June 1998 issue of Masthead thrashed not only FUSE, but Geist and Borderlines, threatening the already tenuous position that alternative magazines hold in relation to government granting agencies. The decision by the OAC to limit funding to periodicals that only address and include poetry, fiction and visual art commentary, precariously and narrowly envision ways that art and culture are defined.
In this issue, most of the texts share concern, anxiety or frustration with the limits and borders of collective identity. Such contested terrain is the location of some of the most pressing concerns of this new decade, and is prime FUSE territory. As usual, our writers don’t hesitate to ask hard questions, revealing not only vexing problems of identity, but provocative alternatives to conventional models.
How do viewers respond to exhibition sights/sites?
For the individual writers featured in this issue, visual sights are sites of active knowledge-making with the potential for social and political change. In our feature essay “‘Take good care of it, it is my whole life’: Encounters with Charlotte Salomon’s address to the living,” Sharon Rosenberg discusses viewers’ encounters with the traveling exhibition Life? or Theatre?
CALL FOR SUBMISSIONS On the horizon of feminist struggle, what does abolition mean as a radical rhetorical position and as a material goal or praxis? Departing from communization theory’s call to abolish gender (along with class) as a necessary measure of destroying the capitalist class relation, how does the figure of abolition — a word perhaps most often used today to advance the abolition of prisons, and before that, slavery, and enduringly, colonialism — restructure the struggle and praxis of feminisms?