Whenever anyone speaks about the Plan Nord, territory, ancestral rights, the eyes of children haunt me. Are we going to leave fifty more years of struggle for the next generation? If we do not act now to preserve the future for our children and refuse the Plan Nord, it will destroy our territory. — Denise Jourdain
Jessica MacCormack’s The See delivers me back to my childhood, and to my childhood feelings. My individual illogical logic, overlapping explanations, memories and dreams. Intense isolation and longing, mixing pain in with everyday life. — Sarah Mangle
“What does it mean for arts institutions to be small, withdrawn, repetitive, vulnerable and maladjusted?” At first, I thought the answer might be demonstrated by the workings of any number of Toronto’s artist-run centres. The question evoked a condition common to local artist-run spaces: tongue-in-cheek submission and resistance to bureaucratic demands and financial precarity. — Maiko Tanaka
Next to losing the land, I cannot think of a factor that more threatens our collective existence as Indigenous peoples than no longer being able to talk our talk. —Chelsea Vowel
This is, in essence, the story of a single photograph. The image, a group portrait of six individuals accused of cannibalism during the brutal Soviet famine of 1920–22, has been used by historians as a mute testament to the horrors of the Russian Civil War and the period of War Communism. A closer look at the photograph, however, reveals that it is hardly a transparent document. —Kathleen Tahk
Marie Watt has located her career in the middle of a deceptively perilous intersection. Not a simple four-way stop, but one of those multispoke Parisian intersections with lanes of traffic wide and narrow converging from all directions. This fact isn’t immediately evident. The work does not beat you over the head with audacity; her signature materials — reclaimed blankets — are comfortably familiar and the hand that manipulates them is clearly guided by a sensibility that is gentle, thoughtful and refined. — Richard William Hill
In this issue of FUSE, we queer the notion of apocalypse and examine the kinds of practices either engendered or obscured by apocalyptic mindsets. While apocalypticism is ostensibly about the impending future, what concerns us here is the type of present it fosters. While we are busy predicting and preparing for a variety of elaborately imagined disasters, what are we are building in the present?
On newsstands 5 June 2013! Issue Contributors: Andrea Pinheiro, Natalie Kouri-Towe, Kathryn Denning, Denise Jourdain, Richard Moszka, Raymond Boisjoly, Chelsea Vowel, Atom Cianfarani, Kathleen Tahk, Richard William Hill, Maiko Tanaka, Lucas Freeman, Milena Placentile, Sarah Mangle.
The proposal to think queerly about the apocalypse is not an attempt to rescue apocalypse stories from the insidious reproduction of hegemonic relations; rather it is an opportunity to playfully consider what queer approaches to survival at the end might offer to our rethinking of the present. —Natalie Kouri-Towe
This story of how the world will end — and the very notion that it will — has endured for millennia, migrating around the world, and becoming a dominant ideology within a modern superpower with a massive nuclear arsenal. — Kathryn Denning