Despite the rising profile of indigenous artists in contemporary Canadian art in recent decades, significant blind spots and conflict zones remain. On the West Coast of Canada, the direction of photographic portrayals of communities and lands by First Nations artists remains negligible, even after Vancouver’s decades of photoconceptualism and that movement’s theories of social engagement. —Gordon Brent Ingram
As part of FUSE’s popular States of Postcoloniality series, the artists and writers in this issue explore decoloniality in aesthetic practice across the Americas and the Caribbean. Produced in partnership with the e-fagia organization.
Featuring: Berlin REED; Miguel ROJAS-SOTELO; Gordon Brent INGRAM; Heidi McKENZIE; the TRANSNATIONAL DECOLONIAL INSTITUTE; Naufus RAMÍREZ-FIGUEROA; David GARNEAU; Julie NAGAM; Kency CORNEJO; Leah DECTER and Carla TAUNTON; Gita HASHEMI, Tannis NIELSEN and Maryam TAGHAVI
ONLINE EXCLUSIVE: The Arc by Kathleen Ritter, Live on Q with Jian Ghomeshi: A Performance Reconstruction in Graphic Novella Form, by Jem Noble. When fire tore through the building on the corner of Broadway and Kingsway in Vancouver early Christmas morning in 2009, a vital community of artist studios was decimated. Artist and curator Kathleen Ritter’s studio was among those destroyed…
This issue of FUSE connects the politics of identity, food and representation.
The concerns and positions of the articles that FUSE has published over the last twenty years are always diverse. This issue of FUSE is no different. Articles ranging from the consideration of art practices in Turkey and Argentina; to articles discussing the challenges that exhibiting artists must deal with; to articles investigating the tensions between ethnic absolutism and hybridity in Native cultures; to the return of performance art; to book reviews, CD reviews and reviews of various festivals, this issue of FUSE is filled with considerations of various communities.
It seems appropriate to preface any given interview with a caveat in the spirit of Magritte: This is not a spoken conversation. An interview is a translation from spoken to written word and ultimately must succeed in the latter form.
In keeping with FUSE’s tradition of covering the arts and their cultural context, this issue considers how a sense of place and location is now dominated by an all-consuming surge toward globalization. A dislocation of artists’ practices ensues from these conditions.
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.