Archive

I first encountered Heather Rigg’s curatorial work for An unassailable and monumental dignity at Contact Gallery in 2017, and was blown away. It reframed images of Black masculinity in the public sphere. Each work sparked off one another in a way only a strong curatorial vision can create. Rigg grew up in Victoria, BC and relocated to Toronto in 2008 where she received her MA from Ryerson University’s Photographic Preservation and Collections Management (PPCM). She worked at the Art Gallery of Ontario as part of that program, then as Programming Administrator for the Contact Photography Festival. In July she was appointed Curator of Exhibitions and…

Wetness has long been considered a destructive force. Floods. Waterboarding. Torrential downpour. Drowning. Sobbing. A leaky facet. Dampness that leads to mold. In Ancient Greek, wetness was associated with the female body and with it carried connotations of destruction. “Physiologically and psychologically women are wet,” Anne Carson wrote in her essay “Dirt and Desire.” She goes on to quote Hippokrates: The female flourishes more in an environment of water, from things cold and wet and soft, whether food or drink or activities. The male flourishes more in an environment of fire, from dry, hot foods and mode of life. This…

I think of HaeAhn Kwon‘s assemblage works as solutions to open-ended questions. How might we tweak our surroundings to bring light to the things we take for granted? How do our surroundings shape us, our bodies, and the way we behave? How can one inflect change, or make the best of a situation, with minimal means? Or as the artist asks: “How do incongruent parts come together meaningfully to suggest an otherwise?” Working in drawing, sculpture, and installation, Kwon’s practice largely revolves around the idea of “the makeshift” — a word that aptly describes the haphazard site of art production, the…

Loosening, rethinking, and altering the ways we navigate space and relate to one another are Misael Soto’s bread and butter. The Miami-based artist is currently working on large projects situated in public space, rooted in a practice that has continuously intervened in the systems that govern the everyday. Daily life is often riddled with unexpected and often contradictory phenomena that usually go unnoticed and unquestioned: construction street signs, scaffolding, and crisis-averting equipment are all obvious indicators of change—sometimes even threats —yet their ubiquitous and quotidian deployment eases potential anxieties, certainly staving off the urgency that required their invention in the first…

I first met Sindhu Thirumalaisamy in San Diego. We reconnected later at the airport in Tijuana while we waited to board a plane to México City where we were going to take part in a summer study program at SOMA. Back then, I had only heard about a soundscape she’d done inside a hospital. It layered and built tension around hospital life in a magical and meditative way. As I got to know Sindhu, I noticed her ability to listen with great care and that appealed to me. I wanted to work with her. I later found out she was a filmmaker when she…

Listen to any of Sheffield’s Ashley Holmes’ mixes on NTS Radio and it can feel like getting a warm welcome into the mind of a mixer who is every bit as delicate about his choices as he is with their successive arrangements. You can picture Holmes spending hours sifting through record after record, lining them up, seamlessly placing disparate textures together before broadcasting it for us to hear. But he also manages to make the results flow intuitively and casual. Each time, he takes us on a meandering journey into the decades and then brings us forward and then back again. This back and forth…

gusts of sheets like lungs, breathing the air. dandelion leaves and blades of grass. dimpled fruit branches rustling like a horizon. between here and the pear tree—heat and the slowness of waiting. she says relationships between people are beautiful. head held in creases and folds. deep watered intention or else a seething fury. nearby a woman crouched in a tree, a painted figure eating a fruit. pears piled high in a bowl, she says, I didn’t ask your opinion on being a woman. white noise. white plaster hand, limp-wristed. a man with a cloth held in front of his face…

If I were a journalist, I might begin this piece so: “Davis Plett (23) a petit blonde in a pink two-piece with wide, gold, metal choker, black stilettos, and glasses, began their performance in the midst of a rapt audience. Seated in a large 1980’s office chair (emphasizing their build), Plett operated an overhead projector/laptop hybrid in silence as acetate after acetate, and digital screen after screen of text and image rolled over the fabric of the old projection screen … ” The visual description of the subject, once common in tabloids, directs the reader towards assumptions about intelligence, intention,…

I first met Cookie Brunel in the summer of 2009. That year’s iteration of Sled Island Festival was about to begin and there was some sort of event—the details of which I can’t quite recall—taking place at Olympic Plaza in downtown Calgary. I had just finished a gig poster for a show Cookie’s band, Puberty, was scheduled to play, and so when a mutual friend introduced us that evening we talked a bit about drawing and music. At the end of summer, I moved to Montreal with some friends and a few months later, Cookie and their bandmates crashed at our place…

At what Spatio-temporal turning point do images change in meaning, value, and/or audience? Now in a time when images proliferate ad nauseam, the medium of photography speeds towards a precipice of crisis, hinged on its ubiquity, exponentially increased accessibility, immateriality, and now widely understood rehearsed construction. Gonzalo Reyes Rodriguez is an artist based in Chicago whose practice contends with photography’s ails, as well as its history, through a formal approach reminiscent of the Information and Systems artists from the 1960s and 70s. In our conversation, he reminds me that, “photography has always been a medium in crisis,” and that our contemporary questioning…