Wednesday, March 11, 2020

Leigh Bowery, Carmen Miranda, “Love Shack,” Showgirls, Björk’s swan dress at the Oscars, Macy Gray’s outfit emblazoned with the release date of her next album at the 2001 MTV VMAs, reality television, just about everything Lady Gaga has ever done—in a truly nebulous set of relations, references, and time periods, these things all have in common that they are beholden to the legacy of camp. Last year’s Met Gala put camp on our minds again, reviving Susan Sontag’s prominent essay, “Notes on Camp” (1964), and distributing it to celebrity stylists in what was itself a campy gesture of mingling pop culture and intellectualism. 

Camp has not really been at the forefront of discourses surrounding cultural production over the past decade; though, in actuality, it has operated heavily in the background. We have taken it for granted as a sensibility because its cultural dominance has obscured the esoteric and sophisticated nature of camp’s history. For many people, perhaps it was “RuPaul’s Drag R...

Wednesday, December 11, 2019

Susanna Jablonski is a Stockholm-based artist working with sculpture, moving image, sound and music to test the boundaries of materials, time, and human experience. She considers the tensions of interpersonal relationships in the collective, as mediated through objects, nature, historical consequences, and human-built systems. 

Jablonski is a frequent collaborator of artist and filmmaker Santiago Mostyn. And together with performance artist Cara Tolmie, she organizes an ongoing series of Listening Sets as part of their joint research project “Gender of Sound,” which hosts work by artists that supports a practice of close listening with the participation of an audience (encouraging those with all levels of experience or enthusiasm for music). The project gathers these voices in a collaborative effort to find a language for articulating the myriad ways we listen, hear, and process all dimensions of sound and music, the collective impacts, as well as political and cultural associations. 


Wednesday, July 10, 2019


Andrei Tarkovsky's seminal 1979 film Stalker was produced in the late Brezhnev era of the Soviet Union, and centres on the journey of three men to a forbidden location called the ‘Zone’– the product of an extraterrestrial visitation, purported to manifest the deepest desires of any person to enter it. Every empire has an end, an exhibition at Toronto’s Franz Kaka, juxtaposes the work of Jennifer Carvalho and Jenine Marsh to explore the material sensibilities and conceptual dialogues of their art practices through the lens of the film. Together, Marsh’s sculptures and Carvalho’s paintings summon the themes and visual languages of Stalker; its mysterious ‘Zone’; and its investment in time utilizing what Tarkovsky referred to as the “long take.” 

Like the ‘Zone’ of the film, a site of antagonism and obsession, the artists play with the anxiety present in zones of indistinction and estrangement. Both Carvalho and Marsh consider through the lens of Stalker that science fiction is an i...

Thursday, February 7, 2019

In 2016, artist and writer Johanna Hedva published “Sick Woman Theory” in Mask Magazine’s “Not Again” issue. The piece began with a discussion of Hannah Arendt’s definition of the political, as being comprised of any action performed in public, which fails to account for groups of people who, for various reasons, are not able to be in public, as well as who is in charge of who appears in public and when. This past November, Hedva gave the keynote address at “Sick Theories”, a conference held at the University of Toronto Department of Visual Studies on November 8 and 9. Organized by Margeaux Feldman and Lauren Fournier, its purpose was to engage the concept of ‘sickness’ in consideration of its various intersections and auxiliaries: illness, disability, madness, sexuality, identity.

Regardless of how we identify, whether we recognize forms of sickness as part of our individual experience or not, these are all things we learn about anecdotally to create a fuller, more inclusive picture of...

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