My conversation with Montreal-based artist Kandis Friesen was far from routine. In the lead up to our chat, I planned to visit Friesen’s most recent exhibit, Tape 158: New Documents from the Archives at TRUCK Gallery, here in Calgary. But just before this the province went into lockdown and the gallery was closed to the public. Rather than an in-person experience of the show, I had to rely on documentation of the exhibition provided by Friesen: an archive of the archive. While looking and listening to the documentation on my computer, in the comfort of my living room, I was drawn to the intricacy and beauty of Friesen’s show: exploring the ghostly presence of history through video, sound, photography, and installation. As an artist from Canada with Russian Mennonite roots, Friesen’s work looks at the complicated role of the archive, and asks us to consider how identity, nationhood, and historical objects are formed through us, and with us.