On October 14th, I clocked out of my day job and was seized by a want for sensuous experience. I needed to be gripped by art of some kind and brought back to life from the quotidian routines of the office, which left me feeling hard-boiled, bored, and cold.
Egghead Republic is a surreal satire set in a reimagined 2004, where the Cold War culminated in an atomic bomb being dropped on Soviet Kazakhstan.
“I want them to like me.” I twist nervously in the desk chair as I wait to be called in for my interview with writer, performer, and Sex Worker Andrea Werhun, and director, photo-illustrator Nicole Bazuin.
In a year where fashion’s collapse and reinvention are unfolding in real time, Alice Wincour’s Couture premiered at TIFF this past week like an unpinned hem: loose, fraying, yet undeniably alive.
FAKE, an experimental New York publisher that specialises in multi-sensory media, has released its fourth edition, Mask vs Persona. Each edition of FAKE has consisted of a high-quality vinyl accompanied by a physical printed zine.
Anyone attuned with the contemporary oil painting scene may have noticed a trend in its figurative work: artists seem increasingly fascinated with a new kind of still life, one that injects household items such as curtains, chandeliers or human hair with twilight eeriness.
Late in June, a strange, quiet exhibition opened at 918 Bathurst in Toronto. MADONNA, a group show running from June 24th to July 13th, brings together ten artists working across a range of disciplines and materials.
Self-care carries with it a particular tension: the quiet promise of repair and the creeping sense of ritual. The Cult, the new short film from Montreal-based directing duo LM Chabot, sits entirely inside that space.
A snag in the season’s grip, cool points of precipitation on glassy skin, glistening like blips of light in the distance that take us where we want to go.
“The simple gesture of turning a camera towards a woman has become equivalent to a terrorist act.”
This 1981 quote from feminist film scholar Mary Ann Doane captured her frustrations with the objectification and violence which seemed to follow every woman’s portrayal in cinematic narrative.