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Rosemary 1 

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NSCAD

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Joy Xiang (she/her) is a writer and editor, born in Shanghai and based in Tkaronto/Toronto. Her work and life engages erotics, migration, material flows, and media nostalgia and futurity. She is currently Editor at _C Magazine_. 

Editor

Maandeeq Mohamed is a writer and researcher. Engaging Black Studies and related cultural production, her writing is featured in _Real Life_, _C Magazine_, and _Canadian Art_. 

Associate Editor

Publisher

Designer

In _C Magazine_’s 40th year of publication, the writing and visual projects in this issue form an almanac in themselves, out of the impulse to make meaning out of the present state of contemporary art and liberatory organizing. As contributors find grounding in celestial time, ancestors, the stakes of censorship, the choreography of movement building, AI incantations, and more, we express almanacs as projects of persistence between past, present, and future—and even of spell-casting.

In C Magazine’s 40th year of publication, the writing and visual projects in this issue form an almanac in themselves, out of the impulse to make meaning out of the present state of contemporary art and liberatory organizing. As contributors find grounding in celestial time, ancestors, the stakes of censorship, the choreography of movement building, AI incantations, and more, we express almanacs as projects of persistence between past, present, and future—and even of spell-casting.

Almanac

Review

Tiana Reid is an Assistant Professor in the Department of English at York University, where she teaches Black Literatures. Her writing has been published in many places, including _Bookforum_, _Momus_, _The Nation_, _The New York Review of Books_, and _TOPIA: Canadian Journal of Cultural Studies_.

The self-described painter Torkwase Dyson contributed 59 works of charcoal on paper to Canisia Lubrin’s recently released book of short stories, _Code Noir_. Dyson’s erasures, shadings, geometric annotations, and marks of ruin correspond to each article in the “Code Noir,” a 1685 decree passed by King Louis XIV that outlined legal mandates relating to race and slavery across French colonies. A note at the end of the book explains that these drawings “interact, subvert, and comment on the fiction in these pages.” This mode of subversion informs Lubrin’s writing, which moves through Dyson’s spontaneous etchings, crossings, emphases, darks, and lights. Each article of the _Code Noir_ and each drawing also correspond to a section of writing by Lubrin, which range in form, from a two-line evocative note to longer narratives.

The way I’ve introduced the structure of the book, where a legal article is paired with art and writing, perhaps gives a false sense that the three genres are related in some kind of logical manner. Instead, each of Lubrin’s fragments functions as an intervention into the very meaning of fiction, exposing the controlling white-supremacist fictions in the “original” Code Noir. 

The reader travels from Timmins, ON, to Crown Heights, Brooklyn, to Roseau River, Saint Lucia, all the way to Côte d’Ivoire and Germany. In addition to the various settings, _Code Noir_ contains a multitude of characters, animals, revolutionaries, and theorists. The style varies, from historical fiction to an otherworldly story set in the future. But the text hinges not on people, places, or things but on ideas and experiments. As the 10th section reads, “Thinking is what we’ve come to do.” In the basin of capitalist life, the room for thought is faint, often hardly perceptible. This book encouraged me to recall writing’s role in domination, the definitions of fiction, about what is named in the text as “the myth of being singular,” about what a novel is, and about the Black radical tradition with which Lubrin is in conversation (including writers like M. NourbeSe Philip, Édouard Glissant, Sylvia Wynter, and Aimé Césaire).

The comprehensible ways we read and write reflect the paucities of our everyday. Challenging her reader, Lubrin wants to unveil the structural terms under which we read fiction, non-fiction, official order, legal sanction, and poetry. Lubrin defamiliarizes the familiar, encountering the novel form anew and imploring the reader to discover fictions in the very legal doctrines that constrict life.

Perhaps a book tells you how to read it. Not outright, not openly—but the more closely, intensely, and seriously you read, the more the text opens up to you. A late direct reference to King Louis XIV’s _Code Noir_, appearing about two thirds of the way in, sets up another way to read: “She admired being confused. She changed her mind about the world. She did not know the world she had lived in all along. And she was relieved for that renewed breath. The strangeness made something pure.” In that moment, “she” became the author and the author became me. 

Writer

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_Code Noir_ was published by Knopf, New York, 2024.


_Code Noir_ — Canisia Lubrin

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_C Magazine_ celebrates 40 Years! 

Art Toronto returns October 24-27, 2024 at the Metro Toronto Convention Centre, celebrating its 25th year. The most significant art event in Canada, Art Toronto connects collectors, curators, galleries and artists from across the country and around the world. Canada's art fair will feature over 100 galleries, as well as installations, exhibitions, and engaging programming. [Get your tickets today (https://arttoronto.ca/home/exhibitors/). The fair and it's programming run Friday to Sunday. On the evening of October 24, 2024 guests are also invited to Art Toronto Opening Night, a benefit for the McMichael Canadian Art Collection, which includes a VIP preview of the work on view through this year's exhibitors. 

This year's lineup includes galleries from cities across Canada, as well as New York, London, Amsterdam, Reykjavík, Buenos Aires, Seoul and more. In addition to these gallery exhibitors, Art Toronto  features it's annual Focus exhibition, the 2024 edition of which is curated by Rhéanne Chartrand. Titled "the place to which we return," it centres Indigenous, immigrant, and racialized artists complex relationships to home. Plan your visit by learning more about this year's exhibitors, and focus exhibition, plus check out the installations, talks, and fair tours led by artists, curators, and collectors, all included in Art Toronto's 2024 Programming. Visitor information and more is available at [ArtToronto.ca](arttoronto.ca/home)





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Art Toronto returns October 24-27 at the Metro Toronto Convention Centre, celebrating its 25th year.

Canada's Art Fair: Art Toronto 2024

Julian Jason Haladyn is an art historian, cultural theorist, and Assistant Professor at OCAD University.

Bringing together four decades of the expansive and dynamic practice, “Shelley Niro: 500 Year Itch” is the first major retrospective of the Mohawk (Kanien’keha:ka) artist and filmmaker. This show at the Art Gallery of Hamilton consists of more than 70 works including many of her most famous series—expanding the first iteration of the exhibition at the Smithsonian National Museum of the American Indian in 2023. The curators Melissa Bennett, Greg Hill, and David Penney have done an extraordinary job organizing and arranging the works, which are presented thematically instead of chronologically.

Entering the exhibition, one is immediately confronted by a series of three large photographs of the artist, _Abnormally Aboriginal_ (2014–2017), presented on a dark-coloured wall. In each of these portraits we see Niro wearing a black shirt while posing in front of a similarly black background that contrasts with her brightly lit face. At the bottom of all three portraits are stylized images of a DNA strand. While the final photograph in the series displays only the DNA strand, the preceding two feature a profile of a First Nations person’s head beside the DNA. The first portrait is accompanied by the text “abnormally” and “aboriginal,” while the middle portrait features the words “normal” and “original.” As an introduction to the retrospective, _Abnormally Aboriginal_ captures key themes and practices—self-portraiture, identity, and Indigeneity, as well as ways of thinking through self and culture—that connect much of the work in the exhibition. 

Throughout her career Niro has consistently created conceptual yet playful self-portraits. In addition to _Abnormally Aboriginal, Waitress_ (1987) exemplifies this playfulness, as an early painting that shows the artist as a server in a restaurant who accidently spills wine on a white woman, while former prime minister Brian Mulroney and his wife Mila dance in the background. Discussing this work in her essay for the exhibition catalogue, Melissa Bennett notes the way Niro in this work highlights “how Indigenous Peoples were being ignored by those in power.” Niro’s act of making herself the waitress points to the very personal nature of the issues confronted, while also putting herself in the role of the contemporary trickster. She explores this directly in her celebrated series _This Land Is Mime Land_ (1992), which consists of 12 framed triptychs that include humorous images of herself. In one of these works, _500 Year Itch_—from which the retrospective gets its title—she playfully presents herself dressed as Marilyn Monroe on the left and photographed with a serious expression on the right. In the centre is a posed family photograph of Niro’s mother smiling. It was a real pleasure to see the entire _This Land Is Mime Land_ series, presented in a three-by-four grid, with repeated instances of the artist herself miming popular culture. 

Another of Niro’s well-known early series is featured prominently in the large central gallery: _Mohawks in Beehives_ (1991). Exploring portraiture once again, Niro’s hand-coloured photographs depict the artist’s sisters and mother posing for seemingly candid images capturing the everyday joyousness of the life of these Mohawk women—a reality purposefully elided in popular representations of Indigenous peoples. These framed works are all different sizes, arranged on a frees-tanding wall. On the top left is another triptych, _The Iroquois is a Highly Developed Matriarchal Society_ (1989), featuring her mother sitting under a bonnet hair dryer. Like the _This Land Is Mime Land_ series, these images were mounted on black matte board with a series of drilled holes that reflect traditional beading patterns. On the left side of the wall is _Standing on Guard for Thee_ (1991), one of several pictures of the artist’s sisters playfully posing in front of the Joseph Brant Monument in Brantford; here, politics and history are necessarily tied to the personal.

Niro also presents another type of portrait—specifically portraits of the land as an other-than-human being. The first and last images in her series _The Shirt_ (2003) are pictures of just the landscape; _Ghosts, Girls, Grandmas_ (2004) includes portraits of people and the land framed with images of wampum belts. Niro presents a beautiful portrait of the moon in _The Moon and Me and A Celestial Tree_ (2010). In her multimedia work _1779_ (2017), a video of flowing water is seen under two toes of beaded boots and framed by a circular red mat with the date “1779” beaded onto it its surface. 

Text plays an important role in Niro’s practice, being used as both a mode of communication and a confrontation with the viewer-reader. In the six-panel photographic series _In Her Lifetime_ (1992/2018), pictures of the artist’s sister are accompanied by texts written in the third person—one image reads, “Native issues would never be resolved in her lifetime.” In _Passing Through_ (1993), a large series of landscape paintings are interspersed with photographs of urban scenes, with each of the photos featuring text like “Woodstock, the Friendly City,” “City Hall,” “Provincial Court,” “Private Parking,” and “Thank You Call Again.” Through these ready-made texts, Niro reminds viewers that the relationship between people and the land is part of our everyday lives.

Following this iteration at the Art Gallery of Hamilton, “Shelley Niro: 500 Year Itch” will travel to the National Gallery of Canada (June 21 to August 25, 2024), Vancouver Art Gallery (September 28, 2024, to February 2, 2025) and Remai Modern in Saskatoon (Spring 2025). This exhibition is accompanied by a substantive catalogue, on the cover of which is the work that has meant the most to me from the show, _Pandemic Moon (Post-Industrial / Pre-Colonized)_ (2023). This detailed photograph of the moon, taken during the COVID-19 pandemic and displayed in a circular light box, beautifully captures what for me is the most powerful quality of Niro’s practice: her ability to show us the world as it is and as it could be. 

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“500 Year Itch” ran from 10 February to 26 May 2024 at the Art Gallery of Hamilton.


“500 Year Itch” — Shelley Niro

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In Mind Pool, Memory Spring’s roundtable, the experimental research group engages with how techniques of past life regression, a form of hypnotherapy, might expand limiting Western conceptions of the soul (as group member Danica Pinteric suggests). The discussion highlights how past life regression might inform the group’s artistic practices, which span topics including ancestry, spirituality, empathy, and the tether between memory and fiction.


Roundtable: Mind Pool, Memory Spring

Aman Sandhu is an artist and writer working between Montreal and Glasgow. His installations often include drawing, moving image, sculpture, and text. He considers them as ensembles of objects that come into view through improvisation.

Sahar Te is an artist and writer whose practice exists at the intersection of text, installation, and time-based media. Her interest in media, politics, literature, theatre, and acoustics inform her work. Te’s engagements span language and poetics, aesthetics and semiotics, social dynamics and inter-species, and oral histories.

Our Third Sun

Emma-Kate Guimond is a performance artist and writer based in Tiohtià:ke/Montreal. She has published essays in _Espace art actuel_ (2023) and _Inter, art actuel_ (2024), and works as a creative ally for the theatre company Joe Jack et John. Her recent exhibition and short film _The Plot_ (2024) was presented at Centre CLARK in Montreal.

Gui B.B’s Performances and the Erotics of Debt

Raven Davis is an Anishinaabe, 2-Spirit artist and educator, born in Michi Saagiig Territory, Toronto, ON. Davis investigates land-based and archival research, with calls to action, healing, and works authenticized by lived and intergenerational experience. Davis utilizes movement, visuals, and sound/media in their practice. For over 30 years, Davis has advocated for equitable, IBPOGM art and liberated futures.

Cara Tierney (they/them) is a transdisciplinary artist and educator who lives/works on unceded Anishinaabe Algonquin land. A settler of Scottish-Irish-Italian descent, their work investigates the way meaning is structured in, around, and through the body. They are oriented toward building more equitable and sustainable futures.

Hard Limits, Soft Landing

Adrien Crossman is a queer and non-binary white settler artist and curator currently residing on the traditional territory of the Haudenosaunee and Anishinaabe in so-called Hamilton, ON. They are interested in the affective qualities of queerness: how queerness can be felt through specific aesthetics and sensibilities. Crossman cofounded and co-runs the online arts publication off centre and is an Assistant Professor in the School of the Arts at McMaster University.

Fetish Aesthetics and Fan Fiction in Dana Buzzee's Philosophically Pornographic Practice

Andrea Dávila is a researcher, writer, and museum professional interested in the cultural and disciplinary intersections within art history, focusing on the visual dialogues and continuities within contemporary Latin American art. She graduated from Barnard College, and has held curatorial internships at the Dallas Museum of Art and the Whitney Museum of American Art.

One Thing: Tracing Fragments of Queer Desire


Erica N. Cardwell is a writer, critic, and educator currently based in Toronto. She is the recipient of a 2021 Andy Warhol Foundation Arts Writers Grant. Her writing has appeared in _ARTS.BLACK_, _Art in America_, _Frieze_, _BOMB_, _The Believer_, _The Brooklyn Rail_, _C Magazine_, _Studio Magazine_, and other publications. She is Assistant Professor of Creative Writing at the University of Toronto Scarborough and a Terra Foundation Research Fellow for _Threewalls_, a Chicago-based arts organization. Her book, _Wrong Is Not My Name: Notes on (Black) Art_ will be published by _The Feminist Press_ in March 2024.


Sinister Pleasure: Interview with Ja'Tovia Gary

Alexa Bunnell is an emerging artist, writer, and fermenter based in Mohkinstsís.

A Good Animal on Wet Sheets: Disobedient Gasps in Subspace

Born in Kjipuktuk (Halifax) and currently living in Tkaronto, traditional territory of the Mississaugas of the Credit, the Anishinaabeg, the Chippewa, the Haudenosaunee, and the Wendat peoples, Trish Salah is the author of the Lambda award-winning poetry collection _Wanting in Arabic_, and of _Lyric Sexology Vol. 1_. Her writing is widely published in journals and anthologies, and translations of her work have appeared in French, Greek, and Arabic. She has co-edited special issues of _TSQ: Transgender Studies Quarterly_, on cultural production, and of _Arc Poetry Magazine_, showcasing trans, Two-Spirit, and non-binary writers. She is also an Associate Professor of Gender Studies at Queen’s University, and Editor at the _Journal of Critical Race Inquiry_.

Composition: give up your own

eunice bélidor is a curator, researcher, and writer born and based in Montreal. Her current curatorial research focuses on letter writing as creating affective archives; she is interested in the intersection of epistolary writing with care, feminism, anti-capitalism, and racial issues.

What is the Safe Word?

Liliona Quarmyne is a dancer, choreographer, actor, singer, and organizer based in Kjipuktuk/Halifax, on the unceded and unsurrendered territory of the Mi’kmaq people. From Ghana and the Philippines, she has an eclectic background that has taken her through many performance styles on four different continents. She performs and creates both as a solo artist and with various companies, facilitates community programming, and is an experienced curator and artistic director. The scope of Liliona’s artistic work is broad, but is particularly focused on the relationship between art and social justice, on the body’s ability to carry ancestral memory, and on the role the performing arts can play in creating change. Liliona loves to work in collaboration and community, and is mom to two wonderful kids.


_proxy_ by Mo Glitch: Text

Salena Barry is a writer from Toronto, Canada, who is currently based in London, UK. She was a 2021 Frieze New Writer and a 2022 Jerwood Writer in Residence. She has written for institutions including Delfina Foundation and Site Gallery as well as for publications including _Frieze, ArtReview,_ and _Emergent Magazine._

Weaving Through the Binary: Qualeasha Wood's Textile Inheritances

Jasmine Gui is a Singaporean-born interdisciplinary artist, arts programmer, and PhD student based in Tkaronto/Toronto. She works in paper, ceramics, tea, and experimental book formats through the inter-arts and publishing space Teh Studio. 


Different Things in Different Scenes: Encountering Ichi-go Ichi-e in Tea

D. St-Amour (they/she) is a writer, book-maker, and recovering arts worker. Since 2011, St-Amour has held curatorial, administrative, and research positions at a range of institutions, including the AGO, the Walter Phillips Gallery, Art Metropole, and Galerie SBC. St-Amour regularly writes about artists’ books and publishing practices through the lens of visual arts and media history, and is slowly publishing a series of queer sci-fi and speculative fiction books through their slow-press project, specific. place (with co-editor S F Ho). Recently, St-Amour completed an MA in Art History/Visual Cultures at York University, and is currently an MLIS candidate at Western University in London. 


Anni Araújo Spadafora (she/ her) is an interdisciplinary artist based in Toronto. Her work spans performance, music and sound, and textiles. She regularly studies at the Marshfield School of Weaving (Vermont). Recent project and performance sites include Extrapool (Nijmegen, NL), Milieux Institute (Montreal), Gardiner Museum (Toronto), The Khyber Centre for the Arts (Halifax), and the Art Gallery of Ontario. She is also a founding member of the band New Fries, who have released music with Telephone Explosion Records (Toronto) and Soul Jazz Records (London, UK). New Fries has toured across Canada and internationally and opened for The Pop Group, Neil Hagerty, The Ex, and Xiu Xiu (among others).


Marking Time Spent Absurdly

Amanda Shore is a white-settler arts worker, critic, and curator based in K’jipuktuk (Halifax, NS). 


Love Made Object

matt lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working toward equity, inclusion, and reparation. Their practice is based in polydisciplinamory, entangling making, writing, curating, collaborating, and performing. lambert is currently a PhD Researcher at Konstfack in Stockholm, Sweden, in Artistic Practice in Visual, Applied, and Spatial Arts. Their research focuses on mapping collaborative movements with craft through a developed methodology of cruising. They have published, curated, exhibited, and been collected internationally. 


_Exploratory Touch_ by Trevor Novak: Text

Holly Chang is an artist, curator, researcher, and writer living in Toronto who has recently completed her MA in Communication and Culture at TMU/York University. Her overall artistic work explores the themes of her second-generation mixed-race identity. She maintains cultural ties with her cross-cultural identity and draws on her hybrid background for inspiration. 


The Moon and Material Kin: Interview with Akash Inbakumar

Suzanne Morrissette is an artist, curator, and scholar from Winnipeg. Her father’s parents were Michif- and Cree-speaking Métis with family histories tied to the Interlake and Red River regions and Scrip in the area now known as Manitoba. Her mother’s parents came from Canadian-born farming families descended from United Empire Loyalists and Mennonites expelled from Russia. 


Shalaka Jadhav is based between Block 2 of the Haldimand Tract (Kitchener, ON) and Treaty 1 (Winnipeg, MB). Trained as an urban planner, they took the advice of an aptitude test to pursue curatorial studies and currently practice as an independent curator, writer, and service designer. Shalaka curates projects for Textile, a hyperlocal project on the Haldimand Tract, and is a Visiting Curator at the University of Manitoba’s School of Art Gallery. They currently hold roles at OCAD University and, more recently, at the Blackwood. 


Tilling: The Centre for Cultural and Artistic Practice: In Conversation with Luther Konadu

Hannah Hanski (b. 1985) is a Canadian neo-folk artist blending textile and digital media. With a deep belief in the power of narrative, she pursued her studies in Folklore and completed her MFA at Carnegie Mellon in 2017. She currently resides in a church in rural Nova Scotia with her dog, Moshe.


Cat Bluemke (b. 1993) makes art about work and play. She graduated with an MFA in Design for Emerging Technologies at SAIC, and is currently Digital Exhibitions Consultant at the MacKenzie Art Gallery in Regina. Recently, her practice has spanned augmented reality, game design, performance, and risographic prints.



Jonathan Carroll (b. 1990) is an artist and programmer creating games, software, and performances. His work unfolds as a dynamic collaboration between artists, audiences, and their interactive digital interfaces. He lives in rural Nova Scotia where he creates digital-art tools.

From Algorithms to Aesthetics: Unlocking the Mind of CritBot.AI, Pioneering Critic

Stevie Ada Klaark is an interdisciplinary artist, adjunct professor, and writer. She holds an MFA in Visual Art from Cornell University’s College of Architecture, Art, and Planning. Their work appears in _Paprika!_ (Yale University), _Chicago Review_, and _Mn Artists _(Walker Art Center). Klaark lives on unceded Anishinaabe lands in Michigan. 



Untangling Beauty from the Elite

Erin Reznick is a curator, producer, and publisher whose research tends to the assembly of community, specifically in social spaces that negotiate public and private domains. She is a graduate of the Master of Visual Studies in Curatorial Studies program at the University of Toronto. She was the Co-Editor in Chief of _Phile Magazine_. 


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Code Noir — Canisia Lubrin

C Magazine celebrates 40 Years!

Canada's Art Fair: Art Toronto 2024

“500 Year Itch” — Shelley Niro

Issue 158

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