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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, researcher and the Associate Editor of _C Magazine_. 

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This issue of C Magazine considers what it might mean to stop. Rather than denote absence, the stop offers an opening for something else to emerge. Across these pages, contributors explore stopping in: forms of rest, blockades, town halls, and critiques of the temporality and archives of empire. From blockades on Wet’suwet’en land to an underground hub in Jakarta, from moccasins cradling lichen to Lebanon’s El-Mina port, each work gathers its own form of interruption. <br/>

With contributors: Whess Harman, Hung Duong and Grace Samboh, Svetlana Romanova, Fan Wu, Meagan Christou, Mitra Fakhrashrafi, Emma Steen, Charlene K. Lau, Dot Tuer, Joyce Joumaa, Ali El-Darsa, Kay Rangel, Jasmine Sihra.

This issue considers what it might mean to stop. Rather than denote absence, the stop offers an opening for something else to emerge. Across these pages, contributors explore stopping in: forms of rest, blockades, town halls, and critiques of the temporality and archives of empire. From blockades on Wet’suwet’en land to an underground hub in Jakarta, from moccasins cradling lichen to Lebanon’s El-Mina port, each work gathers its own form of interruption.

With contributors: Whess Harman, Hung Duong and Grace Samboh, Svetlana Romanova, Fan Wu, Meagan Christou, Mitra Fakhrashrafi, Emma Steen, Charlene K. Lau, Dot Tuer, Joyce Joumaa, Ali El-Darsa, Kay Rangel, Jasmine Sihra.

Stop

Review

**Chloe Panaligan** (she/her) is an emerging writer and researcher based in Tkaronto
/Toronto. She is currently working toward an MA in Art History and Visual Culture at York University, where her research explores the works of contemporary Filipinx diasporic artists, notions of Filipinx futurities, the significance of the quotidian, and intersections of the colonial, religious faith, and queerness.

Upon walking into 918 Bathurst, I immediately felt the atmosphere of a place of worship: eerily quiet, charged, and deeply immersive. Salma Ragheb’s curatorial decision to scatter the works that compose “MADONNA” throughout the room mimicked the experience of wandering through a church, where contemplation unfolds slowly and spatially. There is no direct order or path the viewer is meant to follow, as they are encouraged to walk around in any direction. This arrangement sets the stage for the exhibition’s looming absence of the Madonna that pervades the show. In place of her literal figure, the flux of symbols alludes to her enduring presence.

The works range in mediums, but all share one distinct feature: symbols both familiar and ambiguous. Liam Crockard’s wooden chair sculptures, _Untitled (All Thumbs)_ (2014–ongoing), echoed the form of church pews, while Jana Rumjanceva’s _Pretense at an Altar_ (2025) resembled an altar table, but without the religious relics and material symbols usually placed atop it. Janie Wang’s _Habit_ (2025) evoked the form of the Pietà and served as the only human-like figure present. Enhancing the ecclesiastical atmosphere of the space, _Habit_ served as a central altar around which the exhibition was arranged. This piece also embodied the idea of the “almost-there,” grappling with the tension between presence and absence constantly interrogated in “MADONNA.”

The exhibition’s lack of figurative work encouraged the audience to construct their own
meanings through the abstracted material objects presented to them. This absence opened up a critical space to reconsider inherited ideals, and in particular the patriarchal and doctrinal frameworks of the Church. The works brought about specific symbols and scenes that many are familiar with, but presented them in a completely different light. billie raphael’s _MERCY, MERCY! SAFE WORD, SAFE WORD!_ (2025) showcased a large rosary laid out on the ground. What was meant to be a small symbol of an intimate activity, such as prayer, was now large and impossible to ignore. The audience was encouraged to physically interact with the soft sculpture, but within the solemn atmosphere that commanded the space, individuals exhibited a performativity
similar to what takes place in these religious settings. Rather than handling the sculpture freely or casually, the viewers moved with a heightened sense of reverence, restraint, and physical awareness. Ragheb’s _teatro_ (2025) conveyed the widely known Annunciation without the figure of Mary. The lack of direct representation brings forth a disruption of entrenched normative narratives. The artists collectively engage with the Madonna as a felt presence, not a seen one, summoning her through the questioning of symbolic resonance. Overall, “MADONNA” transforms religious depiction into a site of inquiry instead of a site of devotion, prompting viewers to question what religion or the sacred may look like when freed from its traditional visual codes. 

Writer

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"MADONNA" includes work by Miguel Caba, Liam Crockard, Azadeh Elmizadeh, Katie Lyle, Namah, Simon Petepiece, Salma Ragheb, billie raphael, Jana Rumjanceva, Janie Wang, and ran from 24 June to 13 July 2025 at 918 Bathurst, Toronto. Curated by Salma Ragheb. 

“MADONNA” — Miguel Caba, Liam Crockard, Azadeh Elmizadeh, Katie Lyle, Namah, Simon Petepiece, Salma Ragheb, billie raphael, Jana Rumjanceva, Janie Wang

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Enjoy an unforgettable evening celebrating excellence, innovation, and leadership in the visual arts at the 48th Annual GOG Awards Gala. 


Galeries Ontario / Ontario Galleries (GOG)  48th Annual Awards Gala: Make Your Mark 

Prabhnoor Kaur is a writer from Jalandhar, Punjab, currently based in Tiohtià:ke/Montreal. Their work appears in _Peripheral Review_, _ASAP/Journal_, and Serendipity Arts Foundation’s _Write|Art|Connect_. When not writing, they are—of course—reading.

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“Work of Rest” ran from 14 November 2024 to 18 January 2025 at Dazibao, Montreal.

“Work of Rest” — Jin Heewoong

Lodoe Laura’s writing on art has been featured in _BlackFlash_, _C Magazine_, _esse_, _IMPULSE_, and _ISSAY!_. Lodoe spent several years working in archives, galleries, museums, and artist-run spaces. She currently lives in Toronto’s West End, where she teaches classes focused on embodied movement and practices Traditional Eastern Medicine.

How can we reconcile with the past without erasing its wreckage and effects? This is a central question of Kader Attia’s solo exhibition “A Descent into Paradise” at Museo Universitario Arte Contemporáneo. Attia surveys the effects of trauma beyond the individual and physical body to address the damage to communal, cultural, spiritual, and geologic bodies across territories afflicted by colonial power. While acknowledging the imposed devastation, the ultimate focus of Attia’s work is the creative and regenerative capacities of individuals and collectives to heal these wounds without concealing their scars.

One of the most literal testaments to this forthright healing is _Untitled_ (2018). Attia’s collage juxtaposes vintage black-and-white photographic portraits of wounded World War I veterans with images of the sickness masks of the Ibibio people of southern Nigeria and those of the Dan from Ivory Coast. In both the veterans’ faces and sickness masks, whole sections of faces—eyes, noses, cheeks, and jaws—are lost and left missing. Their apparent marks point to the natural processes of mending, which leave a detectable trace. In the days before modern cosmetic surgeries, which hastily conceal and obscure the scars of the injured and ill, survivors of combat and sickness carried the reminders of their damage long after recovery was made and armistice was sanctioned; their visible embodied marks were unrefined evidence of the horror they witnessed and the healing they underwent.

In _Untitled (Mirrors)_ (2024), Attia sutures striking incisions in large monochromatic canvases. Adapting the language of modernity only to undermine its immaculate façade, Attia renders evident and raw stitches into the canvas that approximate the marks left by our wounds. Expanding to the geologic body, in _Some Modernity’s Footprints_ (2018), bulky wooden railway ties are held together with rusty metal staples that embody an oblique scar across the concrete floor of the gallery. As heavy remnants of colonial powers upon the landscape, the railway ties allude to the extractive pathways carved into and joined across stolen lands under the guise of progress.

Throughout the exhibition, Attia excavates modernity’s promise of a linear procession toward an enlightened human world through logic and scientific reason. In _Continuum of Repair: The Light of Jacob’s Ladder_ (2013–2014), visitors are invited to climb up a set of steps and look into one mirrored surface that faces another. Lit by a neon tube light, the mise en abyme creates an elliptical reflection, emulating an endless ladder. This infinite staircase is surrounded on all four sides by a set of metal shelves filled with tools and records of so-called objective knowledge from the colonial encyclopedia: compasses, biological and zoological specimens, telescopes, dictionaries, hierarchies of Western philosophy and scholarship, and charts of the Earth and the moon. The shelves are reflected ad infinitum, forming an unending tower of seemingly unquestionable data. The social and political implications of an infinite ladder in a colonial state are undermined by its substantial impossibility—the ladder is, in fact, an illusionary trick of light.

In the two-channel video _Pluviality #1_ (2023), Attia further explores the tension between modernity’s ferocious hunger for human mastery over nature and the cultural erosion caused by global homogenization.
Throughout the work, a young shaman from Chiang Mai monologues about the push-and-pull relationship between ideologies of progress and local ancient wisdoms, spiritual magic, and belief in unseen powers unprovable by modern scientific method. The video slowly surveys the archaeological sites of Chiang Saen in Northern Thailand that have been sculpted over time by the rain and environmental conditions, contraposing them against glossy glassy skyscrapers that refuse to show the passing of time.

While the rhetoric of the exhibition operates on a global scale, in his newest and most personal film _La Valise Oubliée [The Forgotten Suitcase]_ (2024), Attia offers a more intimate perspective on healing and repair. In the film, Attia presents the stories of three suitcases related to the anti-imperialist struggle of the Algerian War. The suitcases, owned by Attia’s family and friends, each contain either personal or organizational documents related to the armed decolonial conflict between the Algerian National Liberation Front and France, which resulted in the deaths of hundreds of thousands of Algerians in the struggle for independence. Throughout the film, their owners unpack the contents of their suitcases, while offering testimony to the implication of colonization on their lives. The pieces of luggage point to multiple historiographies of the war, and connect together the often-overlooked personal stories of those who fought for Algerian independence—the individuals and collectives whose quiet acts of bravery and defiance fuelled the resistance against colonial rule. The work takes on a more human scale, intertwining the formal and official version of history with its microhistories and personal effects. The film invites us to consider healing as an ongoing process rooted in human experience. As ever, Attia insists on the necessity of confronting history—not as a pristine, closed narrative, but as a wounded terrain that carries the traces of its past.

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“A Descent into Paradise” ran from 8 February to 4 July 2025 at Museo Universitario Arte Contemporáneo, Mexico City.

“A Descent into Paradise” — Kader Attia

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For more than 40 years, _C Magazine_ has been an essential outlet and archive for under-published and established voices on contemporary art. It’s a legacy and a responsibility that informs all of the work we do to continue to bring you, our readers, critically engaged coverage of the most urgent aesthetic and ethical concerns in Canadian art and beyond. **We need your support now more than ever.** This December, practice your “radical generosity” and give back by donating to _C Magazine_.**

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Wanda Nanibush is an Anishinaabe-kwe image and word warrior, curator, and community organizer from Beausoleil First Nation. She recently won the Toronto Book Award for her coauthored book Moving the Museum. She is the 2025 Helen Frankenthaler Visiting Professor in Curating in the PhD Program in Art History at CUNY. She is also part of the curatorial team for Counterpublic 2026, a triennial civic exhibition in St.
Louis. In 2024, Nanibush was awarded The Hnatyshyn Foundation Mid-Career Award for
Curatorial Excellence. Nanibush founded aabaakwad, an international yearly gathering of over 80 Indigenous curators writers, and artists.

Composition: We Return

Amanda Boulos (she/her) is a visual artist and educator. Boulos engages with fragmented oral national narratives from Palestine, Lebanon, and Canada to explore how those histories can morph into a future Palestinian diaspora. She is an Assistant Professor of Painting and Drawing at OCAD University, a member of the plumb, and a programmer for the Toronto Palestine Film Festival.

When Play Confronts Power

**Nic Wilson** (they/he) is an artist and writer living and working between the Prairies and the Maritimes. Their most recent book, The ‘Ayin, was published in the summer of 2025.


The Afterlife of Writing

Teresa Tam is an artist from and based in Calgary. She doesn’t specialize in anything, but likes to work with digital processes, functional installations, all things shaped in paper, excessive labour, and collections of mildly niche objects. She graduated from AUArts in 2014 and is the other half of Yolkless Press.

One Thing: In Search of an Incorruptible Life

Steph Wong Ken is a writer currently based in Tkaronto, near a forest of black oak. [stephwongken.com](http://stephwongken.com)

The House Edge

Kai Trotz-Motayne is a Guyanese-Canadian researcher and writer from Tkaronto/Toronto. As a child, gatherings would end with tales of her family’s Caribbean past. Inspired by their imaginative retellings, these nights often left her wondering what stories she would one day tell. Her work now explores how storytelling practices, like identities, evolve and transform through movement.

For Those Who Visit Us in Our Dreams

Shalaka Jadhav is based between Block 2 of the Haldimand Tract (Kitchener, ON) and Treaty 1 (Winnipeg, MB). Their research interests on spatial positionality and critical geographies of grief and public memory can be evidenced in exhibitions and programs they have curated in Halifax, Winnipeg, Kitchener, and Toronto. Shalaka has held roles at OCAD University and Blackwood Gallery, and is the Co-Director of Textile, a hyperlocal arts collective in Waterloo Region that supports writers and artists through mentorship, publishing, and curation. Trained as an urban planner, Shalaka took the advice of an aptitude test to pursue curatorial studies, and practices as a researcher, curator, and writer.

Yasmeen Nematt Alla is an Egyptian immigrant and settler on the unceded and stolen lands of Tkaronto and Waawiyatanong, Turtle Island. Her practice creates machinations that attest to the existence of the Brown Disabled Queer Self, resisting systems programmed to forget us. She has most recently exhibited at the Winnipeg Art Gallery, Bronx River Art Center, Heaven Gallery in Chicago, and Xpace Cultural Centre in Toronto.

To Enshrine an Ululation

TJ Shin is an artist and writer based in Los Angeles. Their writing has been published in Active Cultures, Asia Art Archive, _Mousse Magazine_, Vera List Center for Art and Politics, and more.

The _KISSSSS_ of Yong Soon Min

Lara Mimosa Montes is a writer, editor, and teaching artist whose practice and experiences span the fields of alternative publishing and experimental writing. She was born in the Bronx.

Sofía Gallisá Muriente is a Puerto Rican visual artist and cultural organizer. Her work employs text, image, and archive as medium and subject, exploring their poetic and political implications.

In the Lacuna

Christiana Myers is a curator, writer, educator, and cultural policy analyst based in Menahqesk/Saint John, NB. Her practice often explores physical, environmental, or institutional systems, and her PhD research in Art History through the University of Glasgow examines representations of contagion in contemporary artistic and curatorial practice.

A Vampire Walks Into a Funhouse

Innas Tsuroiya is a writer living in Indonesia who works across poetry, criticism, translation, fiction, and divination. Her work can be found in _Poetry Wales, MOLD Magazine, C Magazine, Protean Magazine, ArtReview Asia,_ and _Artforum_, among others.

One Thing: Kamala Ibrahim Ishag’s Zar Paintings

Furqan Mohamed is a writer and educator from Tkaronto interested in all things culture, kinship, and abolition. Her work has been featured in publications such as _Canthius, This Magazine, Maisonneuve,_ and _The Local_. She is presently a graduate student at the University of Toronto.

Karice Mitchell is a photo-based artist whose practice seeks to situate the vintage erotic publication _Players_ as a crucial marker of Black cultural production. Concerned with how the Black female body has been historically and colonially exploited, Mitchell is invested in finding restorative ways to engage with and respond to archival erotic material. She received her BFA at York University in 2019 and her MFA at the University of Waterloo in 2021. She resides on the unceded and traditional territories of the Musqueam, Squamish, and Tsleil-Waututh First Nations where she is a Black Scholar Assistant Professor at the University of British Columbia.

Black, Alive, and Looking Back at You: In Conversation With Karice Mitchell

Joshua Segun-Lean’s writing has appeared in _Republic Journal, The Brooklyn Rail_, and elsewhere.

Tiffany Sia is an artist, filmmaker, and writer who was born in Hong Kong and currently lives and works in New York. Her films have screened at TIFF Toronto International Film Festival, MoMA Doc Fortnight, New York Film Festival, Flaherty Film Seminar and elsewhere. Her essays have appeared in _Film Quarterly, October_ and _LUX Moving Image_. Sia’s first collection of essays _On and Off-Screen Imaginaries_ was published by Primary Information in 2024.

Cinema, Nostalgia, and the Excess That Remains: A Conversation With Tiffany Sia

Nasrin Himada is a Palestinian writer and curator from Montreal. Their practice is heavily influenced by their long-term friendships and by their many ongoing collaborations with artists, filmmakers, and poets. Nasrin’s recent project _For Many Returns_ experiments with writing as an act dictated by love, and typifies their current curatorial interests, which foreground desire as transformation and liberation through many forms. Nasrin currently holds the position of Associate Curator at Agnes Etherington Art Centre, Queen’s University in Kingston (ON).

Yantong Li (b. 1998, Dali, China) is a curator and artist based in Toronto. He is a Master of Visual Studies (curatorial) candidate at the University of Toronto. Li works at the intersection of global infrastructure, Sinophone and trans-Pacific diaspora, regional folklore, and decolonization. His recent works and curatorial projects have been shown internationally, which include the Curatorial Awards at Jimei x Arles International Photography Festival, Xiamen (2022); Durian-Durian: The First Trans–Southeast Asia Triennial, Guangzhou (2023); Trinity Square Video, Toronto (2023); The New Gallery, Calgary (2024); Jackman Humanities Institute, University of Toronto (2024).

```````````````````To Return

James Albers is an emerging artist, writer, and cultural worker situated on the unceded territory of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. They are interested in the magic of fiction and believe in the truth of a perfect lie. Recently, they’ve been exploring hidden folklores, intimacy, and uninhibited dancing.

Bhenji Ra is a Filipina-Australian artist based on Gadigal land, Eora Nation. Ra’s projects combine choreography and video and are deeply rooted in social justice practices. Her practice combines dance, video, illustration, and community activation. Her work dissects cultural theory and identity, centralizing her own personal histories as a tool to reframe performance. She is the mother of Western Sydney–based collective and ballroom house SLÉ.

Bhenji Ra Dances at the End of the Rainbow

Christian Vistan is an artist from the peninsular province Bataan, Philippines, living on unceded xwməθkwəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) territories, colonially known as Vancouver. In their artworks, they translate experiences of distance and diaspora into hybrid forms that fold together memory, place, poetry, and abstraction. They make paintings and texts, organize exhibitions and publications, and often collaborate with other artists, writers, curators, and their relatives.

Floor Drawing Series by Aubin Soonhwan K: Text

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.

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“MADONNA” — Miguel Caba, Liam Crockard, Azadeh Elmizadeh, Katie Lyle, Namah, Simon Petepiece, Salma Ragheb, billie raphael, Jana Rumjanceva, Janie Wang

Galeries Ontario / Ontario Galleries (GOG) 48th Annual Awards Gala: Make Your Mark

“Work of Rest” — Jin Heewoong

“A Descent into Paradise” — Kader Attia

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