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Lou Sheppard is a settler on the traditional and unceded territory of the Mi’kmaq in Mi’kma’ki/Nova Scotia. His work responds to the material, social, and political histories of sites, bodies, and environments, questioning and disrupting systems of power by deconstructing the languages, architectures, genealogies, and taxonomies that hold these systems in place. Often working in collaboration with other artists and in community gatherings, his installations and performances reflect states of disorientation, relationality, and futurity.

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

Language

Body

Lou Sheppard’s score in cyanotype images and poetic writing locates dawn and dusk as queer times of day. An edition of unexposed cyanotypes sent to subscribers encourages folks to create their own prints with light.

Composition: Crepuscular Rhythms

Feature

**Pablo de Ocampo** lives in Vancouver and is the Exhibitions Curator at Western Front.

​​​​​Erika DeFreitas’s multidisciplinary practice includes performance, photography, video, installation, textiles, drawing, and writing. Placing emphasis on gesture, process, the body, documentation, and paranormal phenomena, DeFreitas mines concepts of loss, post-memory, legacy, and objecthood. Her work has been exhibited nationally and internationally. DeFreitas holds a Master of Visual Studies from the University of Toronto. 

Currently based in Chatham, Ontario, **Pamela Edmonds** is Curator of the Thames Art Gallery, Co-Director of Third Space Art Projects and a founding member of the We Curate, We Critique Collective. More of her work can be viewed at www.pe-curates.space.

Multidisciplinary artist **Vera Frenkel** is a Governor General’s Award and Gershon Iskowitz Prize laureate, currently re-creating as a website the September 2017 installation of her multi-channel Body Missing project inside the Altaussee salt mine where the Nazis stored looted art.

**Ayumi Goto** is a performance artist, currently based in Toronto, traditional territories of the Haudenosaunee Confederacy, Wendat, Anishinaabe and Mississaugas of the New Credit First Nations. Her practice is deeply influenced by Roy Miki, Shirley Bear, Cheryl L’Hirondelle, Adrian Stimson and Peter Morin.

**Tarah Hogue** is a curator and writer based on unceded Musqueam, Squamish and Tsleil-Waututh territories/Vancouver, BC. _Ayumi Goto and Peter Morin: how do you carry the land?_ (2018) was her first exhibition as the Vancouver Art Gallery’s inaugural Senior Curatorial Fellow, Indigenous Art. She is a citizen of the Métis Nation with French Canadian and Dutch ancestry. 

**Justin Langlois** is an artist and Associate Professor at Emily Carr University of Art & Design. His practice explores collaborative structures, critical pedagogy and custodial frameworks as tools for gathering, learning and making.

**Pamila Matharu** is an artist, educator and cultural producer living in Toronto. Her upcoming solo project debuts at A Space Gallery (Toronto) in spring of 2019.

**Peter Morin** is a Tahltan Nation performance artist and writer. His work focuses on decolonization through the centering of Tahltan knowledges and practice.

**Geneviève Wallen** is a Tiohtiá:ke/Montreal-based independent curator and writer interested in issues of ethnocultural representational spaces in Canada. Wallen’s practice is informed by diasporic narratives, intersectional feminism, intergenerational dialogue, and alternative BIPOC historical timelines.

**Shellie Zhang** is a multidisciplinary artist. She creates images, objects, and projects in a wide range of media to explore how integration, diversity, and assimilation are implemented and negotiated, and how manifestations of these ideas relate to lived experiences.


**Erdem Taşdelen** is a Turkish-Canadian artist who lives and works in Toronto. His practice is rooted in conceptualism and involves a range of media, including installation, video, sculpture, sound and artist books. His diverse projects bring structures of power into question within the context of culturally learned behaviours, where he often draws from unique historical narratives to address the  
complexities of current socio-political issues. His work has been shown in numerous exhibitions internationally and across Canada, and he was long-listed for the Sobey Art Award in 2019.

Trust

Collaboration

Curatorial practice

A compilation of varied responses from artists and curators to questions posed by the editors of C Magazine concerning the significance of trust in artist-curator relationships.

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C Mag

Lou Sheppard

Composition: Crepuscular Rhythms

The Artist-Curator Relationship