Feature

Patrick Cruz considers the role of spirituality, improvisation, intuition, and play as emancipatory tools to reify embedded colonial frameworks and ideologies in art-making. Cruz employs meditation, divination, and hypnosis as research methodologies to exhume and retrieve hidden ancestral knowledge. His works are informed by the intersections of clown philosophy, magic, and the occult, and its
syncretic manifestations and relationship in contemporary life.

Fiona Nguyen is a visual artist born and based in Tiohtià:ke/Mooniyang/Montreal. Her artistic practice and research focuses on systems of cultural and self-censorship experienced in 20th- and 21st-century totalitarian and authoritarian regimes, through the lens of post-war migration, as well as the importance of pop music as a tool for political resistance.

Kate Nugent is an archivist and writer born and based in Tiohtià:ke/Mooniyang/Montreal. She co-organizes the reading series Nouveau Poem. Her current archival research is interested in structures of power and knowledge production in settler-colonial archives.

Bea Parsons is a visual artist based in Tiohtià:ke/Mooniyang/Montreal. With a practice encompassing printmaking, drawing, and painting, Bea’s work conjures imagery that reflects the nuance and complexities of her Indigenous (nehiyawak/Cree) and colonial heritage.

Danica Pinteric is a curator, writer, and editor born and based in Tkaronto/Toronto. In 2022, she established Joys, an independent contemporary art gallery dedicated to exploring the politics of vulnerability.

Cadence Planthara is an artist, craftsperson, and educator of South Asian and European descent born on unceded Algonquin Anishinaabeg territory and currently based in the city of Toronto.

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

Spirituality

Sensory

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

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