Column

Writer

The Supernatural

issue-106-p61-63.pdf

Multiples

Artists Books

Publishing

The article presents information on several publications: a catalogue published by Norman Rosenthal and Ben Reardo in partnership with artist Terence Koh; “I Like Your Work: Art and Etiquette” published by art magazine Paper Monument; and a print on demand bilingual journal “No More Potlucks” focused on politics and art practices.

Noteworthy: The Supernatural 

thumbnail_TheNewGallery_Web1_JanAprilJune2025_SizeB.jpg

TheNewGallery_Web1_JanAprilJune2025_SizeB.jpg

lg_TheNewGallery_Web1_JanAprilJune2025_SizeA.jpg

md_TheNewGallery_Web1_JanAprilJune2025_SizeA.jpg

sm_TheNewGallery_Web1_JanAprilJune2025_SizeA.jpg

thumbnail_TheNewGallery_Web1_JanAprilJune2025_SizeA.jpg

TheNewGallery_Web1_JanAprilJune2025_SizeA.jpg

The New Gallery

lg_Varley_Web1_June2025_Size B.png

md_Varley_Web1_June2025_Size B.png

sm_Varley_Web1_June2025_Size B.png

thumbnail_Varley_Web1_June2025_Size B.png

Varley_Web1_June2025_Size B.png

md_Varley_Web1_June2025_Size A.png

sm_Varley_Web1_June2025_Size A.png

thumbnail_Varley_Web1_June2025_Size A.png

Varley_Web1_June2025_Size A.png

Varley

lg_C160_Cover.jpg

md_C160_Cover.jpg

sm_C160_Cover.jpg

thumbnail_C160_Cover.jpg

C160_Cover.jpg

Editorial

This issue goes to press only days after the death of Will Munro, at the age of 35, following a two-year struggle with brain cancer. Munro, whose exhibition _Inside the Solar Temple of the Cosmic Leather Daddy_ is reviewed on page 46, was a central figure in the Toronto art community, with a wide-ranging practice that incorporated craft, textiles and performance. Munro was also a DJ and event promoter, and was behind an infamous series of club nights, which included _Vazeline_, a monthly party that had critical importance in queer culture not just within Toronto, but internationally. For this event, Munro regularly brought performers including Vaginal Creme Davis, Nina Hagen and Carol Pope to Toronto, and hosted locals such as Peaches and The Hidden Cameras, before they achieved international fame. At _Vazeline_ it was not only okay to be gay, but it was okay to be _other_ than gay. One could be just about anything. The effect was that it completely destabilized all preconceptions of gender and sexual identity, in a hyperlibidinous environment where everyone became a performer. By the end of the night, most people were dancing on stage in their underwear.

Under the direction of our former Editor, Rosemary Heather, _C_ provided important and extensive coverage of artist countercultures and the activities of younger artists, including Munro, examining their broader international contexts and significance. C88, on the theme of Art Rock, published in 2004, included a centrefold by Will Munro. His work also appeared in the magazine in 2003, as part of an artist project by the collective Tops ‘n’ Bottoms, led by Karen Azoulay and Joel Gibb, who organized sculptural dress-up performances using clothes obtained from bulk used clothing stores. One of the difficulties posed by such practices, in terms of achieving recognition within larger art communities, is that they are often collective, sometimes anonymous, and their most profound points of engagement are rarely with conventional gallery or museum audiences. Sometimes their very purpose is to create a different kind of audience. To focus solely on individual artists, or on their exhibition histories, risks missing the broader significance of artist countercultures. Many events are transient and ephemeral and their only physical traces are a few event posters or photographs taken by participants. One of the functions of _C Magazine_ is to document artist-run culture, as an essential context for understanding contemporary art practice.

On May 26, a public memorial was held to mourn and celebrate Will’s life, which was also billed as a dance party on the theme of transcendence. Although most contemporary art is grounded in relatively secular concerns, among artists there has always been a great deal of interest in the supernatural, the magical, the paranormal, the spiritual and the occult, especially for those who disavow organized religion. Indeed, art might be seen as inherently concerned with the supernatural, or with accessing and describing that which cannot be understood through rational means. Many practices—such as those discussed in this issue—involve refining, expanding and altering one’s senses and perceptual capabilities, often through ritualized activities. And others explore ways to communicate with the spirit world, or with the past.

In her article, _Get On Up! Michael Jackson Is Alive and, Well—(Preface to a Twenty Volume Love Note)_, cultural critic Lynn Crosbie writes about the death of Michael Jackson, whose transgression of gender norms was arguably at the heart of the controversy that surrounded him towards the end of his life, and also crucial to his success as a pop star. Crosbie’s article is evocative of how the sexually ambiguous person can be a profound threat to popular conceptions of self and identity. A “freak” that was at once a “sex machine” while being seen as a possible sexual predator, Jackson’s personal story is also one of a much more troubling crisis in American racial and sexual identity. Here, the libidinal energy that his fans so strongly felt is perceived as the conduit to an otherworld of freaks and monsters. But this energy is also that of _funk_, the liberation and transcendence that Jackson offered through his music.

The supernatural can be a transformation of the body and the self, and of one’s identity and individuality. But it can also involve gaining access to a realm that is beyond the physical present. In her article, _Psychometry and the Affective Artifact_, Jennifer Fisher discusses the use of psychometric methods in art historical inquiry as a means to understand something of the affective texture of the past. By collaborating with a psychic medium, she was not only able to confirm factual information about a painting—describing the artist, its subjects, and the process of its creation—but also to gain an understanding of the emotional lives of the sitters. Based on attention, intuition, and touch, this process places one in contact with the past, providing a new way of using art objects to understand their history and context. Similarly, other authors and artists in this issue explore different ways of engaging with the past: In her interview with David Lillington, Paulette Phillips discusses her work at E-1027, the iconic modernist house in the south of France, designed by Eileen Gray in the 1920s, but since fallen into ruin. Their interview illustrates new methods for engaging the traces and legacies of Modernism. Leah Modigliani also interviews the Center for Tactical Magic, discussing how their recent projects engage social power and magic power, as means for cultural critique and transformation. Centred on an artist project by Scott Treleaven, Elijah Burgher discusses the role of magic, the occult, and countercultural ritual in Treleaven’s practice. Louis Kaplan also examines Nate Larson’s documentation of unexplained phenomena and performances where he follows scripted instructions, as ways of invoking the miraculous through photography.

While it would seem that ideas of magic and the supernatural imply the transcendence of the body, the body is needed for transcendence to occur. It is through touch, feeling, identification and desire that one accesses realms both within and beyond one’s physical present. With collective practices—particularly those based on celebration and ritual—an idea or a feeling is shared among many bodies. At Will Munro’s memorial, handfuls of glitter were thrown over the people on the dance floor. For days many of us found the sparkling flecks in our hair, in our clothes and in our beds. The traces remind us of our shared abandon on the dance floor, the work we are charged with continuing, and of the party that isn’t over yet.

Amish Morrell is Assistant Professor at OCAD University, where he teaches Criticism & Curatorial Practice, and Visual and Critical Studies.

Editor

issue-106-p2-3.pdf

Spirituality

Identity

An introduction to the journal is presented in which the editor discusses several articles, including one reviewing artist Will Munro’s exhibition “Inside the Solar Temple of the Cosmic Leather Daddy,” another by Lynn Crosbie about the death of pop star Michael Jackson, and an interview with artist Paulette Philips on her E-1027 project.

Editorial: Transcendence

Feature

issue-106-p4-10.pdf

Myth

Cultural Studies

Economy

The article offers information on the Center for Tactical Magic (CTM), an academic exercise intended to explore the ideas of “Power” on individual, community, national and transnational levels. It discusses how CTM projects engage social and magic power as a means of cultural transformation. It states that the CTM, which is interested in diverse expressions of cultural activity, prefers tactics to techniques, as tactics are adaptable to different contexts for attaining strategic goals.

Behind the Curtain: Leah Modigliani Interviews the Center for Tactical Magic

issue-106-p10-20.pdf

Science

Art movements

History

The article focuses on the use of psychometric methods in art historical investigations. It states that psychometry is a means to uncover knowledge and understand something of affective texture of the past through current evidences. It also states that psychometry involves touching an object to incite clairvoyance, as well as retrocognition and the ability to travel back in time. It discusses how the affective dimensions of artifacts can be reconstituted through the psychometric reading.

Psychometry and the Affective Artifact

issue-106-p20-26.pdf

Pop culture

Sexuality

Music

The article presents information about the death of pop singer Michael Jackson whose transgressions of gender norms raised controversies till the end of his life, but at the same time contributed to his success as a pop star. It discusses the charges of alleged child sexual abuse, and his psychic or libidinal energy which was looked as a conduit to an otherworld of monsters and freaks. It also reveals how sexually ambitious people can be a threat to popular notions of self and identity.

Get on Up! Michael Jackson is Alive and, Well -- (Preface to a Twenty Volume Love Note)

issue-106-p34-40.pdf

International

Photography

Religion

The article focuses on Baltimore, Maryland-based photographer Nate Larson's representation of conjecture, curiosity and wonder in his photographic works. It describes how his works explore belief in the supernatural image as a proof of the miraculous, as well as skepticism that demystifies such wonders as a trick of photography. It discusses his various works including the “Potato Manifestation,” “Tortilla Manifestation,” and “How I Came to See the Virgin Mary.”

“The Secret Circle of God’s Supernatural Blessing:” Nate Larson’s Photographic Miracles and the Question of Belief 

Interview

issue-106-p26-30.pdf

Built environment

Architecture

An interview with Paulette Philips, an artist who is working on a project on E-I027, a modernist house in France built by architect Eileen Gray.

The Uncanny as Real: David Lillington Interviews Paulette Phillips

lg_106

md_106

sm_106

thumbnail_106

Chris Lee is a graphic designer and educator based in Buffalo, New York and Toronto. His research explores graphic design’s entanglement with power, standards and legitimacy. Chris is an Assistant Professor at the University at Buffalo SUNY.

Designer

Publisher

Artist Project

issue-106-p31-34.pdf

Canadian

The article focuses on the role of magic, occult and the countercultural ritual in the works of artist Scott Treleaven. It states that his works are embedded with occult figures and practices, allusions to mythology and punk graphics. It discusses his various works including the zine “This Is the Salivation Army,” the picture “Grand Invocation 2,” and occult films like “Silver,” “Gold” and “Last 7 Words.”

Scott Treleaven: Are You a Zombie or a Witch? 

Artist

issue-106-p132-134.pdf

Scott Treleaven

Review

issue-106-p42-43.pdf

Social

Cities

The article focuses on the concerns raised by artists and arts organizations in Canada on the impact of 2010 Winter Olympics in Vancouver, British Columbia (BC) on the arts and cultural funding in BC. It discusses how arts organizations receiving support from the BC Gaming Commission were denied funding, forcing them to slash their programming. It also discusses the events and artworks hosted by organizations and centers such as VIVO and Artspeak in response to contradictions of the Olympics.

Cultural Programming in Vancouver During the 2010 Winter Olympics

Urban studies

The article reviews the arts exhibition “Learning from Vancouver,” held in Vancouver, British Columbia.

Learning from Vancouver, Western Front

issue-106-p43-44.pdf

Installation

Technology

The article offers information on the World Tea Party (WTP) presented at the Downtown Eastside and Centre A in Vancouver, British Columbia during the 2010 Winter Olympics and Paralympics. It states that the WTP involves serving tea to the public at events, such as art and music festivals and athletic events, with an objective to provide a forum for human interaction.

World Tea Party, Centre A

Activism

The article reviews the public performance “Brawl,” by Norma, a team of six artists, in Vancouver, British Columbia as part of protests against the 2010 Winter Olympics.

Brawl, Norma (Vanessa Kwan, Diana Lopez-Soto, Josh Neelands, Christy Nyiri, Pietro Sammarco, Erica Stocking, and Kara Uzelman), Andy Livingstone Field Presented by Artspeak as Part of the Bright Lights Festival

issue-106-p44-45.pdf

The article reviews the performance “Redirecting Traffic,” by artist Heidi Nagtegaal, who installed herself at the intersection of two roads in Vancouver, British Columbia to redirect the traffic to protest the 2010 Winter Olympics in Vancouver.

Heidi Nagtegaal: Redirecting Traffic (Hastings Between Heatley and Hawkes)

The article reviews the performance “Candahar,” conceptualized by artist Theo Sims and presented by the Presentation House Gallery, as part of the Cultural Olympiad, in Vancouver, British Columbia.

Theo Sims: The Candahar, Presentation House Gallery

issue-106-p45-46.pdf

Language

The article reviews two exhibitions “To Show, To Give, To Make it Be There: Expanded Literary Practices in Vancouver: 1954-1969″ at Simon Fraser University (SFU) Gallery and another titled “Every Letter of the Alphabet 1875 “ at Victoria Drive.

To Show, to Give, to Make It Be There: Expanded Literary Practices in Vancouver: 1954-1969, Simon Fraser University Gallery, and Geoffrey Farmer: Every Letter of the Alphabet, 1875 Powell Street at Victoria Drive

Video

The article reviews two exhibitions: “Here You Are,” which is a video installation curated by Cate Rimmer; and “Walk In” by artist Christian Kliegel at the Vancouver Central Library.

Here You Are, Part One, and Christian Kliegel: Walk In

issue-106-p46-48.pdf

The article reviews Will Murno’s exhibition “Inside the Solar Temple of the Cosmic Leather Daddy” at Paul Petro Contemporary Art in Toronto, Ontario.

Will Munro: Inside the Solar Temple of the Cosmic Leather Daddy

issue-106-p47-49.pdf

Conceptual

Money

The article reviews the textile fabrics exhibition “Textiles: Art and the Social Fabric” which displayed avant-garde works related to the 20th century, at Museum van Hedendaagse Kunst Antwerpen (MUHKA) in Antwerp, Belgium.

Textiles: Art and the Social Fabric

issue-106-p49-51.pdf

Politics

Collaboration

The article reviews the exhibition “Funkaesthetics” at the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island.

Funkaesthetics

issue-106-p50-52.pdf

Landscape

The article reviews the exhibition “Bamberton: Contested Landscape,” which displayed the works of Cedric and Nathan Bomford at Open Space in Victoria, British Columbia.

Cedric and Nathan Bomford, Bamberton: Contested Landscape

issue-106-p52-54.pdf

Performance art

The article reviews the exhibition of Barbara Lounder titled “Recollections of a Tour Made to Big Head” at Full Tilt Creative Centre in McIvers, Northfoundland.

Barbara Lounder

issue-106-p53-55.pdf

Minimalism

The article reviews an exhibition curated by Maxine Kopsa titled “Paying a Visit to Mary” at the Aldrich Contemporary Art Museum in RidgeField, Connecticut.

Paying a Visit to Mary

issue-106-p54-56.pdf

Found

The article reviews the exhibition of Julia Rosa Clark titled “Paradise Apparatus” at the Whatiftheworld Gallery in Cape Town, South Africa.

Julia Rosa Clark: Paradise Apparatus

issue-106-p55-57.pdf

Relational art

The article reviews the exhibition of Liam Gillick titled “Three Perspectives and a Short Scenario,” at the Museum of Contemporary Art in Chicago.

Liam Gillick: Three Perspectives and a Short Scenario

Amy Fung is a writer and organizer of multifarious exhibitions and events. She is Toronto-based, not raised. 

issue-106-p56-58.pdf

The article reviews the exhibition of Janet Cardiff and George Bures Miller titled “The Murder of Crows” at the Art Gallery of Alberta in Edmonton.

Janet Cardiff and George Bures Miller: The Murder of Crows

issue-106-p57-59.pdf

Body

Women

The article reviews the exhibition “Drowning Ophelia” at the Stratford Gallery in Stratford, Ontario.

Drowning Ophelia

issue-106-p62-63.pdf

The article reviews the book “Photography Haunted by Spirit Photography,” by Bernard Lamarche and Pierre Rannou.

Photography Haunted by Spirit Photography, by Bernard Lamarche and Pierre Rannou

Philosophy

The article reviews the book “The Aesthetic Unconscious,” by Jacques Rancière, translated by Debra Keats and James Swenson.

The Aesthetic Unconscious, by Jacques Rancière

Header

C Mag

Issue 106