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2"/><meta property="og:title" content="Issue 163: Chorus"/><meta property="og:description" content="C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.
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Issues</a></div><div class="MuiBox-root css-1b5alkg"></div><div class="MuiBox-root css-15hip5w"><div class="MuiBox-root css-evr59c"><span style="box-sizing:border-box;display:block;overflow:hidden;width:initial;height:initial;background:none;opacity:1;border:0;margin:0;padding:0;position:relative"><span style="box-sizing:border-box;display:block;width:initial;height:initial;background:none;opacity:1;border:0;margin:0;padding:0;padding-top:135.8974358974359%"></span><img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" decoding="async" data-nimg="responsive" class="image-skeleton" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%"/><noscript><img loading="lazy" decoding="async" data-nimg="responsive" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%" class="image-skeleton" sizes="(min-width: 2560px) 770px, (min-width: 1440px) calc(42vw - 40px), (min-width: 768px) calc(50vw - 40px), calc(100vw - 20px)" srcSet="/_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=16&amp;q=75 16w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=32&amp;q=75 32w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=48&amp;q=75 48w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=64&amp;q=75 64w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=96&amp;q=75 96w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=128&amp;q=75 128w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=256&amp;q=75 256w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=384&amp;q=75 384w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=640&amp;q=75 640w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=750&amp;q=75 750w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=828&amp;q=75 828w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=1080&amp;q=75 1080w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=1200&amp;q=75 1200w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=1920&amp;q=75 1920w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=2048&amp;q=75 2048w" src="/_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Flg_c163_cover_8d8fedae84.jpg&amp;w=2048&amp;q=75"/></noscript></span></div></div><div class="MuiBox-root css-1ax5hs9"><div class="MuiBox-root css-18shsay"><div class="MuiBox-root css-j88l9v"><p class="MuiTypography-root MuiTypography-body1 css-bn515r">Current Issue</p></div><p class="MuiTypography-root MuiTypography-inherit MuiTypography-paragraph css-yhuaks">C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastru
14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.</p></div><div class="MuiBox-root css-134olzi"><div class="MuiBox-root css-1rp687e"><div class="MuiBox-root css-0"><div class="MuiBox-root css-1aurfg5"><h2 class="MuiTypography-root MuiTypography-body1 css-75cjvk">Credits</h2><div class="MuiBox-root css-2ml034"><button class="MuiButtonBase-root MuiButton-root MuiButton-outlined MuiButton-outlinedPrimary MuiButton-sizeSmall MuiButton-outlinedSizeSmall MuiButton-colorPrimary MuiButton-disableElevation MuiButton-root MuiButton-outlined MuiButton-outlinedPrimary MuiButton-sizeSmall MuiButton-outlinedSizeSmall MuiButton-colorPrimary MuiButton-disableElevation css-dsmk7y" tabindex="0" type="button">holder</button></div></div><div class="MuiBox-root css-1p7ok9c"><dl class="MuiBox-root css-1vbrt9b"><dt class="MuiBox-root css-odf127">Editor</dt><dd class="MuiBox-root css-ali3wl"><p class="MuiTypography-root MuiTypography-inherit MuiTypography-paragraph css-yhuaks">Joy Xiang</p></dd></dl><dl class="MuiBox-root css-1vbrt9b"><dt class="MuiBox-root css-odf127">Associate Editor</dt><dd class="MuiBox-root css-ali3wl"><p class="MuiTypography-root MuiTypography-inherit MuiTypography-paragraph css-yhuaks">Maandeeq Mohamed</p></dd></dl><dl class="MuiBox-root css-1vbrt9b"><dt class="MuiBox-root css-odf127">Publisher</dt><dd class="MuiBox-root css-ali3wl"><p class="MuiTypography-root MuiTypography-inherit MuiTypography-paragraph css-yhuaks">C the Visual Arts Foundation</p></dd></dl><dl class="MuiBox-root css-1vbrt9b"><dt class="MuiBox-root css-odf127">Designer</dt><dd class="MuiBox-root css-ali3wl"><p class="MuiTypography-root MuiTypography-inherit MuiTypography-paragraph css-yhuaks">Hwa-Jin Jun</p></dd></dl></div></div></div></div><div class="MuiBox-root css-1qrtgq"></div></div><div class="MuiBox-root css-4i2gp5"><p class="MuiTypography-root MuiTypography-body1 css-rm5ejx">Table of Contents</p><div class="MuiBox-root css-pvrsp1"><div class="MuiBox-root css-164bi7n"><div class="MuiBox-root css-0"><div class="MuiBox-root css-1l8bm8f"><h2 class="MuiBox-root css-12qdzws">Letters</h2></div></div><div class="MuiBox-root css-0"><div class="MuiBox-root css-1r3oyis"><div class="MuiBox-root css-153aal4"><div class="MuiBox-root css-70qvj9"><div class="width-transition MuiBox-root css-1nusrsp"></div><p class="MuiTypography-root MuiTypography-body1 css-sy14ic">Letter</p></div><div class="MuiBox-root css-1w0klgo"></div></div><a class="MuiTypography-root MuiTypography-inherit MuiLink-root MuiLink-underlineAlways css-1gb4z75" href="/articles/letters-163"><div class="MuiBox-root css-pftbqk"><div class="MuiBox-root css-1iejnj7"><h3 class="MuiTypography-root MuiTypography-body1 css-1s6arvk"><span>Letters</span></h3><div class="MuiBox-root css-1ohi0xp"><span class="MuiBox-root css-1cpjuhq">by</span><span class="MuiBox-root css-6n7j50"><span class="MuiBox-root css-0">M. Vulfson<!-- --> </span><span class="MuiBox-root css-0"><span class="MuiBox-root css-hyr5x1">and<!-- --> </span>Namah</span></span></div></div><div class="MuiBox-root css-u284kj"><div class="MuiBox-root css-1qbmjhi"><span style="box-sizing:border-box;display:block;overflow:hidden;width:initial;height:initial;background:none;opacity:1;border:0;margin:0;padding:0;position:absolute;top:0;left:0;bottom:0;right:0"><img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" decoding="async" data-nimg="fill" class="image-skeleton" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%;object-fit:contain;object-position:right"/><noscript><img loading="lazy" decoding="async" data-nimg="fill" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%;object-fit:contain;object-position:right" class="image-skeleton" sizes="(min-width: 2560px) 296px, (min-width: 1440px) calc(16.666vw - 40px), (min-width: 768px) calc(25vw - 40px), calc(33.333vw - 20px)" srcSet="/_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=16&amp;q=75 16w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=32&amp;q=75 32w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=48&amp;q=75 48w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=64&amp;q=75 64w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=96&amp;q=75 96w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=128&amp;q=75 128w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=256&amp;q=75 256w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=384&amp;q=75 384w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=640&amp;q=75 640w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=750&amp;q=75 750w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=828&amp;q=75 828w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=1080&amp;q=75 1080w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=1200&amp;q=75 1200w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=1920&amp;q=75 1920w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=2048&amp;q=75 2048w" src="/_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2Feditorial_96f4c8dbad.png&amp;w=2048&amp;q=75"/></noscript></span></div></div></div></a></div> </div></div><div class="MuiBox-root css-164bi7n"><div class="MuiBox-root css-0"><div class="MuiBox-root css-1l8bm8f"><h2 class="MuiBox-root css-12qdzws">Editorial</h2></div></div><div class="MuiBox-root css-0"><div class="MuiBox-root css-1r3oyis"><div class="MuiBox-root css-153aal4"><div class="MuiBox-root css-70qvj9"><div class="width-transition MuiBox-root css-1nusrsp"></div><p class="MuiTypography-root MuiTypography-body1 css-sy14ic">Editorial</p></div><div class="MuiBox-root css-1w0klgo"></div></div><a class="MuiTypography-root MuiTypography-inherit MuiLink-root MuiLink-underlineAlways css-1gb4z75" href="/articles/editorial-chorus"><div class="MuiBox-root css-pftbqk"><div class="MuiBox-root css-1iejnj7"><h3 class="MuiTypography-root MuiTypography-body1 css-1s6arvk"><span>Editorial: CHORUS</span></h3><div class="MuiBox-root css-1ohi0xp"><span class="MuiBox-root css-1cpjuhq">by</span><span class="MuiBox-root css-6n7j50"><span class="MuiBox-root css-0">Maandeeq Mohamed<!-- --> </span><span class="MuiBox-root css-0"><span class="MuiBox-root css-hyr5x1">and<!-- --> </span>Joy Xiang</span></span></div></div><div class="MuiBox-root css-u284kj"><div class="MuiBox-root css-1qbmjhi"><span style="box-sizing:border-box;display:block;overflow:hidden;width:initial;height:initial;background:none;opacity:1;border:0;margin:0;padding:0;position:absolute;top:0;left:0;bottom:0;right:0"><img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" decoding="async" data-nimg="fill" class="image-skeleton" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%;object-fit:contain;object-position:right"/><noscript><img loading="lazy" decoding="async" data-nimg="fill" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%;object-fit:contain;object-position:right" class="image-skeleton" sizes="(min-width: 2560px) 296px, (min-width: 1440px) calc(16.666vw - 40px), (min-width: 768px) calc(25vw - 40px), calc(33.333vw - 20px)" srcSet="/_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=16&amp;q=75 16w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=32&amp;q=75 32w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=48&amp;q=75 48w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=64&amp;q=75 64w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=96&amp;q=75 96w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=128&amp;q=75 128w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=256&amp;q=75 256w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=384&amp;q=75 384w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=640&amp;q=75 640w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=750&amp;q=75 750w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=828&amp;q=75 828w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=1080&amp;q=75 1080w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=1200&amp;q=75 1200w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=1920&amp;q=75 1920w, /_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=2048&amp;q=75 2048w" src="/_next/image?url=https%3A%2F%2Fstrapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com%2FUntitled_design_1_03433267bd.jpg&amp;w=2048&amp;q=75"/></noscript></span></div></div></div></a></div> </div></div></div><div class="MuiBox-root css-1ipewqx"><div class="MuiBox-root css-8atqhb"><h2 class="MuiTypography-root MuiTypography-body1 css-1m8i7qf">Explore Issue by Images</h2><hr class="MuiDivider-root MuiDivider-fullWidth css-3o032b"/><div class="MuiBox-root css-ijz8uy"></div></div></div><div class="MuiBox-root css-12yzbcg"><div class="MuiBox-root css-0"><div class="MuiBox-root css-164bi7n"><div class="MuiBox-root css-0"><div class="MuiBox-root css-1l8bm8f"><h2 class="MuiBox-root css-12qdzws">Features</h2></div></div><div class="MuiBox-root css-0"><div class="MuiBox-root css-1r3oyis"><div class="MuiBox-root css-153aal4"><div class="MuiBox-root css-70qvj9"><div class="width-transition MuiBox-root css-1nusrsp"></div><p class="MuiTypography-root MuiTypography-body1 css-sy14ic">Feature</p></div><div class="MuiBox-root css-1w0klgo"></div></div><a class="MuiTypography-root MuiTypography-inherit MuiLink-root MuiLink-underlineAlways css-1gb4z75" href="/articles/the-grain-of-the-voice-interview-with-ira-dot"><div class="MuiBox-root css-pftbqk"><div class="MuiBox-root css-1iejnj7"><h3 class="MuiTypography-root MuiTypography-body1 css-1s6arvk"><span>The Grain of the Voice: Interview With Ira Dot</span></h3><div class="MuiBox-root css-1ohi0xp"><span class="MuiBox-root css-1cpjuhq">by</span><span class="MuiBox-root css-6n7j50">Winnie Wang</span></div></div><div class="MuiBox-root css-u284kj"><div class="MuiBox-root css-1qbmjhi"><span style="box-sizing:border-box;display:block;overflow:hidden;width:initial;height:initial;background:none;opacity:1;border:0;margin:0;padding:0;position:absolute;top:0;left:0;bottom:0;right:0"><img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" decoding="async" data-nimg="fill" class="image-skeleton" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%;object-fit:contain;object-position:right"/><noscript><img loading="lazy" decoding="async" data-nimg="fill" style="position:absolute;top:0;left:0;bottom:0;right:0;box-sizing:border-box;padding:0;border:none;margin:auto;display:block;width:0;height:0;min-width:100%;max-width:100%;min-height:100%;max-height:100%;object-fit:contain;object-position:right" class="image-skeleton" sizes="(min-width: 2560px) 296px, (min-width: 1440px) calc(16.666vw - 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14(416) 539-9495","address":"PO Box 5 Stn B Toronto, ON M5T 2T2"}}}},"page":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"seo":null,"localizations":{"data":[]},"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null,"related":[{"__type":"api::issue.issue","id":165,"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastru
14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null}]}}},"credits":[{"id":6849,"person":{"data":{"id":3711,"attributes":{"first_name":"Joy","last_name":"Xiang","slug":"joy-xiang","redirected_slugs":null,"bio_text":"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_. ","full_name":"Joy Xiang","alpha_sort":"Xiang","hide_on_frontend":false,"createdAt":"2022-12-15T20:48:45.292Z","updatedAt":"2026-04-16T21:37:40.126Z","publishedAt":"2022-12-17T04:56:23.735Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":8,"attributes":{"name":"Editor","createdAt":"2022-09-07T20:57:21.131Z","updatedAt":"2022-09-07T20:57:21.131Z","locale":"en"}}}},{"id":6850,"person":{"data":{"id":3558,"attributes":{"first_name":"Maandeeq","last_name":"Mohamed","slug":"maandeeq-mohamed","redirected_slugs":null,"bio_text":"Maandeeq Mohamed is a writer, researcher and the Associate Editor of _C Magazine_. ","full_name":"Maandeeq Mohamed","alpha_sort":"Mohamed","hide_on_frontend":false,"createdAt":"2022-09-07T21:57:07.558Z","updatedAt":"2026-04-16T21:37:40.166Z","publishedAt":"2022-09-07T21:57:07.553Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":46,"attributes":{"name":"Associate Editor","createdAt":"2022-09-07T21:30:47.455Z","updatedAt":"2022-09-07T21:30:47.455Z","locale":"en"}}}},{"id":6851,"person":{"data":{"id":2920,"attributes":{"first_name":null,"last_name":null,"slug":"c-the-visual-arts-foundation","redirected_slugs":null,"bio_text":null,"full_name":"C the Visual Arts Foundation","alpha_sort":"C the Visual Arts Foundation","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:10.198Z","updatedAt":"2022-09-07T21:56:10.198Z","publishedAt":"2022-09-07T21:56:10.193Z","locale":"en","has_linked_articles":null,"has_linked_events":null}}},"role":{"data":{"id":17,"attributes":{"name":"Publisher","createdAt":"2022-09-07T20:57:21.571Z","updatedAt":"2022-09-07T20:57:21.571Z","locale":"en"}}}},{"id":6852,"person":{"data":{"id":3811,"attributes":{"first_name":"Hwa-Jin","last_name":"Jun","slug":"hwa-jin-jun","redirected_slugs":null,"bio_text":null,"full_name":"Hwa-Jin Jun","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2023-12-15T05:59:43.515Z","updatedAt":"2023-12-15T05:59:50.165Z","publishedAt":"2023-12-15T05:59:45.646Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":36,"attributes":{"name":"Designer","createdAt":"2022-09-07T21:30:47.046Z","updatedAt":"2022-09-07T21:30:47.046Z","locale":"en"}}}}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}]}},"activeIssue":165,"relatedEvents":[],"letters":[{"id":5927,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:10:49.129Z","title":"Letters","title_long":null,"slug":"letters-163","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"Letters reflecting on issue 162 Tidal.","page_start":18,"page_length":1,"has_thumbnail_image":true,"updatedAt":"2026-04-16T21:39:00.809Z","publishedAt":"2026-04-15T14:11:49.206Z","locale":"en","legacy_id":null,"body":[{"id":6114,"__component":"layouts.text","text":"##### Dear C,\n\nIt has been more than a decade since I first read the Kamau Brathwaite quote that guides m. nourbeSe philip’s contribution to the previous issue: “Hotels are Squatting on my Meta
14phors.” When I read this sentence for the first time, I was a student in London, writing a dissertation on Guyanese post-independence art under the supervision of Richard Drayton—the son of Harold Drayton, who helped establish the University of Guyana. Richard would talk about Brathwaite and Rupert Roopnaraine as old family friends, and introduced us to Eric and Jessica Huntley, the community leaders, activists, and publishers who ran the Walter Rodney bookshop in West Ealing. These were people who breathed radical poetics for breakfast, lunch, and dinner, and whose lasting impression made me believe that one day, my writing could have the wings it needed to change dynamics of power.\n\nToday, I feel very far from the fierce hope and admiration I felt then, seeing my own metaphors squatted on by hotels and mining projects. Just like the families of Magally Zelaya and Michelle Peraza, my mother’s family shed their Indigenous traditions, culture, and language. For my family, this meant coating their Yakut heritage with a fierce belief in Communism, until the repression under Stalin shattered everything. My great-grandfather was shot, and my great-grandmother and her two daughters were exiled. Belief in the Communist dream was replaced with poetic revolt, as my great aunt took to the stage, reading and distributing censored poetry and prose.\n\nTraumatized by the previous generation’s struggle, my parents turned as far away from politics as they could, choosing mathematics and leaving “the black ink, the red paint” (Zelaya’s ancestors’ metaphor for writing). Eventually, we migrated to Sweden, the land of welfare and engineering, but even as a kid I found myself too restricted by the pragmatism of the protestant country. I fled to London, seeking the black ink but finding instead a tower of insurmountable rents and rising costs. Eight years later, I found myself voluntarily displaced to yet another old imperial centre on the Atlantic coast: Lisbon. Wherever I went, I remained haunted by squatters of metaphors. In Portugal, hotels and tourists have taken over urban and rural coasts. Inland, the gropy fingers of capital threaten to mine everything within sight for so-called green energy, be it water, wind, sun, or mountain.\n\nWhat if we, as Brathwaite writes in _The Namsetoura Papers_, instead dreamed of libraries on the beach, so that our children could learn to read while looking out over the sea? Is there a way that our metaphors could break free and allow us to dream again? And if they could: What would they dream?\n\n\n##### Sincerely,\n##### M. Vulfson\n\n","settings":null},{"id":35,"__component":"layouts.divider","settings":null},{"id":6115,"__component":"layouts.text","text":"#####Dear C,\n\nMagally Zelaya’s elliptical fragments oscillate between a personal, analytic, and historical register—a dérive through consciousness. As a writer, this strikes me as the only way to respond to art. Not only because it is more honest; not only because it is true that the personal is political (or if you prefer, its inverse), but because it seems to be the only way to cache the surplus of meaning art generates.\n\nZelaya’s reverence for amatl—the ancient Mesoamerican paper that is artist Michelle Pereza’s material of choice—comes through in the way her text identifies in amatl both a shared history and the possibility for deviation or opposition. No oil, no canvas, no frame, and in the words of film critic Manny Farber in his 1962 essay “White Elephant Art vs. Termite Art,” no “square, boxed-in shape and gemlike inertia of an old, densely wrought European masterpiece.”\n\nFarber’s conviction lies in his call to turn to the termite and its aimless, ceaseless locomotion. The image of the termite artist is one I find terribly seductive—this is an artist who does not preside over art, but instead inhabits it, remains complicit in it. Termite-like activity imbues art with a current that makes it an alive thing. It seems to me that this pulse is not discrete from the materiality of an artwork, from surfaces that allow for touch and breath and crawl, like the regenerative skin of amatl.\n\nLike the frame, the institution mimics the constriction of the tomb, an amber even more unctuous than the past. But this undercurrent of death is not absent from termite art. What is essential to paper and other telluric materials is not only their origin 
14in the earth, but their ability to revert to it. The termite is autophagous, “eating its own boundaries… leaving nothing in its path other than the signs of eager, industrious, unkempt activity,” and we should be glad for it.\n\n##### Namah","settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":null},"thumbnail_image":{"data":{"id":4413,"attributes":{"name":"editorial.png","alternativeText":null,"caption":null,"width":1080,"height":1080,"formats":{"md":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_editorial_96f4c8dbad.png","hash":"md_editorial_96f4c8dbad","mime":"image/png","name":"md_editorial.png","path":null,"size":4.38,"width":900,"height":900,"sizeInBytes":4377},"sm":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_editorial_96f4c8dbad.png","hash":"sm_editorial_96f4c8dbad","mime":"image/png","name":"sm_editorial.png","path":null,"size":2.35,"width":600,"height":600,"sizeInBytes":2354},"thumbnail":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_editorial_96f4c8dbad.png","hash":"thumbnail_editorial_96f4c8dbad","mime":"image/png","name":"thumbnail_editorial.png","path":null,"size":0.46,"width":156,"height":156,"sizeInBytes":457}},"hash":"editorial_96f4c8dbad","ext":".png","mime":"image/png","size":1.25,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/editorial_96f4c8dbad.png","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2025-08-15T20:09:12.229Z","updatedAt":"2026-04-16T19:24:56.798Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5867,"title":"Editorial: STOP!","title_long":null,"slug":"editorial-stop","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Stop!_ and its contributions.","page_start":14,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-05T17:56:29.190Z","updatedAt":"2025-08-15T20:09:25.536Z","publishedAt":"2025-08-05T18:04:53.339Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5868,"title":"Letters","title_long":null,"slug":"letters-161","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Letters reflecting on issue 160 Extra Life.","page_start":12,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-07T14:41:44.344Z","updatedAt":"2025-08-15T20:11:37.871Z","publishedAt":"2025-08-07T14:41:46.625Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5892,"title":"Editorial: TIDAL","title_long":null,"slug":"editorial-tidal","redirected_slugs":null,"excerpt":null,"publication_date":"2025-12-15","release_date":"2025-12-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Tidal_ and its contributions.","page_start":16,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-12-09T16:37:45.039Z","updatedAt":"2026-02-27T16:52:50.360Z","publishedAt":"2025-12-16T01:28:06.995Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5927,"title":"Letters","title_long":null,"slug":"letters-163","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Letters reflecting on issue 162 Tidal.","page_start":18,"page_length":1,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:10:49.129Z","updatedAt":"2026-04-16T21:39:00.809Z","publishedAt":"2026-04-15T14:11:49.206Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5932,"title":"Open Hearing: Dreaming in Dark Times, Dispatch III","title_long":null,"slug":"open-hearing-dreaming-in-dark-times-dispatch-iii","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-20","summary":"“Open Hearing: Dreaming in Dark Times” was initiated by EMILIA-AMALIA as a town hall that gathered more than 200 artists and cultural workers in Toronto to confront urgent issues including Palestine solidarity, censorship, and labour. Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy W
14ing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:55:08.238Z","updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null}]}}},"authors":{"data":[{"id":3954,"attributes":{"first_name":"M.","last_name":"Vulfson","slug":"m-vulfson","redirected_slugs":null,"bio_text":null,"full_name":"M. Vulfson","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T16:04:16.882Z","updatedAt":"2026-04-16T21:39:00.820Z","publishedAt":"2026-04-14T16:04:22.110Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}},{"id":3955,"attributes":{"first_name":"Namah","last_name":null,"slug":"namah","redirected_slugs":null,"bio_text":null,"full_name":"Namah","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T16:04:36.130Z","updatedAt":"2026-04-16T21:39:00.851Z","publishedAt":"2026-04-14T16:04:37.990Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"article_type":{"data":{"id":15,"attributes":{"name":"Letter","createdAt":"2022-09-07T21:30:42.849Z","updatedAt":"2022-09-08T16:13:59.026Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4625,"attributes":{"name":"C163_Letters.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Letters_29ff5f92d5","ext":".pdf","mime":"application/pdf","size":43.47,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Letters_29ff5f92d5.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T16:22:27.428Z","updatedAt":"2026-04-16T16:22:27.428Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5927,"title":"Letters","title_long":null,"slug":"letters-163","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Letters reflecting on issue 162 Tidal.","page_start":18,"page_length":1,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:10:49.129Z","updatedAt":"2026-04-16T21:39:00.809Z","publishedAt":"2026-04-15T14:11:49.206Z","locale":"en","legacy_id":null}]}}},"credits":[]}}],"editorial":[{"id":5926,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:07:51.750Z","title":"Editorial: CHORUS","title_long":null,"slug":"editorial-chorus","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Chorus_ and its contributions.\n","page_start":20,"page_length":1,"has_thumbnail_image":true,"updatedAt":"2026-04-16T21:37:40.111Z","publishedAt":"2026-04-15T14:09:41.673Z","locale":"en","legacy_id":null,"body":[{"id":6113,"__component":"layouts.text","text":"This issue feels momentous for many reasons. As we launch a fully redesigned print magazine, we are so excited to further explore how form and language work together. In _C_’s new look, design director Hwa-Jin Jun embraces a sense of fluidity and responsiveness to the specifics of contributor texts. We also return attention to the physicality of printed matter, experimenting with different paper stock and a larger format for visual play (much like the earliest issues of _C_). We continue to push toward cultural discourses that feel aesthetically, ethically, and politically significant, while questioning what that can look like: what becomes possible if we embrace changing issue formats and materials as methodologies in their own right? How might genre-crossing content point us toward new kinds of knowledges?\n\nAt the same time as we launch this new design, we find ourselves in a financially challenging moment for the magazine, not uncommon among our arts non-profit peers in a periodical-publishing industry that sees shrinking sales, changes to public grant cycles, and the need to diversify funding sources. In response to this austere landscape, we have planned this redesign around lower material costs, too, without sacrificing quality. We hope to ground in this adaptability, and this scrappiness, to continue _C_ forward, as its stewards before us have done since 1983. We wholeheartedly thank our 
14communities of artists, contributors, readers, board and advisory members, former staff, advertisers, and donors who have supported our critical fundraising campaign—and who may have seen what is important to them in Canada’s creative ecosystem, and its connection to global urgencies, reflected back by _C_ over the years.\nThe issue theme of _Chorus_ is a fitting one to introduce our new look. We think of chorus as a collective noun for voices, noises, and expressions. You might imagine a swell of layered sounds, or a repeated call-and-response in verse. Think of polyphony, or simultaneity: a chorus that does not dissolve distinction. As Hajra Waheed says of her ongoing multi-channel sound trilogy _HUM_, which opens these pages as the Artist Project, “voice is not only expression but infrastructure: a way of rehearsing coordination, care, and collective power under conditions where public speech is increasingly regulated, surveilled, and criminalized.” Conceived as hummed compositions of songs of resistance from international solidarity movements, including political prisoners like Kurdish musician Nûdem Durak, the leadership roles of women and mothers in carrying struggle across generations, and labour movements, the work—as Waheed says to collaborator Laurel Sprengelmeyer—carries the responsibility of preserving the individual within the collective. This has resulted in individual recordings of vocalists that form more than 1,000 mixed tracks per volume, mounted at sites from Lahore to Frankfurt to Bogota.\n\nIn “FIVE ESSAYS FOR KELLY MARK,” dispersed through the magazine like the artist’s posthumous show was across physical locations in Toronto, Daniella Sanader captures the subtle folds of labour, working-class time, and accumulation at the heart of Mark’s work. In “Sharing Seeds,” extended from a panel between Api’soomaahka and Christina Battle moderated by Lillian O’Brien Davis, the artists speak about the intentional dispersal and propagation of seeds as a form of collective survival. Meanwhile, Sebastian De Line focuses on notions of audibility in the context of caring for museum collections, where attuning to ancestors who reside there is a paradigm shift for what Western Eurocentric museum practices might call “objects.”\n\nTo mark the release of their debut album _In Blue Time_, Eddy Wang and Ryan Akler-Bishop of Ira Dot speak to Winnie Wang about their many influences, including the limits of language, Peking opera, Xi'an guyue, indie rock, racial melancholia, musique concrète, sound collage, the colour blue, avant-pop, and chamber folk. Expansive approaches to genre also inform Sarah Jane Cervenak’s “An Un/Written Proposition: Nolan Oswald Dennis Overturns the World.” Cervenak surveys how Dennis’s diagrams, based on International Astronomical Union constellation charts, layer references to global Indigenous cosmologies, the Black consciousness movement, and Black Panther Party iconography, toward an “anti-colonial defamiliarization of mapping practices.”\nThe final excerpt from “Open Hearing: Dreaming in Dark Times,” a town hall that took place in Toronto in March 2025, features the voices of artists calling for ways forward in response to challenges faced in our cultural sectors, from labour organizing to strategies against political censorship. We can’t think of a better way to end the _Chorus_ issue than on a cacophony of grievance and desire.","settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":{"id":4631,"attributes":{"name":"Untitled design (1).jpg","alternativeText":null,"caption":null,"width":1500,"height":1000,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_Untitled_design_1_03433267bd.jpg","hash":"lg_Untitled_design_1_03433267bd","mime":"image/jpeg","name":"lg_Untitled design (1).jpg","path":null,"size":151.38,"width":1440,"height":960,"sizeInBytes":151382},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_Untitled_design_1_03433267bd.jpg","hash":"md_Untitled_design_1_03433267bd","mime":"image/jpeg","name":"md_Untitled design 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Cervenak surveys how Dennis’s diagrams, based on International Astronomical Union constellation charts, layer references to global Indigenous cosmologies, the Black consciousness movement, and Black Panther Party iconography, toward an “anti-colonial defamiliarization of mapping practices.”","page_start":42,"page_length":5,"has_thumbnail_image":false,"createdAt":"2026-04-15T14:40:22.497Z","updatedAt":"2026-04-16T21:40:42.807Z","publishedAt":"2026-04-15T14:47:49.053Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6858,"person":{"data":{"id":3958,"attributes":{"first_name":"Sarah Jane","last_name":"Cervenak","slug":"sarah-jane-cervenak","redirected_slugs":null,"bio_text":"Sarah Jane Cervenak is the Linda Arnold Carlisle\nDistinguished Excellence Professor of Women’s,\nGender, and Sexuality Studies and African American and African Diaspora Studies at the University of North Carolina at Greensboro. She is the author\nof _Black Gathering: Art, Ecology, Ungiven Life_ and\n_Wandering: Philosophical Performances of Racial\nand Sexual Freedom_, and is at work on a third book.\n","full_name":"Sarah Jane Cervenak","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T18:58:19.413Z","updatedAt":"2026-04-16T21:40:42.818Z","publishedAt":"2026-04-14T19:00:54.714Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":4,"attributes":{"name":"Writer","createdAt":"2022-09-07T20:57:20.942Z","updatedAt":"2022-09-07T20:57:20.942Z","locale":"en"}}}}]}},{"id":5931,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:50:38.572Z","title":"Listening to Collections: Ancestor-Led Care in Museums","title_long":null,"slug":"listening-to-collections-ancestor-led-care-in-museums","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-01","summary":"Sebastian De Line focuses on notions of audibility in the context of caring for museum collections, where attuning to ancestors who reside there is a paradigm shift for what Western Eurocentric museum practices call “objects.”","page_start":47,"page_length":4,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:39:58.323Z","publishedAt":"2026-04-15T14:50:40.647Z","locale":"en","legacy_id":null,"body":[],"seo":null,"localizations":{"data":[]},"main_image":{"data":null},"thumbnail_image":{"data":null},"authors":{"data":[{"id":3959,"attributes":{"first_name":"Sebastian","last_name":"De Line","slug":"sebastian-de-line","redirected_slugs":null,"bio_text":"Sebastian De Line is the Associate Curator of Care and Relations at Agnes Etherington Art Centre, and an Adjunct Assistant Professor for the Cultural Studies Graduate Program at Queen’s University. Publications include the _Journal of Visual Culture_, _Junctures_, and forthcoming works in _Asian Diasporic Visual Cultures and the Americas_ and _The Bloomsbury Encyclopedia of Sound Studies, Volume Two: Arts, Practices, Theories_.\n","full_name":"Sebastian De Line","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:01:28.119Z","updatedAt":"2026-04-16T21:39:58.334Z","publishedAt":"2026-04-14T19:02:30.852Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"article_type":{"data":{"id":13,"attributes":{"name":"Feature","createdAt":"2022-09-07T21:30:42.686Z","updatedAt":"2022-09-08T16:13:24.190Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[{"id":96,"attributes":{"name":"Collections","createdAt":"2022-09-07T22:48:10.326Z","updatedAt":"2022-09-07T22:48:10.326Z","locale":"en","localizations":{"data":[]}}},{"id":44,"attributes":{"name":"Curatorial practice","createdAt":"2022-09-07T22:46:46.389Z","updatedAt":"2022-09-07T22:46:46.389Z","locale":"en","localizations":{"data":[]}}},{"id":95,"attributes":{"name":"Museums","createdAt":"2022-09-07T22:48:10.226Z","updatedAt":"2022-09-07T22:48:10.226Z","locale":"en","localizations":{"data":[]}}}]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastru
14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4616,"attributes":{"name":"C163_De Line.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_De_Line_dd058c948c","ext":".pdf","mime":"application/pdf","size":410.16,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_De_Line_dd058c948c.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:02.007Z","updatedAt":"2026-04-16T15:00:02.007Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5931,"title":"Listening to Collections: Ancestor-Led Care in Museums","title_long":null,"slug":"listening-to-collections-ancestor-led-care-in-museums","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-06-01","summary":"Sebastian De Line focuses on notions of audibility in the context of caring for museum collections, where attuning to ancestors who reside there is a paradigm shift for what Western Eurocentric museum practices call “objects.”","page_start":47,"page_length":4,"has_thumbnail_image":false,"createdAt":"2026-04-15T14:50:38.572Z","updatedAt":"2026-04-16T21:39:58.323Z","publishedAt":"2026-04-15T14:50:40.647Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6859,"person":{"data":{"id":3959,"attributes":{"first_name":"Sebastian","last_name":"De Line","slug":"sebastian-de-line","redirected_slugs":null,"bio_text":"Sebastian De Line is the Associate Curator of Care and Relations at Agnes Etherington Art Centre, and an Adjunct Assistant Professor for the Cultural Studies Graduate Program at Queen’s University. Publications include the _Journal of Visual Culture_, _Junctures_, and forthcoming works in _Asian Diasporic Visual Cultures and the Americas_ and _The Bloomsbury Encyclopedia of Sound Studies, Volume Two: Arts, Practices, Theories_.\n","full_name":"Sebastian De Line","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:01:28.119Z","updatedAt":"2026-04-16T21:39:58.334Z","publishedAt":"2026-04-14T19:02:30.852Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":4,"attributes":{"name":"Writer","createdAt":"2022-09-07T20:57:20.942Z","updatedAt":"2022-09-07T20:57:20.942Z","locale":"en"}}}}]}},{"id":5932,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:55:08.238Z","title":"Open Hearing: Dreaming in Dark Times, Dispatch III","title_long":null,"slug":"open-hearing-dreaming-in-dark-times-dispatch-iii","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-20","summary":"“Open Hearing: Dreaming in Dark Times” was initiated by EMILIA-AMALIA as a town hall that gathered more than 200 artists and cultural workers in Toronto to confront urgent issues including Palestine solidarity, censorship, and labour. Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy W
14ing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null,"body":[{"id":6116,"__component":"layouts.text","text":"Below is the third dispatch from “Open Hearing: Dreaming in Dark Times” to be published in the magazine. [**A full public\ntranscript of the event is also available**](https://cmagazine.com/articles/open-hearing-dreaming-in-dark-times-full-public-transcript). \n\n**[00:28:27] Karl Beveridge:**\n\nThank you. I’m a visual artist, photographer. I’ve been involved in, and a member of CARFAC. Worked around A Space for many years and generally try to make trouble. \n\nThe first thing I wanna say: I think it’s kind of interesting that the reference for this talk is the Art Workers Coalition in the U.S.. We’re always deferring to the U.S.—and I think there’s an interesting history in Canada that parallels that history in the U.S. And, I’m thinking in 1968, CARFAC was founded. The Art Workers Coalition was 1969.\n\nCARFAC, interestingly, different than what the Art Workers Coalition did, which the kind of two main points that came out of the Art Workers Coalition was one, the structure and policies of art institutions, and secondly, diversity—and in New York at the time, was mainly around gender and the Black and Puerto Rican communities. CARFAC, on the other hand, in Canada, went for the economics, and basically that artists get paid, and that, I think, had much longer-term impact. It’s still—CARFAC still exists today. \n\nThe unfortunate thing is we don’t pay enough attention to it. We don’t get involved with it. CARFAC has managed to achieve many things and is working on many things, but it needs much more strength if we’re to deal with things like the AGO and their policies and those sorts of things, we need a strong organization. \n\nWhich brings me to probably the immediate point that would need to happen is to get status of the artist provincially. [^1] That would allow us to deal with institutions all across the board. \n\nThe federal status of the artist only affects federal institutions. So, we’re able to negotiate with the National Gallery and get a collective agreement, which is unique, I think, pretty well in the world. And, I mean, the thing about CARFAC is, it was unique globally too, in establishing fees and these sorts of things. But we do need status provincially in order to deal with all the other institutions that are under provincial control.\n\nSo, I’m gonna stop there, cause that’s the main point I wanna make is that: we really need to get together and organize. And I really stress that we need to build our union, which is CARFAC and make it strong and able to deal with a lot of issues that may come up today.\n\nThank you. \n\n[applause]\n\n**[00:36:32] Amy Wing-Hann Wong:**\n\nHi everyone. Thank you for being here. I\ndidn’t even realize there was gonna be\nan audience. I came to learn and I’m\nlearning so much from all the speakers. I’m an artist, professor, parent. I’m\na single mom. I live in Scarborough.\n\nGrace Lee Boggs said that:\n\n\u003e “The only way to survive is by taking care of one another and to get out of the lens of self-interest and to centre relationship and community.” [^2]  \u003cbr/\u003e\n\n\nShe advocated for the need to redefine representative democracy with a\nreminder that you should never expect\nthat people in power will do things to\nhelp us progress.\n\nThis forum is meant to address\nthe pre-existing and longstanding\nproblems at the heart of our cultural\nstructures. We’ve known about these\nproblems for a long time and have\nbeen discussing, protesting, infiltrating systems for a while now.\n\nRecent events are horrifying, to\nsay the least, but in some ways not\nsurprising. And despite ongoing activism, pushback, and—on the part\nof institutions—diversity and decolonial statements, ultimately, I think\nartistic and academic freedoms are\nvalues that come from within us\nand not prescribed to allow us. And\ntherefore, creative practice is inherently a form of resistance—not things that\nare granted by institutions or policies.\n\nWe are facing a time where it’s\nlike lancing a boil. We are seeing the\ngrosse
14st shit so that we can clear the\ninfection. I think we all agree that what\nToronto, the art world, or you know,\nwhat the world needs right now is the\nprotection of basic human rights, safety, and security, holding governments\nand institutions to account.\n\nAnd especially as QTBIPOC\narts workers refusing to be window\ndressing or merely window dressing,\nI think, do not give institutions your\nwhole self. Continue the invisible and\nsmall acts of daily change within one’s\npower and always be suspicious. Call\nto task the differences between representation, justice, and access.\n\nMaya Mackrandilal reminds us\nthat diversity statements and hiring diversity candidates is not the solution\nto the problem, but only a step in the\ngeneral direction where the problem\nis occurring. [^3] Inserting women and \npeople of colour into capitalist, white supremacist, cis-hetero, patriarchal spaces, does not magically dismantle\nthe very fabric of an institution’s culture. Amy Fung reminds us of those\nwho are happy to benevolently oversee and control diversity in all its frivolous forms but who immediately enforce the power of their laws the moment difference seeks actual power. [^4]\n\nI’m also gonna quote Leanne Simpson:\n\n\u003e “We need to create and continue constellations of co-resistance that are firm, life and world-building at a time of acute racial violence and inequality.” [^5] \u003cbr/\u003e\n \nWe need to protect and nurture\nthe voices of the arts community who\nare the most vulnerable in some ways,\nand especially the voices of young creative people who come after us. The\nart world romanticizes this scrappiness\nand perpetuates an industry of precarity, but we must prioritize sustainability.\nI’ll just end with Grace [Lee Boggs] again that: “Another world is possible and that it is happening.” [^6]\n\nI’ll end there. Thank you.\n\n[applause]\n\n\n**[02:36:16] Ananna Rafa:** Hey, I’m Ananna.\n\n**[02:36:20] Ammar Bowaihl:** And I’m Ammar Bowaihl.\n\nLast year, I found out that it’s\nactually hard to think while being financially stressed. [laughs] What a\nsurprise. [laughs] The stress can’t be\nexplained: lots of bills, expectations\nfrom family, and also ambitions that\nare not met with actions. It all builds\nup until you forget how things used\nto be.\n\nI will give you some of the symptoms. My personal symptoms. I’m\nhome alone all the time, barely talking\nor texting, and listening to lots of podcasts. I never thought I would feel this\nway after school. But it’s all right. Things are in control right now. And I’m\nout here in public, speaking about it.\n\nMaking money through the arts—\nit’s hard. But it’s much harder when\nyou’re isolated. I don’t remember how\nit started or why I found myself alone.\nOne of my mentors recommended therapy. Kept checking in. And this is\nhow I slowly recovered from my self-deprecating mind and perspective. It\nwasn’t that hard. I needed someone\nto tell me it’s gonna be okay, and help\nme reset.\n\nWhen you’re involved in a community, or sharing the journey with\nfriends rooting for you, it’s much harder to fall back to the darkness. These are the connections that can save\nus. I urge you to check in on your\npeers, mentor in your free time, provide a space for learning and growing together, as artists, as friends,\nand as a community that cares for\none another.\n\n**Ananna:** Art school was the first time we\nexperienced what it meant to be othered—to feel that we did not deserve\nto be there, to feel that the work we\nmade, our histories, our cultures were\nsuddenly misunderstood, to feel that,\nthen, it was a waste of time.\n\nAnd yet, we would not have known that both of us felt similar ways,\nhad we not had conversations that\nseemed to be taboo.\n\nAnd why should we not speak\nout against systems that divide us? About institutions with the sole purpose of financial gain?\n\nAbout ways of pedagogy that no\nlonger work?\n\nThese conversations need to be\nhad—conversations among friends,\nfamily, students, colleagues: About\nhistoric truths.\n\nAbout the art world that no longer serves us.\n\nAbout what the art world has\nthe potential to be and who can call\nthemselves an artist.\n\nIt is radical enough to continue\nto live in this world as an artist, and\nto continue to tell ourselves that we\ndeserve to be an artist. And it is definitely radical to tell other people—like ourselves—that you, too, can be an artist.\n\nArt-making can be messy. It can\nbe volatile. And it needs to be touched\nby the strengths and sorrows of our\nworld. We are the dreamers of today,\nbecause somewhere along the way,\nwe have seen dreaming is possible for\npeople like us. It is our responsibility to pass on the knowledge of what\nit means to dream, to others who yet\ncannot imagine other worlds possible.\n\nThank you.\n\n[applause]\n\n\n**[01:17:57] John Greyson:** \n\nThank you, Kiera\n[host]. And, remembering back 40\nyears ago when all of us were sleeping together, we also were at war with\nthe Ontario Censor Board. \n\nThe Censor Board claimed, at\nthat time, jurisdiction over any image\nthat was shown, any film or video that\nwas shown in the province, demanding prior censorship—whether it was a\nnew video by Andy Paterson or Richard Fung, or whether it was a documentary about farm workers. And so,\ngroups like A Space, The Funnel, and\nCanadian Images were heroically fighting the Censor Board in the courts.\n\nBut that was incredibly debilitating. It was when trying to work within the terms of the system became\nsomething that just—I think—perpetuated the fear or experience of being\nsilenced, feeling terrified about who’s\ngonna get charged next, who’s gonna face charges next.\n\nAnd so, a bunch of us, 40 years\nago, initiated what started as Six Days\nAgainst the Censor Board and ended up becoming 11 Days Against the\nCensor Board, a province-wide civil disobedience action where we collectively broke the law. I think there\nwas something like 30 or 40 arts organizations in 10 cities across the province, each of us showing whatever\nwe chose to show.\n\nAnd that was the autonomy of\ncurating, curating what each group\nwanted to show and making that decision themselves was central to the\npremise of it. And the principle of it\nwas, if we all break the law, then no\none’s gonna get arrested.\n\nAnd it was a complete victory,\nnot a single charge. And, in fact, we\nended up getting rid of the Censor\nBoard. It was the collective actions.\nIt was the court cases equally along\nwith civil disobedience.\n\nFlash forward 30 years: Queer\nCinema For Palestine started a boycott of Tel Aviv Gay Lesbian Festival—a boycottable festival, identified\nby PACBI [Palestinian Campaign\nfor the Academic and Cultural Boycott of Israel]. And so, starting 10\nyears ago, we started to do a global\ncampaign trying to convince artists\nto either not submit or to withdraw\nfrom the Tel Aviv festival.\n\nSo, I’d get assigned Bruce LaBruce. And I’d be calling Bruce LaBruce,\ntrying to convince Bruce. And it was an uphill battle. The arguments were familiar in terms of, “Oh, it’s a queer\nfestival. How can it be boycottable?” Et cetera, et cetera.\n\n
14But one of the things that came\nout of that experience—we had a lot\nof success. Every year, 10 or 15 filmmakers would withdraw. And it was\nincredibly powerful seeing the courage of those filmmakers give, you know,\nat cost, choosing to withdraw, choosing\nto fight back against genocide, apartheid—and using that festival as a target.\nBut we also had that same experience of how withdrawal can often\nfeel counterintuitive to artists. It can\nfeel like a different sort of silencing—\nwithdrawing your work, taking your\nwork away from an audience.\n\nAnd so, Queer Cinema For Palestine, five years ago, launched a counter-move, which was not just about\nwithdrawing, but also a counter festival inspired by the model of Six Days\nof Resistance and cities around the world programming work in solidarity with Palestine, queers speaking out\nin solidarity with Palestine.\n\nAnd so, we’re in the process right\nnow of initiating our third edition.\nCall for submission next week. So, if\nyou’ve got a video, you can find us online at Queer Cinema For Palestine,\nand the festival’s gonna be in June, [^7]\nall through pride month, doing a\ntargeted solidarity action, a global\nsolidarity action with Palestine.\n\nThanks.\n\n\n[^1]: Status of the Artist legislation came out of recommendations from UNESCO, which argued that artists needed special legislation to ensure their rights. The federal government of Canada legislated Status in 1992, which gave artists collective bargaining rights but only for federal institutions: namely the National Gallery of Canada. All other institutions and galleries (including private galleries) come under provincial labour law. Only Quebec has recently achieved provincial Status.\n\n[^2]: Grace Lee Boggs, interview by Amy Goodman, _Democracy Now!_, April 2, 2010.\n\n[^3]: Maya Mackrandilal, “Diverus,” _Mice Magazine_ 1 (2016), https://micemagazine.ca/issue-one/diverus, and “Radical Looking: Newly Seeing Art With My Baby,” _Momus_, May 30, 2024, https://momus.ca/radical-looking-newly-seeing-art-with-my-baby\n\n[^4]: Amy Fung, Before I Was a Critic I Was a Human Being (Book*hug Press, 2019).\n\n[^5]: Leanne Betasamosake Simpson and Robyn Maynard, Rehearsals for Living (Knopf Canada, 2022), https://www.penguinrandomhouse.ca/books/675719/rehearsals-for-living-by-robyn-maynard-and-leanne-betasamosake-simpson/9781039000650/excerpt\n\n[^6]: Boggs.\n\n[^7]: The third edition of Queer Cinema For Palestine, titled “No Pride in Genocide,” took place throughout June 2025. See: https://queercinemaforpalestine.org ","settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":null},"thumbnail_image":{"data":{"id":4413,"attributes":{"name":"editorial.png","alternativeText":null,"caption":null,"width":1080,"height":1080,"formats":{"md":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_editorial_96f4c8dbad.png","hash":"md_editorial_96f4c8dbad","mime":"image/png","name":"md_editorial.png","path":null,"size":4.38,"width":900,"height":900,"sizeInBytes":4377},"sm":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_editorial_96f4c8dbad.png","hash":"sm_editorial_96f4c8dbad","mime":"image/png","name":"sm_editorial.png","path":null,"size":2.35,"width":600,"height":600,"sizeInBytes":2354},"thumbnail":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_editorial_96f4c8dbad.png","hash":"thumbnail_editorial_96f4c8dbad","mime":"image/png","name":"thumbnail_editorial.png","path":null,"size":0.46,"width":156,"height":156,"sizeInBytes":457}},"hash":"editorial_96f4c8dbad","ext":".png","mime":"image/png","size":1.25,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/editorial_96f4c8dbad.png","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2025-08-15T20:09:12.229Z","updatedAt":"2026-04-16T19:24:56.798Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5867,"title":"Editorial: STOP!","title_long":null,"slug":"editorial-stop","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Stop!_ and its contributions.","page_start":14,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-05T17:56:29.190Z","updatedAt":"2025-08-15T20:09:25.536Z","publishedAt":"2025-08-05T18:04:53.339Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5868,"title":"Letters","title_long":null,"slug":"letters-161","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Letters reflecting on issue 160 Extra Life.","page_start":12,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-0
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Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy Wing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:55:08.238Z","updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null}]}}},"authors":{"data":[]},"article_type":{"data":{"id":13,"attributes":{"name":"Feature","createdAt":"2022-09-07T21:30:42.686Z","updatedAt":"2022-09-08T16:13:24.190Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[{"id":176,"attributes":{"name":"Collective","createdAt":"2022-09-07T22:55:39.272Z","updatedAt":"2022-09-07T22:55:39.272Z","locale":"en","localizations":{"data":[]}}},{"id":94,"attributes":{"name":"Institutional critique","createdAt":"2022-09-07T22:48:08.866Z","updatedAt":"2022-09-07T22:48:08.866Z","locale":"en","localizations":{"data":[]}}}]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. 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This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4621,"attributes":{"name":"C163_OpenHearing.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Open_Hearing_b4351bdf45","ext":".pdf","mime":"application/pdf","size":4691.18,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Open_Hearing_b4351bdf45.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:06.721Z","updatedAt":"2026-04-16T15:00:06.721Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5932,"title":"Open Hearing: Dreaming in Dark Times, Dispatch III","title_long":null,"slug":"open-hearing-dreaming-in-dark-times-dispatch-iii","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-20","summary":"“Open Hearing: Dreaming in Dark Times” was initiated by EMILIA-AMALIA as a town hall that gathered more than 200 artists and cultural workers in Toronto to confront urgent issues including Palestine solidarity, censorship, and labour. Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy W
14ing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:55:08.238Z","updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6860,"person":{"data":{"id":3916,"attributes":{"first_name":"EMILIA-AMALIA","last_name":null,"slug":"emilia-amalia","redirected_slugs":null,"bio_text":"EMILIA-AMALIA (since 2016) is an intergenerational, in-flux working group that employs experiments, citation, annotation, and autobiography to activate feminist art, writing, research, and living practices. Active members include Cecilia Berkovic, Annie MacDonell, Gabrielle Moser, Zinnia Naqvi, and (_C_ editor) Joy Xiang, with support from Jennifer Harwart.","full_name":"EMILIA-AMALIA","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2025-08-12T16:41:16.396Z","updatedAt":"2026-03-20T14:48:22.353Z","publishedAt":"2025-08-12T16:41:56.019Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}},{"id":6861,"person":{"data":{"id":3969,"attributes":{"first_name":"Karl","last_name":"Beveridge","slug":"karl-beveridge","redirected_slugs":null,"bio_text":"Karl Beveridge lives and works in Toronto. He (and his late partner Carole Condé (1940–2024)) collaborated with various trade union and community organizations in the production of their staged photographic work over the past 50 years. Their work has been exhibited across Canada and internationally in both the trade union movement and public art galleries and museums.","full_name":"Karl Beveridge","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T15:42:35.613Z","updatedAt":"2026-04-15T15:45:33.367Z","publishedAt":"2026-04-15T15:42:37.581Z","locale":"en","has_linked_articles":null,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}},{"id":6862,"person":{"data":{"id":3968,"attributes":{"first_name":"Amy ","last_name":"Wing‑Hann Wong","slug":"amy-winghann-wong","redirected_slugs":null,"bio_text":"Amy Wing‑Hann Wong (b. 1981, Toronto, she/ they) is an angry Asian artist, parent, and Assistant Professor at OCAD University, whose practice explores feminist, anti-colonial, and maternal methodologies. Through painting, drawing, and collaborative forms, Wong asserts unseen practices of care as cultural transmission and critical intervention.\n","full_name":"Amy  Wing‑Hann Wong","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T15:32:48.592Z","updatedAt":"2026-04-15T15:37:05.823Z","publishedAt":"2026-04-15T15:36:55.327Z","locale":"en","has_linked_articles":null,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}},{"id":6863,"person":{"data":{"id":3967,"attributes":{"first_name":"Ammar","last_name":"Bowaihl","slug":"ammar-bowaihl","redirected_slugs":null,"bio_text":"Ammar Bowaihl is a Yemeni, Saudi-born, Toronto-based street photographer focussing on the human condition and topics of immigration and relocation. Since high school, the camera has been his preferred method of capturing details of life in the\ncity. His experiences living in the Middle East and\nestablishing himself in Canada has propelled him to explore Toronto’s diverse communities and give voice to many stories often unheard.\n","full_name":"Ammar Bowaihl","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T15:13:02.635Z","updatedAt":"2026-04-15T15:13:04.829Z","publishedAt":"2026-04-15T15:13:04.821Z","locale":"en","has_linked_articles":null,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}},{"id":6864,"person":{"data":{"id":3965,"attributes":{"first_name":"Ananna","last_name":"Rafa","slug":"ananna-rafa","redirected_slugs":null,"bio_text":"Ananna Rafa is a Bangladeshi-born artist working between Vancouver and Toronto. Her practice emerges through notions of learning and unlearning, weaving together personal and collective narratives of migration, memory, and the afterlives of\ncolonialism. She holds a BFA in Photography from TMU and is currently pursuing an Art History di
14ploma at the University of British Columbia.\n","full_name":"Ananna Rafa","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T15:09:42.595Z","updatedAt":"2026-04-15T15:09:44.825Z","publishedAt":"2026-04-15T15:09:44.814Z","locale":"en","has_linked_articles":null,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}},{"id":6865,"person":{"data":{"id":3966,"attributes":{"first_name":"Ananna and Ammar","last_name":null,"slug":"ananna-and-ammar","redirected_slugs":null,"bio_text":"Ananna and Ammar, united by their lived experiences as working class, immigrant artists, continue\nto create accessible arts education for youth from\nunderfunded immigrant communities in Toronto.","full_name":"Ananna and Ammar","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T15:11:30.859Z","updatedAt":"2026-04-15T15:11:31.635Z","publishedAt":"2026-04-15T15:11:31.629Z","locale":"en","has_linked_articles":null,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}},{"id":6866,"person":{"data":{"id":3076,"attributes":{"first_name":"John","last_name":"Greyson","slug":"john-greyson","redirected_slugs":null,"bio_text":"John Greyson is an award-winning Toronto video/\nfilm artist, whose features, shorts, and transmedia\nworks include: _Unauthorized Amplification Devices_\n(2026), _Gauze_ (2025), _Door Prize_ (2025), _Death Mask_\n(2024), _Photo Booth_ (2023), _International Dawn_\n_Chorus Day_ (2020), _Mercurial_ (2018),_ Gazonto_ (2016),\n_Murder in Passing_ (2013),  _Fig Trees_ (2009), _Proteus_ (2003), _Lilies_ (1996), _Zero Patience_ (1993), _The Making of Monsters_ (1991), and _Urinal_ (1989).","full_name":"John Greyson","alpha_sort":"Greyson","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:24.126Z","updatedAt":"2026-04-15T15:05:38.221Z","publishedAt":"2022-09-07T21:56:24.121Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":3,"attributes":{"name":"Speaker","createdAt":"2022-09-07T20:57:20.895Z","updatedAt":"2022-09-07T20:57:20.895Z","locale":"en"}}}}]}},{"id":5933,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T15:54:05.346Z","title":"FIVE ESSAYS FOR KELLY MARK","title_long":null,"slug":"five-essays-for-kelly-mark","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-15","summary":"Dispersed through the magazine like the artist’s posthumous show was across physical locations in Toronto, Daniella Sanader captures the subtle folds of labour, working-class time, and accumulation at the heart of Kelly Mark’s work.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:41:07.346Z","publishedAt":"2026-04-15T15:54:06.441Z","locale":"en","legacy_id":null,"body":[],"seo":null,"localizations":{"data":[]},"main_image":{"data":null},"thumbnail_image":{"data":null},"authors":{"data":[{"id":2834,"attributes":{"first_name":"Daniella","last_name":"Sanader","slug":"daniella-sanader","redirected_slugs":null,"bio_text":"Daniella Sanader is a writer and reader who lives in Toronto. ","full_name":"Daniella Sanader","alpha_sort":"Sanader","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:02.594Z","updatedAt":"2026-04-16T21:41:07.359Z","publishedAt":"2022-09-07T21:56:02.589Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"article_type":{"data":{"id":13,"attributes":{"name":"Feature","createdAt":"2022-09-07T21:30:42.686Z","updatedAt":"2022-09-08T16:13:24.190Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[{"id":157,"attributes":{"name":"Site-specific","createdAt":"2022-09-07T22:51:40.511Z","updatedAt":"2022-09-07T22:51:40.511Z","locale":"en","localizations":{"data":[]}}},{"id":10,"attributes":{"name":"Cities","createdAt":"2022-09-07T22:46:22.065Z","updatedAt":"2022-09-07T22:46:22.065Z","locale":"en","localizations":{"data":[]}}}]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastru
14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4624,"attributes":{"name":"C163_Sanader.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Sanader_e7be5cd472","ext":".pdf","mime":"application/pdf","size":10094.26,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Sanader_e7be5cd472.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:09.069Z","updatedAt":"2026-04-16T15:00:09.069Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5933,"title":"FIVE ESSAYS FOR KELLY MARK","title_long":null,"slug":"five-essays-for-kelly-mark","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-06-15","summary":"Dispersed through the magazine like the artist’s posthumous show was across physical locations in Toronto, Daniella Sanader captures the subtle folds of labour, working-class time, and accumulation at the heart of Kelly Mark’s work.","page_start":null,"page_length":null,"has_thumbnail_image":false,"createdAt":"2026-04-15T15:54:05.346Z","updatedAt":"2026-04-16T21:41:07.346Z","publishedAt":"2026-04-15T15:54:06.441Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6867,"person":{"data":{"id":2834,"attributes":{"first_name":"Daniella","last_name":"Sanader","slug":"daniella-sanader","redirected_slugs":null,"bio_text":"Daniella Sanader is a writer and reader who lives in Toronto. ","full_name":"Daniella Sanader","alpha_sort":"Sanader","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:02.594Z","updatedAt":"2026-04-16T21:41:07.359Z","publishedAt":"2022-09-07T21:56:02.589Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":4,"attributes":{"name":"Writer","createdAt":"2022-09-07T20:57:20.942Z","updatedAt":"2022-09-07T20:57:20.942Z","locale":"en"}}}}]}}],"projects":[{"id":5928,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:14:03.330Z","title":"_HUM:_ FROM PRISON TO PORT by Hajra Waheed","title_long":null,"slug":"hum-from-prison-to-port-by-hajra-waheed","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"Hajra Waheed’s globally-staged and ongoing trilogy is based on hummed compositions of songs of resistance from international solidarity movements. Sources include political prisoners like Kurdish musician Nûdem Durak, the leadership of women and mothers carrying struggle across generations, and labour movements, like that of dock workers in 
14Europe shutting down Israeli weapons shipments. In conversation with collaborator Laurel Sprengelmeyer between February and early March 2026, at the start of the US-Israel war on Iran and closure of the Strait of Hormuz, Waheed reiterates the urgent need to build and sustain practices of collective voice that can move across borders.","page_start":1,"page_length":10,"has_thumbnail_image":true,"updatedAt":"2026-05-01T20:08:00.861Z","publishedAt":"2026-04-15T14:32:52.694Z","locale":"en","legacy_id":null,"body":[{"id":6117,"__component":"layouts.text","text":"##### _HUM_, which translates to “We” in Urdu, is a trilogy of multichannel sound installations composed of songs of resistance sung both on and off the streets—performed with lips sealed shut. Conceived in late 2019 and developed over years marked by mass uprisings, pandemic conditions, accelerating repression, and the normalization of state violence, the work responds to the present tense of authoritarianism.\n\n##### The first volume, _HUM_ (2020), centres political prisoners as leaders of liberation struggles, tracing how collective voice persists under conditions of incarceration. _HUM II_ (2023) foregrounds the leadership of women and mothers, whose labour of transmission—singing, remembering, carrying struggle across generations—has sustained movements despite ongoing attempts at erasure. The final volume, _HUM III_, turns to labour movements, focusing on dock workers and coastal communities whose collective refusals interrupt the material flows that sustain apartheid regimes, imperial warfare, and extractive global capital. In tracing the material leverage of labour in confronting genocide and war, the work, involving almost three years of research and collaboration, aligns with a longer history of internationalist struggle that understands the port not only as a site of exchange, but as a point of intervention. Shaped by longstanding engagement with militarized and extractive geographies, and informed in part by over two decades of lived experience in the Persian Gulf region, Hajra Waheed’s practice approaches these systems as interlocking sites of power, extraction, and resistance.\n\n##### Together, the trilogy insists that voice is not only expression but infrastructure: a way of rehearsing coordination, care, and collective power under conditions where public speech is increasingly regulated, surveilled, and criminalized. _HUM_ emerges in a moment when organizing is reframed as extremism, solidarity is staged rather than practiced, and cultural institutions retreat into risk management as machineries of war and repression accelerate globally. Against this tightening horizon, the work asks what it might mean to practice collective voicing when speaking can get you arrested, and how sound might move through public space without permission.\n\n##### This conversation between Waheed and _HUM_ collaborator (arranger and vocalist) Laurel Sprengelmeyer was recorded between February and early March 2026, at the start of the US-Israel war on Iran and the closure of the Strait of Hormuz, and amidst Israel’s ongoing genocide in Palestine and invasion of Lebanon—interlocking crises that have killed hundreds of thousands, displaced millions, and deepened humanitarian catastrophe alongside rising authoritarianism and resurgent fascist logics globally. The conversation reflects on _HUM_’s genesis, its methods of making and listening, and the urgent need to build and sustain practices of collective voice that can move across borders, withstand repression, and remain materially connected to struggles for liberation now.\n\n**LS:** I’m thinking back to that moment you shared Nûdem Durak’s story with me more than six years ago. The Kurdish musician has been imprisoned on a 19-year sentence in Turkey for singing in her native language. You’d received t
14wo recordings of her from her brother that had somehow escaped confiscation by officials. As we listened together in your studio in Montreal, you explained that she’d been thrown into solitary confinement for rallying inmates through song, and that even as she remained in deep isolation, others could hear her humming in defiance. I couldn’t help but cry. Her story informed the genesis of _HUM_ with these two songs bookending the first volume.\n\n**HW:** Nûdem was arrested in 2015 at the age of 27 and charged with promoting propaganda for teaching Kurdish folk songs to youth groups. The project was conceived in response to her courage and is a tribute to her daily acts of refusal and resistance sustained under incarceration, with the first volume squarely centring the role of political prisoners as leaders in liberation struggles. All of the singers and songwriters featured in it, at some point, have been imprisoned—their work censored, they themselves tortured and/or forced into exile for mobilizing collective voice. It’s from this shared condition of silencing that the work turns to humming.\n\nCreated by the resonance of air in the passages of the head and throat, humming is a defiant utterance we’re all capable of making, even when our lips have been sealed shut, and it is known to heal our vocal cords when we’ve lost our voice altogether. We hum when we first try to memorize a song and, later, when we want to remember it. Often passed down maternally, it’s ancestral—prelinguistic yet deeply intentional. With no grammar, no syntax, and no formal address, it functions as a lexicon: an infra-language that precedes speech and survives its collapse. It rises from deep within the body and takes root beyond the systems and structures that govern, authorize, discipline, and police us. Its form endures, and through it the work persists—irrepressible—asserting itself even as language is denied, silenced, or weaponized.\n\nOur collective voice is radically regenerative, and it can be produced in a multiplicity of ways—not only as expression, but as infrastructure. _HUM_ is meant to operate within this register: as a practice of collective voicing that trains attention, builds relational capacity, and rehearses forms of coordination under conditions where public speech is increasingly regulated, mediated, and criminalized. In this present moment of intensifying authoritarianism and resurgent fascist logics, the work isn’t meant to merely preserve voice but render collective voicing legible, repeatable, and capable of producing effects beyond borders.\n\n**LS:** I remember you speaking about using the form as a tool for street action in places where singing lyrics can get you arrested—an act of collective voicing that could move through public space without permission. When you first approached Sam (Osama Shalabi) and I about creating hummed renditions of songs you’d chosen, you asked us to imagine 1,000 people walking shoulder to shoulder down the street and to consider what it would take to teach them how to hum a song, familiar or not, within the span of a couple minutes. From there, we worked to create arrangements of source material that vocalists could use as guides. It took some experimentation to find the right balance between fidelity to the original material and the simplification the form necessitates. The most successful arrangements seemed to marry the intuitive spontaneity of a remembered tune with the powerful intentionality of what we might imagine Nûdem’s humming in solitary to sound like.\n\n**HW:** It would have been far simpler to record a choral arrangement collectively in a single session, but conceiving the work spatially, as a roving multichannel sound installation, carried the responsibility of preserving an acute sense of the individual within the collective. We’ve always recorded each vocalist separately in four-hour sessions, resulting in more than 1,000 tracks to mix per volume. Over the course of the trilogy, we have recorded nearly 50 anonymous vocalists from around the globe, sifting through and mixing thousands of sessions to weave together what has become a massive entanglement of comrade voices—a true labour of love.\n\n**LS:** But your work doesn’t end here! Something that has become a defining distinction between your and other sound works is that this is not plug-and-play, and this is unmistakably felt upon entry into _HUM_.\n\n**HW:** Also true. The final, granular sculpting takes place on-site each time the work is presented. After determining how the voices will move through my sound-chamber designs, Pietro Amato (creative technical director) and I always mix on-site. It is painstaking work, listening to the architecture of the spaces _HUM_ inhabits, intuiting placement, but the power of _HUM_ lies in the visceral feeling of being able to gather and be intimately held by unique sound-chamber environments, be they indoor or outdoor. Every inhale, every exhale, every moment of collective silence or individual vocalization is intentional and essential to the full, somatic, enveloping experience of listening in physical space.\n\n**LS:** Often one of us with “musical” training would push an arrangement in a conventional tonal direction, but your instinct was to resist making _HUM_ “music.” You had a hairline trigger for anything that veered toward the conventionally pretty, which might have turned the work into forgettable sonic wallpaper. Instead, the volumes are disarmingly human.\n\nThere’s something inherently curative about the sonic experience of _HUM_: humming stimulates the vagal nerve, activating the parasympathetic nervous system, and within minutes can return the body to a soft, grounded state. I was recovering from a vocal injury when we recorded the first volume, and by the end of the session my vocal plasticity had returned—it was physiologically healing. But as we experienced in the recording sessions, the work’s power lies in the stories woven through the compositions. On-site, you provide educational booklets that offer deeper context on the historical and political significance of the songs. The somatic impact of the sonic material, coupled with the invitation to engage directly with these struggles, is what is most uniquely affecting. So, I haven’t been surprised to learn that visitors stay an average of about one and a half hours, listening to the works almost three times in a single sitting.\n\n**HW:** _HUM_ is meant to function as a reading room as much as a listening experience. At its heart are two commitments: the desire for people to connect to and learn from important social movements that take on power directly, and the understanding that liberation struggles are not isolated but fund
14amentally interconnected. In recent years, large-scale collective mobilization for Palestinian liberation, secured in part through rigorous student-led organizing, has once again been recoded from civic participation into a threat to institutional stability. Being the state of exception Palestine has always been, this shift has sharpened as mobilizing moves beyond symbolic protest to materially consequential strategies: boycotts, labour actions, and coordinated refusals that intervene directly in circuits of global capital. When collective action exerts material leverage and interrupts flows of capital, labour, and legitimacy, institutions (including cultural) respond through containment, regulation, and withdrawal, while the state narrows the conditions of public life itself: restricting assembly, collapsing dissent into “extremism,” expanding surveillance regimes, and normalizing punitive control and state violence.\n\n**LS:** I understood the first volume as emerging from a backdrop of student-led movements in late 2019 on either side of the Line of Control separating India and Pakistan. Though not in direct communication, students on both sides took to the streets reciting the same poetry and songs by revolutionary poets and political prisoners from a previous generation, in Urdu, your mother tongue—a language highly politicized and subject to political erasure in India. With the second volume, what became legible to me was how consistently women and mothers not only appear as carriers but leaders on the forefront of these histories of struggle.\nYou have always been insistent that solidarity is not enough, and that _HUM_ must be coupled with a focus on practices of direct action. _HUM III_ does this in such a powerfully human way, connecting us across oceans and between shorelines with the political, emotional, and even spiritual desire to enact positive change for the global majority.\n\n**HW:** The third and final volume shifts its focus to dock workers and coastal communities and their central role in liberation struggles. By refusing to load or unload goods tied to apartheid regimes, colonial powers, and imperialist military operations, dock workers have disrupted the flow of resources that sustain these systems of power and increased pressure on governments and corporations to acquiesce to the demands of movements. Over the years, the importance of major ports as choke points of global capitalism has only grown, and today, dock workers and coastal communities perhaps hold more potential than ever to challenge entrenched systems of power and fuel international movements for justice.\n\nMost recently, on February 6th, dock workers shut down 21 major ports across Europe and the Mediterranean in a coordinated day of action, blocking arms shipments and demanding a full trade and arms embargo on Israel. This represents a significant escalation of organized labour’s direct intervention against imperialism and genocide. In a statement issued by the World Federation of Trade Unions on January 30 as part of this international call, the demands outlined include bringing Israel’s genocide in Palestine, backed by the U.S., NATO, and the EU, to an immediate end; stopping weapons transfers from their ports to Palestine and other war zones; securing a sustained humanitarian corridor; rejecting the EU’s ReArm initiative; and abandoning efforts to further militarize ports and strategic infrastructure. As the unions have stated, their ultimate goal is “ensuring that European and Mediterranean ports remain places of peace, free from any involvement in war.” [^1] History offers powerful examples of coordinated and sustained dock-worker actions, supported by mass public solidarity, that have shifted the course of political struggles. _HUM III_ sheds light on eight ports and eight such transformative interventions.\n\nWhat continues to unfold in Palestine, Lebanon, and Iran, and across strategic port cities in the region, alongside the closure of the Strait of Hormuz, brings into sharp focus the urgency of a collective anti-war struggle that involves sustained support for dock workers’ actions. Elsewhere, dock workers and coastal communities are already taking extraordinary measures: refusing military shipments, halting arms transfers, and asserting control over the material flows that sustain imperial and extractive violence. The
14se interventions are not symbolic—they materially disrupt the machinery of war and reveal the power of organized labour and collective refusal.\n\nArundhati Roy once wrote that fighting fascism begins by putting your ear to the ground and listening for the whispers of the truly powerless, the majority. What we’re living through now is not accidental. The attacks on universities, on minorities, on citizenship itself; the militarization of police; the hollowing out of public life under the banners of “national pride” and “national security”—this is coordinated. Corporate media has helped normalize a lynch-mob politics, laundering violence into common sense. And the most dangerous part is that it no longer feels new. It feels ordinary. Meanwhile, the left fractures itself.\n\nNo one survives this alone. We have to learn to make room for one another, to accept imperfect allies, to practice standing up for each other even when it’s uncomfortable. The right understands culture as infrastructure; they are producing it relentlessly. If we abandon that terrain, we abandon the future.\n\n**LS:** Solidarity, as you’ve insisted, is imperfect, and if it remains only symbolic, it fails. But imperfect solidarity is still the only ground we have to stand on. The real battleground is the popular imagination: once cruelty becomes normal, once repression becomes “reasonable,” it is brutally hard to undo.\n\nI’ve been thinking a lot about how courage and cowardice are both contagious. We’re witnessing a wave of institutional cowardice right now. But we’re also seeing its opposite, in people and in institutions willing to make space for works like _HUM_. Your insistence on bringing this work into the world, in this climate of fear, is not just brave—it’s contagious. And that, to me, is the quiet, stubborn force that keeps open the possibility of another future.\n\n[^1]: World Federation of Trade Unions, “WFTU solidarity message with the International Day of Action for Ports,” WFTU Central, January 30, 2026, accessed February 6, 2026, www.wftucentral.org/wftu-solidarity-message-with-the-international-day-of-action-for-ports\n","settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":{"id":4632,"attributes":{"name":"C163_WAHEED.jpg","alternativeText":null,"caption":null,"width":675,"height":763,"formats":{"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_C163_WAHEED_d25915abf4.jpg","hash":"sm_C163_WAHEED_d25915abf4","mime":"image/jpeg","name":"sm_C163_WAHEED.jpg","path":null,"size":75.64,"width":531,"height":600,"sizeInBytes":75641},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_C163_WAHEED_d25915abf4.jpg","hash":"thumbnail_C163_WAHEED_d25915abf4","mime":"image/jpeg","name":"thumbnail_C163_WAHEED.jpg","path":null,"size":6.93,"width":138,"height":156,"sizeInBytes":6925}},"hash":"C163_WAHEED_d25915abf4","ext":".jpg","mime":"image/jpeg","size":113.89,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_WAHEED_d25915abf4.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-05-01T20:07:14.580Z","updatedAt":"2026-05-01T20:07:14.580Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5928,"title":"_HUM:_ FROM PRISON TO PORT by Hajra Waheed","title_long":null,"slug":"hum-from-prison-to-port-by-hajra-waheed","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Hajra Waheed’s globally-staged and ongoing trilogy is based on hummed compositions of songs of resistance from international solidarity movements. Sources include political prisoners like Kurdish musician Nûdem Durak, the leadership of women and mothers carrying struggle across generations, and labour movements, like that of dock workers in Europe shutting down Israeli weapons shipments. In conversation with collaborator Laurel Sprengelmeyer between February and early March 2026, at the start of the US-Israel war on Iran and closure of the Strait of Hormuz, Waheed reiterates the urgent need to build and sustain practices of collective voice that can move across borders.","page_start":1,"page_length":10,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:14:03.330Z","updatedAt":"2026-05-01T20:08:00.861Z","publishedAt":"2026-04-15T14:32:52.694Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5928,"title":"_HUM:_ FROM PRISON TO PORT by Hajra Waheed","title_long":null,"slug":"hum-from-prison-to-port-by-hajra-waheed","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Hajra Waheed’s globally-staged and ongoing trilogy is based on hummed compositions of songs of resistance from international solidarity movements. 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14Europe shutting down Israeli weapons shipments. 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Suspended from the cavernous ceiling of the Power Station of Art (PSA) are thousands of synthetic yellow trumpet blossoms that hang rootless in the air, some spilling onto the ground. Titled _Phantom Forest_ (2025), Allora \u0026 Calzadilla’s installation references _Handroanthus chrysanthus_, a tree species native to Central and South America. Sometimes used in landscape design for their aesthetic appeal, these trees contribute to the vital biodiversity of their native environments that are threatened by legacies of resource extraction and impacts of climate change. For the artists, this work connects movement and displacement to a gesture of “building a system of memory” by asking what it means, figuratively, to move this tree to Shanghai. When visiting, I found myself pondering: what if the artists had chosen to produce an “ugly” tree? Would that have shifted the work too directly from aesthetic to political dimensions, or is the choice of beauty a valuable entry point into a political discussion? This ghostly tree also invites participation: the audience is welcome to take fallen blossoms, many of which are also unknowingly transported on the soles of shoes across the museum—furthering their displacement.\n\nIn many ways, _Phantom Forest_ encapsulates the experience of this exhibition as one of reverence for the natural sublime. Curated by Kitty Scott with Daisy Desrosiers, Xue Tan, and PSA’s Emerging Curators Long Yitang and Zhang Yingying, this gargantuan biennial encompasses 67 artists and more than 250 artworks. The exhibition aims to centre sensorial engagements with and across artworks by looking to interspecies communication among the non-human world for inspiration and teaching, as suggested by its title. While the natural world and its alternative methods of communication are explored, humans nevertheless seemed to remain the protagonists. For example, Rirkrit Tiravanija’s text-based work _untitled 2019 (the form of the flower is unknown to the seed)_ (2019) mounts the eponymous phrase in capital letters on an entrance wall. Originally commissioned by ICA London in 2019, its prior presentation encompassed a sake bar that was intended for use. In Shanghai, a space for tea and gathering is located elsewhere in the PSA. Recontextualized within the Biennale’s exploration of cross-species communication, Tiravanija’s text takes on new meaning as a reflection of how nature is used as a metaphor or subject in contemporary art, where it often appears as a non-active participant against perspectives that are still human-centric. While the flowering of human interactions can certainly produce many unexpected forms, how is it possible to assume the knowledge of seeds?\nLandscape, and its history of representation, is also a dominant thread. Continuing his fascination with 19th-century Romanticism, Icelandic artist Ragnar Kjartansson contributes video, performance, and five unex
14pected large-scale oil paintings of Icelandic landscapes titled _Weekdays in Arcadia_ (2025). These paintings feature vast rocky and mossy scenes characteristic of Iceland with only the most miniscule figures of humans and sheep. While beautiful representations, these works intentionally set Iceland within Western art-historical traditions of landscape, which feels slightly at sea in the context of Shanghai.\n\nThe space between human and natural worlds is more closely explored by works such as Cheng Xinhao’s video _Stratums and Erratics_ (2023–2024), which responds to the limitations imposed by borders on landscapes. In this 50-minute film, the artist is depicted walking 800 kilometres on roads in the landlocked Yunnan province, from Kunming to the China–Myanmar (Burma) limits while kicking the same rock that is eventually reduced to a pebble. In a captivating and perplexing test of endurance, the artist moves across urban, rural, and other natural contexts, eventually tossing the rock in a river at the walk’s conclusion. The work prods at the collaboration between humans, living things, and natural matter raised elsewhere in the exhibition, such as by Aki Inomata’s _How to Carve a Sculpture_ (2018–ongoing). Inomata placed wood in beaver enclosures in five zoos in Japan; after the wood was chewed by the animals, the artist removed it and, through a mixture of working with sculptors and CNC (computer-automated) machines, further “collaborated” to resolve the sculptures. Included in this list of collaborators are the longhorned beetles who continued to burrow inside the wood. Presented on two plinths, the sculptures at beaver and human (or CNC) scale are compelling pseudo-modernist sculptures. Yet, what does it mean to “collaborate” with non-human actors without equal continued agency? In this context, approaching animal interventions as ready-mades may offer a counterpoint to the singularity of human authorship. Acknowledging animal mark-making could potentially radically challenge understandings of interspecies collaboration within artistic and creative processes.\n\nWith an exhibition title focused on hearing, sonic works, or those that allude to sound, are given particular emphasis. Brian Jungen’s _Pull to Refresh_ (2025) presents an oak piano shot with handmade arrows. Here, I imagined the noises and sounds produced in its creation as a kind of score, and the sculpture itself as a record of the performance. Tania Candiani’s _Prólogo. 7 Campanas_ (2024) suspends a series of large-scale wicker and rattan “pods” in the shape of large cones or hats that visitors can enter to experience different soundscapes such as cows calling, rivers rushing, or wind blowing. Despite the array of different sounds, the works produce an inviting sonic landscape. Christine Sun Kim’s large-scale mural _Heavy Relevance_ (2024) uses distorted musical notation to create an experimental score. On a wall, the musical staff bars in Kim’s score dip under the suggested heavy weight of single notes, forming peaks and valleys. In reference to ASL communication where the usage of signs is responsive to specific contexts, the artist expands the implication of sound to architectural levels, or a kind of sonic landscape.\n\nThe Biennale also included off-site projects, most notably at the Jia Yuan Hai Art Museum. Located in a rural setting, US-based French artist Maxime Cavajani displayed a series of works made while in residence on Fogo Island. With a research focus on the use of red on the island, as an alchemical reaction between ochre and blood, these works brought markers from one geographic location to another—here, red against the yellow-green of the surrounding agricultural area.\n\nCollectively, the scale of this biennial and its various exhibition spaces evoke a series of microclimates brought together with both congruent and contesting cross-pollinations. While the beauty of landscape and nature is visually celebrated, the challenges of translation (across species and language) remain a gap in communication. For me, one of the clearest and most poignant takeaways from the Shanghai Biennale is that there is a difference between sound and hearing, and between being heard and being understood. In our contemporary moment of increased political and environmental crisis, many of us are grasping at other ways of knowing that might lead to a new direction. Unique from many other international biennials, Shanghai’s has an increased level of governmental support and orchestration: while visiting, I learned that all artists and artworks are subject to official approval for inclusion. As part of the international art press, I found my own body in the space of unexpected cross-pollination: invited to the opening reception dinner—a boat cruise on the Huangpu River—my presence as a Canadian journalist was met with surprise by my consulate. I had entered visa-free using my European passport, without realizing that my Canadian passport might have made my visit more challenging. Akin to my quick engagement with Shanghai, the immersive works in the exhibition remain those most resonant and visually effective within the production of the natural sublime and its entanglements with human-based assumptions and desires.","settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":{"id":4597,"attributes":{"name":"C163_NURMING-POR.jpg","alternativeText":null,"caption":"Allora \u0026 Calzadilla, _Penumbra and Phantom Forest_, 2025; installation view from “Does the flower hear the bee?,” 2025, 15th Shanghai Biennale, Power Station of Art. © The Artists. 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She is Co-Founder of commercial gallery two seven two and a doctoral candidate in the Department of Art History at the University of Toronto.","full_name":"Yasmin Nurming-Por","alpha_sort":"Nurming-Por","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:43.383Z","updatedAt":"2026-04-16T19:27:27.297Z","publishedAt":"2022-09-07T21:56:43.378Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"article_type":{"data":{"id":16,"attributes":{"name":"Review","createdAt":"2022-09-07T21:30:42.945Z","updatedAt":"2022-09-08T16:14:30.982Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastru
14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4618,"attributes":{"name":"C163_Nurming-Por.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Nurming_Por_b4045051c4","ext":".pdf","mime":"application/pdf","size":489.34,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Nurming_Por_b4045051c4.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:02.017Z","updatedAt":"2026-04-16T15:00:02.017Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5935,"title":"“Does the flower hear the bee?\" — 15th Shanghai Biennale","title_long":null,"slug":"does-the-flower-hear-the-bee-15th-shanghai-biennale","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"The 15th Shanghai Biennale: “Does the flower hear the bee?” ran from 8 November 2025 to 31 March 2026 at Power Station of Art, Shanghai.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"createdAt":"2026-04-15T18:43:22.976Z","updatedAt":"2026-04-16T19:27:27.286Z","publishedAt":"2026-04-15T18:43:25.262Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6876,"person":{"data":{"id":3290,"attributes":{"first_name":"Yasmin","last_name":"Nurming-Por","slug":"yasmin-nurming-por","redirected_slugs":null,"bio_text":"Yasmin Nurming-Por is a curator and writer based in Toronto, Canada. She is Co-Founder of commercial gallery two seven two and a doctoral candidate in the Department of Art History at the University of Toronto.","full_name":"Yasmin Nurming-Por","alpha_sort":"Nurming-Por","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:43.383Z","updatedAt":"2026-04-16T19:27:27.297Z","publishedAt":"2022-09-07T21:56:43.378Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":4,"attributes":{"name":"Writer","createdAt":"2022-09-07T20:57:20.942Z","updatedAt":"2022-09-07T20:57:20.942Z","locale":"en"}}}}]}},{"id":5936,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T18:52:24.891Z","title":"“DOKU! DOKU! DOKU!: samsara. exe” — Lu Yang","title_long":null,"slug":"doku-doku-doku-samsara-exe-lu-yang","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-22","summary":"“DOKU! DOKU! DOKU!: samsara.exe” ran from 18 September 2025 to 15 February 2026 at Amant, New York City.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:42:02.753Z","publishedAt":"2026-04-15T18:52:26.090Z","locale":"en","legacy_id":null,"body":[],"seo":null,"localizations":{"data":[]},"main_image":{"data":null},"thumbnail_image":{"data":null},"authors":{"data":[{"id":3960,"attributes":{"first_name":"Gladys","last_name":"Lou","slug":"gladys-lou","redirected_slugs":null,"bio_text":"Gladys Lou is a Hong Kong–Canadian curator and\nwriter completing an MA in Curatorial Studies at\nthe Center for Curatorial Studies, Bard College.\nHer critical writing and journalism have been published by _ArtReview_, _MUBI Notebook_, _Public Parking_, _Studio Magazine_, _photoED_, _Femme Art Review_, _Ornamentum_, _The AMP_, and _Impulse Magazine_.\n","full_name":"Gladys Lou","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:04:49.981Z","updatedAt":"2026-04-16T21:42:02.763Z","publishedAt":"2026-04-15T18:52:13.020Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"article_type":{"data":{"id":16,"attributes":{"name":"Review","createdAt":"2022-09-07T21:30:42.945Z","updatedAt":"2022-09-08T16:14:30.982Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. 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14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. 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This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4613,"attributes":{"name":"C163_Weaver.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Weaver_d3dbcd337c","ext":".pdf","mime":"application/pdf","size":209.59,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Weaver_d3dbcd337c.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:01.949Z","updatedAt":"2026-04-16T15:00:01.949Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5938,"title":"_Anita Louise and the Wild Women_ — Arena Alamino","title_long":null,"slug":"anita-louise-and-the-wild-women-arena-alamino","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-05-25","summary":"_Anita Louise and the Wild Women_ screened on 30 May 2025 at the Halifax Independent Filmmakers Festival, Bus Stop Theatre. 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14aronto (Toronto, ON). She is studying archives and records management at the University of Toronto’s iSchool, and her work can be found in _Femme Art Review_, _Visual Arts News_, _Peripheral Review_, and _C Magazine_.\n","full_name":"Brody Weaver","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:06:06.063Z","updatedAt":"2026-04-16T21:44:24.504Z","publishedAt":"2026-04-14T19:06:07.802Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":4,"attributes":{"name":"Writer","createdAt":"2022-09-07T20:57:20.942Z","updatedAt":"2022-09-07T20:57:20.942Z","locale":"en"}}}}]}},{"id":5939,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T19:22:17.257Z","title":"“to hear all the sounds in the world” — Annie Wong","title_long":null,"slug":"to-hear-all-the-sounds-in-the-world-annie-wong","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-27","summary":" “to hear all the sounds in the world” ran from 20 September to 6 December 2025 at YYZ Artists’ Outlet, Toronto.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"updatedAt":"2026-04-30T18:50:19.921Z","publishedAt":"2026-04-15T19:22:19.254Z","locale":"en","legacy_id":null,"body":[{"id":6118,"__component":"layouts.text","text":"How do diasporic subjects remain in relation to their ancestors when rituals that once held those bonds are disrupted, translated, or misunderstood across continents? Annie Wong’s “to hear all the sounds in the world” at YYZ Artists' Outlet takes this question as its heartbeat, using joss paper, performance, and printed apparitions as a material vocabulary to map fragmented inheritances. Wong explores the limits of remembering and reclaiming ancestors, including countless distant and unknown ones, while suggesting that these bonds can be forged and brought into the present through attentive, tender, and partial gestures.\n\nThe gallery’s quiet registers first. A large sweeping arc of joss paper hangs horizontally from the ceiling, forming a rhythmic cadence of life and death, of preparation and anticipation. Hundreds of interconnected serene faces of the devotees of Guanyin, the Bodhisattva of compassion, float in a contemplative curve, their matte surfaces absorbing and diffusing the overhead light. Assembled from many sheets of 100 Ghosts (一百鬼) joss paper, which Wong encountered through her research beginning in 2020, the work reflects a process of careful repetition. Originally conceived as halo-like cutouts, the faces are folded to emerge from the surface and stand upright. Their stillness carries a sense of imminence, the moment before ritual, or the instant when breath is drawn but not yet released. Wong described the installation as something that “emerged on its own” as she assembled 
14it, bending and rising naturally with fishing wire for support. What began in a flat plane evolved into a sculptural wave, invoking the ocean as a metaphor for migration, where physical distance, temporal dislocation, and the pull of return are held in constant motion. Below, a metal fire bucket stands ready. The absence of combustion positions the viewer at a threshold where offerings are prepared but not yet sent.\n\nThe suspended faces pulled me back to childhood afternoons in my father’s hometown of Putian, hiking with my family to visit ancestral graves. I was too young to understand the cosmology and reciprocity embedded in the burning of joss paper, which offers care to ancestors and deceased family in exchange for protection and continued connection between generations. I remember the smoke thinning among the trees, folding into the green of the forest, the scent of foliage mingling with paper. After moving overseas as a teenager, such memories became rare threads anchoring a home that had begun to feel distant. Entering Wong’s exhibition, those threads tugged again, softly but firmly.\nThis floating multiplicity evokes not only Guanyin but the countless unnamed women, devotees, and ancestral figures whose acts of care shaped Guanyin’s iconography. In her text “How to Burn Paper for the Dead” (_Mice Magazine_, 2017), Wong reflects on the “ghost” carried by the diasporic subject as the residue of ancestral rituals, practices that remain ordinary and domestic, woven into daily life yet rendered spectral or estranged within Westernized spaces. I thought of the small burning rituals for my grandfather that my family practiced during my childhood in Xiamen, gradually fading as the city grew more urban and attuned to new ideas of safety and order shaped by global influences. What remains with me is not a clear causal narrative but the sensation of change, of watching a practice thin out until only its echoes linger.\n\nDuring the opening, Wong and her sister Jennifer Vong performed _Waking Up the Girls_, folding several Guanyin faces upright while calling “Wake up” in Cantonese. Wong later told me that when she was taught how to pray for ancestors, her mother referred to the act as waking them up. Revived in Wong’s hands, the act became a recognition of the women whose stories were thinned by migration. The installation, once still, shifted into a subtle awakening.\nPinned along the wall, 一百鬼 / _100 Ghosts_ (2019–2020) extends this inquiry into spectral memory. Faces are screenprinted with varied clarity onto a field of gilded joss paper. Some are crisp, others blurred or slightly out of register, forming a delicate grammar of haunting. As a breeze passes, the gold shimmers, echoing Wong’s recollection of burning paper shoes, trousers, and shirts for distant ancestors across China and Vietnam with her mother. These prints recall acts of care eroded not by forgetting but by the slow pressure of assimilation and urban life. The emotional architecture remains in fleeting sparks of recognition.\n\nIn “How to Burn Paper,” Wong further describes the Chinese afterlife as a bureaucratic realm of ongoing errands and obligations, a world where the dead continue to eat, pay debts, and navigate daily life. This stands in contrast to Western narratives of heaven or transcendence. Standing before the shimmering sheets, I felt the uncanny tension familiar to many diasporic subjects: the sense of being both tethered to and estranged from familial pasts. Jacques Derrida’s notion of hauntology, referenced by Wong, helps illuminate this space, where the past returns not as settled inheritance but as partial, insistent echoes. Wong renders this oscillation visible, materializing the fragile traces through which care persists.\n\nWong situates her broader practice within hauntology in the East Asian diaspora, exploring how belief systems surrounding ghosts, spirits, and minor gods provide a lens for understanding remembrance and collective histories. She also references Stuart Hall’s idea that identities are shaped through past narratives, a concept that resonates throughout the installation. The work visualizes fragmented transmissions, revealing how diasporic subjects navigate overlapping and sometimes conflicting cultural timelines, carrying multiple inheritances that never fully align yet continue to shape lived experience.\n\nSmall details deepen these resonances. A single orange rests on a plate on a small red platform jutting out from the wall, recalling altars of New Year offerings for ancestors, like those from my own family home. The fire bucket beneath the central installation remained unlit until it was carried outside by the artist and her sister, where Sifu Julian Diego—fire arts practitioner and Wong’s kung fu teacher—performed a fire ceremony as a gift to the 100 spirit figures. The burning of the _100 Ghosts_ joss paper carried the ritual to completion, linking interior anticipation with outdoor release.\n\nThe exhibition’s red walls, the rhythmic wave of paper faces, the flicker of gilded prints, and the humble gestures of care create a trembling equilibrium between stillness and motion, inheritance and imagination. Wong cultivates a space where diasporic inheritance is not a narrative of loss. Through acts of folding, offering, and attentive looking, she suggests that connection endures even when lineage is fractured. Ancestry appears not as a resurrected whole, but as a series of fleeting, companionable presences that make themselves felt in the quietest of moments.","settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":{"id":4600,"attributes":{"name":"C163_Liu.jpg","alternativeText":null,"caption":"Annie Wong, installation view from “to hear all the sounds in the world,” 2025, YYZ Artists’ Outlet, Toronto. Photo: Allan Kosmajac; © YYZ Artists Outlet and the artist. 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14cture, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4617,"attributes":{"name":"C163_Liu.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Liu_a21e0f91ea","ext":".pdf","mime":"application/pdf","size":527.6,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Liu_a21e0f91ea.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:02.054Z","updatedAt":"2026-04-16T15:00:02.054Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5939,"title":"“to hear all the sounds in the world” — Annie Wong","title_long":null,"slug":"to-hear-all-the-sounds-in-the-world-annie-wong","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-27","summary":" “to hear all the sounds in the world” ran from 20 September to 6 December 2025 at YYZ Artists’ Outlet, Toronto.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"createdAt":"2026-04-15T19:22:17.257Z","updatedAt":"2026-04-30T18:50:19.921Z","publishedAt":"2026-04-15T19:22:19.254Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6873,"person":{"data":{"id":3782,"attributes":{"first_name":"Sherry","last_name":"Chunqing Liu 刘纯青","slug":"sherry-chunqing-liu","redirected_slugs":null,"bio_text":"Sherry Chunqing Liu 刘纯青 (b. 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14summary":"“Starmirror” ran from 31 October 2025 to 18 January 2026 at KW Institute for Contemporary Art, Berlin.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:43:24.095Z","publishedAt":"2026-04-15T19:27:30.472Z","locale":"en","legacy_id":null,"body":[{"id":6112,"__component":"layouts.text","text":null,"settings":null}],"seo":null,"localizations":{"data":[]},"main_image":{"data":null},"thumbnail_image":{"data":null},"authors":{"data":[{"id":3285,"attributes":{"first_name":"Jayne","last_name":"Wilkinson","slug":"jayne-wilkinson","redirected_slugs":null,"bio_text":"Jayne Wilkinson is an art writer, freelance editor, and occasional curator based in Toronto and Berlin.","full_name":"Jayne Wilkinson","alpha_sort":"Wilkinson","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:42.944Z","updatedAt":"2026-04-16T21:43:24.113Z","publishedAt":"2023-04-14T19:58:03.796Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"article_type":{"data":{"id":16,"attributes":{"name":"Review","createdAt":"2022-09-07T21:30:42.945Z","updatedAt":"2022-09-08T16:14:30.982Z","locale":"en","localizations":{"data":[]}}}},"subjects":{"data":[]},"issue":{"data":{"id":165,"attributes":{"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. 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This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null,"cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null}}},"seo":null,"credits":[{"id":6849},{"id":6850},{"id":6851},{"id":6852}],"pelcro_skus":[{"id":70,"sku_id":4955,"label":"Canada"},{"id":71,"sku_id":4956,"label":"International"}],"localizations":{"data":[]}}}},"pdf_file":{"data":{"id":4614,"attributes":{"name":"C163_Wilkinson.pdf","alternativeText":null,"caption":null,"width":null,"height":null,"formats":null,"hash":"C163_Wilkinson_52f19d0cbd","ext":".pdf","mime":"application/pdf","size":152.97,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Wilkinson_52f19d0cbd.pdf","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-16T15:00:01.956Z","updatedAt":"2026-04-16T15:00:01.956Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5941,"title":"“Starmirror” — Holly Herndon and Mat Dryhurst","title_long":null,"slug":"starmirror-holly-herndon-and-mat-dryhurst","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-07-06","
14summary":"“Starmirror” ran from 31 October 2025 to 18 January 2026 at KW Institute for Contemporary Art, Berlin.","page_start":null,"page_length":null,"has_thumbnail_image":false,"createdAt":"2026-04-15T19:27:29.453Z","updatedAt":"2026-04-16T21:43:24.095Z","publishedAt":"2026-04-15T19:27:30.472Z","locale":"en","legacy_id":null}]}}},"credits":[{"id":6875,"person":{"data":{"id":3285,"attributes":{"first_name":"Jayne","last_name":"Wilkinson","slug":"jayne-wilkinson","redirected_slugs":null,"bio_text":"Jayne Wilkinson is an art writer, freelance editor, and occasional curator based in Toronto and Berlin.","full_name":"Jayne Wilkinson","alpha_sort":"Wilkinson","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:42.944Z","updatedAt":"2026-04-16T21:43:24.113Z","publishedAt":"2023-04-14T19:58:03.796Z","locale":"en","has_linked_articles":true,"has_linked_events":null}}},"role":{"data":{"id":4,"attributes":{"name":"Writer","createdAt":"2022-09-07T20:57:20.942Z","updatedAt":"2022-09-07T20:57:20.942Z","locale":"en"}}}}]}}],"interviews":[],"tickerImage":[{"id":5926,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:07:51.750Z","title":"Editorial: CHORUS","title_long":null,"slug":"editorial-chorus","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Chorus_ and its contributions.\n","page_start":20,"page_length":1,"has_thumbnail_image":true,"updatedAt":"2026-04-16T21:37:40.111Z","publishedAt":"2026-04-15T14:09:41.673Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3711,"attributes":{"first_name":"Joy","last_name":"Xiang","slug":"joy-xiang","redirected_slugs":null,"bio_text":"Joy Xiang (she/her) is a writer and editor, born in Shanghai and based in Tkaronto/Toronto. 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As we launch a fully redesigned print magazine, we are so excited to further explore how form and language work together. In _C_’s new look, design director Hwa-Jin Jun embraces a sense of fluidity and responsiveness to the specifics of contributor texts. We also return attention to the physicality of printed matter, experimenting with different paper stock and a larger format for visual play (much like the earliest issues of _C_). We continue to push toward cultural discourses that feel aesthetically, ethically, and politically significant, while questioning what that can look like: what becomes possible if we embrace changing issue formats and materials as methodologies in their own right? How might genre-crossing content point us toward new kinds of knowledges?\n\nAt the same time as we launch this new design, we find ourselves in a financially challenging moment for the magazine, not uncommon among our arts non-profit peers in a periodical-publishing industry that sees shrinking sales, changes to public grant cycles, and the need to diversify funding sources. In response to this austere landscape, we have planned this redesign around lower material costs, too, without sacrificing quality. We hope to ground in this adaptability, and this scrappiness, to continue _C_ forward, as its stewards before us have done since 1983. We wholeheartedly thank our 
14communities of artists, contributors, readers, board and advisory members, former staff, advertisers, and donors who have supported our critical fundraising campaign—and who may have seen what is important to them in Canada’s creative ecosystem, and its connection to global urgencies, reflected back by _C_ over the years.\nThe issue theme of _Chorus_ is a fitting one to introduce our new look. We think of chorus as a collective noun for voices, noises, and expressions. You might imagine a swell of layered sounds, or a repeated call-and-response in verse. Think of polyphony, or simultaneity: a chorus that does not dissolve distinction. As Hajra Waheed says of her ongoing multi-channel sound trilogy _HUM_, which opens these pages as the Artist Project, “voice is not only expression but infrastructure: a way of rehearsing coordination, care, and collective power under conditions where public speech is increasingly regulated, surveilled, and criminalized.” Conceived as hummed compositions of songs of resistance from international solidarity movements, including political prisoners like Kurdish musician Nûdem Durak, the leadership roles of women and mothers in carrying struggle across generations, and labour movements, the work—as Waheed says to collaborator Laurel Sprengelmeyer—carries the responsibility of preserving the individual within the collective. This has resulted in individual recordings of vocalists that form more than 1,000 mixed tracks per volume, mounted at sites from Lahore to Frankfurt to Bogota.\n\nIn “FIVE ESSAYS FOR KELLY MARK,” dispersed through the magazine like the artist’s posthumous show was across physical locations in Toronto, Daniella Sanader captures the subtle folds of labour, working-class time, and accumulation at the heart of Mark’s work. In “Sharing Seeds,” extended from a panel between Api’soomaahka and Christina Battle moderated by Lillian O’Brien Davis, the artists speak about the intentional dispersal and propagation of seeds as a form of collective survival. Meanwhile, Sebastian De Line focuses on notions of audibility in the context of caring for museum collections, where attuning to ancestors who reside there is a paradigm shift for what Western Eurocentric museum practices might call “objects.”\n\nTo mark the release of their debut album _In Blue Time_, Eddy Wang and Ryan Akler-Bishop of Ira Dot speak to Winnie Wang about their many influences, including the limits of language, Peking opera, Xi'an guyue, indie rock, racial melancholia, musique concrète, sound collage, the colour blue, avant-pop, and chamber folk. Expansive approaches to genre also inform Sarah Jane Cervenak’s “An Un/Written Proposition: Nolan Oswald Dennis Overturns the World.” Cervenak surveys how Dennis’s diagrams, based on International Astronomical Union constellation charts, layer references to global Indigenous cosmologies, the Black consciousness movement, and Black Panther Party iconography, toward an “anti-colonial defamiliarization of mapping practices.”\nThe final excerpt from “Open Hearing: Dreaming in Dark Times,” a town hall that took place in Toronto in March 2025, features the voices of artists calling for ways forward in response to challenges faced in our cultural sectors, from labour organizing to strategies against political censorship. We can’t think of a better way to end the _Chorus_ issue than on a cacophony of grievance and desire."}]}},{"id":5927,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:10:49.129Z","title":"Letters","title_long":null,"slug":"letters-163","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"Letters reflecting on issue 162 Tidal.","page_start":18,"page_length":1,"has_thumbnail_image":true,"updatedAt":"2026-04-16T21:39:00.809Z","publishedAt":"2026-04-15T14:11:49.206Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3954,"attributes":{"first_name":"M.","last_name":"Vulfson","slug":"m-vulfson","redirected_slugs":null,"bio_text":null,"full_name":"M. Vulfson","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T16:04:16.882Z","updatedAt":"2026-04-16T21:39:00.820Z","publishedAt":"2026-04-14T16:04:22.110Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}},{"id":3955,"attributes":{"first_name":"Namah","last_name":null,"slug":"namah","redirected_slugs":null,"bio_text":null,"full_name":"Namah","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T16:04:36.130Z","updatedAt":"2026-04-16T21:39:00.851Z","publishedAt":"2026-04-14T16:04:37.990Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":{"id":4413,"attributes":{"name":"editorial.png","alternativeText":null,"caption":null,"width":1080,"height":1080,"formats":{"md":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_editorial_96f4c8dbad.png","hash":"md_editorial_96f4c8dbad","mime":"image/png","name":"md_editorial.png","path":null,"size":4.38,"width":900,"height":900,"sizeInBytes":4377},"sm":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_editorial_96f4c8dbad.png","hash":"sm_editorial_96f4c8dbad","mime":"image/png","name":"sm_editorial.png","path":null,"size":2.35,"width":600,"height":600,"sizeInBytes":2354},"thumbnail":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_editorial_96f4c8dbad.png","hash":"thumbnail_editorial_96f4c8dbad","mime":"image/png","name":"thumbnail_editorial.png","path":null,"size":0.46,"width":156,"height":156,"sizeInBytes":457}},"hash":"editorial_96f4c8dbad","ext":".png","mime":"image/png","size":1.25,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/editorial_96f4c8dbad.png","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2025-08-15T20:09:12.229Z","updatedAt":"2026-04-16T19:24:56.798Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5867,"title":"Editorial: STOP!","title_long":null,"slug":"editorial-stop","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Stop!_ and its contributions.","page_start":14,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-05T17:56:29.190Z","updatedAt":"2025-08-15T20:09:25.536Z","publishedAt":"2025-08-05T18:04:53.339Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5868,"title":"Letters","title_long":null,"slug":"letters-161","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Letters reflecting on issue 160 Extra Life.","page_start":12,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-0
147T14:41:44.344Z","updatedAt":"2025-08-15T20:11:37.871Z","publishedAt":"2025-08-07T14:41:46.625Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5892,"title":"Editorial: TIDAL","title_long":null,"slug":"editorial-tidal","redirected_slugs":null,"excerpt":null,"publication_date":"2025-12-15","release_date":"2025-12-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Tidal_ and its contributions.","page_start":16,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-12-09T16:37:45.039Z","updatedAt":"2026-02-27T16:52:50.360Z","publishedAt":"2025-12-16T01:28:06.995Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5927,"title":"Letters","title_long":null,"slug":"letters-163","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Letters reflecting on issue 162 Tidal.","page_start":18,"page_length":1,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:10:49.129Z","updatedAt":"2026-04-16T21:39:00.809Z","publishedAt":"2026-04-15T14:11:49.206Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5932,"title":"Open Hearing: Dreaming in Dark Times, Dispatch III","title_long":null,"slug":"open-hearing-dreaming-in-dark-times-dispatch-iii","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-20","summary":"“Open Hearing: Dreaming in Dark Times” was initiated by EMILIA-AMALIA as a town hall that gathered more than 200 artists and cultural workers in Toronto to confront urgent issues including Palestine solidarity, censorship, and labour. Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy Wing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:55:08.238Z","updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null}]}}},"body":[{"id":6114,"__component":"layouts.text","text":"##### Dear C,\n\nIt has been more than a decade since I first read the Kamau Brathwaite quote that guides m. nourbeSe philip’s contribution to the previous issue: “Hotels are Squatting on my Metaphors.” When I read this sentence for the first time, I was a student in London, writing a dissertation on Guyanese post-independence art under the supervision of Richard Drayton—the son of Harold Drayton, who helped establish the University of Guyana. Richard would talk about Brathwaite and Rupert Roopnaraine as old family friends, and introduced us to Eric and Jessica Huntley, the community leaders, activists, and publishers who ran the Walter Rodney bookshop in West Ealing. These were people who breathed radical poetics for breakfast, lunch, and dinner, and whose lasting impression made me believe that one day, my writing could have the wings it needed to change dynamics of power.\n\nToday, I feel very far from the fierce hope and admiration I felt then, seeing my own metaphors squatted on by hotels and mining projects. Just like the families of Magally Zelaya and Michelle Peraza, my mother’s family shed their Indigenous traditions, culture, and language. For my family, this meant coating their Yakut heritage with a fierce belief in Communism, until the repression under Stalin shattered everything. My great-grandfather was shot, and my great-grandmother and her two daughters were exiled. Belief in the Communist dream was replaced with poetic revolt, as my great aunt took to the stage, reading and distributing censored poetry and prose.\n\nTraumatized by the previous generation’s struggle, my parents turned as far away from politics as they could, choosing mathematics and leaving “the black ink, the red paint” (Zelaya’s ancestors’ metaphor for writing). Eventually, we migrated to Sweden, the land of welfare and engineering, but even as a kid I found myself too restricted by the pragmatism of the protestant country. I fled to London, seeking the black ink but finding instead a tower of insurmountable rents and rising costs. Eight years later, I found myself voluntarily displaced to yet another old imperial centre on the Atlantic coast: Lisbon. Wherever I went, I remained haunted by squatters of metaphors. In Portugal, hotels and tourists have taken over urban and rural coasts. Inland, the gropy fingers of c
14apital threaten to mine everything within sight for so-called green energy, be it water, wind, sun, or mountain.\n\nWhat if we, as Brathwaite writes in _The Namsetoura Papers_, instead dreamed of libraries on the beach, so that our children could learn to read while looking out over the sea? Is there a way that our metaphors could break free and allow us to dream again? And if they could: What would they dream?\n\n\n##### Sincerely,\n##### M. Vulfson\n\n"},{"id":35,"__component":"layouts.divider"},{"id":6115,"__component":"layouts.text","text":"#####Dear C,\n\nMagally Zelaya’s elliptical fragments oscillate between a personal, analytic, and historical register—a dérive through consciousness. As a writer, this strikes me as the only way to respond to art. Not only because it is more honest; not only because it is true that the personal is political (or if you prefer, its inverse), but because it seems to be the only way to cache the surplus of meaning art generates.\n\nZelaya’s reverence for amatl—the ancient Mesoamerican paper that is artist Michelle Pereza’s material of choice—comes through in the way her text identifies in amatl both a shared history and the possibility for deviation or opposition. No oil, no canvas, no frame, and in the words of film critic Manny Farber in his 1962 essay “White Elephant Art vs. Termite Art,” no “square, boxed-in shape and gemlike inertia of an old, densely wrought European masterpiece.”\n\nFarber’s conviction lies in his call to turn to the termite and its aimless, ceaseless locomotion. The image of the termite artist is one I find terribly seductive—this is an artist who does not preside over art, but instead inhabits it, remains complicit in it. Termite-like activity imbues art with a current that makes it an alive thing. It seems to me that this pulse is not discrete from the materiality of an artwork, from surfaces that allow for touch and breath and crawl, like the regenerative skin of amatl.\n\nLike the frame, the institution mimics the constriction of the tomb, an amber even more unctuous than the past. But this undercurrent of death is not absent from termite art. What is essential to paper and other telluric materials is not only their origin in the earth, but their ability to revert to it. The termite is autophagous, “eating its own boundaries… leaving nothing in its path other than the signs of eager, industrious, unkempt activity,” and we should be glad for it.\n\n##### Namah"}]}},{"id":5928,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:14:03.330Z","title":"_HUM:_ FROM PRISON TO PORT by Hajra Waheed","title_long":null,"slug":"hum-from-prison-to-port-by-hajra-waheed","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"Hajra Waheed’s globally-staged and ongoing trilogy is based on hummed compositions of songs of resistance from international solidarity movements. Sources include political prisoners like Kurdish musician Nûdem Durak, the leadership of women and mothers carrying struggle across generations, and labour movements, like that of dock workers in Europe shutting down Israeli weapons shipments. In conversation with collaborator Laurel Sprengelmeyer between February and early March 2026, at the start of the US-Israel war on Iran and closure of the Strait of Hormuz, Waheed reiterates the urgent need to build and sustain practices of collective voice that can move across borders.","page_start":1,"page_length":10,"has_thumbnail_image":true,"updatedAt":"2026-05-01T20:08:00.861Z","publishedAt":"2026-04-15T14:32:52.694Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3964,"attributes":{"first_name":"Laurel","last_name":"Sprengelmeyer","slug":"laurel-sprengelmeyer","redirected_slugs":null,"bio_text":"Laurel Sprengelmeyer is a singer-songwriter and\nmultidisciplinary artist most known by her musical\nmoniker Little Scream. She's released three albums,\nand contributed to numerous singles in support of\ncauses including Planned Parenthood, the ACLU,\nStanding Rock, and Red Hot. She lives in Montreal,\nwhere she's finishing an album with Mark Hamilton for their new project Brittle Dreams—songs\ngrown from a vision of the revolutionary power of\nlove across relationships to self, communities, and movements.\n","full_name":"Laurel Sprengelmeyer","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T14:20:51.180Z","updatedAt":"2026-05-01T20:08:00.873Z","publishedAt":"2026-04-15T14:20:52.153Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":{"id":4632,"attributes":{"name":"C163_WAHEED.jpg","alternativeText":null,"caption":null,"width":675,"height":763,"formats":{"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_C163_WAHEED_d25915abf4.jpg","hash":"sm_C163_WAHEED_d25915abf4","mime":"image/jpeg","name":"sm_C163_WAHEED.jpg","path":null,"size":75.64,"width":531,"height":600,"sizeInBytes":75641},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_C163_WAHEED_d25915abf4.jpg","hash":"thumbnail_C163_WAHEED_d25915abf4","mime":"image/jpeg","name":"thumbnail_C163_WAHEED.jpg","path":null,"size":6.93,"width":138,"height":156,"sizeInBytes":6925}},"hash":"C163_WAHEED_d25915abf4","ext":".jpg","mime":"image/jpeg","size":113.89,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_WAHEED_d25915abf4.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-05-01T20:07:14.580Z","updatedAt":"2026-05-01T20:07:14.580Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5928,"title":"_HUM:_ FROM PRISON TO PORT by Hajra Waheed","title_long":null,"slug":"hum-from-prison-to-port-by-hajra-waheed","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Hajra Waheed’s globally-staged and ongoing trilogy is based on hummed compositions of songs of resistance from international solidarity movements. Sources include political prisoners like Kurdish musician Nûdem Durak, the leadership of women and mothers carrying struggle across generations, and labour movements, like that of dock workers in 
14Europe shutting down Israeli weapons shipments. In conversation with collaborator Laurel Sprengelmeyer between February and early March 2026, at the start of the US-Israel war on Iran and closure of the Strait of Hormuz, Waheed reiterates the urgent need to build and sustain practices of collective voice that can move across borders.","page_start":1,"page_length":10,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:14:03.330Z","updatedAt":"2026-05-01T20:08:00.861Z","publishedAt":"2026-04-15T14:32:52.694Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5928,"title":"_HUM:_ FROM PRISON TO PORT by Hajra Waheed","title_long":null,"slug":"hum-from-prison-to-port-by-hajra-waheed","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Hajra Waheed’s globally-staged and ongoing trilogy is based on hummed compositions of songs of resistance from international solidarity movements. Sources include political prisoners like Kurdish musician Nûdem Durak, the leadership of women and mothers carrying struggle across generations, and labour movements, like that of dock workers in Europe shutting down Israeli weapons shipments. In conversation with collaborator Laurel Sprengelmeyer between February and early March 2026, at the start of the US-Israel war on Iran and closure of the Strait of Hormuz, Waheed reiterates the urgent need to build and sustain practices of collective voice that can move across borders.","page_start":1,"page_length":10,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:14:03.330Z","updatedAt":"2026-05-01T20:08:00.861Z","publishedAt":"2026-04-15T14:32:52.694Z","locale":"en","legacy_id":null}]}}},"body":[{"id":6117,"__component":"layouts.text","text":"##### _HUM_, which translates to “We” in Urdu, is a trilogy of multichannel sound installations composed of songs of resistance sung both on and off the streets—performed with lips sealed shut. Conceived in late 2019 and developed over years marked by mass uprisings, pandemic conditions, accelerating repression, and the normalization of state violence, the work responds to the present tense of authoritarianism.\n\n##### The first volume, _HUM_ (2020), centres political prisoners as leaders of liberation struggles, tracing how collective voice persists under conditions of incarceration. _HUM II_ (2023) foregrounds the leadership of women and mothers, whose labour of transmission—singing, remembering, carrying struggle across generations—has sustained movements despite ongoing attempts at erasure. The final volume, _HUM III_, turns to labour movements, focusing on dock workers and coastal communities whose collective refusals interrupt the material flows that sustain apartheid regimes, imperial warfare, and extractive global capital. In tracing the material leverage of labour in confronting genocide and war, the work, involving almost three years of research and collaboration, aligns with a longer history of internationalist struggle that understands the port not only as a site of exchange, but as a point of intervention. Shaped by longstanding engagement with militarized and extractive geographies, and informed in part by over two decades of lived experience in the Persian Gulf region, Hajra Waheed’s practice approaches these systems as interlocking sites of power, extraction, and resistance.\n\n##### Together, the trilogy insists that voice is not only expression but infrastructure: a way of rehearsing coordination, care, and collective power under conditions where public speech is increasingly regulated, surveilled, and criminalized. _HUM_ emerges in a moment when organizing is reframed as extremism, solidarity is staged rather than practiced, and cultural institutions retreat into risk management as machineries of war and repression accelerate globally. Against this tightening horizon, the work asks what it might mean to practice collective voicing when speaking can get you arrested, and how sound might move through public space without permission.\n\n##### This conversation between Waheed and _HUM_ collaborator (arranger and vocalist) Laurel Sprengelmeyer was recorded between February and early March 2026, at the start of the US-Israel war on Iran and the closure of the Strait of Hormuz, and amidst Israel’s ongoing genocide in Palestine and invasion of Lebanon—interlocking crises that have killed hundreds of thousands, displaced millions, and deepened humanitarian catastrophe alongside rising authoritarianism and resurgent fascist logics globally. The conversation reflects on _HUM_’s genesis, its methods of making and listening, and the urgent need to build and sustain practices of collective voice that can move across borders, withstand repression, and remain materially connected to struggles for liberation now.\n\n**LS:** I’m thinking back to that moment you shared Nûdem Durak’s story with me more than six years ago. The Kurdish musician has been imprisoned on a 19-year sentence in Turkey for singing in her native language. You’d received t
14wo recordings of her from her brother that had somehow escaped confiscation by officials. As we listened together in your studio in Montreal, you explained that she’d been thrown into solitary confinement for rallying inmates through song, and that even as she remained in deep isolation, others could hear her humming in defiance. I couldn’t help but cry. Her story informed the genesis of _HUM_ with these two songs bookending the first volume.\n\n**HW:** Nûdem was arrested in 2015 at the age of 27 and charged with promoting propaganda for teaching Kurdish folk songs to youth groups. The project was conceived in response to her courage and is a tribute to her daily acts of refusal and resistance sustained under incarceration, with the first volume squarely centring the role of political prisoners as leaders in liberation struggles. All of the singers and songwriters featured in it, at some point, have been imprisoned—their work censored, they themselves tortured and/or forced into exile for mobilizing collective voice. It’s from this shared condition of silencing that the work turns to humming.\n\nCreated by the resonance of air in the passages of the head and throat, humming is a defiant utterance we’re all capable of making, even when our lips have been sealed shut, and it is known to heal our vocal cords when we’ve lost our voice altogether. We hum when we first try to memorize a song and, later, when we want to remember it. Often passed down maternally, it’s ancestral—prelinguistic yet deeply intentional. With no grammar, no syntax, and no formal address, it functions as a lexicon: an infra-language that precedes speech and survives its collapse. It rises from deep within the body and takes root beyond the systems and structures that govern, authorize, discipline, and police us. Its form endures, and through it the work persists—irrepressible—asserting itself even as language is denied, silenced, or weaponized.\n\nOur collective voice is radically regenerative, and it can be produced in a multiplicity of ways—not only as expression, but as infrastructure. _HUM_ is meant to operate within this register: as a practice of collective voicing that trains attention, builds relational capacity, and rehearses forms of coordination under conditions where public speech is increasingly regulated, mediated, and criminalized. In this present moment of intensifying authoritarianism and resurgent fascist logics, the work isn’t meant to merely preserve voice but render collective voicing legible, repeatable, and capable of producing effects beyond borders.\n\n**LS:** I remember you speaking about using the form as a tool for street action in places where singing lyrics can get you arrested—an act of collective voicing that could move through public space without permission. When you first approached Sam (Osama Shalabi) and I about creating hummed renditions of songs you’d chosen, you asked us to imagine 1,000 people walking shoulder to shoulder down the street and to consider what it would take to teach them how to hum a song, familiar or not, within the span of a couple minutes. From there, we worked to create arrangements of source material that vocalists could use as guides. It took some experimentation to find the right balance between fidelity to the original material and the simplification the form necessitates. The most successful arrangements seemed to marry the intuitive spontaneity of a remembered tune with the powerful intentionality of what we might imagine Nûdem’s humming in solitary to sound like.\n\n**HW:** It would have been far simpler to record a choral arrangement collectively in a single session, but conceiving the work spatially, as a roving multichannel sound installation, carried the responsibility of preserving an acute sense of the individual within the collective. We’ve always recorded each vocalist separately in four-hour sessions, resulting in more than 1,000 tracks to mix per volume. Over the course of the trilogy, we have recorded nearly 50 anonymous vocalists from around the globe, sifting through and mixing thousands of sessions to weave together what has become a massive entanglement of comrade voices—a true labour of love.\n\n**LS:** But your work doesn’t end here! Something that has become a defining distinction between your and other sound works is that this is not plug-and-play, and this is unmistakably felt upon entry into _HUM_.\n\n**HW:** Also true. The final, granular sculpting takes place on-site each time the work is presented. After determining how the voices will move through my sound-chamber designs, Pietro Amato (creative technical director) and I always mix on-site. It is painstaking work, listening to the architecture of the spaces _HUM_ inhabits, intuiting placement, but the power of _HUM_ lies in the visceral feeling of being able to gather and be intimately held by unique sound-chamber environments, be they indoor or outdoor. Every inhale, every exhale, every moment of collective silence or individual vocalization is intentional and essential to the full, somatic, enveloping experience of listening in physical space.\n\n**LS:** Often one of us with “musical” training would push an arrangement in a conventional tonal direction, but your instinct was to resist making _HUM_ “music.” You had a hairline trigger for anything that veered toward the conventionally pretty, which might have turned the work into forgettable sonic wallpaper. Instead, the volumes are disarmingly human.\n\nThere’s something inherently curative about the sonic experience of _HUM_: humming stimulates the vagal nerve, activating the parasympathetic nervous system, and within minutes can return the body to a soft, grounded state. I was recovering from a vocal injury when we recorded the first volume, and by the end of the session my vocal plasticity had returned—it was physiologically healing. But as we experienced in the recording sessions, the work’s power lies in the stories woven through the compositions. On-site, you provide educational booklets that offer deeper context on the historical and political significance of the songs. The somatic impact of the sonic material, coupled with the invitation to engage directly with these struggles, is what is most uniquely affecting. So, I haven’t been surprised to learn that visitors stay an average of about one and a half hours, listening to the works almost three times in a single sitting.\n\n**HW:** _HUM_ is meant to function as a reading room as much as a listening experience. At its heart are two commitments: the desire for people to connect to and learn from important social movements that take on power directly, and the understanding that liberation struggles are not isolated but fund
14amentally interconnected. In recent years, large-scale collective mobilization for Palestinian liberation, secured in part through rigorous student-led organizing, has once again been recoded from civic participation into a threat to institutional stability. Being the state of exception Palestine has always been, this shift has sharpened as mobilizing moves beyond symbolic protest to materially consequential strategies: boycotts, labour actions, and coordinated refusals that intervene directly in circuits of global capital. When collective action exerts material leverage and interrupts flows of capital, labour, and legitimacy, institutions (including cultural) respond through containment, regulation, and withdrawal, while the state narrows the conditions of public life itself: restricting assembly, collapsing dissent into “extremism,” expanding surveillance regimes, and normalizing punitive control and state violence.\n\n**LS:** I understood the first volume as emerging from a backdrop of student-led movements in late 2019 on either side of the Line of Control separating India and Pakistan. Though not in direct communication, students on both sides took to the streets reciting the same poetry and songs by revolutionary poets and political prisoners from a previous generation, in Urdu, your mother tongue—a language highly politicized and subject to political erasure in India. With the second volume, what became legible to me was how consistently women and mothers not only appear as carriers but leaders on the forefront of these histories of struggle.\nYou have always been insistent that solidarity is not enough, and that _HUM_ must be coupled with a focus on practices of direct action. _HUM III_ does this in such a powerfully human way, connecting us across oceans and between shorelines with the political, emotional, and even spiritual desire to enact positive change for the global majority.\n\n**HW:** The third and final volume shifts its focus to dock workers and coastal communities and their central role in liberation struggles. By refusing to load or unload goods tied to apartheid regimes, colonial powers, and imperialist military operations, dock workers have disrupted the flow of resources that sustain these systems of power and increased pressure on governments and corporations to acquiesce to the demands of movements. Over the years, the importance of major ports as choke points of global capitalism has only grown, and today, dock workers and coastal communities perhaps hold more potential than ever to challenge entrenched systems of power and fuel international movements for justice.\n\nMost recently, on February 6th, dock workers shut down 21 major ports across Europe and the Mediterranean in a coordinated day of action, blocking arms shipments and demanding a full trade and arms embargo on Israel. This represents a significant escalation of organized labour’s direct intervention against imperialism and genocide. In a statement issued by the World Federation of Trade Unions on January 30 as part of this international call, the demands outlined include bringing Israel’s genocide in Palestine, backed by the U.S., NATO, and the EU, to an immediate end; stopping weapons transfers from their ports to Palestine and other war zones; securing a sustained humanitarian corridor; rejecting the EU’s ReArm initiative; and abandoning efforts to further militarize ports and strategic infrastructure. As the unions have stated, their ultimate goal is “ensuring that European and Mediterranean ports remain places of peace, free from any involvement in war.” [^1] History offers powerful examples of coordinated and sustained dock-worker actions, supported by mass public solidarity, that have shifted the course of political struggles. _HUM III_ sheds light on eight ports and eight such transformative interventions.\n\nWhat continues to unfold in Palestine, Lebanon, and Iran, and across strategic port cities in the region, alongside the closure of the Strait of Hormuz, brings into sharp focus the urgency of a collective anti-war struggle that involves sustained support for dock workers’ actions. Elsewhere, dock workers and coastal communities are already taking extraordinary measures: refusing military shipments, halting arms transfers, and asserting control over the material flows that sustain imperial and extractive violence. The
14se interventions are not symbolic—they materially disrupt the machinery of war and reveal the power of organized labour and collective refusal.\n\nArundhati Roy once wrote that fighting fascism begins by putting your ear to the ground and listening for the whispers of the truly powerless, the majority. What we’re living through now is not accidental. The attacks on universities, on minorities, on citizenship itself; the militarization of police; the hollowing out of public life under the banners of “national pride” and “national security”—this is coordinated. Corporate media has helped normalize a lynch-mob politics, laundering violence into common sense. And the most dangerous part is that it no longer feels new. It feels ordinary. Meanwhile, the left fractures itself.\n\nNo one survives this alone. We have to learn to make room for one another, to accept imperfect allies, to practice standing up for each other even when it’s uncomfortable. The right understands culture as infrastructure; they are producing it relentlessly. If we abandon that terrain, we abandon the future.\n\n**LS:** Solidarity, as you’ve insisted, is imperfect, and if it remains only symbolic, it fails. But imperfect solidarity is still the only ground we have to stand on. The real battleground is the popular imagination: once cruelty becomes normal, once repression becomes “reasonable,” it is brutally hard to undo.\n\nI’ve been thinking a lot about how courage and cowardice are both contagious. We’re witnessing a wave of institutional cowardice right now. But we’re also seeing its opposite, in people and in institutions willing to make space for works like _HUM_. Your insistence on bringing this work into the world, in this climate of fear, is not just brave—it’s contagious. And that, to me, is the quiet, stubborn force that keeps open the possibility of another future.\n\n[^1]: World Federation of Trade Unions, “WFTU solidarity message with the International Day of Action for Ports,” WFTU Central, January 30, 2026, accessed February 6, 2026, www.wftucentral.org/wftu-solidarity-message-with-the-international-day-of-action-for-ports\n"}]}},{"id":5929,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:34:42.021Z","title":"The Grain of the Voice: Interview With Ira Dot","title_long":null,"slug":"the-grain-of-the-voice-interview-with-ira-dot","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"To mark the release of their debut album _In Blue Time_, Eddy Wang and Ryan Akler-Bishop of Ira Dot speak to Winnie Wang about their many influences, including the limits of language, Peking opera, Xi'an guyue, indie rock, racial melancholia, musique concrète, sound collage, the colour blue, avant-pop, and chamber folk.","page_start":38,"page_length":2,"has_thumbnail_image":true,"updatedAt":"2026-04-16T20:56:25.029Z","publishedAt":"2026-04-15T14:38:03.089Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3957,"attributes":{"first_name":"Winnie","last_name":"Wang","slug":"winnie-wang","redirected_slugs":null,"bio_text":"Winnie Wang is a critic and writer living in Toronto. 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14solo show at the Swiss Institute. Cervenak surveys how Dennis’s diagrams, based on International Astronomical Union constellation charts, layer references to global Indigenous cosmologies, the Black consciousness movement, and Black Panther Party iconography, toward an “anti-colonial defamiliarization of mapping practices.”","page_start":42,"page_length":5,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:40:42.807Z","publishedAt":"2026-04-15T14:47:49.053Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3958,"attributes":{"first_name":"Sarah Jane","last_name":"Cervenak","slug":"sarah-jane-cervenak","redirected_slugs":null,"bio_text":"Sarah Jane Cervenak is the Linda Arnold Carlisle\nDistinguished Excellence Professor of Women’s,\nGender, and Sexuality Studies and African American and African Diaspora Studies at the University of North Carolina at Greensboro. She is the author\nof _Black Gathering: Art, Ecology, Ungiven Life_ and\n_Wandering: Philosophical Performances of Racial\nand Sexual Freedom_, and is at work on a third book.\n","full_name":"Sarah Jane Cervenak","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T18:58:19.413Z","updatedAt":"2026-04-16T21:40:42.818Z","publishedAt":"2026-04-14T19:00:54.714Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5931,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:50:38.572Z","title":"Listening to Collections: Ancestor-Led Care in Museums","title_long":null,"slug":"listening-to-collections-ancestor-led-care-in-museums","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-01","summary":"Sebastian De Line focuses on notions of audibility in the context of caring for museum collections, where attuning to ancestors who reside there is a paradigm shift for what Western Eurocentric museum practices call “objects.”","page_start":47,"page_length":4,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:39:58.323Z","publishedAt":"2026-04-15T14:50:40.647Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3959,"attributes":{"first_name":"Sebastian","last_name":"De Line","slug":"sebastian-de-line","redirected_slugs":null,"bio_text":"Sebastian De Line is the Associate Curator of Care and Relations at Agnes Etherington Art Centre, and an Adjunct Assistant Professor for the Cultural Studies Graduate Program at Queen’s University. Publications include the _Journal of Visual Culture_, _Junctures_, and forthcoming works in _Asian Diasporic Visual Cultures and the Americas_ and _The Bloomsbury Encyclopedia of Sound Studies, Volume Two: Arts, Practices, Theories_.\n","full_name":"Sebastian De Line","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:01:28.119Z","updatedAt":"2026-04-16T21:39:58.334Z","publishedAt":"2026-04-14T19:02:30.852Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5932,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T14:55:08.238Z","title":"Open Hearing: Dreaming in Dark Times, Dispatch III","title_long":null,"slug":"open-hearing-dreaming-in-dark-times-dispatch-iii","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-20","summary":"“Open Hearing: Dreaming in Dark Times” was initiated by EMILIA-AMALIA as a town hall that gathered more than 200 artists and cultural workers in Toronto to confront urgent issues including Palestine solidarity, censorship, and labour. Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy Wing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null,"authors":{"data":[]},"thumbnail_image":{"data":{"id":4413,"attributes":{"name":"editorial.png","alternativeText":null,"caption":null,"width":1080,"height":1080,"formats":{"md":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_editorial_96f4c8dbad.png","hash":"md_editorial_96f4c8dbad","mime":"image/png","name":"md_editorial.png","path":null,"size":4.38,"width":900,"height":900,"sizeInBytes":4377},"sm":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_editorial_96f4c8dbad.png","hash":"sm_editorial_96f4c8dbad","mime":"image/png","name":"sm_editorial.png","path":null,"size":2.35,"width":600,"height":600,"sizeInBytes":2354},"thumbnail":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_editorial_96f4c8dbad.png","hash":"thumbnail_editorial_96f4c8dbad","mime":"image/png","name":"thumbnail_editorial.png","path":null,"size":0.46,"width":156,"height":156,"sizeInBytes":457}},"hash":"editorial_96f4c8dbad","ext":".png","mime":"image/png","size":1.25,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/editorial_96f4c8dbad.png","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2025-08-15T20:09:12.229Z","updatedAt":"2026-04-16T19:24:56.798Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5867,"title":"Editorial: STOP!","title_long":null,"slug":"editorial-stop","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Stop!_ and its contributions.","page_start":14,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-05T17:56:29.190Z","updatedAt":"2025-08-15T20:09:25.536Z","publishedAt":"2025-08-05T18:04:53.339Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5868,"title":"Letters","title_long":null,"slug":"letters-161","redirected_slugs":null,"excerpt":null,"publication_date":"2025-08-15","release_date":"2025-08-15","summary":"Letters reflecting on issue 160 Extra Life.","page_start":12,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-08-0
147T14:41:44.344Z","updatedAt":"2025-08-15T20:11:37.871Z","publishedAt":"2025-08-07T14:41:46.625Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5892,"title":"Editorial: TIDAL","title_long":null,"slug":"editorial-tidal","redirected_slugs":null,"excerpt":null,"publication_date":"2025-12-15","release_date":"2025-12-15","summary":"Editors Maandeeq Mohamed and Joy Xiang reflect on the issue’s theme, _Tidal_ and its contributions.","page_start":16,"page_length":1,"has_thumbnail_image":true,"createdAt":"2025-12-09T16:37:45.039Z","updatedAt":"2026-02-27T16:52:50.360Z","publishedAt":"2025-12-16T01:28:06.995Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5927,"title":"Letters","title_long":null,"slug":"letters-163","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"Letters reflecting on issue 162 Tidal.","page_start":18,"page_length":1,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:10:49.129Z","updatedAt":"2026-04-16T21:39:00.809Z","publishedAt":"2026-04-15T14:11:49.206Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5932,"title":"Open Hearing: Dreaming in Dark Times, Dispatch III","title_long":null,"slug":"open-hearing-dreaming-in-dark-times-dispatch-iii","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-20","summary":"“Open Hearing: Dreaming in Dark Times” was initiated by EMILIA-AMALIA as a town hall that gathered more than 200 artists and cultural workers in Toronto to confront urgent issues including Palestine solidarity, censorship, and labour. Inspired by the 1969 Art Workers’ Coalition open hearing in New York, this final dispatch features transcripts from Karl Beveridge, Amy Wing-Hann Wong, Ananna Rafa and Ammar Bowaihl, and John Greyson.\n","page_start":52,"page_length":3,"has_thumbnail_image":true,"createdAt":"2026-04-15T14:55:08.238Z","updatedAt":"2026-04-24T19:54:46.885Z","publishedAt":"2026-04-15T15:01:29.674Z","locale":"en","legacy_id":null}]}}},"body":[{"id":6116,"__component":"layouts.text","text":"Below is the third dispatch from “Open Hearing: Dreaming in Dark Times” to be published in the magazine. [**A full public\ntranscript of the event is also available**](https://cmagazine.com/articles/open-hearing-dreaming-in-dark-times-full-public-transcript). \n\n**[00:28:27] Karl Beveridge:**\n\nThank you. I’m a visual artist, photographer. I’ve been involved in, and a member of CARFAC. Worked around A Space for many years and generally try to make trouble. \n\nThe first thing I wanna say: I think it’s kind of interesting that the reference for this talk is the Art Workers Coalition in the U.S.. We’re always deferring to the U.S.—and I think there’s an interesting history in Canada that parallels that history in the U.S. And, I’m thinking in 1968, CARFAC was founded. The Art Workers Coalition was 1969.\n\nCARFAC, interestingly, different than what the Art Workers Coalition did, which the kind of two main points that came out of the Art Workers Coalition was one, the structure and policies of art institutions, and secondly, diversity—and in New York at the time, was mainly around gender and the Black and Puerto Rican communities. CARFAC, on the other hand, in Canada, went for the economics, and basically that artists get paid, and that, I think, had much longer-term impact. It’s still—CARFAC still exists today. \n\nThe unfortunate thing is we don’t pay enough attention to it. We don’t get involved with it. CARFAC has managed to achieve many things and is working on many things, but it needs much more strength if we’re to deal with things like the AGO and their policies and those sorts of things, we need a strong organization. \n\nWhich brings me to probably the immediate point that would need to happen is to get status of the artist provincially. [^1] That would allow us to deal with institutions all across the board. \n\nThe federal status of the artist only affects federal institutions. So, we’re able to negotiate with the National Gallery and get a collective agreement, which is unique, I think, pretty well in the world. And, I mean, the thing about CARFAC is, it was unique globally too, in establishing fees and these sorts of things. But we do need status provincially in order to deal with all the other institutions that are under provincial control.\n\nSo, I’m gonna stop there, cause that’s the main point I wanna make is that: we really need to get together and organize. And I really stress that we need to build our union, which is CARFAC and make it strong and able to deal with a lot of issues that may come up today.\n\nThank you. \n\n[applause]\n\n**[00:36:32] Amy Wing-Hann Wong:**\n\nHi everyone. Thank y
14ou for being here. I\ndidn’t even realize there was gonna be\nan audience. I came to learn and I’m\nlearning so much from all the speakers. I’m an artist, professor, parent. I’m\na single mom. I live in Scarborough.\n\nGrace Lee Boggs said that:\n\n\u003e “The only way to survive is by taking care of one another and to get out of the lens of self-interest and to centre relationship and community.” [^2]  \u003cbr/\u003e\n\n\nShe advocated for the need to redefine representative democracy with a\nreminder that you should never expect\nthat people in power will do things to\nhelp us progress.\n\nThis forum is meant to address\nthe pre-existing and longstanding\nproblems at the heart of our cultural\nstructures. We’ve known about these\nproblems for a long time and have\nbeen discussing, protesting, infiltrating systems for a while now.\n\nRecent events are horrifying, to\nsay the least, but in some ways not\nsurprising. And despite ongoing activism, pushback, and—on the part\nof institutions—diversity and decolonial statements, ultimately, I think\nartistic and academic freedoms are\nvalues that come from within us\nand not prescribed to allow us. And\ntherefore, creative practice is inherently a form of resistance—not things that\nare granted by institutions or policies.\n\nWe are facing a time where it’s\nlike lancing a boil. We are seeing the\ngrossest shit so that we can clear the\ninfection. I think we all agree that what\nToronto, the art world, or you know,\nwhat the world needs right now is the\nprotection of basic human rights, safety, and security, holding governments\nand institutions to account.\n\nAnd especially as QTBIPOC\narts workers refusing to be window\ndressing or merely window dressing,\nI think, do not give institutions your\nwhole self. Continue the invisible and\nsmall acts of daily change within one’s\npower and always be suspicious. Call\nto task the differences between representation, justice, and access.\n\nMaya Mackrandilal reminds us\nthat diversity statements and hiring diversity candidates is not the solution\nto the problem, but only a step in the\ngeneral direction where the problem\nis occurring. [^3] Inserting women and \npeople of colour into capitalist, white supremacist, cis-hetero, patriarchal spaces, does not magically dismantle\nthe very fabric of an institution’s culture. Amy Fung reminds us of those\nwho are happy to benevolently oversee and control diversity in all its frivolous forms but who immediately enforce the power of their laws the moment difference seeks actual power. [^4]\n\nI’m also gonna quote Leanne Simpson:\n\n\u003e “We need to create and continue constellations of co-resistance that are firm, life and world-building at a time of acute racial violence and inequality.” [^5] \u003cbr/\u003e\n \nWe need to protect and nurture\nthe voices of the arts community who\nare the most vulnerable in some ways,\nand especially the voices of young creative people who come after us. The\nart world romanticizes this scrappiness\nand perpetuates an industry of precarity, but we must prioritize sustainability.\nI’ll just end with Grace [Lee Boggs] again that: “Another world is possible and that it is happening.” [^6]\n\nI’ll end there. Thank you.\n\n[applause]\n\n\n**[02:36:16] Ananna Rafa:** Hey, I’m Ananna.\n\n**[02:36:20] Ammar Bowaihl:** And I’m Ammar Bowaihl.\n\nLast year, I found out that it’s\nactually hard to think while being financially stressed. [laughs] What a\nsurprise. [laughs] The stress can’t be\nexplained: lots of bills, expectations\nfrom family, and also ambitions that\nare not met with actions. It all builds\nup until you forget how things used\nto be.\n\nI will give you some of the symptoms. My personal symptoms. I’m\nhome alone all the time, barely talking\nor texting, and listening to lots of podcasts. I never thought I would feel this\nway after school. But it’s all right. Things are in control right now. And I’m\nout here in public, speaking about it.\n\nMaking money through the arts—\nit’s hard. But it’s much harder when\nyou’re isolated. I don’t remember how\nit started or why I foun
14d myself alone.\nOne of my mentors recommended therapy. Kept checking in. And this is\nhow I slowly recovered from my self-deprecating mind and perspective. It\nwasn’t that hard. I needed someone\nto tell me it’s gonna be okay, and help\nme reset.\n\nWhen you’re involved in a community, or sharing the journey with\nfriends rooting for you, it’s much harder to fall back to the darkness. These are the connections that can save\nus. I urge you to check in on your\npeers, mentor in your free time, provide a space for learning and growing together, as artists, as friends,\nand as a community that cares for\none another.\n\n**Ananna:** Art school was the first time we\nexperienced what it meant to be othered—to feel that we did not deserve\nto be there, to feel that the work we\nmade, our histories, our cultures were\nsuddenly misunderstood, to feel that,\nthen, it was a waste of time.\n\nAnd yet, we would not have known that both of us felt similar ways,\nhad we not had conversations that\nseemed to be taboo.\n\nAnd why should we not speak\nout against systems that divide us? About institutions with the sole purpose of financial gain?\n\nAbout ways of pedagogy that no\nlonger work?\n\nThese conversations need to be\nhad—conversations among friends,\nfamily, students, colleagues: About\nhistoric truths.\n\nAbout the art world that no longer serves us.\n\nAbout what the art world has\nthe potential to be and who can call\nthemselves an artist.\n\nIt is radical enough to continue\nto live in this world as an artist, and\nto continue to tell ourselves that we\ndeserve to be an artist. And it is definitely radical to tell other people—like ourselves—that you, too, can be an artist.\n\nArt-making can be messy. It can\nbe volatile. And it needs to be touched\nby the strengths and sorrows of our\nworld. We are the dreamers of today,\nbecause somewhere along the way,\nwe have seen dreaming is possible for\npeople like us. It is our responsibility to pass on the knowledge of what\nit means to dream, to others who yet\ncannot imagine other worlds possible.\n\nThank you.\n\n[applause]\n\n\n**[01:17:57] John Greyson:** \n\nThank you, Kiera\n[host]. And, remembering back 40\nyears ago when all of us were sleeping together, we also were at war with\nthe Ontario Censor Board. \n\nThe Censor Board claimed, at\nthat time, jurisdiction over any image\nthat was shown, any film or video that\nwas shown in the province, demanding prior censorship—whether it was a\nnew video by Andy Paterson or Richard Fung, or whether it was a documentary about farm workers. And so,\ngroups like A Space, The Funnel, and\nCanadian Images were heroically fighting the Censor Board in the courts.\n\nBut that was incredibly debilitating. It was when trying to work within the terms of the system became\nsomething that just—I think—perpetuated the fear or experience of being\nsilenced, feeling terrified about who’s\ngonna get charged next, who’s gonna face charges next.\n\nAnd so, a bunch of us, 40 years\nago, initiated what started as Six Days\nAgainst the Censor Board and ended up becoming 11 Days Against the\nCensor Board, a province-wide civil disobedience action where we collectively broke the law. I think there\nwas something like 30 or 40 arts organizations in 10 cities across the province, each of us showing whatever\nwe chose to show.\n\nAnd that was the autonomy of\ncurating, curating what each group\nwanted to show and making that decision themselves was central to the\npremise of it. And the principle of it\nwas, if we all break the law, then no\none’s gonna get arrested.\n\nAnd it was a complete victory,\nnot a single charge. And, in fact, we\nended up getting rid of the Censor\nBoard. It was the collective actions.\nIt was the court cases equally along\nwith civil disobedience.\n\nFlash forward 30 years: Queer\nCinema For Palestine started a boycott of Tel Aviv Gay Lesbian Festival—a boycottable festival, identified\nby PACBI [Palestinian Campaign\nfor the Academic and Cultural Boycott of Israel]. And so, starting 10\nyears ago, we started to do a global\ncampaign trying to convince artists\nto either not submit or to withdraw\nfrom the Tel Aviv festival.\n\nSo, I’d get assigned Bruce LaBruce. And I’d be calling Bruce LaBruce,\ntrying to convince Bruce. And it was an uphill battle. The arguments were familiar in terms of, “Oh, it’s a queer\nfestival. How can it be boycottable?” Et cetera, et cetera.\n\n
14But one of the things that came\nout of that experience—we had a lot\nof success. Every year, 10 or 15 filmmakers would withdraw. And it was\nincredibly powerful seeing the courage of those filmmakers give, you know,\nat cost, choosing to withdraw, choosing\nto fight back against genocide, apartheid—and using that festival as a target.\nBut we also had that same experience of how withdrawal can often\nfeel counterintuitive to artists. It can\nfeel like a different sort of silencing—\nwithdrawing your work, taking your\nwork away from an audience.\n\nAnd so, Queer Cinema For Palestine, five years ago, launched a counter-move, which was not just about\nwithdrawing, but also a counter festival inspired by the model of Six Days\nof Resistance and cities around the world programming work in solidarity with Palestine, queers speaking out\nin solidarity with Palestine.\n\nAnd so, we’re in the process right\nnow of initiating our third edition.\nCall for submission next week. So, if\nyou’ve got a video, you can find us online at Queer Cinema For Palestine,\nand the festival’s gonna be in June, [^7]\nall through pride month, doing a\ntargeted solidarity action, a global\nsolidarity action with Palestine.\n\nThanks.\n\n\n[^1]: Status of the Artist legislation came out of recommendations from UNESCO, which argued that artists needed special legislation to ensure their rights. The federal government of Canada legislated Status in 1992, which gave artists collective bargaining rights but only for federal institutions: namely the National Gallery of Canada. All other institutions and galleries (including private galleries) come under provincial labour law. Only Quebec has recently achieved provincial Status.\n\n[^2]: Grace Lee Boggs, interview by Amy Goodman, _Democracy Now!_, April 2, 2010.\n\n[^3]: Maya Mackrandilal, “Diverus,” _Mice Magazine_ 1 (2016), https://micemagazine.ca/issue-one/diverus, and “Radical Looking: Newly Seeing Art With My Baby,” _Momus_, May 30, 2024, https://momus.ca/radical-looking-newly-seeing-art-with-my-baby\n\n[^4]: Amy Fung, Before I Was a Critic I Was a Human Being (Book*hug Press, 2019).\n\n[^5]: Leanne Betasamosake Simpson and Robyn Maynard, Rehearsals for Living (Knopf Canada, 2022), https://www.penguinrandomhouse.ca/books/675719/rehearsals-for-living-by-robyn-maynard-and-leanne-betasamosake-simpson/9781039000650/excerpt\n\n[^6]: Boggs.\n\n[^7]: The third edition of Queer Cinema For Palestine, titled “No Pride in Genocide,” took place throughout June 2025. See: https://queercinemaforpalestine.org "}]}},{"id":5933,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T15:54:05.346Z","title":"FIVE ESSAYS FOR KELLY MARK","title_long":null,"slug":"five-essays-for-kelly-mark","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-15","summary":"Dispersed through the magazine like the artist’s posthumous show was across physical locations in Toronto, Daniella Sanader captures the subtle folds of labour, working-class time, and accumulation at the heart of Kelly Mark’s work.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:41:07.346Z","publishedAt":"2026-04-15T15:54:06.441Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":2834,"attributes":{"first_name":"Daniella","last_name":"Sanader","slug":"daniella-sanader","redirected_slugs":null,"bio_text":"Daniella Sanader is a writer and reader who lives in Toronto. ","full_name":"Daniella Sanader","alpha_sort":"Sanader","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:02.594Z","updatedAt":"2026-04-16T21:41:07.359Z","publishedAt":"2022-09-07T21:56:02.589Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5934,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T16:01:34.050Z","title":"Sharing Seeds","title_long":"Sharing Seeds (with Lillian O'Brien Davis)","slug":"sharing-seeds","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-29","summary":"Api’soomaahka and Christina Battle engage seeds as tools of ecological restoration, cultural continuity, and community exchange. Through a dialogic format extending from their panel at MacKenzie Art Gallery in partnership with Remai Modern, their practices situate seed work within broader discussions of climate change, Indigenous knowledge, and environmental justice across the Prairie region.\n","page_start":30,"page_length":3,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:41:42.368Z","publishedAt":"2026-04-15T16:16:38.962Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3971,"attributes":{"first_name":"Api’soomaahka ","last_name":null,"slug":"apisoomaahka","redirected_slugs":["apisoomaahka-running-coyote-william-singer-iii"],"bio_text":"**Api’soomaahka (Running Coyote) – William Singer III** is a member of the Kainai Nation of the Blackfoot Confederacy. His main profession is as an artist/illustrator with more than 40 years of experience. As an educator, entrepreneur, and environmental and political activist utilizing Niitsitapi (Blackfoot) ecological knowledge, he currently operates Naapi’s Garden and Katoyiss Seed Bank.\n","full_name":"Api’soomaahka ","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T16:12:01.809Z","updatedAt":"2026-04-16T21:41:42.385Z","publishedAt":"2026-04-15T16:12:03.597Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}},{"id":3970,"attributes":{"first_name":"Christina","last_name":"Battle","slug":"christina-battle","redirected_slugs":null,"bio_text":"Christina Battle is an artist based in amiskwacîwâskahikan (also known as Edmonton, Alberta), within the Aspen Parkland: the transition zone where prairie and forest meet. Her practice focuses on thinking deeply about the concept of disaster: its complexity, and the intricacies that are entwined\nwithin it.\n","full_name":"Christina Battle","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-15T16:11:19.382Z","updatedAt":"2026-04-16T21:41:42.414Z","publishedAt":"2026-04-15T16:11:21.067Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5935,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T18:43:22.976Z","title":"“Does the flower hear the bee?\" — 15th Shanghai Biennale","title_long":null,"slug":"does-the-flower-hear-the-bee-15th-shanghai-biennale","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-15","summary":"The 15th Shanghai Biennale: “Does the flower hear the bee?” ran from 8 November 2025 to 31 March 2026 at Power Station of Art, Shanghai.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"updatedAt":"2026-04-16T19:27:27.286Z","publishedAt":"2026-04-15T18:43:25.262Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3290,"attributes":{"first_name":"Yasmin","last_name":"Nurming-Por","slug":"yasmin-nurming-por","redirected_slugs":null,"bio_text":"Yasmin Nurming-Por is a curator and writer based in Toronto, Canada. She is Co-Founder of commercial gallery two seven two and a doctoral candidate in the Department of Art History at the University of Toronto.","full_name":"Yasmin Nurming-Por","alpha_sort":"Nurming-Por","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:43.383Z","updatedAt":"2026-04-16T19:27:27.297Z","publishedAt":"2022-09-07T21:56:43.378Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":{"id":4597,"attributes":{"name":"C163_NURMING-POR.jpg","alternativeText":null,"caption":"Allora \u0026 Calzadilla, _Penumbra and Phantom Forest_, 2025; installation view from “Does the flower hear the bee?,” 2025, 15th Shanghai Biennale, Power Station of Art. © The Artists. Courtesy of Lisson Gallery, Galerie Chantal Crousel, Kurimanzutto, Power Station of Art.","width":2000,"height":1325,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_C163_NURMING_POR_39d5f718c7.jpg","hash":"lg_C163_NURMING_POR_39d5f718c7","mime":"image/jpeg","name":"lg_C163_NURMING-POR.jpg","path":null,"size":284.65,"width":1440,"height":954,"sizeInBytes":284652},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_C163_NURMING_POR_39d5f718c7.jpg","hash":"md_C163_NURMING_POR_39d5f718c7","mime":"image/jpeg","name":"md_C163_NURMING-POR.jpg","path":null,"size":122.36,"width":900,"height":596,"sizeInBytes":122362},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_C163_NURMING_POR_39d5f718c7.jpg","hash":"sm_C163_NURMING_POR_39d5f718c7","mime":"image/jpeg","name":"sm_C163_NURMING-POR.jpg","path":null,"size":57.31,"width":600,"height":397,"sizeInBytes":57308},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_C163_NURMING_POR_39d5f718c7.jpg","hash":"thumbnail_C163_NURMING_POR_39d5f718c7","mime":"image/jpeg","name":"thumbnail_C163_NURMING-POR.jpg","path":null,"size":10.94,"width":236,"height":156,"sizeInBytes":10938}},"hash":"C163_NURMING_POR_39d5f718c7","ext":".jpg","mime":"image/jpeg","size":501.72,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_NURMING_POR_39d5f718c7.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T22:07:34.306Z","updatedAt":"2026-04-16T19:26:46.187Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5935,"title":"“Does the flower hear the bee?\" — 15th Shanghai Biennale","title_long":null,"slug":"does-the-flower-hear-the-bee-15th-shanghai-biennale","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"The 15th Shanghai Biennale: “Does the flower hear the bee?” ran from 8 November 2025 to 31 March 2026 at Power Station of Art, Shanghai.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"createdAt":"2026-04-15T18:43:22.976Z","updatedAt":"2026-04-16T19:27:27.286Z","publishedAt":"2026-04-15T18:43:25.262Z","locale":"en","legacy_id":null},{"__type":"api::article.article","id":5935,"title":"“Does the flower hear the bee?\" — 15th Shanghai Biennale","title_long":null,"slug":"does-the-flower-hear-the-bee-15th-shanghai-biennale","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-15","summary":"The 15th Shanghai Biennale: “Does the flower hear the bee?” ran from 8 November 2025 to 31 March 2026 at Power Station of Art, Shanghai.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"createdAt":"2026-04-15T18:43:22.976Z","updatedAt":"2026-04-16T19:27:27.286Z","publishedAt":"2026-04-15T18:43:25.262Z","locale":"en","legacy_id":null}]}}},"body":[{"id":6110,"__component":"layouts.text","text":"The 15th Shanghai Biennale—“Does the flower hear the bee?”—opens with a small forest. Suspended from the cavernous ceiling of the Power Station of Art (PSA) are thousands of synthetic yellow trumpet blossoms that hang rootless in the air, some spilling onto the ground. Titled _Phantom Forest_ (2025), Allora \u0026 Calzadilla’s installation references _Handroanthus chrysanthus_, a tree species native to Central and South America. Sometimes used in landscape design for their aesthetic appeal, these trees contribute to the vital biodiversity of their native environments that are threatened by legacies of resource extraction and impacts of climate change. For the artists, this work connects movement and displacement to a gesture of “building a system of memory” by asking what it means, figuratively, to move this tree to Shanghai. When visiting, I found myself pondering: what if the artists had chosen to produce an “ugly” tree? Would that have shifted the work too directly from aesthetic to political dimensions, or is the choice of beauty a valuable entry point into a political discussion? This ghostly tree also invites participation: the audience is welcome to take fallen blossoms, many of which are also unknowingly transported on the soles of shoes across the museum—furthering their displacement.\n\nIn many ways, _Phantom Forest_ encapsulates the experience of this exhibition as one of reverence for the natural sublime. Curated by Kitty Scott with Daisy Desrosiers, Xue Tan, and PSA’s Emerging Curators Long Yitang and Zhang Yingying, this gargantuan biennial encompasses 67 artists and more than 250 artworks. The exhibition aims to centre sensorial engagements with and across artworks by looking to interspecies communication among the non-human world for inspiration and teaching, as suggested by its title. While the natural world and its alternative methods of communication are explored, humans nevertheless seemed to remain the protagonists. For example, Rirkrit Tiravanija’s text-based work _untitled 2019 (the form of the flower is unknown to the seed)_ (2019) mounts the eponymous phrase in capital letters on an entrance wall. Originally commissioned by ICA London in 2019, its prior presentation encompassed a sake bar that was intended for use. In Shanghai, a space for tea and gathering is located elsewhere in the PSA. Recontextualized within the Biennale’s exploration of cross-species communication, Tiravanija’s text takes on new meaning as a reflection of how nature is used as a metaphor or subject in contemporary art, where it often appears as a non-active participant against perspectives that are still human-centric. While the flowering of human interactions can certainly produce many unexpected forms, how is it possible to assume the knowledge of seeds?\nLandscape, and its history of representation, is also a dominant thread. Continuing his fascination with 19th-century Romanticism, Icelandic artist Ragnar Kjartansson contributes video, performance, and five unex
14pected large-scale oil paintings of Icelandic landscapes titled _Weekdays in Arcadia_ (2025). These paintings feature vast rocky and mossy scenes characteristic of Iceland with only the most miniscule figures of humans and sheep. While beautiful representations, these works intentionally set Iceland within Western art-historical traditions of landscape, which feels slightly at sea in the context of Shanghai.\n\nThe space between human and natural worlds is more closely explored by works such as Cheng Xinhao’s video _Stratums and Erratics_ (2023–2024), which responds to the limitations imposed by borders on landscapes. In this 50-minute film, the artist is depicted walking 800 kilometres on roads in the landlocked Yunnan province, from Kunming to the China–Myanmar (Burma) limits while kicking the same rock that is eventually reduced to a pebble. In a captivating and perplexing test of endurance, the artist moves across urban, rural, and other natural contexts, eventually tossing the rock in a river at the walk’s conclusion. The work prods at the collaboration between humans, living things, and natural matter raised elsewhere in the exhibition, such as by Aki Inomata’s _How to Carve a Sculpture_ (2018–ongoing). Inomata placed wood in beaver enclosures in five zoos in Japan; after the wood was chewed by the animals, the artist removed it and, through a mixture of working with sculptors and CNC (computer-automated) machines, further “collaborated” to resolve the sculptures. Included in this list of collaborators are the longhorned beetles who continued to burrow inside the wood. Presented on two plinths, the sculptures at beaver and human (or CNC) scale are compelling pseudo-modernist sculptures. Yet, what does it mean to “collaborate” with non-human actors without equal continued agency? In this context, approaching animal interventions as ready-mades may offer a counterpoint to the singularity of human authorship. Acknowledging animal mark-making could potentially radically challenge understandings of interspecies collaboration within artistic and creative processes.\n\nWith an exhibition title focused on hearing, sonic works, or those that allude to sound, are given particular emphasis. Brian Jungen’s _Pull to Refresh_ (2025) presents an oak piano shot with handmade arrows. Here, I imagined the noises and sounds produced in its creation as a kind of score, and the sculpture itself as a record of the performance. Tania Candiani’s _Prólogo. 7 Campanas_ (2024) suspends a series of large-scale wicker and rattan “pods” in the shape of large cones or hats that visitors can enter to experience different soundscapes such as cows calling, rivers rushing, or wind blowing. Despite the array of different sounds, the works produce an inviting sonic landscape. Christine Sun Kim’s large-scale mural _Heavy Relevance_ (2024) uses distorted musical notation to create an experimental score. On a wall, the musical staff bars in Kim’s score dip under the suggested heavy weight of single notes, forming peaks and valleys. In reference to ASL communication where the usage of signs is responsive to specific contexts, the artist expands the implication of sound to architectural levels, or a kind of sonic landscape.\n\nThe Biennale also included off-site projects, most notably at the Jia Yuan Hai Art Museum. Located in a rural setting, US-based French artist Maxime Cavajani displayed a series of works made while in residence on Fogo Island. With a research focus on the use of red on the island, as an alchemical reaction between ochre and blood, these works brought markers from one geographic location to another—here, red against the yellow-green of the surrounding agricultural area.\n\nCollectively, the scale of this biennial and its various exhibition spaces evoke a series of microclimates brought together with both congruent and contesting cross-pollinations. While the beauty of landscape and nature is visually celebrated, the challenges of translation (across species and language) remain a gap in communication. For me, one of the clearest and most poignant takeaways from the Shanghai Biennale is that there is a difference between sound and hearing, and between being heard and being understood. In our contemporary moment of increased political and environmental crisis, many of us are grasping at other ways of knowing that might lead to a new direction. Unique from many other international biennials, Shanghai’s has an increased level of governmental support and orchestration: while visiting, I learned that all artists and artworks are subject to official approval for inclusion. As part of the international art press, I found my own body in the space of unexpected cross-pollination: invited to the opening reception dinner—a boat cruise on the Huangpu River—my presence as a Canadian journalist was met with surprise by my consulate. I had entered visa-free using my European passport, without realizing that my Canadian passport might have made my visit more challenging. Akin to my quick engagement with Shanghai, the immersive works in the exhibition remain those most resonant and visually effective within the production of the natural sublime and its entanglements with human-based assumptions and desires."}]}},{"id":5936,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T18:52:24.891Z","title":"“DOKU! DOKU! DOKU!: samsara. exe” — Lu Yang","title_long":null,"slug":"doku-doku-doku-samsara-exe-lu-yang","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-22","summary":"“DOKU! DOKU! DOKU!: samsara.exe” ran from 18 September 2025 to 15 February 2026 at Amant, New York City.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:42:02.753Z","publishedAt":"2026-04-15T18:52:26.090Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3960,"attributes":{"first_name":"Gladys","last_name":"Lou","slug":"gladys-lou","redirected_slugs":null,"bio_text":"Gladys Lou is a Hong Kong–Canadian curator and\nwriter completing an MA in Curatorial Studies at\nthe Center for Curatorial Studies, Bard College.\nHer critical writing and journalism have been published by _ArtReview_, _MUBI Notebook_, _Public Parking_, _Studio Magazine_, _photoED_, _Femme Art Review_, _Ornamentum_, _The AMP_, and _Impulse Magazine_.\n","full_name":"Gladys Lou","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:04:49.981Z","updatedAt":"2026-04-16T21:42:02.763Z","publishedAt":"2026-04-15T18:52:13.020Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5937,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T19:12:54.995Z","title":"“Louise” — Sojourner Truth Parsons","title_long":null,"slug":"louise-sojourner-truth-parsons","redirected_slugs":null,"excerpt":null,"release_date":"2026-05-11","summary":"“Louise” ran from 3 October 2025 to 28 February 2026 at Contemporary Art Gallery, Vancouver.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:42:24.211Z","publishedAt":"2026-04-15T19:13:26.343Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3962,"attributes":{"first_name":"Andrew","last_name":"Witt","slug":"andrew-witt","redirected_slugs":null,"bio_text":"Andrew Witt is an art historian and critic who writes on contemporary art. He is currently the 2025–2026 PERICULUM Foundation for Contemporary Art Discourse Fellow. His book _Lost Days, Endless Nights: Photography and Film from Los Angeles_ was recently published by MIT Press (2025).","full_name":"Andrew Witt","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:21:26.873Z","updatedAt":"2026-04-16T21:42:24.222Z","publishedAt":"2026-04-14T19:21:28.808Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5938,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T19:18:07.251Z","title":"_Anita Louise and the Wild Women_ — Arena Alamino","title_long":null,"slug":"anita-louise-and-the-wild-women-arena-alamino","redirected_slugs":null,"excerpt":null,"release_date":"2026-05-25","summary":"_Anita Louise and the Wild Women_ screened on 30 May 2025 at the Halifax Independent Filmmakers Festival, Bus Stop Theatre. Produced with the assistance of the Atlantic Filmmakers Cooperative, 2025.\n","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:44:24.493Z","publishedAt":"2026-04-15T19:18:57.937Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3961,"attributes":{"first_name":"Brody","last_name":"Weaver","slug":"brody-weaver","redirected_slugs":null,"bio_text":"Brody Weaver is a writer, artist, and educator living and learning between Kjipuktuk (Halifax, NS) and Tk
14aronto (Toronto, ON). She is studying archives and records management at the University of Toronto’s iSchool, and her work can be found in _Femme Art Review_, _Visual Arts News_, _Peripheral Review_, and _C Magazine_.\n","full_name":"Brody Weaver","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2026-04-14T19:06:06.063Z","updatedAt":"2026-04-16T21:44:24.504Z","publishedAt":"2026-04-14T19:06:07.802Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[{"id":6111,"__component":"layouts.text","text":null}]}},{"id":5939,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T19:22:17.257Z","title":"“to hear all the sounds in the world” — Annie Wong","title_long":null,"slug":"to-hear-all-the-sounds-in-the-world-annie-wong","redirected_slugs":null,"excerpt":null,"release_date":"2026-04-27","summary":" “to hear all the sounds in the world” ran from 20 September to 6 December 2025 at YYZ Artists’ Outlet, Toronto.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"updatedAt":"2026-04-30T18:50:19.921Z","publishedAt":"2026-04-15T19:22:19.254Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3782,"attributes":{"first_name":"Sherry","last_name":"Chunqing Liu 刘纯青","slug":"sherry-chunqing-liu","redirected_slugs":null,"bio_text":"Sherry Chunqing Liu 刘纯青 (b. Xiamen, China) is a writer, artist, and curator whose work engages contemporary art and storytelling, often drawing on diasporic experience, cultural identity, and personal memory. Her writing has appeared in _C Magazine_, _esse arts + opinions_, _ESPACE art actuel_, Artoronto.ca, and _photoED_, while her curatorial projects have been featured by _Dezeen_, _e-flux_, the Art Museum at the University o-f Toronto, CONTACT Photography Festival, and DesignTO, among others. She holds a Master of Visual Studies in Curatorial Studies and an HBA in Architecture from the University of Toronto.\n\n","full_name":"Sherry Chunqing Liu 刘纯青","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2023-08-18T17:29:15.494Z","updatedAt":"2026-04-30T18:50:19.943Z","publishedAt":"2023-08-18T17:29:18.459Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":{"id":4605,"attributes":{"name":"C163_Liu_th.png","alternativeText":null,"caption":null,"width":1036,"height":882,"formats":{"md":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_C163_Liu_th_74ed520985.png","hash":"md_C163_Liu_th_74ed520985","mime":"image/png","name":"md_C163_Liu_th.png","path":null,"size":1493.5,"width":900,"height":766,"sizeInBytes":1493499},"sm":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_C163_Liu_th_74ed520985.png","hash":"sm_C163_Liu_th_74ed520985","mime":"image/png","name":"sm_C163_Liu_th.png","path":null,"size":712.62,"width":600,"height":511,"sizeInBytes":712624},"thumbnail":{"ext":".png","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_C163_Liu_th_74ed520985.png","hash":"thumbnail_C163_Liu_th_74ed520985","mime":"image/png","name":"thumbnail_C163_Liu_th.png","path":null,"size":78.95,"width":183,"height":156,"sizeInBytes":78952}},"hash":"C163_Liu_th_74ed520985","ext":".png","mime":"image/png","size":521.26,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/C163_Liu_th_74ed520985.png","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T22:07:38.823Z","updatedAt":"2026-04-15T22:07:38.823Z","legacy_id":null,"related":[{"__type":"api::article.article","id":5939,"title":"“to hear all the sounds in the world” — Annie Wong","title_long":null,"slug":"to-hear-all-the-sounds-in-the-world-annie-wong","redirected_slugs":null,"excerpt":null,"publication_date":"2026-04-15","release_date":"2026-04-27","summary":" “to hear all the sounds in the world” ran from 20 September to 6 December 2025 at YYZ Artists’ Outlet, Toronto.\n","page_start":null,"page_length":null,"has_thumbnail_image":true,"createdAt":"2026-04-15T19:22:17.257Z","updatedAt":"2026-04-30T18:50:19.921Z","publishedAt":"2026-04-15T19:22:19.254Z","locale":"en","legacy_id":null}]}}},"body":[{"id":6118,"__component":"layouts.text","text":"How do diasp
14oric subjects remain in relation to their ancestors when rituals that once held those bonds are disrupted, translated, or misunderstood across continents? Annie Wong’s “to hear all the sounds in the world” at YYZ Artists' Outlet takes this question as its heartbeat, using joss paper, performance, and printed apparitions as a material vocabulary to map fragmented inheritances. Wong explores the limits of remembering and reclaiming ancestors, including countless distant and unknown ones, while suggesting that these bonds can be forged and brought into the present through attentive, tender, and partial gestures.\n\nThe gallery’s quiet registers first. A large sweeping arc of joss paper hangs horizontally from the ceiling, forming a rhythmic cadence of life and death, of preparation and anticipation. Hundreds of interconnected serene faces of the devotees of Guanyin, the Bodhisattva of compassion, float in a contemplative curve, their matte surfaces absorbing and diffusing the overhead light. Assembled from many sheets of 100 Ghosts (一百鬼) joss paper, which Wong encountered through her research beginning in 2020, the work reflects a process of careful repetition. Originally conceived as halo-like cutouts, the faces are folded to emerge from the surface and stand upright. Their stillness carries a sense of imminence, the moment before ritual, or the instant when breath is drawn but not yet released. Wong described the installation as something that “emerged on its own” as she assembled 
14it, bending and rising naturally with fishing wire for support. What began in a flat plane evolved into a sculptural wave, invoking the ocean as a metaphor for migration, where physical distance, temporal dislocation, and the pull of return are held in constant motion. Below, a metal fire bucket stands ready. The absence of combustion positions the viewer at a threshold where offerings are prepared but not yet sent.\n\nThe suspended faces pulled me back to childhood afternoons in my father’s hometown of Putian, hiking with my family to visit ancestral graves. I was too young to understand the cosmology and reciprocity embedded in the burning of joss paper, which offers care to ancestors and deceased family in exchange for protection and continued connection between generations. I remember the smoke thinning among the trees, folding into the green of the forest, the scent of foliage mingling with paper. After moving overseas as a teenager, such memories became rare threads anchoring a home that had begun to feel distant. Entering Wong’s exhibition, those threads tugged again, softly but firmly.\nThis floating multiplicity evokes not only Guanyin but the countless unnamed women, devotees, and ancestral figures whose acts of care shaped Guanyin’s iconography. In her text “How to Burn Paper for the Dead” (_Mice Magazine_, 2017), Wong reflects on the “ghost” carried by the diasporic subject as the residue of ancestral rituals, practices that remain ordinary and domestic, woven into daily life yet rendered spectral or estranged within Westernized spaces. I thought of the small burning rituals for my grandfather that my family practiced during my childhood in Xiamen, gradually fading as the city grew more urban and attuned to new ideas of safety and order shaped by global influences. What remains with me is not a clear causal narrative but the sensation of change, of watching a practice thin out until only its echoes linger.\n\nDuring the opening, Wong and her sister Jennifer Vong performed _Waking Up the Girls_, folding several Guanyin faces upright while calling “Wake up” in Cantonese. Wong later told me that when she was taught how to pray for ancestors, her mother referred to the act as waking them up. Revived in Wong’s hands, the act became a recognition of the women whose stories were thinned by migration. The installation, once still, shifted into a subtle awakening.\nPinned along the wall, 一百鬼 / _100 Ghosts_ (2019–2020) extends this inquiry into spectral memory. Faces are screenprinted with varied clarity onto a field of gilded joss paper. Some are crisp, others blurred or slightly out of register, forming a delicate grammar of haunting. As a breeze passes, the gold shimmers, echoing Wong’s recollection of burning paper shoes, trousers, and shirts for distant ancestors across China and Vietnam with her mother. These prints recall acts of care eroded not by forgetting but by the slow pressure of assimilation and urban life. The emotional architecture remains in fleeting sparks of recognition.\n\nIn “How to Burn Paper,” Wong further describes the Chinese afterlife as a bureaucratic realm of ongoing errands and obligations, a world where the dead continue to eat, pay debts, and navigate daily life. This stands in contrast to Western narratives of heaven or transcendence. Standing before the shimmering sheets, I felt the uncanny tension familiar to many diasporic subjects: the sense of being both tethered to and estranged from familial pasts. Jacques Derrida’s notion of hauntology, referenced by Wong, helps illuminate this space, where the past returns not as settled inheritance but as partial, insistent echoes. Wong renders this oscillation visible, materializing the fragile traces through which care persists.\n\nWong situates her broader practice within hauntology in the East Asian diaspora, exploring how belief systems surrounding ghosts, spirits, and minor gods provide a lens for understanding remembrance and collective histories. She also references Stuart Hall’s idea that identities are shaped through past narratives, a concept that resonates throughout the installation. The work visualizes fragmented transmissions, revealing how diasporic subjects navigate overlapping and sometimes conflicting cultural timelines, carrying multiple inheritances that never fully align yet continue to shape lived experience.\n\nSmall details deepen these resonances. A single orange rests on a plate on a small red platform jutting out from the wall, recalling altars of New Year offerings for ancestors, like those from my own family home. The fire bucket beneath the central installation remained unlit until it was carried outside by the artist and her sister, where Sifu Julian Diego—fire arts practitioner and Wong’s kung fu teacher—performed a fire ceremony as a gift to the 100 spirit figures. The burning of the _100 Ghosts_ joss paper carried the ritual to completion, linking interior anticipation with outdoor release.\n\nThe exhibition’s red walls, the rhythmic wave of paper faces, the flicker of gilded prints, and the humble gestures of care create a trembling equilibrium between stillness and motion, inheritance and imagination. Wong cultivates a space where diasporic inheritance is not a narrative of loss. Through acts of folding, offering, and attentive looking, she suggests that connection endures even when lineage is fractured. Ancestry appears not as a resurrected whole, but as a series of fleeting, companionable presences that make themselves felt in the quietest of moments."}]}},{"id":5940,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T19:24:15.900Z","title":"“KAWRUH: Tanah Lelaku”","title_long":null,"slug":"kawruh-tanah-lelaku","redirected_slugs":null,"excerpt":null,"release_date":"2026-06-08","summary":"The Biennale Jogja 18: Chapter II “KAWRUH: Tanah Lelaku” ran from 5 October to 20 November 2025 at Yogyakarta, Indonesia.\n","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:43:34.787Z","publishedAt":"2026-04-15T19:24:43.314Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3879,"attributes":{"first_name":"Innas","last_name":"Tsuroiya","slug":"innas-tsuroiya","redirected_slugs":null,"bio_text":"Innas Tsuroiya is a writer living in Indonesia who works across poetry, criticism, translation, fiction, and divination. She has written for _C Magazine_, _e-flux Criticism_, _TANK_, _The Stinging Fly_, _Poetry Wales_, _Protean Magazine_, _ArtReview_, _Artforum_, _ArtAsiaPacific_, and more.\n","full_name":"Innas Tsuroiya","alpha_sort":null,"hide_on_frontend":false,"createdAt":"2024-12-09T15:49:11.181Z","updatedAt":"2026-04-16T21:43:34.797Z","publishedAt":"2024-12-09T15:49:24.890Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[]}},{"id":5941,"attributes":{"publication_date":"2026-04-15","createdAt":"2026-04-15T19:27:29.453Z","title":"“Starmirror” — Holly Herndon and Mat Dryhurst","title_long":null,"slug":"starmirror-holly-herndon-and-mat-dryhurst","redirected_slugs":null,"excerpt":null,"release_date":"2026-07-06","
14summary":"“Starmirror” ran from 31 October 2025 to 18 January 2026 at KW Institute for Contemporary Art, Berlin.","page_start":null,"page_length":null,"has_thumbnail_image":false,"updatedAt":"2026-04-16T21:43:24.095Z","publishedAt":"2026-04-15T19:27:30.472Z","locale":"en","legacy_id":null,"authors":{"data":[{"id":3285,"attributes":{"first_name":"Jayne","last_name":"Wilkinson","slug":"jayne-wilkinson","redirected_slugs":null,"bio_text":"Jayne Wilkinson is an art writer, freelance editor, and occasional curator based in Toronto and Berlin.","full_name":"Jayne Wilkinson","alpha_sort":"Wilkinson","hide_on_frontend":false,"createdAt":"2022-09-07T21:56:42.944Z","updatedAt":"2026-04-16T21:43:24.113Z","publishedAt":"2023-04-14T19:58:03.796Z","locale":"en","has_linked_articles":true,"has_linked_events":null,"seo":null,"localizations":{"data":[]}}}]},"thumbnail_image":{"data":null},"body":[{"id":6112,"__component":"layouts.text","text":null}]}}],"currentAds":[],"currentIssue":[{"id":165,"attributes":{"issue_number":"163","cover_image":{"data":{"id":4592,"attributes":{"name":"c163 cover.jpg","alternativeText":null,"caption":null,"width":3900,"height":5300,"formats":{"lg":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/lg_c163_cover_8d8fedae84.jpg","hash":"lg_c163_cover_8d8fedae84","mime":"image/jpeg","name":"lg_c163 cover.jpg","path":null,"size":336.98,"width":1060,"height":1440,"sizeInBytes":336981},"md":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/md_c163_cover_8d8fedae84.jpg","hash":"md_c163_cover_8d8fedae84","mime":"image/jpeg","name":"md_c163 cover.jpg","path":null,"size":136.59,"width":662,"height":900,"sizeInBytes":136594},"sm":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/sm_c163_cover_8d8fedae84.jpg","hash":"sm_c163_cover_8d8fedae84","mime":"image/jpeg","name":"sm_c163 cover.jpg","path":null,"size":62.85,"width":442,"height":600,"sizeInBytes":62854},"thumbnail":{"ext":".jpg","url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/thumbnail_c163_cover_8d8fedae84.jpg","hash":"thumbnail_c163_cover_8d8fedae84","mime":"image/jpeg","name":"thumbnail_c163 cover.jpg","path":null,"size":4.91,"width":115,"height":156,"sizeInBytes":4913}},"hash":"c163_cover_8d8fedae84","ext":".jpg","mime":"image/jpeg","size":2853.75,"url":"https://strapi-uploads-c-mag-prod.s3.ca-central-1.amazonaws.com/c163_cover_8d8fedae84.jpg","previewUrl":null,"provider":"aws-s3","provider_metadata":null,"createdAt":"2026-04-15T19:45:20.721Z","updatedAt":"2026-04-15T19:45:20.721Z","legacy_id":null,"related":[{"__type":"api::issue.issue","id":165,"issue_number":"163","title":"Chorus","publication_date":"2026-04-15","publication_date_text":null,"description":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","summary":"C’s Chorus issue marks the beginning of our new print look, shaped by Hwa-Jin Jun, where we also ask what becomes possible if we embrace changing physical formats and materials as an ethos. We think of chorus as a collective noun: for voices, noises, expressions (of rage, solidarity, and otherwise). This issue embraces polyphony, or simultaneity, a chorus that does not dissolve distinction within the collective. From voice as infrastructure, a way of rehearsing coordination and collective power amidst spreading fascist logics, to the dispersal of seeds, anti-colonial cosmologies, melancholic sound in the colour blue, attuning to ancestors in museum collections, and the subtle accumulations in working-class time, we bring a cacophony of grievance and desire.\n","pelcro_sku_id":null,"exact_editions_url":null,"createdAt":"2026-04-15T14:05:50.665Z","updatedAt":"2026-04-17T17:03:32.805Z","publishedAt":"2026-04-15T14:05:57.426Z","locale":"en","num_pages":null,"yumpu_issue_id":null}]}}}}}],"localizations":{},"__lang":"en","__namespaces":{"common":{"site_title":"C Mag","text_pelcro_paywall_notice":"You have 3 unrestr
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