Available from March 15 to June 14, 2021
This issue came together during the second wave of the coronavirus pandemic, at a time when separation has become a routine, although not necessarily pleasurable, experience. Lockdowns in many parts of the country have meant attuning to different ways of engaging with art, as gallery visits are restricted and art spaces offer programming online. This was an opportunity to spend time with practices that prioritize multisensory experiences, not only the visual but also the sonic and the haptic. These sit alongside registers—including different forms of communication or transmission—that exist beyond human perception. Together, these aesthetic experiences consider the role of frequencies as modulators of artistic practice. Many of the artists here focus specifically on listening, rethinking their relationships to sound and finding intimacy and connection beyond imagery. At a time when screen culture is a pervasive and all-encompassing aspect of culture at large, the artists in this issue ask for a pause, a realignment, to think about the aesthetic experiences that come through different ways of sensing.
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Other reviews include: Francesca Ekwuyasi on Nanuk & Bibi at Nocturne Halifax; Jayne Wilkinson on Legacy Russell’s Glitch Feminism: A Manifesto; Joni Low on “Soundings: An Exhibition in Five Parts” at Morris and Helen Belkin Art Gallery, Vancouver; Ossie Michelin on Thomassie Mangiok’s board game Nunami; Amelia Wong-Mersereau on “La machine qui enseignait des airs aux oiseaux” at the Musée d’art contemporain, Montreal; Leah Sandals on Yvonne Mullock at Norberg Hall, Calgary; Louis Fermor on Milton Lim at The New Gallery, Calgary; Adrienne Huard on Indigenous Fashion Week Toronto; Lauren Fournier on “Reflecting Dis-ease: eh ateh pahinihk ahkosiwin” at the MacKenzie Art Gallery, Regina; Irene Bindi on Gelare Khoshgozaran at Plug In ICA, Winnipeg; and Joy Xiang on “Moving Ether Way” at Trinity Square Video, Toronto