A Reversal of  Winds, 2018, bookwork, 6″ x 7″. Image courtesy of the artist. Sylvia, from here by Tyler Bright Hilton The short-sighted cannot love mountains as the long-sighted do.         Nan Shepherd, The Living Mountain   I Sylvia Matas and I met…

the route that ocicak preferred (detail), Hannah Claus, 2017. Photographer: Paul Litherland. Llaser-engraving on handmade tea-stained paper, chinécollé, 2 pass screen print, japanese hole punch, copper leaf. Image courtesy of the artist. Spatial Codifications: Hannah Claus by Dr Léuli Eshrāghi Hannah Claus and I first…

Town Girls Beneath, Sandra Brewster. Image courtesy of the artist. A Sense of Place: Sandra Brewster at YYZ by Canisia Lubrin Town Girls Beneath is a re-iteration of Sandra Brewster’s A Trace | Evidence of Time Past, her master’s thesis show composed of a jar of…

Haley Uyeda—under the veil of morning mist by Daniella Sanader March 14— Today was one of the first warm days of the year. Gray and wet, that first moment when the air seems to soften and people emerge from their homes in less layers; exposed…

Notes on Nikolai Fedorov’s ‘Philosophy of the Common Task’by Peter Bowyer YYZ Lending Library Reading Club Peter Bowyer, March 14th, 2019 I have been aware of Cosmism for a while now, as an extension of my research into some slightly overlooked aspects of visual art…

Toronto ‘. Trialogue by Guy Sioui Durand Tsei8ei 8enho8en ‘ Note the apostrophe added at the end of Toronto ‘ . Linguistic symbol which indicates a cut in the sound in its name in Huron-Wendat language, it conceals a great significance. It supposes to dream….

This text by STEVEN COTTINGHAM was published alongside KRISTA BELLE STEWART’S exhibition, A Guest a Host a Ghost. The Spectral Ledger by Steven Cottingham There can be no doubt that the colonial paradigm is a question of haunting. What remains for debate, however, is the…

For years, Rita Letendre’s public art cut radiant vectors across Toronto’s urban grid.

When Things Occur (2016) by Oraib Toukan is based on Skype conversations with Gaza inhabitants who were behind the images that were transmitted from screen to screen in the summer of 2014. The subsequent remarks are organised in four short segments that end up with open questions which expand the reflections touched upon here.

This space is not a space. This space reminds us of a space – here, and outside of here. A juxtaposition of several spaces forming a single, ‘real’ place. A break with traditional time.