c magazine #83, invite


c magazine
ISSUE89/SPRING 2006

In our spring issue, we revisit identity politics and its usefulness, especially within a country as multiracially complex as Canada. When art is relieved of the burden
of representing a social group, what is left is the artwork itself - for our purposes, a case that speaks to history. "Case history" usually refers to medical diagnostics; in aesthetic terms we could say it is history that is understood as a life--that is, history as it is channeled through individual experience.
FEATURES
  • Leah Sandals, Ken Lum: The Short Interview
  • Helena Reckitt, My Fuzzy Valentine: Allyson Mitchell
  • Jacob Wren, Art Drug Centre: Jacob Wren on Kaoru Arima
  • Anne Low on Andrew Dadson eatly "a plot with a single type of grass with no intruding
        weeds, kept mown at a height of an inch and a half, uniformly green, and nedged."
  • Yam Lau, Theodore Saskatche Wan, or Posing with Another

    • COVER
    Theodore Saskatche, Wan Bradine Scrub for General Surgery, 1977

    COLUMNS
  • Chris Kraus, Wake
  • Sarah Robayo Sheridan, Chris Marker's Owl's Eye View

    • INTERVIEW
  • Terence Dick, Interviews Brian Jungen

    • REVIEWS
  • Yang Fudong: Recent films and videos, Stedelijk Museum, Amsterdam,
         by Tatiana Mellema
  • Pattern Fields: Jeannie Thib, Foreman Art Gallery of Bishop's University,
         Lennoxville, Quebec, by Maura Broadhurst
  • Jessica Thompson, Soundbike @ Art Interactive Glowlab: Openlab, Boston,
         by Dina Deitsch
  • Theo Sims, splace, Golden Thread Gallery, Belfast, by Slavka Sverakova
  • Lisi Raskin, Transmission Gallery, Glasgow, Scotland, by Mick Peter
  • Jeff Wall, Photographs 1978-2004, Tate Modern, London, by Vesna Krstich
  • Ilya and Emilia Kabakov: The House of Dreams, Serpentine Gallery, London,
         by Christina Bagatavicius
  • Lori Newdick, Lucky, Corkin Shopland Gallery, by Carla Garnet
  • Stephanie Aitkin, Headlands: New Paintings, Helen Pitt Gallery, Vancouver,
         by Sean Alward
  • Erik Goengrich, Alles Andre ist Drin! (Everything Else is Inside), Berlin sculptures
         and other announcements,     Platz der Vereinten Nationen 27 by Rodney LaTourelle

    • ARTIST CENTREFOLD
    Corin Sworn, Switzerland 1972, 2005

    BIG PICTURE
     Nancy Van Keerbergen, Self-Portrait, Back Nails Drip, 2003


    C WAS SEEN IN:
    The Toronto Star, April 2, 2006, John Sakamoto's Column Lawn order
    "Every city has its boundaries between private and public space, between nature and the urban world," writes Anne Low. "Andrew Dadson makes the space of these invisible distinctions apparent to see how they can be breached and stretched." How the artist goes about that, however, is especially witty.
    "The space of the backyard as a site of suburban pride and leisure, where homeowners cultivate their own spheres of nature, becomes explicit in a subsequent work, in which Dadson has painted the lawn of a conventional suburban backyard black. Using black paint instead of white, the act is much less benign, carrying with it connotations of erasure and anarchy, or environmental apocalypse."


    For more information contact Rosemary Heather, 416-539-9495 editor@cmagazine.com


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