2024


• Exhibition essay for Resurrected in Times of Need by Jenine Marsh, at Ashley, Berlin. April 11 - 29, 2024.
• Artists Shirin Fahimi and Jawa El Khash turn to the digital to reimagine what history has lost, for CBC Arts, 28 March 2024.
• Bodies in Catastrophic Interdependence: A Conversation on Faye Driscoll's Weathering, for PUBLIC, 1 March 2024.
• "Weathering" - Faye Driscoll, for C Magazine, 14 February 2024.
• Arqueología Nostálgica: Elizabeth Burmann Littin's Ecosystem of Decay, in Cornelia Magazine #14 (January 2024): p. 12-19.
  
  2023
  
  
• The view is total sea, for C Magazine, 20 September 2023.
• A historical and contemporary primer on stained glass, for Public Parking, 29 May 2023.
• Exhibition essay for How to Fulfill a Wish by Jenine Marsh, at Cooper Cole Gallery, Toronto. May 27 - July 1, 2023.
• Exhibition essay for Objects in mirror are closer than they appear by Jill Smith, at Xpace Cultural Centre, Toronto. March 10 - April 22, 2023.
• Sans humains, in Imagining Futures of Experimental Media, edited by Aaditya Aggarwal, Elida Schogt & Fan Wu (Pleasure Dome, NIMAC & OddSite Arts, 2023): p. 136-145.
• Paul Kajander, Iso Kokko, in esse arts + opinions #107, "Family" (Winter 2023): p. 106-107.
  
  2022
  
  
• All Humanisms, Until Now, in Syphon 7 (Modern Fuel ARC, 2022): p. 3.
• The Asian American Dream: In Conversation with Yan Wen Chang, in BlackFlash Magazine 39.2 (Fall 2022): p. 30-37.
• João Onofre, in C Magazine #152, "Extraction" (Autumn 2022): p. 70-71.
• So You Think You Can Work?, for East Room, 19 August 2022.
• Complex machineries of ethics and desire: in conversation with Melanie Jame Wolf, for Public Parking, 14 March 2022.
• Monumental Archive: Iris Häussler's Long '90s, in Cornelia Magazine #8 (January 2022): p. 4-10.
  
  2021
  
  
• Frontiers of the posthuman natural world: in conversation with Alice Bucknell, for Public Parking, 13 September 2021.
• BLOOMDOOMROOM: Face to face with a slow apocalypse, for Femme Art Review, 27 July 2021.
• New Strata at Hearth Garage, for Peripheral Review, 4 May 2021.
• Redressing artistic labour (Illusions of Progress Pt. 2), for Public Parking, 30 March 2021.
• Reinscribing history in public space (Illusions of Progress pt. 1), for Public Parking, 17 February 2021.
  
  2020
  
  
• The New Black Vanguard (book review), in Canadian Art, "Chroma" (Fall 2020): p. 103.
• Bending toward Liberation: "Libertad" at Dazibao, for Peripheral Review, 24 June 2020.
• Images Festival, for Canadian Art, 23 May 2020.
• Passing Time, co-authored by Erin Saunders, Leah Sandals, Jayne Wilkinson and Joy Xiang, for Canadian Art, 14 May 2020.
• Well Now WTF?, for Canadian Art, 5 May 2020.
• Art for Strange Times, co-authored by Jas M. Morgan, Leah Sandals, Joy Xiang and Jayne Wilkinson, for Canadian Art, 26 March 2020.
• Life in Video, interview with Barbara London, co-authored by Joy Xiang, for Canadian Art, 19 March 2020.
• The Good, the Camp, and the Ugly, for Public Parking, 11 March 2020.
• Tropes of Visibility: Performance art, womanhood, and bodies in semiosis, in Networks of Experience: Art and (dis)embodiment (conference anthology, OCAD University, 2020): p. 11-22.
  
  2019
  
  
• The Trouble with Capitalist Utopia: A totalizing scheme of subsumption and planetary urbanization, in Architecture and the Smart City, edited by Sergio M. Figueiredo, Sukanya Krishnamurthy & Torsten Schroeder (Routledge, 2019): p. 56-67.
• Updating the logic of the monument: in conversation with Susanna Jablonski, for Public Parking, 11 December 2019.
• How to turn the world back on itself, in Roundtable Residency 2019 (exhibition catalogue), edited by Dallas Fellini & Angel Callander (Toronto, 2019): p. 3-7.
• Inhabiting zones of estrangement, for Public Parking, 10 July 2019.
• Nonlinear ethics and transgression, in Supermarket Art Magazine #9 (Stockholm, 2019): p. 8-11.
• On Sickness, Institutions, and Care, for Public Parking, 7 February 2019.
  
  2018
  
  
• Ecofeminist Guide to Finding Home on Earth, in Cross Process 2, edited by Rachelle Sabourin & Calin Stefan (Toronto, 2018): p. 45-49.
  
  2016
  
  
• "Unable to establish a connection": Interpreting Empathy within the Interface, in Interface Critique, edited by Florian Hadler & Joachim Haupt (Kulturverlag Kadmos, Berlin, 2016): p. 211-225.
  
  2014
  
  
• "This is here and so I give it back to you": Experiencing art and the world with Jon Rafman and Google, in ARTHattack! Undergraduate Symposium Journal No. 7 (Guelph, 2014): p. 1-15.
  
  2012
  
  
• Postmodern Pastiche: The Internet and Dadaism, in ARTHattack! Undergraduate Symposium Journal No. 5 (Guelph, 2012): p. 40-56.

• Reading for "if the path is paved with asphalt" at Pumice Raft, Toronto, in conjunction with the exhibition Exuberance!. Organized by Parker Kay and Rosemary Flutur. 2 September 2023
• Editorial resident for Canadian Art Fall 2020 issue "Chroma"
• "Anxieuse," curated for audio mix for Hearth (no. 12), May 2020
• Master's thesis "Performance, Womanhood, and Disentangling Humanism in Pursuit of Something Else" evaluated by Dr. Inge Hinterwaldner and Dr. Eva Ehninger. Grade: 1.0 (outstanding), January 2018
• Editorial assistant and image researcher for Texte zur Kunst #108: "Idiom - Languages of Art," December 2017
• Conceptualization with Nick Verstand for "AURA," 2017. Premiered at Dutch Design Week (Eindhoven, NL, 21-29 October 2017)
• "Inhabiting the Grey Zone: Reconciling the ontologies of human and data bodies." Research paper for graduate seminar "image/screen/worlds (translation)" with Dr. Cheryce von Xylander, April 2017
• "The Trouble with Capitalist Utopia: A totalizing scheme of subsumption and planetary urbanization." Research paper for graduate seminar "Subterranean, Above-ground, Extraterrestrial: Urbanist visions since the mid-20th century (translation)" with Dr. Inge Hinterwaldner, April 2017
• Research for Nick Verstand, "POV," 2017
• Research and translations for "A Gallerina's Dream (Arbeitstitel)," curated by Celina Basra at Galerie im Turm, Berlin, 17 March - 30 April 2017
• Transcriptions, translations and research for CTM Festival 2017 exhibition "Critical Constellations of the Audio-Machine in Mexico," curated by Carlos Prieto Acevedo at Kunstraum Kreuzberg/Bethanien, Berlin, 28 January - 19 March 2017
• Transcription for subtitles (German and English): Thomas Bratzke, Schreiben mit Jungpionier Espinosa, video, 1 hour. Exhibited at Galerie im Turm, Berlin, 11 November 2016 - 15 January 2017
• "How did we get here? A study of art 'after' the Internet." Research paper for graduate seminar "Viral Images (translation)" with Dr. Matthias Bruhn, March 2016
• "Viennese Actionism: Actionists and the abject citizen." Research paper for graduate seminar "Gaze, Body and Gender in Art after 1960 (translation)" with Dr. Susanne von Falkenhausen, February 2016
• Research and text for Nick Verstand, "ANIMA I," 2015-17.

• OPEN CIRCUIT #27 with Scott McGovern, Ed Video Media Arts Centre, 26 May 2020.

• Catalogue essay by Melina Gerstemann into English, "Schreiben mit Jungpionier Espinosa," Galerie im Turm, Berlin (2017)
• Curatorial essay by Ece Parabezi into German, "The Muscle Memory," Kunstraum Kreuzberg/Bethanien, Berlin (2017)
  

• Resurrected in Times of Need, solo exhibition by Jenine Marsh, Apr 11 - 29, 2024, at Ashley, Berlin
  

  Jenine Marsh’s sculptural practice examines the shared experience of end-stage capitalism. Using elements of the everyday such as coins, flowers, newspaper, and purses along with materials that signify the labour of the built environment like concrete and bronze, Marsh highlights how economic, social, and architectural realities are tightly bound to each other. With a distinct interest in historical and literary conceptions of utopia, what often comes through is an equal consideration for the past as for the future. An overview of her artistic work reveals a poetic, cohesive feminist and anti-capitalist insight into value, agency, and mortality, evaluated through processes of research, physical contact, and personal resistance.

  In this new solo exhibition, Resurrected in Times of Need, Marsh creates a site-specific installation that addresses systems of value and memorialization, particularly related to the history of Berlin. Looking closely at the relief sculptures at the Soviet Memorial in Treptower Park, the graphic figuration of a strong, idealized proletariat is shot through with the elements of Marsh’s material sensibilities. Disembodied and sculpted in the familiar, civic medium of concrete, the forms disclose the urgency and inadequacy of their material. As the show’s title suggests, despair, optimism, nostalgia, and forgetting are cyclical parts of the collective unconscious, while Marsh’s sculptural process mirrors historical materialism where the past, present, and future may become tactile and interactive.

• Intravenous Dove, solo exhibition by Andrew Harding, Feb 8 - Apr 20, 2024, at Blouin Division, Toronto
  

  Andrew Harding (b. 1995) is a Métis project-based artist in Toronto, whose works explore hybridity through sculpture using found imagery and fabricated forms. Intravenous Dove is the spiritual successor to Hardings previous project, Not All Dogs Go to Heaven (2022). Emerging from an exploration of contemporary angst and accepting the unknown, these new works meditate on the signals and symbols of determination.

  Using familiar iconography of daily life, often passed over without much thought, the works in this exhibition draw attention to our proximity to, and distance from, everyday occurrences and motifs that we take for granted. Looking to the physical and theoretical functions of support structures, Harding foregrounds the various mechanics of how his pieces are presented in, and interact with space. There is a reverent quality to the works, appearing salient and votive, as well as referential and mysterious. Essentially, they evoke ways in which we consider sacred value in times of unrest. Amidst the precious and the uncertain, Intravenous Dove is an infusion of what it means to carry on.

• Will o' Wisp, solo exhibition by Amanda Boulos, Sept 21 - Nov 4, 2023, at Blouin Division, Toronto
  Artist talk: Nov 4, 2023.
  

  Amanda Boulos is a Mississauga-born Palestinian artist and educator based in Tkaronto/Toronto. Engaging with personal and national oral narratives from Palestine, Lebanon, and Canada, Boulos explores how the Palestinian Diaspora is constantly undergoing what philosopher Catherine Malabou calls “unprecedented metamorphosis,” a metamorphosis that is capable of abandoning a burdened body or identity to allow a new form to emerge. Throughout her painting practice, Boulos abstracts and transforms oral narratives by fragmenting their environments, allegorizing their fates, and re-envisioning them into symbolic representations. Her paintings are an investigation into and reflection on the plasticity of her, her family’s, and her people’s perceptions, histories, and lives.

  In Will o’ Wisp, Boulos also presents a series of ‘smash paintings’ on paper. These smash paintings replicate the intention of a Rorschach test, where the symmetrical image prompts an invitation for interpretation. Boulos takes images she’s familiar with and ‘smashes’ them, skewing the original subject, and doubling it, to reveal a new transformed image and with it fresh, even lucid visual interpretations.

• on either side of a surface, solo exhibition by Sophia Oppel, April 27 - June 17, 2023, at Arsenal Contemporary Art, Toronto
  Artist Talk: June 10, 2023.
  

  This exhibition coalesces around a new video piece, I’m sorry, I’m having trouble with the connection, please try again in a moment. An AI assistant named Claudia reflects on her existence as a machine, a servant, and a product. Her monologue considers feminized labour and the commodification of desire, moving between generic auto-responses and more poetic, philosophical speculations. As Claudia becomes more aware of herself and the world she exists in, her resentment towards her circumstances becomes palpable.

  With increasing anxiety about the implications of advanced AI, as well as the failed historical promise of automation for the way humans work, Oppel’s work in this exhibition encompasses a number of concerns for the type of posthuman future we are headed towards.

• dwelling for the dear one, solo exhibition by Rihab Essayh, November 4, 2022 - January 21, 2023, at Arsenal Contemporary Art, Toronto
  

  In dwelling for the dear one, the gallery space is used as a dressing room, complete with gossamer windows painted to look out onto an open desert. Evoking this seemingly empty landscape of isolation alongside the security of the home, the cumulative effect is an equivocal feeling of whether we’ve been invited or if we are intruding. The central piece is soft armure (2022), a set of garments sewn as a personal armour, which is exhibited for the first time as its own piece. Hung deliberately on the wall, it is implied that our main character has stepped out into the desert without her protective attire.

• Shadow Protocol for Ed Video Media Arts Centre, April 4-7, 2019 at Supermarket Independent Art Fair, Stockholm
  

  Young, emerging artists are negotiating their positions in a milieu where access to resources and capital is subject to precarious working conditions, changes in public funding, and dizzying relationships to institutional power. Identity politics alone are inadequate to address the material conditions of artists competing for limited resources, and contending with more stringent control over how they are allocated. These artists develop a new understanding of art world relations, which differs from an older generation of artists – that of Martha Rosler and Barbara Kruger – staking a claim in the transgressive gesture as ideologically pure. However, this generation was rebelling against models of politics and media that are now insufficient for resisting the digital platforms that shape and mediate political, individual, and institutional relations. Rather than resorting to nihilism in negotiating a critique, these artists find a degree of pleasure and humour in their aesthetic gestures of resilience and the nonlinear strategies of transgression.
  This exhibition featured new work by Ivana Dizdar, Sophia Oppel, Xuan Ye, and B Wijshijer.

• Everything Woman is Alien to Me with Aggie Davies and Elle Peril, April 13 - 20, 2017 at Premarts, Berlin
  

  Those who live independently of authority are considered a threat to the established order. The figure of the witch, for example, is that of a woman who is dangerous for her associations with evil, that is, for her hidden knowledge, her rejection of Puritanism, her autonomy in patriarchal society. Today, some social conditions remain the same, women are still discounted and disbelieved. Taking "woman" as a social rather than biological category, we would see the tides change - to have those who have remained silent finally speak up. Instead of asking for permission to speak, it is time we spoke for ourselves. For if you do not define yourself, you will be swallowed by the definitions of others.
  In this participatory project, all are invited to contribute to the compilation of a live text comprised of the voices that are often unheard. As we rewrite the narrative from the perspective of the suppressed, the text reveals sacred truths and the essential testimonials of events, history, denied by institutions of power and those who would maintain them as they are, in perpetuity.
  In its first iteration, Everything Woman is Alien to Me consisted of a week-long co-working space, library, and installation, as well as a series of workshops, discussions and performances by Elle Peril, Aggie Davies, Nisha Bhakoo, Verónica Mota, Annique Delphine, and Kara Johnstad.

• Post-Internet Philosophy, group exhibition, May 23 - 28, 2016 at Pergamom-Palais, Humboldt-Universität zu Berlin
  

  How could the philosophical practice of our generation look? How does our digital socialization impact the way we want to do philosophy? What kind of philosophical praxis feels right to our digitally mediated brains?
  In order to answer these questions, participants of the project tutorial “Post-Internet Philosophy” were encouraged to experiment with new formats and to defy the conventions of the ivory tower. The aim was to emancipate ourselves from what our professors hold as the right way to "do" philosophy and, through this, to find our own philosophical identity within the contemporary landscape. To fill the empty notion of Post-Internet Philosophy with content, the participants completed individual projects inspired by bi-weekly discussions, workshops and work-in-progress showings.
  The exhibition was accompanied by an open panel discussion with Jorinde Schulz and Babette Babich on the function of philosophy and academic practice, philosophical education in universities, and the opportunities and challenges of new philosophical formats.

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