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Esmé Hogeveen

is a reader and writer based between Montréal and Toronto. She's a former member of the MICE Magazine collective and holds an MA in Critical Theory and Creative Research from the Pacific Northwest College of Art.

Rajni Perera: Traveller

Sleek, yet ornate; futuristic, yet traditional; feminine, yet androgynous. Mixed media portraits of powerful figures line the walls of Traveller, a solo exhibition by multidisciplinary artist Rajni Perera.

Bambitchell: Bugs and Beasts Before the Law

“All beasts and birds, as well as creeping things, were devils in disguise.” So whispers the narrating voiceover in Bambitchell’s experimental film installation Bugs and Beasts Before the Law. Developed with support from the Henry Art Gallery and showing for the first time at Mercer Union in Toronto, Bugs and Beasts reflects Bambitchell’s (the shared moniker of multimedia artists Sharlene Bamboat and Alexis Kyle Mitchell) interest in juridical histories.

Staging Xenophobia: The Legacy of German Iconoclast Christoph Schlingensief

Foreigners Out!, the title of Schlingensief’s art project-cum-reality television parody, was created in response to the formation of a far-right, anti-immigration Austrian coalition government the same year. Inspired by the Y2K affinity for 24/7 reality programming, Schlingensief used the Big Brother format to capture the lives of twelve real asylum seekers.

Surveying the Demos: Reviving Civic Dialogue in Astra Taylor's What is Democracy?

Though the film begins with allusions to rule and justice from Antiquity and the Renaissance, What Is Democracy? is very much about the global present.

Speaking and Recording and Broadcasting Their Truths

Over the past few years, much has been said—hastily, thoughtfully, and above all with conviction and abundant evidence—about the gendered experiences faced by women working in the film industry.

Replete and Incomplete Portraits: Documentaries at TIFF 2019

As the cinema lights come up after Cunningham, Alla Kovgan’s dazzling 3D documentary about 20th-century American dancer and choreographer Merce Cunningham, the audience makes a trilling noise—it’s the rare sound of strangers noting shared delight. This is only the third day of the Toronto International Film Festival and while audience members remove their 3D glasses and decide whether to settle in for the Q&A, I wonder whether it’s too soon to consider Cunningham a festival highlight.

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The Brooklyn Rail

NOV 2019

All Issues