في هذه القضية

Editorial Note
By Maxine Proctor, Managing Editor/ 2

Leaky Bodies: Performance and Pain in the Work of Chloë Lum and Yannick Desranleau
By Cindy Baker/ 4

Eve Tagny: Beyond Grieving and Healing
By Mojeanne Behzadi/ 12

Dislocation and Reclamation: Rebuilding Indigenous Families in Gil Cardinal’s “Foster Child” and Tasha Hubbard’s “Birth of a Family”
By Adriana Chartrand/ 18

She & Her & Me: Arpita Shah, Clea Christakos-Gee, Jennifer Long, Margaret Mitchell
A curated portfolio by Clare Samuel/ 24

Between Two Fictions: Kevin Ei-ichi deForest
By Lillian O'Brien Davis/ 32

Generation to Generation: The Legacy of Loss in the Films of Amalie Atkins
By Maxine Proctor/ 42

The Butterfly Effect: Landscape and Myth in the Photographic Work of Zoe Koke
By Lauren Lavery/ 52

Book of Mormon Stories Ruth Cuthand Retells to Me
By Jera MacPherson/ 58

BlackFlash Magazine Description:

BlackFlash Magazine is a platform for contemporary visual art.

BlackFlash is dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices from across Canada, the United States and beyond. Each issue includes feature articles, profiles, interviews, and artist projects from a diverse selection of artists, writers, and curators. BlackFlash fosters a rich public engagement with image-based practices, such as photography and video as well as sound, performance and social practice by promoting energetic debate and showcasing diverse voices and communities (local, regional, national and international).

BlackFlash was founded in 1983 by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG). We are currently working on our 38th year of publication, making us one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art.

BlackFlash was created to promote contemporary photography and over its thirty-five year history, the magazine evolved, following the artistic trajectory of photo-based practice to include artists working with new technologies such as video and digital media. In its commitment to being responsive to artists and relevant to contemporary art practice, the magazine has recently broadened its editorial mandate, while affirming its distinctive prairie perspective.