The Editorial Magazine

We’re very excited to announce the release our new project. This is Volume 1. of Editorial Magazine’s literary supplement, Total Pet, a publication focusing on poetry and fiction.

Queer Thoughts presents “Bitch, You Gone Die,” at Art Basel, a selection of work by Diamond Stingily that contemplates debt as a moral and spiritual concern.

Tenebrous and at times murky, Lewis Hammond’s solo exhibition, Still life, on view at Lulu in Mexico City, is nonetheless scored by a consistent pulse of luminosity. A soundtrack, or maybe the heartbeat of one of his smudge-hewn protagonists.

The six works presented in Clifford Prince King’s current exhibition, “Want 2 Love U,” currently on view at Launch F18, capture the tenderness and intimacy of people coming together. Over the past few years, the self-taught LA-based photographer has cultivated a recognizable sense of style, subject matter, and richness in palette.

O.S.S. (Open Sound System) is a new collaborative project from music producers Unknown Mobile and NAP. A product of friendship, O.S.S. was made by Daniel Rincon and Levi Bruce over a course of impromptu studio sessions and hangouts between Canadian coasts. O.S.S., the EP under the same name, can be described as “Rodeo Ambience.” The EP features five suites, which aim to invoke “god rays,” – the rays of sunlight that are amplified by the passing of clouds at dusk.

A cob-webbed clearing in a dark forest hosts shimmering pink daemons. The work presented in Will Sheldon’s solo show, “Trouble After Dark,” digitally on-view at Team Gallery until May 30th, is like The Nightmare Before Springtime, a world glittering in its own dew as death coagulates into life.

Frieze NY art fair went virtual this year which meant I could attend the fair for the first time from my Montreal home. Here’s my top picks from the fair, ranging from young, emerging, mid-career artists to outsider artists. I hope you enjoy my selection.

Lost in the wallet-emptying, planet-destroying, hype-horny world of luxury retail are the things we actually like about fashion. In favour of fashion as a genuine means to self-expression, we present style icon Zaina Miuccia, aka Piglet, in a self-styled editorial shot by  her lover, Ivar Wigan.

We wake up in a strange room with no memory of how we got there. This appropriate mantra for our morning moments in isolation is also the first line of text to appear in the opening scene of Gage Lindsten’s interactive animated series, Vessel. Started nearly a month ago at the beginning of his quarantine, Vessel stars Nina, on the run from a Dr. Sphere and his androids

Marilyn Monroe’s body, a reclining nude in a classical painting, a model from an online shopping site—Sara Cwynar is known for reassembling objects of desire. Symbols of beauty are presented here, in the artist’s solo show, Marilyn, just as they are in advertising, stressing an important through-line in the two worlds and in the affects they produce. Cwynar’s project is in surveying the object-life of visual matter, pulling focus on the bizarre ephemera of commercial goods, and in doing so offering a feeling of desire that leads not to a check-out, but only back to itself.

Jill Schweber’s photographs, taken from across the globe including her former home of Tel Aviv and her family’s former home country of Mexico, feel close, even when the subjects are strangers.

Tantalizingly visible in quarantine, through floor to ceiling windows on Avenue du Parc, Hotel Emerald is populated with enamel and plush sculpture and paintings fluctuating from jewel-toned to muted pop. These are the works of the twelve artists Jaber invited to produce freely around the concept of play. Several artworks pose in a sand-box, roughly centre, and child-like vitality runs throughout the show. 

If gleaning involves ascertaining, or, more literally, collecting information or materials, gleaning ozone, an unstable gas, seems hella scary. Ironic, then, that Tiziana La Melia and geetha thurairajah’s show “Ozone Gleaners,” at Montreal’s Projet Pangée, produces an atmosphere of pastel repose. In the press release, an excerpt from La Melia’s OAKWALKDRONE poem refers to “gamma rays on everyone’s marigolds,” and indeed a slippery proximity between twee habitats (two paintings are even shaped like gable-roofed houses) and sinister, electromagnetic undertones permeates the show.