The Editorial Magazine

In a dry and temperate climate, the shade of Selg’s cave walls are covered with glitching fossils and melting glyphs, puzzles and amulets.

Verdant, vibrant markers buoyed up in the dulling turbulence of American society.

Smudged and vibrant, like noxious exhaust on a dark night

Self-love, sincerity, and ingenuity turn me on almost every time, no matter who or what it is that I am looking at.

Suspenseful, 1980s, and often athletic, Oda’s imaginary world feels like Nancy Kerrigan’s revenge story.

As viewers observing the dusty remains of these exiled monsters, we’re compelled to empathize with them.

Torrent itself is a celebration of the elements – stone, water, wood. This act of appreciating nature feels as though it’s happening through a glowing desktop computer in a dim, litter-strewn basement.

In Buff, Max Heiges presents a collection of 60+ hand-cut steel barbells and dumbbells, turning New Release Gallery into a kitschy home-gym.

False Witness, aka producer Marco Gomez, is a force of chaotic good in the underground club landscape. In step with the socio-political environment that produced techno and dance culture, Gomez’s music functions as a response to the highly charged political atmosphere in which we live—it is musical armour for anxious and futile times, embracing dark, manic energies.

Perfect coded patterns are made from imperfect brushstroke petals.

Through natural sound pallets and layered loops, Dugong explores the complex bio-poetics of the ecosystem; sometimes we can hear the snow melting. Horizons Sauvages sounds like a daffodil – a spot of colour in a field of grey, delicate, though resilient and joyful.

Srijon is illustrating his own story, one that blurs fairytale fantasy and mythology with realism. His paintings are a spiritual practice, a way of transcending the anxieties of our time, the struggle of good and evil and the nightmarish reality of our apocalyptic world.

“I would make myself the boss of everything and I would give every girl a guitar, and every musician a million dollars.”

If a chair can be camp, Thomas Barger’s chairs are camp. Despite being spotted in glamorous locations like the NYC Glossier flagship or the homes of in-the- know art collectors, Barger’s process is a humble one: he finds recycled paper and blends it into a pulp, then applies it to ordinary chairs to convert them into something new and extraordinary. His is furniture in costume, utility transformed, like chairs playing house.

Loving is difficult, especially when we are coming from a place where we never learned how to love ourselves. It’s her pilgrimage toward this act that writer and activist Fariha Róisín leverages for the purpose of healing, exemplifying the power of transformation.

Gone will be the notions of an inferior form as throughout this year laps of fresh-off-the beast wool will be pomped and draped over the heads of the sceptics and subsequently take us back to a time best remembered by senior citizens.

Rebecca Ackroyd’s second solo exhibition at Peres Projects, 100mph, delves deeper into her personal dream psyche. Acrkoyd establishes her narrative of random association- feminine forms and sanitized drain covers sit next to one another in discord but interact, poetically, sinisterly, to create a sensual and unsettling landscape.