Claire Milbrath’s Love Letter to a Cardsharp
PUBLISHED IN ISSUE 18 By Claire Milbrath Banished from Rome for murder, Michelangelo Caravaggio packed up everything he owned and boarded a ship sailing far from trouble. The boat took a pit stop on a remote island, and Caravaggio hopped off to stretch his legs. While strolling along the beach, a Spanish garrison officer mistook him…
CHAI: Don’t Judge Me!
CHAI is a four-piece girl group from Nagoya, Japan, consisting of twin sisters Mana and Kana, and their friends Yuna and Yuki. CHAI wants to use their music to present their new genre, “NEO-kawaii,” and their “complex is art” worldview.
At Home with Victoria Dailey
PUBLISHED IN ISSUE 19 Illustrious writer, curator, lecturer, Victoria Dailey gives us a tour of her Los Angeles home and closet. Photos by Logan White. Assistant: Lena Melillo Read some of Victoria’s work here. See our article on Logan White’s photography here.
No Place at L’Inconnue
The strongest work in No Place, an exhibition of many great works, is a small oil painting depicting two Christmas presents on fire. Quintessa Matranga’s paintings are brazen, and thrillingly off-trend. Her painting Fire is like an intrusive thought, those private flashes of something wild, violent, or deeply strange, that all of us experience now and again, but never say out loud.
Premiere: Acronym & Kali Malone’s A Sunspot
Humming, droning, rumbling, throbbing, vibrating-like, fizzing, all sounds listed as symptoms of acute anxiety, serve as apt descriptors for The Torrid Eye, the collaborative techno-ambient album from Stockholm’s Acronym and Kali Malone. Recorded using a Buchla 200 series modular synthesizer, and other rare analogue instruments brought in by Malone, The Torrid Eye reaches cinematic drone levels. This is crisis…
Premiere: Slut Island Mixtape
We’re excited to debut a track from Slut Island’s Deluxe Mixtape Vol.1, a companion tape to the annual Montreal-based festival prioritizing artists with experiences of marginalization and misrepresentation in the music and art scenes as result of their sexual, racial, class, and/or gender identities. Co-curated by Odile Mytril and Victor Bongiovani, the mixtape features a musical buffet…
In the kingdom of Paul Descamps, the weed elves and the sea people embark on a pilgrimage to the deep woods, where they will dance ritualistically under the shade of daisy petals. You can see them passing through the pages of this issue, facing the challenges of the journey, or engaging in early celebratory activities.
No Sesso’s Modern Day Royalty
Queens of all classes, all genders, all races, No Sesso outfits modern-day royalty in its many forms. Interview with Pierre Davis.
Photography: Dicko Chan, Model: Jasmine Armanii, Styling: Pierre Davis, Art Direction: Pierre Davis and Arin Hayes
Chatting with Ariel Pink
If a Halloween party were a person it might be Ariel Pink. The haunted stuff, the theatricality, the risk of something offensive happening. Ariel Pink is the whole party, but here he is the guy who stands in the hallway with his mask on, eluding any “Who is that?” line of questioning. I do love…
Caley Feeney is a Los Angeles-based visual artist and musician. She makes art using a wild potpourri of materials, including drawings, paintings, graphic design, sculpture, music, toys, t-shirts, and textiles. But she tells us her favourite mediums are dance, laughter, and jokes.
Cara Chan’s A Part of Things
The soft, chalky texture of Cara Chan’s Venetian plaster sculptures evokes touch. Figures fondling and holding onto each other; they seem to converse in bed. Luminous busts rest elegantly on carefully constructed plinths, mutually supporting and melting together, interconnected
Nhozagri’s Stuffie Babies
PUBLISHED IN ISSUE 18 Nhozagri tells me her name means “someone who can make the sun sharp” in Chinese. She speaks in special, spiritual aphorisms. For example, about one of her sculptures, a particularly circular, fuzzy orange creature, she says, “Memories are jumping rope on someone’s face.” When I first laid eyes on Nhozagri’s creations, it…
Iris Fraser-Gudrunas for Dame Barbara Cartland
PUBLISHED IN ISSUE 18 Dame Cartland is the most prolific author of the 20th century, having written over 700 novels, the majority of which were pulp romance, often seemingly unedited. Estimate sales of her books range from 750K to 2 billion. A true 20th century woman, she was born 1901 and died in…
A Conversation with Sam Lipp
PUBLISHED IN ISSUE 18 INTERVIEW BY DREW ZEIBA Sleep, Acrylic on foamcore, mounted on aluminum. Images Courtesy of Bodega Artist, curator, and gallerist, Sam Lipp’s work floats. Despite his paintings’ use of seemingly clear language and representational images, the exact meanings behind them remain unnervingly difficult to pin down, unendingly unfixed. His paintings are suffuse…
An interview with Angelique Heidler
So much of Heidler’s work feels as though it’s at its own altitude. Attention-seeking palettes are a conduit for recounting bewildering tales. Advertisements from a magazine’s back-page erotic advertisements, dried flowers, and stickers are the sorts of repurposed materials that find their way into her compositions. Engaging the pop cultural zeitgeist, farcical narratives, and divergent forms of femininity, Heidler’s work serves us a painterly mille-feuille brimming with dense, figurative layers.
Hollick’s Music for Water
“Music for Water is an idea I’ve had for sometime now. Since going to the local pool a lot more recently, I’ve come to realize how much water calms me. All songs selected have the theme of water running through them. Whether you’re heading to the pool, watering your plants, or just need a cool…
Andrea Lukic’s Journal of Smack
“I have fallen through a window of time, captured and written down on the screen. My name appears everywhere, but I cannot go home.” Journal of Smack, Andrea Lukic Branches drag across the window pane; shifting shadows on the floor reveal secret truths in Andrea Lukic’s fifth installment of Journal of Smack. Flipping the pages…
Koak’s Breaking the Prairie
Koak paints the modern day American Gothic, the Midwestern woman on the verge. Bold black lines and mood-colouring depict female figures writhing, gnawing, and bringing the axe down. Taking her title from Grant Wood’s 1930s mural Breaking the Prairie, Koak’s new exhibition is a reaction to a long history of men breaking nature. Wood’s Depression-era Public Works of Art projects serve as fodder for the Trump-era painter, with their focus on Midwest masculinity, agriculture, and economically-motivated American isolationism.
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