Cowboys And The Sound of Trains

For the third instalment of “Cowboys And The Sounds Of,” an Editorial mix series from longtime contributor Daniel Rincon, we’re treated to the sounds of sad country music and trains passing by. The combination is unexpectedly heart-wrenching, as if the sound of trains bring us back to an era of long goodbyes and far distances. Three years in the making, Rincon’s two hour collection of cosmic country and folk is a testament to the enduring heartbreak and beauty of the genre.

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Sara Cwynar’s Marilyn

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.

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Sacred Choral Mix by Darby Milbrath

Sacred Choral music of the Medieval and Renaissance periods were written as devotional hymns for those seeking solace and inspiration in a violent, troubled world. Saint Hildegard von Bingen who was an abbess, mystic and composer, spent most of her 80 years shut away in isolation, in an obscure hilltop monastery in the Rhineland. The songs she composed came to her in mystic visions, which she wrote for her nuns to sing at their devotions.  On today’s new moon, let’s take inspiration from the saints and set intentions to begin new projects today.

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Ida Ekblad’s Deep Medicine

Grounded only by virtue of the ample cerulean blue smears at its top, Cruel Deceptive Empire, a painting by Ida Ekblad, feels at once static and full of velocity. Refracted yet thoughtfully rendered shapes embody the predicament of isolating a point of focus amid movement, like flipping through a Manga in search of a specific panel, or holding one’s gaze while speeding past them on a subway car. Ekblad’s exhibition, A Deep Medicine, in Paris at Galerie Max Hetzler, features works that unpack the graphic aesthetics of her 80s upbringing, without the saccharine of cliches.

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Jobair Jaber’s Passe-Temps

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. 

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Jessica Canje’s Katya Zelentsova Zine

Before I met Katya Zelenstova her work was already alluring to me. I was like, “Who is this girl making sexy knitwear?” She asked me to fit model for her a couple of times and I ended up walking her BA collection at the Central Saint Martins show. Her clothing puts me out of my element, but somehow I feel powerful and confident in her designs. Perhaps this is the future of fashion editorials now, but the concept for this zine came before everything changed, when we decided to just have fun and shoot her collection around her flat in London.

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Tiziana La Melia and geetha thurairajah’s Ozone Gleaners

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.

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Srijon Chowdhury at Foxy Production

“Cruelty has a Human Heart,” reads the first line of William Blake’s, A Divine Image. The poem, originally published in 1789, is unsurprisingly still poignant today, and in its entirety appears almost super-imposed over an ethereal white horse and its passenger in Srijon Chowdhury’s expansive painting, Pale Rider. Featured in an eponymous solo exhibition at Foxy Production in New York City, Chowdhury’s works reinterpret traditional approaches to painting by subverting genre, medium, and mythology.

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Sneak Peek: Eternal Family

 Cole Kush’s new artist-run platform Eternal Family, offers a Netflix-style model that profits the artists first. Eternal Family is a video membership experience that spotlights TV-series and one-off episodes that are self-produced, and often too experimental to make it to mainstream channels. Kush, a filmmaker and animator whose works tend towards absurd, unsettling comedy, sets the tone for a collection of innovative visual works that promise laughter, education and inspiration.

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Susan Cianciolo’s Spirit Guides

Susan Cianciolo has been looking inside herself, searching for the joy and humanity in the quotidian, long before a time when we were all at home, driven by stress and confusion to get crafty and spiritual. And the fruits of her work are collected here, in her decade-spanning survey, “Spirit Guides: Paintings 1990 – 2020,” at Bridget Donahue. With works that are experienced like diary entries or scrapbook pages, corkboard collections of memories and moments, Cianciolo offers sketches of everyday divinity, of small joys and moments of peaceful self-exploration. 

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Ellen Berkenblit’s Sistergarden

Like an ouroboric daisy chain, with no clear beginning or end beyond the mouth through which one enters, Sistergarden, Ellen Berkenblit’s latest exhibition at Anton Kern Gallery, features eleven large-scale works. Each piece depicts the cropped side-profile of a sister, rendered in murky melancholic hues, though punctuated with fluorescent embellishments. Pop ciphers—a richly lacquered nail, a CD-rom iris, a velvet bow, a scrappy corsage. Mouths agape in a soundless gasp, or reticent in firm-lipped contemplation, Berkenblit’s sisters echo our present moment of isolation. Here we are, all together; here we are, all alone.

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Katja Farin’s Lines from Arguments

The etymology of “spouse” comes from the verb “to bind.” In Spanish, the word for wife is the same as handcuff. In Katja Farin’s “Lines from Arguments,” currently on view at Lubov NYC, ropes and nets function as both boundaries and tethers between two people in close proximity. Catatonic, anonymous figures are rendered in a colour palette of decomposing fruit, closed in by flat patterns and blocks of dullness.

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Release: Area 3

Canadian house and ambient producer Khotin releases his newest project Area 3, available for digital listening today. Area 3 is a sprawling, meditative collection of ambient tracks, modular synth sketches, and outtakes. The 10-minute opener track “Bubble” is a slow burn, designed to lower heart…

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Family Exhibitions

Editorial Mag is spotlighting artists’ exhibitions that have been impacted by the pandemic. See our other reviews here. Today we enter Montreal’s artist-run space Family Exhibitions to view four shows, two from New York galleries, Marvin Gardens and Grifter Space. As the case with most…

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Sharona Franklin’s New Psychedelia of Industrial Healing

On view now at her debut solo exhibition at King’s Leap in New York City, Sharona Franklin’s work discloses a sacred perspective on bio-ethics, our ontological perception of disabilities, and society’s subsequent lack of engagement in this dialogue. By unpacking the histories of her own disabilities, methods of pain management, rituals of comfort, and her experiences of the capitalist framework of care, she illuminates the chronic lack of cultural acceptance—from a neglect of social responsibility, to the perpetual ouroboros of biopharmaceutical industries that provide sustenance as much as they are both financially and physically debilitating.

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Sara Anstis’s Discrete

Swedish-Canadian artist Sara Anstis’s exhibition, “Discrete” currently on view at Nevven Gallery, is full of private parts. Looking at Anstis’s nude, solitary women is akin to the feeling of being a child, stumbling upon a poster of a naked lady. A blonde woman, bonded at her feet, bends over to breastfeed a blue-tongued rodent; she looks back at us, asking us to shield our eyes. Anstis’s otherworldly, almost cartoonish depictions of elongated breasts, and swollen labia suggest a dream world, where women are unburdened by their sensuality.

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Shannon Cartier Lucy’s Woman with Machete

Shannon Cartier Lucy’s paintings seem to happen in slow motion. A tulip balancing on a finger, a potted geranium poised on a foot—moments that suggest action to come, accident, or tragedy. What Lucy paints is measured, junctures are captured with intention and detail. There is no freedom of brushstroke in these frames. This format lends a cinematic quality: there is a director behind the scenes, a sense of foreshadow and narrative. Looking at Lucy’s work, I thought of Chantal Akerman’s arthouse classic Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, a film chronicling a mother/sex worker’s regimented schedule of cooking and cleaning, until subtle slip-ups lead to the character’s violent psychological break.

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