Animals are always the observed. The fact that they can observe us has lost all significance. They are the objects of our ever-extending knowledge. What we know about them is an index of our power.

Sledsens’ work in Two Trees, currently on view at Tim Van Laere Gallery, is strong, vivid, and humorous.

Is It Wrong to be Wrong: Kirin J Callinan shot in Australia by Mia Rankin & Kurt Johnson

Each object and surface selected by Debora Delmar designates power and class. The fact that Delmar’s chosen signifiers seem quaint and playfully retro shows that as a society we’ve gotten good at concealing our capitalism

Claire Christerson channels teenage energy, with emo-aesthetic drawings and diary-style scribbles in “Night Shade,” her latest exhibition at Little Sister Gallery

PUBLISHED IN ISSUE 18 Creative Direction & Interview by Jessica Canje Photos by Bernice Mulenga Styling by Sharkkana Pryce Hair + Makeup: Mata Labs Dearly beloved Editorial Magazine readers, we would like to introduce you to Klein. But how? The South London singer and producer is difficult to place because she encompasses such a whirlwind…

Today we are pleased to premiere a short documentary on Vancouver-based electronic musician and DJ, Yu Su, profiling her journey into dance music from the lessons she learned from her mother to the ways in which the West coast landscape inspires her.

You can really picture for yourself a social activity or event that you can sincerely look forward to attending. Everyday you are becoming more and more interested in whatever it is that you are doing.

Two artists, at different junctures of their careers, explore themes of intimacy within the context of a queer dialogue in Glazed, the duo painting show currently up at Monya Rowe Gallery in New York.

Don’t be fooled by the pink hues in Heather Benjamin’s curatorial debut “Maiden Form,” currently on view at Andrew Eldin Gallery. The last decade’s trend of all-girl group shows arguably only perpetuated the myth of the eternal feminine, seemingly fixated on the cis woman’s experience of erotica and menstruation. What makes Benjamin’s exhibition stand out is her selection of artists, who responded to her call for “meditations on femininity” with subversive and poignant work centred on their individual experiences.

Los Angeles artist Annabell P. Lee is making an indelible impression with her signature hand-painted checkered designs. We’re excited to show her latest collection of hyper-saturated corsets and denim in this shoot styled and photographed by Lee herself, featuring Clarissa as model.

Have you ever really seen a face in a dream? We supposedly remember our stronger dreams, ones wrought with sexual tension, sexual release. But at most, we can only place a person’s presence – shadowy, and blurred. Leaking Visions of Red, George Rouy’s current show at Anna Zorina Gallery, feels like a sexual dream, seedy, misty and strange

PUBLISHED IN ISSUE 17   Our Tokyo editor Monika Mogi captures the day to day fashions of Japanese construction workers. Collages made up of construction site signage collected and arranged by Goichi Hosaka. Featured on the cover of Issue 17.   

Khotin told me that the phrase ‘beautiful you, thanks for the smile,’ was scribbled on a note left anonymously on his windshield years ago, while he was parked outside of a bottle depot. His new tape, Beautiful You plays the same way, a tender and mysterious narrative. In his new release, the Vancouver house & ambient…

Photos by Jasper Briggs   Once a month in the penthouse of the Standard, Downtown LA, a group of people get together to communicate about sex and love. Pillow Talk is the name of the event, organized and hosted by Fiona Duncan—it’s designed to create and reinforce community. In May, model Tzef Montana, stylist Autumn Randolph, and photographer Jasper Briggs helped lead an extra experimental…

Behind the scenes footage from Maya Fuhr & Talvi Faustmann’s editorial in issue 18! Come celebrate the new issue in Toronto this Thursday!    Toronto launch party info HERE.

LA Bougainvillea is irritatingly picture-perfect; it couldn’t be more perfect if it was packed up inside a fur-lined shoe box with a lid that reads “Vital Perfection”—a box of which Fleury herself produced a hundred.