The first to bloom and fastest to die, Lilac is the official harbinger of Spring. With a potent scent that is at once sweet and rotten, Lilacs unleash memories of childhood and adolescence. Kristy Luck and Alan Prazniak’s duo painting show River Belly, at Projet Pangee, takes us to Lilac realms.
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Shiny, colourful, and 3D, Palladino’s work is consumer-friendly. Essentially a time-traveller in his practice, Palladino enhances the ancient art of sculptural reliefs with futuristic technologies like 3D design and additive manufacturing. In Ourboros, the gods and kings typically depicted in historical reliefs are traded in for idols of the current age: tech and science.
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Today singer-songwriter Antony Carle unveils But You, Everybody Is, the first single off his debut album to be released in 2019. This sensual ballad, produced by Ouri, is wrapped in oneiric synths and unusual sounds. The lyrics are as personal as they are universal, tackling the quest for identity and the realities faced by today’s queer artists.
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Elysia Crampton is an experimental producer and musician making music that is both challenging and rewarding. It is best to introduce her work, in writing at least, in her own words: “My two main points are that my work be understood as a project of Aymara survival and resistance… and secondly, as an impulse to resist appeals to individualism (marked by colonial law, in relation to bodies and land ownership, as a project of genocidal regulation against Native American people in the Americas). The notion of individualism as a governmental project of extraction and control can be traced verbatim to the Bureau of Indian Affairs.” A diverse, ever-growing group of attentive fans feel forever changed by her contributions.
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Lauren Satlowski’s exhibition Gadzinas Bell, currently on view at Odd Ark LA, features a group of psychological, future paintings. Satlowski’s lone protagonists, depicted as flimsy nebulous bodies, unlock a well of emotion typically reserved for human encounters with aliens or artificial intelligence. There’s a mix of love, empathy, and fear when we encounter these uncanny “others.”
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In getting to know Jane Corrigan’s paintings in her recent exhibition, Length of Day at Erin Stump Projects, it’s helpful to delineate the four humours of Hippocratic medicine in ancient and medieval times. The humours were based on the balance of what was believed as the four distinct bodily fluids: Blood, Yellow and Black Bile and Plegm.
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Orion Martin’s mark-making is nearly indiscernible. The precision with which he works seems uncharacteristic of our time—in favour of digital finesse, the act of pushing the limits of the human anatomy for the sake of art seems to have grown obsolete.
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Mexico City is the new Berlin. A few years ago I heard someone announce it. All the kids who show at Berlin galleries show here too. All the same techno DJs play. I’m pretty convinced the world doesn’t need any more artists.
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New video by Claire Milbrath, filmed by Maya Fuhr.
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She’s back to help us through Venus Retrograde! Protect yourself from lurking exes and dive into hedonistic bliss with this new mix from DJ Young Kiera
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A glossy heap of modacrylic tendrils quivers with an emphatic “Only by the grace of God…”
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Darby Milbrath returns for her annual Halloween mix of scary classical and ambience music. Warbling strings that are thought to be made by the devil. Artwork by Nick Bierk. Darby Milbrath is a Toronto based artist and editor at Editorial. See more of her work HERE.…
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Stampley’s world is a celebration of the dreaded Bitch, a vixen decal slapped on the bumper of a truck speeding towards hell, a murderous nymphomaniac she-devil behind the wheel.
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A hot bullet sears through a glistening ice cube gouging out a peephole through which can be seen an alluring, anthropomorphic broom. This is the nightmare painted by Brooklyn-based artist Emily Mae Smith. Smith seems haunted by this broom, repeatedly painting it into different contemplative landscapes, as if she can’t escape it.
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Picture a world populated peacefully with monsters—trolls, goblins, people with tentacles for legs, tiny alien people, or giant people coexisting with humans on Earth. Imagine: somewhere in some nondescript home, a demon sits mostly nude on the living room floor and, their children asleep, opens their skull from the back to calmly contemplate a sheet-wrapped corpse.
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Preemptively enter the underworld through Quintessa Matranga’s rhetoric, as the artist’s latest suite of paintings have already begun their afterlife on their coffin-shaped canvases. These coffins—displaying dislocated body parts bedded in cheetah print, ghouls zipped in leather, demons, dissevered mouths screaming, and dragons descending on hearses—create a poetically macabre narrative between art and distortion, a study of the posthumous by a living artist.
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Welcome to the beautiful Xerox hellscape that is Kuato Ubiq’s work. It’s an aesthetic born from years of entanglement with the NYC punk scene, his visual work expertly shifting from show fliers to nihilistic futuristic paintings, to freaky animations.
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Rhys Lee’s paintings give the impression of having been kept in a basement or attic for decades, destroyed by dank conditions, dust, mold and water damage, and then discovered years later, long after the passing of the subject, their colours still eerily vivid.
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