BlackFlash Magazine: Fall Wrap Up and Winter Preview 2022/23

Lauren Warrington, Inside Elsewhere ˚ ʚïɞ ˚, generative 360° environment, 2022.

As the winter approaches, we are reflecting on BlackFlash programming across the fall and getting excited for what is still to come before the year’s end.

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In Shifting the Centre, Mahlet Cuff considers the lack of Black representation in senior institutional roles across much of the Prairies while highlighting the inspired and notable shifts taking place in Saskatchewan.

Mirella-Kami Ntahonsigaye responds to Hope Strickland’s If I could name you myself (I would hold you forever) at the Winnipeg Underground Film Festival in To Hold and Be Held.

In Care, Trust and Laughter: Strengthening the Collective Model, Patterns Collective discuss the importance of friendship, love, and care as critical parts of the collective experience.

Check out the ongoing series of ARTIST PROJECTS commissioned by Expanded:

Nic Wilson’s The Gravitron Collection is a library of publication projects by artists and curators which focuses primarily on the use of writing. Read or download the Catalogue for the Gravitron Collection on BlackFlash Expanded. If you’d like to receive a print copy: sign up online to receive one by mail (copies are limited); or, visit locations across the country to pick up a copy. More details online.

Lauren Warrington invites you into a space for reflection: a portal into another reality in Inside Elsewhere ˚ ʚïɞ ˚.

From October 14th through 21st, 2022, Expanded presented I am not asking for much: lessons in survival on online video screening curated by Mahlet Cuff. The pre-recorded conversation between Mahlet Cuff and artists Yace Sula and Kosisochukwu Nnebe about their works is archived online.

AI-generated images using the prompt “an image of nothing in colour.” Produced on Oct. 10, 2022, using Craiyon, formerly DALL-E mini, an AI model that draws images from text-based prompts. Courtesy of Jayne Wilkinson.

New projects in Expanded’s ongoing FOCUS ON DIGITAL:

Nine artists share responses to prompts that aim to interrogate and help situate digital arts practice in Working Title: Digital Art Curriculum. Projects by: Hiba Ali, Cat Bluemke, Alyssa Bornn, Anna Eyler, Shirin Fahimi, Aljumaine Gayle, Suzanne Kite, Fallon Simard, and Xuan Ye.

Alongside the launch of the Ender Gallery Resource Pack Pack, curators Sarah Friend, Cat Bluemke, and Jonathan Carroll reflect on Ender Gallery: an exhibition space and artist residency that took place within the game Minecraft in Minecraft to metaverse: a year of experimental art and curation inside proprietary platforms.

In part one of a two-part series, writer Jayne Wilkinson considers how the proliferation of AI image generators is changing discourse around art and technology in The Automatic Image and its Prompt.

BlackFlash Magazine NOW ONLINE:

Current: Issue 39.2 (Fall 2022)
Our fall editorial program considered the environment and how overlapping histories inform contemporary social and cultural contexts. Within this issue, you will find writing on monster plants by Amanda White, Black art and the natural world by Neil Price, and the importance of community on a visual art practice by Christina Hajjar. The issue also includes the work of Zoë Schnieder, Lan Florence Yee, Yan Wen Chang, Lido Pimienta, and Zachary Ayotte. Each article from Fall 2022 (39.2) is now available online.

Adad Hannah with The Circle Project, What Fools These Mortals Be (video still), 2022. Courtesy the artist.

Upcoming: Issue 39.3 (Winter 2022/23)
Launching in December, our Winter issue considers placemaking in the face of uncertainty and the complexities of “home.” The editorial projects offer tools for community and familial reconnection, self-expression, and the fight against erasure. Issue 39.3 features Lauren Fournier on conspiracy theories and the creation of her film The Truck Guys; Grace Law discussing Chinatown Gates with Karen Tam, Shellie Zhang, and respectfulchild; Christina Hajjar on reclaiming hookah lounges; and Margaret Bessai exploring contemporary Prairie ceramicists and the significance of locally-sourced clay. The issue also presents responses by India Rael Young and Angela Wallcott as well as artist projects by Paul Walde and Le Sigh, featuring Julian Yi-Zhong Hou and Shane Krepakevich.

About BlackFlash
BlackFlash is a platform for contemporary visual art from a distinct Prairie perspective. Dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices, BlackFlash features articles, profiles, interviews, and artist projects from a diverse selection of artists, writers, and curators.

BlackFlash was founded in 1983 by the Saskatoon artist-run centre, The Photographer’s Gallery (TPG). We are currently working on our 39th year of publication, making us one of Canada’s longest running magazines. BlackFlash is proudly published, designed, and disseminated in Saskatoon, Saskatchewan, and is an internationally recognized resource and authority on Canadian and international contemporary art.

BlackFlash is grateful to the Canada Council for the Arts and SK Arts for the production and dissemination of our publishing program. BlackFlash Expanded is funded as part of the Canada Council for the Arts’ Digital Now program–we acknowledge their generous support.

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