Articles

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  Empyrrhic Evidence: “The Gatekeepers,” directed by Dror Moreh

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  Salt Seller: Elvira Finnigan

  There is a saying that we have inherited from medieval England about being either “above or below the salt.” The former was preferable since it meant that you sat with the Lord, his family and honoured guests at high table. (Salt is absolutely necessary to human survival; every cell in our body is bathed in a salt solution). And because you were able to have salt with your meal, things tasted better. Both prestige and palate were satisfied. For Winnipeg artist, Elvira Finnigan, everyone who attended her performance, “Festin et Conséquences (Feast and Aftermath)” at the Centre culturel franco-manitobain, was “above the salt.”

• Indifference and Donkeys, A Tale

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  Rosemarie Trockel

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  Jinny Yu

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  Ian Wallace

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  “Re-Configuring Abstraction”

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  Possibly, Everything: An Interview with Robert Frank

  Robert Frank has always produced books of photographs. He made his first one, “40 Fotos”, in 1946, a spiral-bound, single edition of 40 images he’d taken between 1941 and 1945 and assembled as a portfolio he would use in seeking employment. It accompanied him on his trip to New York in 1947 and helped him secure work with Alexey Brodovitch at Harper’s Bazaar. In 1953 he produced “Black White and Things”, an edition of three. That book mapped the course Robert Frank would follow in all the work he did. Everything is there: the place of memory, the use of sequencing, a reliance on intuition, the rigour and emotional courage of poetry—and trusting and leaving space for the viewer.

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  The Success of Failure: Divya Mehra

  “For me, the concept comes before the medium,” says Divya Mehra. The Winnipeg-based artist is explaining why her work takes so many forms. “I don’t feel like I owe anything to any particular medium.”

• Headgames: Deco Dawson’s “Ne crane pas sois modeste (keep a modest head)”

• Shantytown redux: Karine Giboulo’s “Democracy Village”

• Show and Tale: Ming Hon’s “The Exhibitionist”

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