Reviews & Reflections

Reviews and musings about books, art exhibitions, music, performance, the archive and more. Opinionated since 1992.

Divya Mehra's From Canada to India and back to Canada (There is nothing I can possess which you cannot take away) reviewed.

Jin-me Yoon installation reviewed.

A reflection by Annahid Dashtgard.

acts of faith reviewed by Rusaba Alam.

Three-Thirty Exhibition at Scotiabank Contact Photography Festival 2020.

Myths of heroism and desire in Laiwan’s Tender.

Shamik’s Gaali reviewed

Jillian Christmas' the gospel of breaking reviewed.

Helena Martin Franco reflects on a Primary Colours residency.

Three performances and an embodied talk by Soleil Launière.

Charles Campbell reflects on a Primary Colours residency

Mercedes Eng's my yt mama reviewed.

Mohamed Assani's Wayfinder reviewed.

Meet Goonda rap duo Cartel Madras.

M:ST’s Bodily Response video series reviewed.

Ruby Singh and the Khan Brothers' genre-bending musical collaboration.

Irfan Ali's Accretion reviewed.

Shani Mootoos' Polar Vortex reviewed.

Indigenous language revitalization, practices, and epistemologies.

Transits and Returns at the VAG reviewed.

Indu Antony's While I Slept reviewed.

Anosh Irani Translated from the Gibberish reviewed.

1990's video in Vancouver and beyond.

A reflection on 5X Festival’s programming challenges.

HIV/AIDS, 'Black Arts', and LGBTQ rights.

Rusaba Alam review from Bard on the Beach.

Reflections on 'identity' and 'belonging'.

A Mumbai Courtesan in Montréal.

Sanchari Sur reviews Patthar Ki Zabaan at The Rhubarb Festival in Toronto.

Soleimanpour's Nassim reviewed.

Veena Gokhale reviews Rhythm Rewritten at the Festival Acces Asie, Montréal.

Simanpreet Anand reviews Jawahir: Jewels at Deerlake Gallery, Burnaby, BC.

Hussein Keshani reviews Moving Still: Performative Photography in India at the Vancouver Art Gallery.

The Orchard (After Chekhov) reviewed.

Acts of Refusal in Simranpreet Anand's ਮੈਂ ਇੱਥੇ ਹਾਂ (i am here).

Reflections on the Vancouver Mural Festival.

Rawi Hage's Beirut Hellfire Society reviewed.

Staged reading of Chivalry is Dead by playwright Munish Sharma at the 2018 Monsoon Festival reviewed.

Am Johal review's Asad Haider’s Mistaken Identity.

Charles Campbell reviews art by Sandra Semchuck and Ayumi Goto at the Art Gallery of Greater Victoria.

Performance review.

Kerri Sakamoto's Floating City reviewed by Carolyn Nakagawa.

Revisiting the qualifier 'indigenous' in Many Visions, Many Versions by Madhia Sikander and Rajarshi Sengupta.

Sharon Bala's The Boat People reviewed.

Hussein Keshani reviews photo exhibit at the Kamloops Art Gallery.

New Jazz releases reviewed.

When I received the invitation to participate in the great gathering that was Primary Colours this autumn in the city of Victoria in British Columbia, my feeling was above all that of remembrance.

Encounter tells the story of Dopdi Mehjen, an indigenous woman and necessity-driven revolutionary, who is eventually captured and tortured by the authorities.

I wonder about artistic privilege. The advantages, attention, and public money granted to select artists, but especially the social margin, passage, and exception we occasionally enjoy.

And we continue to walk. Taking time to go to our medicines. To speak to our teachers. We do our ceremonies. And we continue to walk.

Cathy Busby's, WE CALL creates awareness, understanding, and dialogue around the Truth and Reconciliation Commission of Canada's recommendations for reconciliation between Aboriginal peoples and settlers.

What choices do fifteen year-olds face in this world? What is at stake for them if they choose to speak out against what they know is wrong? The answer is, of course, completely different if you are a poor fifteen year-old Indian boy working for a cruel master on a camel farm or a fifteen year-old Canadian girl pulled out of school and brought to the desert with your scientist father.

Arundhati Roy's The Ministry of Utmost Happiness reviewed.

Maria Qamar's Trust No Aunty reviewed.

Book Launch Event, June 22, 2017, Toronto.