About this issue

At Rungh we encourage good writing. Repeatedly.

In this issue, Rebecca Peng writes about Durga Chew-Bose’s Bonjour Tristesse which revisits a 1954 novel in cinematic form. It is Rebecca’s fifth contribution to Rungh. Ashley Marshall reflects on Christina Leslie’s Likkle Acts exhibition at the Robert McLaughlin Gallery. It is Ashley’s eleventh contribution to Rungh and a valuable cataloguing of creative works by contemporary Black identified artists in Canada. Madeleine Reddon is one of Rungh’s self described “‘foreign’ correspondents below the medicine line” and from her location she writes her second contribution, which focuses on Canadian artists included in a group exhibition at the Institute of Contemporary Art in Philadelphia, Pennsylvania. Expect more from Madeleine in Rungh soon. Malivia Khondaker’s second contribution explores FOREST / FLUX / FREQUENCY at Vancouver’s Sum Gallery which adds to a growing body of writing about exhibitions in Vancouver arts spaces.

The issue is rounded out by Ruby Smith Diaz’s poignant interweaving of memoire and the history of Serafim “Joe” Fortes, which mingles body, memory, migration and race. Jordan Redekop-Jones contributes new poetry, A Lotus was once a Womb, which maps a journey.

At Rungh, we like to build bodies of work.