The covid pandemic continues. Artists and arts presenters are clamouring for attention in a crowded digital space as physical gatherings continue to be restricted. This transition is also opening pathways to view and review creations from far away. Pre-pandemic these possibilities existed but were limited, now, all of that has changed. Rungh journeys to different spaces and places in this issue.
Rusaba Alam reviews Factory Theatre’s "World Premiere" of acts of faith in Toronto, from Vancouver and finds that this production connects over distance. Ashley Marshall physically visits Three-Thirty, a photo-based exhibition that questions and challenges cartographies in Scarborough, all amidst shifting pandemic closings and openings. Her review centers and celebrates Blackness as she weaves through art sites and locates her own journey as a scholar/artist.
Annahid Dashtgard travels to writers’ events across Canada and becomes the Foreign Object in The House of Canadian Literature. She peels back the skin of the literary scene as her own body heals from trauma.
Rebecca Peng references Medea and myths of heroism and desire, as she engages with Laiwan’s book Tender. Phinder Dulai sees oratory on the page when he reads Jillian Christmas’ the gospel of breaking. Luya Tshimbalanga reflects on abandonment in his photo/text essay, while musician Shamik and artist Prithi Khalique take us on a psychedelic trip.
Rungh. We journey in difficult times.