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Barbed magazine proudly presents its first issue in Detroit, thanks to the artists whose work is published in this new issue: without them, it would not be possible!  In the premiere issue of Barbed, you’ll see collections of work that fall into many categories, but which essentially speak to elements in a culture which has been given a second chance in one way or another. Through their own eyes, you see the artists ideas, images, captions, in-betweens, collaborations, processes, intimacy, beauty, voice, trespass, and freedom all at the same time. After being absent from Detroit for over ten years, I have returned to an entirely different city. Living here is still about the compromise and sometimes responsibility, but now with a renewed sense of fun, urgency, promise of moving ahead, and feeling proud of the past simultaneously. I feel honored and privileged to be witnessing this revival, and I genuinely hope that publishing Barbed Magazine, in a small or perhaps even a large way, can participate and help to spread the word about how great Detroit is, and help make it even greater, while further connecting it to its sister city across the river and other major cities nearby!

Arturo Herrera, Publisher.


FEATURED ARTISTS: It’s Exercise Time! By Jessica Frelinghuysen

Untitled 1, Untitled 2 By Ara Levon Thorose 42


IN/TERMINUS interviews Folke Köbberling and Nils-Arne Kssens 18 CRISSCROSS DETROIT, DETROIT FIZZ By John Gayer



Pulse | Motion Pictures By Ronald Bal 63


The Model and The Photographer By Robert Siegelman 25 Le Petit mort 0005 By Silvino Gonzáles Morales


Flowy To The Side, Updo, and Messy Bun By Anysa Saleh 60


Just listen to me (or I’ll be your mirror) By Meliti Kontogiorgi

sibyl of cumae: i can no longer make you smile By Angeli 58

NODES: Susan Gold Smith


Sincerely, Judy By Joe Sobel 64 To me it’s all very confusing By Schuyler Hazard 72


Our Lady of Perpetual Light By Laurie Langford 73

Figures By Salvador Campos 46

Absent Figure By Samantha Russell 74

One – Many Reduction (Capilla 1) By Rafael Domenech

Boutique Sexuality By R W Miller 76


GAZE: The Pond By Rachel Jennings 79

DETROIT BREAD: Thank you By Jeffrey Evergreen


We All Live Downwind By Shanna Merola 39


Beachcomber #1 By Nate Nettleton 80 Selfie By Alexander Elson 81

Intimacy By Irina Dora Magurean


Apples and Jazz By Betino Assa 86 Codfish Buljol (Trinidad) By Louise-Chance Baxter 87 Lady Draftsman Should I wear my hair up or down today? Last day at the office (2016), digital photograph By Sarah van Sloten

Arturo Herrera Publisher and Editor in Chief This issue is supported in part thanks to: The Windsor Arts Council and Region SUPPORT & SUBSCRIBE: ONE YEAR/ TWO ISSUES US PRINT & DIGITAL: $40 MEXICO & LATIN AMERICA: $30 EUROPE: $80 ONLINE: Visa, MC, and Amex accepted.


For opportunities, subscription and sales inquiries, contact: Mailing address: PO Box 2064 Birmingham MI 48012 United States Barbed, is proudly printed in Detroit.

Barbed Barbed and Barbed Magazine, are registered trademarks. And, the entire contents of Barbed Magazine and is copyright Š 2016 by Artdossier, a registered business in the State of Michigan. No part of this publication may be reproduced without written permission from the publisher. All rights are reserved.


INTO THE WOODS #4 + #5. Similar to a Rohrschach test, INTO THE WOODS is mirroring photographic close up shots from my recent visit (2/16) to the Red Woods near San Francisco.




Isolde Kille is an interdisciplinary Artist working in Painting, Photography and Film. She studied visual communication and fine art at the Kunstakademie in Duesseldorf, Bremen, Dresden and Berlin; finishing her studies with a Masters degree (Meisterschueler) at the University of Arts in Berlin, Germany.



Jessica Frelinghuysen’s solo exhibition, “It’s Exercise Time!” was held at Popps Packing Gallery in October 2016. Jessica turned the gallery into an aerobic gym with props, posters, a gallery ArtFit exercise circuit she made with ubiquitous Hamtramck items such as 20 pound basmati rice bags and photographs of her performing interventions around town. During the course of the show Jessica held participatory Jessercise workouts every week during open gallery hours. After the last Jessercise class, the artist sat down for a stretch and talk session with Detroit arts writer Sarah Rose Sharp in front of an audience, chewing post-workout snacks and sitting on foam mats. Jess: Pass the chips around if you want. Ah, this is Rosie Sharp, she’s an arts writer and critic in Detroit. Thanks for working out! Rosie: Oh Sure! So you said that you’ve been exercising for seven years? Jess: Oh yeah. Like seriously exercising. Three times a week if not more. Rosie: So has it always been an art practice as well as a workout? Jess: No. I genuinely want to get fit and loose weight and get stronger, but at some point I was thinking about how my art life and my gym life would match up. I would go to the gym and see this white space with all these bodies exercising in it and following instructions. I would observe all these people striking poses like scuptures. It’s a weird life in the gym and it’s a weird life being an artist. Especially living in Hamtramck cause I don’t have a gym in town. I walk around the city, but I never before this project, pumped iron in the city. So, the premise for this show is to bring those two worlds together. Activate the environment around where I live. Rosie: One thing I noticed is that I had a lot more fun than I do normally when I work out. Jess: Oh good! Rosie: And I am not someone that has fun when I work out, so when I see these pictures of you sort of engaging and in spaces where you are interacting with people is that a way for you to perform a task that you don’t like? Jess: Well, I think it’s a way to get other people to make art with me. I go out into the community with a lot of my work and engage people that normally wouldn’t

have an art experience. Whether they saw it as an art experience or just a weird attraction, that’s ok. I just wanted to disrupt everyday life a little bit. I want to get people to have fun. Especially when they come to a gallery. Rosie: I guess I wonder if you think that drinking champagne and eating cake is a good health practice? Jess: Honsestly, No. Ha ha! You know, there is an amount of irony in the show as well. The fact that I am an overweight “instructor” during the Jessercise performances…It started– I had a friend that used to go to the Y with me and we would walk around the track for an hour after work, then when we were done we would look at each other and say ‘what do you want to do now?’ ‘Oh! How about go get a glass of wine?!’ … So there is the social world of the gym and the social world of art and I am trying to reconcile the two, I think. Rosie: Yeah, I mean I think there should be cake at every work out! Jess: Well, some gyms have coffee. So why not cake? But, I have calorie counted many many times before and it is very difficult to do, and so this just turns it on its head a little bit as a commentary about how you are supposed to be healthy and how to incorporate that backsliding, when it’s not part of the plan. Rosie: Well as a woman, its hard for me to not think of exercise as trying to live up to an outside standard of how I should look more than about how I feel. I wonder if that’s something that works that way for you. Jess: Yeah, maybe. I think that’s maybe why I went to lift that 50 pound bag of onions over my head too. Ha! Because it’s not a very feminine thing to do but it’s a measure of strength in someway, and there is humor in it as well. Rosie: What elements of body image is imbedded in the work? I found that to be a very affirmative experience. Jess: Well, that’s something weird that is all around us right now– that you go to the super market and see people in exercise gear at the checkout line, and you say to yourself, ‘wow, they look really good in those pants’ and I look at my pants and think, ‘well, maybe I shouldn’t buy this pint of ice cream.’ Lines are already blurred in our world for different compartmentalized activities,

but I think I just wanted to blur them a little bit more. So I did go out in this outfit. And I felt self conscious, even though it was my workout uniform that I made specifically to do these performances. I put on track pants at Al Haramain over my tights. So I am conscious of that I am a woman wearing bright tight things. In here, in the gallery it seems better. I do want people to have a body positive experience. Rosie: I wonder if you had some exercise mentors. Your aesthetic speaks to me as a child of the 80s. Jess: Well I always use bright colors. That’s my palate. It stands out a little from the norm, while seeking to blend in. It’s a paradox. Mentors…you know I have some exercise mentors that are real people! I mean, right now I have a personal trainer and he came down for the opening and held a session right after Jessercise. So I look up to actual teachers that will help me become better. We also had a Richard Simmons VHS tape growing up, so that was really weird looking at that when I was little. Jane Fonda type stuff…TRX… everything, really, that’s out there. I find it all so weird. Rosie: I liked that in the performance, too, that there was a struggle between conformity and individuality… Jess: Yeah, I like that statement. Rosie: It’s awkward, too, when you go to an exercise class. My dad took me to one once and everyone in the room knew what to do and there’s me who has no idea what to do and it’s a super awkward feeling. Jess: Yeah, I will avoid classes like that, especially the advanced ones. Because, you are right. It’s exclusionary. Rosie: But then for your performance, you are saying to the audience, “Do this… oh wait that made me dizzy. Don’t do that…” You struggled too. Jess: Yeah, and I don’t know that in performance art you see that process quite as much as the finished product. The person in the performance has it all figured out. There’s an audience and there is a line, so I was just thinking about what this interaction is, can I play with that a little bit. Rosie: …and Trust too. Jess: Oh yeah, and trust. That’s a big issue I think. When you are going to these classes you are trusting someone to make 9




sure you have the ultimate experience or workout all your muscle groups or be a leader. And, well I think people broke a sweat here. Its the only art show that will make you sweat! Rosie: Let’s go to audience questions. Audience member: Do you ever go to the gym and get on a machine and improvise and do things that are the inverse of what you are supposed to do? Just to bend the rules that way. Jess: Yeah! I am working on that. I’m actually working on gallery props that make you do weird stretches in the gallery, borrowing from weight machines in the gym. I’ve seen people run backwards on treadmills, but I don’t usually do that. There is a huge awkwardness that I feel at the gym too, that I tried to get over in some way by making my own gym. Mostly I observe the weirdness of the culture. But that is something I have been working up the courage to do in the future. Infiltrate a class. Rosie: Or, yeah, there’s that art blog called “Bat at Sports.” I would say that being extremely physically dexterous is not the mainstay of most visual artists. And that the idea that you are pulling a place where you are not comfortable into a realm where you are comfortable is really strong.

being okay, and its okay to more around… Audience: and you don’t have to be perfect… Jess: exactly. Yeah, not be perfect. Whether its art or whether its exercise. But persevering at either, in the face of adversity. Both require dedication. I think a lot of my work is in that zone of possibly being a real thing or being an art thing. It’s me trying to bring the sensibility of art into the world and change the everyday a little bit. Rosie: Maybe those other exercise environments felt fairly competitive and this feels very collaborative. Audience: It seems like this is almost making fun of exercise. So it’s interesting to know that you are quite serious about this and adapting it from your perspective. Jess: Yes. I was worried about that. But in the end, it is an earnest pursuit, so I hope that some of that comes through.

Audience: But I think the suggestion of the work is that its almost like we need a new guru! And maybe you are it! Jess: Ha! Well, maybe. Audience: I was going to add that I really love the image of you lifting the onions, and there a sense that we are doing this to conform to a certain feminine physique but its also to be strong, so I love how that reads. I think there is something about bringing that in. Like “Don’t forget, Women, we need to be strong!” and its not like you are doing it because you are trying to conform. Jess: Yeah, and a point to expand this is actually going on these everyday exercise circuits through the city, like in the photos, and taking people on these tours/ performances/ training circuits with me through Hamtramck. The more I can have people to interact with and activate the city with me, the better.

Interview by Rosie Sharp.

Jess: Yeah, that’s a good analogy. Audience: I was thinking about the platform you have here and how it puts you in a position of power but you also know what it feels like when you are not so strong and powerful. Wondering if you can speak to that more. Jess: Well its so great looking out on a sea of people doing all the same movements that I am doing is amazing. It’s like having an art army. But thinking of traditional sculpture and putting myself on a plinth and becoming a weird object or moving sculpture is part of that too. Audience: I think Rosie mentioned that being here is actually more fun than a real gym class. Part of that I think is that you are very real and funny when you are performing it. You don’t have this command that is intimidating. Do you get the feeling that this is how exercise should be? Would you do this outside of the gallery? Jess: I have plans to set up a store front and do this as a much longer project with weekly performances. So it can be something that includes more people and more can get that feeling of their bodies

Credits: All images: copyright Jessica Frelinghuysen 2015, 2016. __________________________________________ _________________________ Fold out: Crave Your Workout and ArtFit, double sided poster, 2016. Jessercise Poster, 2015, 22 x 30 inches, digital print, page credit: Melanie Manos. Exercise Positions, 2015, 24 x 36 inches, digital print, page 12. Workout Uniform, 2015, 6 x 6 feet, Installation from solo show “It’s Exercise Time” at Popps Packing Gallery 2015, page 14. Hamtramck Hometown Workout, 2015 Following images all photo credits to: PD Rearick Meat Medicine Ball, series at Bozeks Meat Market, Hamtramck, 28 x 42 inches each, 2015, digital print, page 10 & 11. 50 lbs of Onions, Al Haramain market, Hamtramck, 28 x 42 inches, 2015, digital print, page 16. Divine Personal Trainer, Pope Park, Hamtramck, 28 x 42 inches, 2015, digital print, page 17. Rice Bag Rows, Al Haramain market, Hamtramck, 28 x 42 inches, 2015, digital print, page 15.







interviews Folke Köbberling and Nils-Arne Kässens

“It is as if some citizens try to fight the bad reputation of Detroit by being extraordinarily friendly, creative and faithful.” --Nils-Arne Kässens In October 2015, German artists Folke Köbberling and Nils-Arne Kässens led a week-long collaborative urban art project in Detroit with students from Wayne State University as part of the 2015 Sculpture X symposium. Their project took the form of a public art performance with the creation of a fictional bus route, Route 313, with stops starting at the site of the former Hudson’s store in downtown Detroit and ending at the Michigan Urban Farming Initiative off East Grand Boulevard. Each stop en-route brought audience members to one of six public interventions or performances designed by students to reflect a personal connection to Detroit.


The IN/TERMINUS research group organized a participatory bus tour from Windsor to the various sites of the project and later discussed the project with Folke and Nils. ------------------------------------------------------------IN/TERMINUS: For many years people have drawn vague comparisons between Berlin and Detroit in terms of urban excavation and cultural production. But major differences come to mind: the public/state funding of social and cultural systems in Germany are relatively absent in the

U.S. in general (and Detroit in particular). To what extent do you feel this comparison is relevant? Or should Detroit concentrate on defining itself on its own merits.  FK: After German reunification Berlin was almost an unregulated city. It was a time when a lot of things were possible: space, cheap rents, empty lots, for example. It was a “Möglichkeitsraum” a space for possibilities, for artists, creative people and newcomers. People moved to Berlin because of its unpolished surface and huge underground scene. We had illegal clubs, illegal bars, galleries emerged out of nothing. It seemed everything was possible. But when Berlin became the German capital in 1995 and the majority of the federal administration moved from Bonn to Berlin, this created a big influx of corporations by the late 1990s. Now in 2016 we have to deal with the same problems like other big cities in Europe. The empty lots are filled with expensive lofts, the ruins got transformed into expensive apartments and the rents doubled. Social housing was for a long time no issue in Berlin. Nowadays it is extremely difficult to find a cheap appartment. The gentrification has swallowed the city. People have had to move outside the city, if they cannot afford it anymore. NK: Concerning German cities, Berlin has a very distinctive history: being split for nearly half a century Berlin was as an architectural symbol of the cold war and opposing political systems. The historical “Mauerfall” (fall of the wall) in Berlin 1989 led to the reunion of

Germany and the fall of the German Democratic Republic. Berlin became the Capital andthe largest city of Germany, a symbol now for the fighting for freedom, unity and the power to build things up again. This is part of the historical background, why Berlin was the city to go in the 1990s and there was this great spirit of entrepreneurship. People moved to Berlin to start something new and express themselves – found a media start-up, a rock’n’roll band or technoclub. Berlin had a lot of unused space you could build up and the rents especially in the eastern parts were cheap. But this spirit vanishes. The free and non-commercial spaces shrink, investors take over, Berlin becomes more mature and saturated. Detroit on the other hand has a interesting history on its own – being a seismograph of the impact of the globalized economy. Racial conflicts are integral part of the identity of Detroit where this is not the case in Berlin. Right now, Detroit is redefining itself, creating a creative energy where these processes in Berlin seem to have come to an end. And while state fundings can definitely be of great help and are a political corrective to commercial interests of investors, I am overwhelmed by the ingenuity of the Detroit citizens, who build up the city without sufficient financial support from the government. IN/T: What surprised you about the city of Detroit. What met with your expectations?

FK:The friendliness of the people. I noticed that the citizens of Detroit are very proud of their city. I did not really have any expectations, though I’d heard a lot about Detroit. In 2013 I did an installation, “Automanic,” in Munich, where I destroyed a self-built parking structure with a remote controlled car over a period of 5 days. Quite a few people told me I had to do this project in Detroit, because of all its empty parking structures. So I had the image of empty space in my head. When I went around Detroit by bicycle, I understood this feeling of space and emptiness, but also freedom. For me it was notable that the streets were not occupied by cars. NK: I am really excited about the positive energy I experienced in a lot of encounters. I met people who put a lot of time, creativity and personal money into community projects. I met people I didn’t know who hugged me and made me feel welcome. I met people who – when I got lost once – just stopped their car and gave me a lift. It is as if a some citizens try to fight the bad reputation of Detroit by being extraordinary friendly, creative and faithful. When I visited a gospel church, a black woman said to me: “We are not all criminals, you know.” This really moved my heart. IN/T: What were the most memorable experiences of working with people in Hamtramck and Detroit. 19

FK: Each of the students we were working with at Wayne State had a personal relationship to Detroit. They had either been born there, or their relatives lived here or they came here to study. They all find Detroit is a very unique city with a lot of potential, but also with a lot of loss. One student did a project to attempt to initiate a healing process for Detroit through a discussion booth on the street. Her family had directly experienced racism, violence and murder. This work will stay in my mind. NK: I enjoyed working with people who have a close relationship to the city they live in since I am very interested in the stories they tell me about their personal connection with Detroit – their memories, their experiences, their visions. To give these stories a presence in the form of a public art project, this was our intention with “Route 313”. IN/T: Your projects often take on urban ecologies through engaging local communities to participate in all stages of the creative process: from planning and facilitation, and even in the completion of some of your projects. Your practice therefore seems to fall between sculpture and architecture, or between performance and social practice. How do you evaluate the success of the collaborative process of your community collaborations? What have been some of the challenges that you have encountered when engaging community? NK: For me the process of creating these kind of projects equals the outcome. When I find an artistic way to make a question visible and dive into a subject with the help of personal encounters then I can say it is a success. Working with community is sensitive. In the Detroit-project it was clear for us, that we won’t don’t come to give advices but step back, listen and learn. All other we feel would be an invasion. IN/T: You have both worked extensively with students in different urban environments. How did your experiences working with students in Detroit compare or differ from your experiences with students in Germany and elsewhere? FK: I noticed that the students we worked with in Detroit were very keen to work in public space as they usually work only in studios. For some it was the first time working in an urban environment. This was an experiment that had to take place within their already busy timetables where they had to get to their project sites between classes over the course of a week. Although it was new to work off campus, some students thanked us in the end and asked if we still can mentor them via email in the future. NK: As Folke noted, German students may have more experience working in the public realm and they don’t have classes scheduled in between a project, giving them the time to concentrate on one project at a time. But I was very impressed by the enthusiasm with which the students in Detroit realized really great work in short time. IN/T: Has your residency in Detroit had any influence on your subsequent artistic projects or proposals? FK: Yes, indeed. I’m working right now on a publication which projects an image of what society will be like in an age after the automobile. I think in this respect Detroit is a leading city. How can people live in an post-automobile society, what will be different, what will change? NK: I found the time in Detroit – my personal encounters with the community as well as my experiences in the urban space – very intense. For me, a further part of the project could deal with the question, what I can bring back from Detroit to Germany.


Folke Köbberling is a Berlin-based artist whose public art performances and urban interventions question the disappearance of public space. Nils-Arne Kässens, is a stage director and curator based in Hamburg. His projects combine new media with public space and merge artistic practice with cultural theory. IN/TERMINUS members Michael Darroch, Lee Rodney and Kiki Athanassiadis coordinated the October 9th cross-border iteration of Route 313 with contributions from Windsor-based artist Patricia Coates. The IN/TERMINUS Research Group is a constellation of artists and researchers based at the University of Windsor whose work explores the intersection of urban ecologies, media and social space. *All Photo Credits: Justin Elliot

John Gayer Helsinki, Finland


John Gayer was born and raised in Leamington, Ontario, Canada, a small community situated on the outskirts of the Windsor/Detroit region. In addition to graduating from the Ontario College of Art, Toronto (1978), he participated in the Winter Studio Program at the Banff Centre, Banff, Alberta (1981-82) and completed a degree in art history and anthropology at the University of Toronto (1994). His artwork, which encompasses painting, photography, artist books, mail art, performance and installation, has been exhibited in Canada, Finland, Ireland and Sweden. He is also active as a writer and has written about art and artists for numerous publications. They include Art Papers, Paper Visual Art Journal (, Sculpture Magazine, this is tomorrow – Contemporary Art Magazine ( and the Visual Artists’ News Sheet, among others. He is currently based in Helsinki, Finland. More info at

Crisscross Detroit and Detroit Fizz, scan from slide. page 23, 24.




The Model and The Photographer, photograph.

By Robert Siegelman


La Petit Mort 0005, Photograph. By Silvino Gonzรกlez Morales Bogota, Colombia



Susan Gold Smith NODES:


Bear and Botanicals (in studio), 2016, oil over inkjet photograph on translucent mylar, 61.0 x 91.4 cm.

I met Susan when I was working on my BFA in Windsor, Canada about nine years ago. She is a former resident of Detroit but has called Windsor home for over three decades. The one thing that had an impact on me was her brutal honesty and encouragement at the same time in her painting classes. This helped me immensely as I knew how much I needed to improve many of my painting techniques, and I didn’t have many, I may say! To this day, I still think it was Susan who taught me how to fade oils properly to create shadows and skin tones. I became interested once I understood how painting worked. By no means do I consider myself a painter, or a master, but I do find it captivating to hold a photograph in one hand and paint from it. For this conversation, we both sat in the comfort of our homes and started the following via email. --- Arturo Herrera


OBSERVATIONS in, (installation view), 2013; pulled photocopied pages, natural objects, and plastic petri dishes; Weldon Library, University of Western campus, London Ontario.

there was a lot less driving on freeways in traffic and weather, and my studio work became more central to my life. At the time, I was deeply involved in pushing drawing as media, working on paper with paint and pastel chalk with the same full range of concerns that would be brought to a painting. I was inspired by landscape as subject matter: configurations of clouds and mountains. I was driven toward the North as an uncluttered landscape where the interplay of natural phenomena and forms could be seen clearly. AH Susan, If there was an inspiration derived from your move from Detroit to Windsor, what was it? Did you create any artwork from that experience, and did you finish it? Could you talk about that? SGS My work was tremendously influenced by my move from Detroit to Windsor. I was welcomed to Canada with a lot of good will. My life became simpler in certain ways living in a smaller city: 30

Geographically, I had moved South to be North, which was an irony that I played with in several Mail Art projects using the Detroit/Windsor border, passport images, and northern landscape. I became highly involved in conceptual art forms of correspondence art, international copier and fax art projects, and alternative economies of art and alternative practices. AH In other words, you have been inspired ever since because of your move, correct? Does the feeling of “I moved”

ever go away? SGS Oh, yes: time and continuing experiences reconfigure everything. But I do vividly recall having the feeling of having “no home” before I was able to get my official landed immigrant papers. I was traveling light without the burden of a lot of my things, and I was enjoying that experience. But I also felt some loss of my memory/identity/history with Detroit while I was trying to grasp my place in Windsor. That was disconcerting and still is but to a much lesser extent. AH So, being away from your home in Detroit, I assume, from my experience, you craved for the feeling of something new and, perhaps, unknown. And so, Windsor to you became a brand new start, and a new life; am I right? So, maybe you can talk a little about the beginning of your new life in Canada as a new immigrant and as a new artist. SGS Very much so! I became involved in Canadian conversations which

Breech (detail) 2015, installation detail of collaboration with Collette Broeders and Melissa Marchand for Windows of one ten park : a working space, Windsor Ontario. Acrylic over crayon on window glass.

were around identity and the meaning of “North�. I joined interdisciplinary international associations and made friendships with others searching out those questions. We looked to each other above the 49th parallel in the circumpolar regions instead of looking toward New York as the art center. I recall there was an important exhibition at the Art Gallery of Ontario about Northern Light, which compared Canadian landscape painting to Finnish and Scandinavian painting. AH All right, perhaps the feeling and understanding of moving in space sort of speak became very literal in your work. Do you feel like you have to explain that in your work, or do you leave that for others to interpret? How important is it for you as an artist to convey that message, or does it matter?

SGS Not really. I had no desire to explain these life changes directly in my

work. I was barely conscious of these particular aspects coming through in my work. Later, it was interesting for me to observe the parallels of life and art and the result of my curiosities, experience, and a shift in creative research. Everyone has experiences of change, loss, identity, place. These take different forms in people’s lives and affect them differently. What I convey in my work are the images resulting from my experience and creative understandings, not the particular personal experience itself. AH I always find it hard to believe that someone can make artwork without being conscious of their experiences, but perhaps this is something that I feel personally about. How could you separate the two, your personal life and your artwork, or am I misunderstanding you?

SGS Not really. I had no desire to talk directly about these life changes in my work. I was focused on moving my work away from reproducing a particu-

lar landscape and developing a liminal landscape where creation can take place. I called that body of work, Searching for the Primordial Landscape, and I traveled through Iceland to draw, and then I spent time in the New York Natural History Museum to research this for my work. I was barely conscious of how this struggle for imagery would parallel my personal struggle.

Susan Gold/Smith is an artist living and working out of Windsor, Ontario and Nobel, Ontario.


Mechanize, 2014, installation view of a collaborative one ten park Window installation with Mark Gasparovic and Collette Broeders, photograph in a plastic 9 cm petri dish.


Light as a Feather (detail) 2016, installation view of collaboration in windows of one ten park: a working space, Windsor Ontario. Acrylic and photograph on transparent acetate in plastic petri dish, 9 cm.


i. Jeffrey Evergreen

Since moving into Detroit a year & a half ago from elsewhere in the state, I’ve had 10 part-time jobs, all temporary, contingent, or at-will; usually juggling two or three at a time. Good jobs here are still hard to find, but I feel fortunate because, in addition to whatever hustle I may put forth, I have a good education that provides opportunities I might not have otherwise. I have managed to find work, after all. It must also be noted that I have chosen this place, one of the largest and busiest borders in North America, for all the peculiarities of place, history, and people, and a very real sense of possibility I haven’t felt elsewhere, and I’m not second-guessing that decision here. Rather I’m taking a moment to acknowledge and reflect on the fact that in spite of whatever struggle I’ve felt, there are many who didn’t/don’t have access to the same advantages, whether in Detroit or elsewhere. One of the perks of life in Detroit is the Eastern Market, a historic market district that opens to the public on Saturdays. It is with a mix of pride, guilt, and thanks that I shop for wholesale bargains, bound by a tight budget on one side, and on the other, an awareness that plentiful, inexpensive vegetables are frequently made possible by many people who have less opportunity than I do. In this series of ‘Thank You’ images, inspired by plastic bags at the market, I express sincere gratitude while confronting my privileged role in a much larger economic system. all works are titled Thank You

Detroit Bread: i. Jeffrey Evergreen ii. Shanna Merola iii. Ara Levon Thorose


Risograph prints, 8.5 x 11 inches, 2016





ii. Shanna Merola

The images in We All Live Downwind are culled from daily headlines – inspired by both global and grassroots struggles against the forces of privatization in the face of disaster capitalism. In The Shock Doctrine, Naomi Klein writes about the free market driven exploitation of disaster-shocked people and countries. Saying “the original disaster—the coup, the terrorist attack, the market meltdown, the war, the tsunami, the hurricane — puts the entire population into a state of collective shock”. And that “shocked societies often give up things they would otherwise fiercely protect”. The scenes in We All Live Downwind, have been carved out of dystopian landscapes in the aftermath of that shock. On the surface, rubble hints at layers of oil and shale, cracked and bubbling from the earth below. Rising from another mound, rows of empty mobile homes bake beneath the summer sun. The bust of small towns left dry in the aftermath of supply and demand. In this place,only fragments of people remain, their mechanical gestures left tending to the chaos on auto. Reduced to survival, their struggle against an increasingly hostile environment goes unnoticed. Beyond the upheaval of production a bending highway promises never ending expansion - and that low rumble you hear to the west is getting louder.




iii. Ara Levon Thorose

Untitled 1, Untitled 2





Figures by Salvador Campos Tico’s Master, found objects, and paint, 5 x 2 x13 inches.


Figure with Tree, found objects, and paint, 6 x 3 x 15 inches.

47 47


One – Many Reduction (Capilla 1) By Rafael Domenech

Most of Rafael Domenech’s works are a result of a coalition between physical experiences and theoretical ideas. One-Many Reduction (Capilla 1) started as an experiment of understanding a specific space (religious) through understanding the unforeseen and the tangible elements that compose, define, and modify a place.

The structure’s configuration recalls painted panels often found in churches where a square panel can open up in any particular direction to unfold a religious statement.The structure is divided in two sections, the center panel where a surface rubbing on watercolor paper appears, and the secondary panels that have sheets of color Plexiglas.

Perception and reduction of a space in three parts:

The paper piece at center responds to a previous works where this material documents specifically designated spaces through the irregularities of its surface. The details are revealed when bathed in light, and are only perceived from a certain close distance. From a distance the subdued visual elements compels the viewer to walk into the piece for an intimate experience.

-Exterior -Interior -Light The piece intends to lessen the larger effect created by large religious spaces by bringing them down to a human scale without sacrificing established perceptional effects. The formal structure responds to a hexagonal structure, but rather than using hexagonal shapes as base, it is constructed out of squares and rectangles. This approach creates a strong visual tension between space and forms.

The colors used are yellow, pink, magenta, orange, and blue, and immediately refer to stained glass windows. The transparency of the material allows for the tinting of the paper without the use of paint, while at the same time bathing the viewer with new color tonalities. 49


One – Many Reduction (Capilla 1), installation views.


playr 52

rooms 53 53



Meliti Kontogiorgi Just listen to me (or I’ll be your mirror) The video “Just listen to me (or I’ll be your mirror)” shows a closeup of a woman guided by a voice (inaudible to the viewer) instructing her on how to operate a pair of tweezers in order to remove her mustache. Through an investigation of power relations within the scope of designated roles, this video demonstrates a representation of narratives and practices that involve the person giving the orders, the person executing them, the one who presents the event and the observer. So, Would you let somebody tell you what to do, especially if it concerned your own body? Would you abandon yourself to the will of a designated authority? Do you trust somebody to the point of letting him guide your actions? Would you still be responsible for your actions? Does discourse/knowledge/information give somebody an authority? Would you still be submissive to this authority if you were experiencing pain? How is the power of the discourse related to the action and how are they represented? What are their limits/boundaries, do they interact? Who designated those roles-are they inversive? Could enunciations act on reality, instead of describing it? What would be the image of this ‘’reality’’that we have in mind? Do you trust me to represent a reality and which one is, mine, yours, ours? Do you believe that the image I’m giving you is true? Do you expect me to be objective? Are we connected to each other (the one who orders, the one who executes, the one who represents and the one who observes), and how, in the context of relations of power?

Single channel HD color video, 3min 55sec, 2015 link to the video:



Angeli sibyl of cumae: i can no longer make you smile, 9.26.14, duration: app. 5 hrs. A live multimedia performance combining film projection and slow, durational gesture, as a critique on social expectations of aesthetic labor in rituals of care and grooming in aging. A durational hair brush. Performed by Angeli Film in collaboration with Sarah Sitzler Presented at Over Under Limbo Lab curated by Labbodies at Sub Basement Artist Studios [defunct] for Transmodern Festival in Baltimore, MD Documentation by Sarah Sitzler [footage for reference:]



Flowy To The Side, title.


Messy Bun, title.


Anysa Saleh

My art practice is often the release of frustrations for having to act as an ambassador to the exotic foreigner. The content is drawn from personal experiences that are then fictionized to become relatable. I try to find the common link between what is foreign and the norm in ethnicity and culture. My work has elements of activism, screaming for equality. 62

Updo, title.

As a Muslim Arab-American, I have often heard the argument that Muslims and Arabs refuse to assimilate to Western lifestyles. We are accused of holding on to old ways and for this reason, can never fully be Westernized. This is a damaging claim because it supports the accusation that Arabs hate the United States and feeds Islamaphobia in the West.

In this digital work, I join the conversation about anti-assimilation and the dialogue of hate. This specific work acts as a satire by styling my hijab to match closely with popular hairstyles found in the United States. The titles, Flowy To The Side, Updo, and Messy Bun act as an added hammering to the obvious connection adding a Californian passive aggressive tone.

Pulse | Motion Pictures

By Ronald Bal

Bal examines how the digital world affects our bodies, and by extension, how the digital world determines time, place and space. The digital world has become part of our ‘natural’ habitus and thus gives rise to new forms of perception and identity. We have all become cyborgs as Donna Haraway famously claimed. The concepts interiority and exteriority are central in this study. Interior: body, individual, mind and state of being. Exterior: public space, language and society. The project consists of short films and live performances, which are connected to each other by a narrative structure. Pulse | Motion Pictures is part of his research project Pulse.

Pulse | Motion Pictures, screen capture.


LUNCH BREAK: i. Sincerely, Judy. Joe Sobel ii. To me it’s all very confusing. Schuyler Hazard iii.Our Lady of Perpetual Light. Laurie Langford iv. Absent Figure. Samantha Russell v. Boutique Sexuality. By R W Miller


Dear Joe,

i. Sincerely, Judy. Joe Sobel 65

I wish you the best in life. Thank you for all that this film has 66

done for me. It has opened up the wound that was my life up until the 67

day that I met you in aisle twelve. I feel that the film treated 68

the wound by exposing the ugliness of my past and 69

present and forced me to deal with the cause and effect of my failure 70

to confront these issues head on. In 2011, I met an older woman in the magazine aisle of the grocery store she worked at in Birmingham, MI and began to create a 14 month project with her. It eventually turned into a 25 minute film with a text I had her write and some still photographs. It was a project/performance addressing our personal issues that evolved organically into a relationship from our personal circumstances. Joe Sobel.


ii. To me it’s all very confusing, 2016. Schuyler Hazard.


iii. Our Lady of Perpetual Light, Laurie Langford Through dark humour, I create dialogue about the private and public aspects of women’s lives. As critic Phil Vanderwall wrote for my 2011 exhibition, The Exhibitchin’, I create “dioramas of pop culture innocence gone horribly wrong”.  My artwork seems frozen in the pretty perfection and nostalgia of the post-war era, but the juxtapositions that I create illustrate the continued harnessing of women through societal expectations, stereotypes, and religion. 73


iv. Absent Figure. Samantha Russell

I focus on figural representations and references to the body by sculpting various stages of figural completeness or physical fragmentation. I find that the figure, in all of its stages of completeness and degrees of visibility, conveys emotions and ideas to viewers better than any other imagery. My newest works have developed into figural representations without the figure being fully present. When creating figures many are abstracted, fragmented, or represented by contours and visual allusions to their presence. I seek to evoke empathetic responses to emotional cues from created objects. My figures are representational stand-ins for intangibles.

These metaphorical stand-ins are used to convey feelings or memories related to the concept of the object’s existence. I utilize long processes and favor hand-working my sculptures with manual tools and equipment over pre-fabricated or digitally manipulated objects. With these processes I create artifacts from my actions and interactions. With my materials I speak to the body’s interactions with the materials and creation. Through ideation, material manipulation, and the final presentation of my sculptures and installations, I align my work in the progression of process, conceptual, and feminist art that has been created before me.

By re-contextualizing these artistic movements through my current lens I can rekindle the push for total equality. Absent Figure is an exploration into the figures ability to convey emotions with minimal gestures. With this sculpture I ponder the balance between the represented figure as well as the absent body and the presentation of it in a public setting. The figure is crouched, fetal, removing itself from the gaze of the world and yet it sits atop its invisible pedestal.


G17.7 wood31, 2015, digital print, acrylic, tape, and polaroids 10 1/2 x 12 1/2 inches (26.67 x 31.75 cm) - framed dimensions, framed, page 76. G17.5 CircleC, 2015, privacy shield, tape, and polaroids 13 1/2 x 11 1/2 inches (34.29 x 29.21 cm) - framed dimensions, framed, page 77.


v. Boutique Sexuality By R W Miller Recent social developments undermine the hegemony of sexual tastemakers. Internet pornography distribution networks empower the role of amateur porn couples and actors. DIY stars for DIY at home. The gilded brands of printed pornography – Playboy, Penthouse, et. al. – dissolve into YouTube-esque fields of hashtagged orgasms. The miasma of amateur and commercial orgasms present a new sexuality: boutique sexuality. Boutique sexuality presents bodies as anonymous as the face-behind-the-camera. Categories of diversified desires are the videos’ distinguishing features. Contrived circumstances offer legibility to Lo-Fi aspirations for authenticity. The only verifiable authentic is their form of engagement. “Backroom Casting Couch,” “Bang Bus,” “Teen Sex Couple,” “Fake Agent,” etc. They share a wariness of

the viewer: faces become blurred, context and dialogue mere representation. One could choose to believe them, but viewer’s disdain snuffs out claimed realities. We know better. What’s left to-be-seen is meant-to-be-seen, nothing more. The reduction of artists’ gestures appears to alienate individuals from their interactions, but it frees them from the tyranny of being known through surface encounter. I see the artists by what they let me see, their power found in their withholding. Reductionism is the power of privacy, offered to the viewer with provocative potentiality. The potential of dream space and the imposition of the imagination, artists offer themselves to the viewer. The creep stares longingly. He always stares. He knows that he stares. He looks and thinks about looking and never stops. The deviance of the gaze makes seers shy, even staring with empathy is political in public. Seeing has been relegated to private or prepared space.

The grace of the art space is the offer to be seen: art work and artist. R W Miller (American, b.1987) is a Chicago based artist known for prints, collages, paintings, and installations exploring images as material. Critically exploiting the images clotting our political and sexual imaginations, wide-ranging output presents the proliferation of digital media as a form of decentered propaganda. Media production has become the mechanism through which we market the idealization of our desires and medicate the loss of dreams once shared. He also co-directs Julius Caesar NFP, an artist-run experimental space. Programming promotes diversity and professional opportunities for young and under-represented Chicago artists, while elevating the platform by collaborating with national and international artists. The space is currently under consideration for Not-For-Profit designation. 77

gaze. 78

The Pond By Rachel Jennings With a front yard of rolling cornfields and a back yard of dark timber, there is an ongoing presence of seclusion. I come from a rural landscape, and my work is reflective of my upbringing. A sense of place acts as the central theme in my work, whether it is the subject matter or the creation of a physical environment. My fascination with objects and a corporeal presence is embodied thorough my material choices, the manipulations of them, and the spaces they occupy. 79

Beachcomber #1 By Nate Nettleton Nate Nettleton is a self taught artist who grew up in Rondeau along the shore of Lake Erie. He now lives and works in Canada’s capital city, Ottawa. Most of his creations to date explore natural forces, dream states and constructing a physical representation of the invisible.


Beachcomber #1, whitewashed driftwood, foam, Balsa wood, fibreglass, wax, 48 x 42 inches.


Selfie, 2016, acrylic on canvas. By Alexander Elson



Intimacy, polaroid scans. By Irina Dora Magurean



Betino Assa Apples and Jazz, 2016, acrylic on digital print on vinyl, 54 x 41 inches.


Louise-Chance Baxter Artist: 87

Codfish Buljol (Trinidad) 1lb salted codfish (boneless) 1 large tomato (chopped small) 1 red onion, medium (chopped fine) 1 avocado, large (chopped in cubes) 6 springs of parsley and chives (chopped fine) Juice of 1/2 lemon Salt and pepper to taste 88

Soak cod overnight in boiling water. Next morning rinse fish and shred into a bowl. Add tomatoes, onions, parsley and chives. Heat 4 tablespoons of olive oil, pour on mixture and stir. Add lemon juice then add cubed avocado and gently mix. Add hot pepper to your liking. Enjoy. Image courtesy of the artist.

“ Art is life and it is a natural human emotion and felling that comes from within. You cannot separate it. Don’t ask me to explain... you’ve either got it or you don’t. Art is the adrenalin that just flows from within the person and through my art it simplifies the whole world for me and nothing is complicated anymore.” Louise-Chance Baxter

Louise-Chance Baxter was born in Oropouche, Trinidad and Tobago, and became Canadian Citizen in 1969. She lives and works in Windsor, Ontario Most recent exhibitions: XIAN Museum of Art, 2014, XIAN, China. SB Contemporary, 2011, Windsor, Ontario. Canadian Cultural Centre, 2010, Paris, France. Centre of Photography, 2006, Geneva, Switzerland. Vox gallery, 2005, Montreal, Québec.


Last day at the office, 2016, digital photograph.


Sarah van Sloten

My work conveys a disjointed narrative which is created by using a variety of objects to form a composition. I draw on past memories, including nostalgia and the experience of being a child but, more importantly, I work within a p​resent imagination. The items I collect are usually small, and able to easily fit into my purse or pocket. The reasons I pick them up are usually related to their physical properties (colour, texture, shape) but may also be related to the idea they represent or the memory they evoke. The value and importance of these objects is suggested in the way they are displayed. When they are carefully arranged, the objects become aestheticized as a part of the collection. These photographs present specific arrangements of these objects which form a narrative, which the titles of these photographs help explain. My own memories may be triggered by these objects, and I give myself time to reflect on the meaning of these objects after the rather intuitive process of collecting them. In doing so I begin the work of sifting through and discerning themes or common points in the larger loose narrative. I am interested in providing a new appreciation of the every day, or the familiar, by enlivening these objects. The viewer may relate to an element within a specific fragment of the narrative I present, and may then relate that piece to their own experiences.


Lady Draftsman, 2016, digital photograph.


Should I wear my hair up or down today?, 2016, digital photograph






Barbed - Complete issue #04