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Current Issue: Winter 2020
Winter 2020: Antimatter


Available from December 15, 2019, to March 14, 2020

We’ve taken some interpretive, some poetic liberties in considering antimatter as a concept. Antimatter is weird. It presents a mirror world of abstract phenomena: time reversals, mutual annihilation, cosmic rays, cloud chambers, an infinite sea of sub-atomic particles that parallels our “real” world of matter. Alongside physicists and researchers, the artists in this issue are thinking about systems, ecologies, erosion, alchemy—the changing forms of matter that reveal visible and invisible worlds, tiny details and wide vistas. For many, exploring dark voids—or what Quinn Latimer calls “the glittery political-ecological apocalypse all around us”—is a feminist, or feminized, practice.

From landscapes of extraction mined for pleasure rather than capital (New Mineral Collective) and the spatiality of Indigenous presence (Sky Hopinka), to the sensuality of systems (Azza El Siddique) and collaborations between particle physicists and artists (Randy Lee Cutler and Ingrid Koenig), this issue explores what’s possible when artists and scientists think together about the beyond-visible world. And as the earth’s troubled systems continue to trouble us, there is some urgency in evoking the mysterious, dark matter of the universe.


Searching for the Language of the Universe

What happens when physicists and artists collaborate on some of science’s biggest questions? A unique project reveals surprising affinities

An Alchemy of Remains

Azza El Siddique’s sensory environments are part scientific process, part ecosystem

by Tiana Reid

Myth and Matter

Sky Hopinka speaks about moving on the land, Indigenous presence and relations that collapse time and space

by Eli Hirtle

If the Body Is an Assembly, How Does It Assemble?

In a personal account, an artist, runner and scholar considers space and the everyday, in theory and creative practice

by Camille Georgeson-Usher

Core Desires, Counter Prospects

New Mineral Collective finds alternatives to mining, through pleasure and passive resistance

by Quinn Latimer

No More Words, Words, Words

Hanne Darboven and Madeline Gins each created a kind of personal mathematics, in order to read, and write, their art

by Lucy Ives


Invisible Landscapes

Detail. 2017. Conte on Japanese Obonai paper, 63.5 x 48.3 cm.

by Mimi Gellman

This Issue


Conversations with artists and curators on upcoming projects


Free Radicals

by Bryne McLaughlin


by Douglas Cardinal and Tiffany Shaw-Collinge


Bending the Light

A national survey of 10 artists who are reforming material practice

Artist Project

Ironwork for Dirac House

by Craig Leonard

School Guide



Textile Museum of Canada, Toronto, October 2, 2019, to March 15, 2020

Eric Mack

Scrap Metal Gallery, Toronto, September 19, 2019 to January 25, 2020


Dark Matters

by Simone Browne

Winter 2020: Antimatter

Past Issues