Moving Forward, 11cm x 11cm x 11cm "cubes", porcelain/iron-oxide ceramic decal, 2015, photo credit: Dale Roddick.
Moving Forward, 11cm x 11cm x 11cm "cubes", porcelain/iron-oxide ceramic decal, 2015, photo credit: Dale Roddick.

With Volume 7, Number 4, and since its relaunch in September 2017, three more volumes of Rungh magazine come to an end. Over the past three volumes (12 issues), Rungh has engaged with more than a hundred artists and contributors, reestablished its Rungh Readings series, nurtured archival projects that explores the 1990s and it relevance to current cultural conversations, and engaged in arts advocacy from IBPOC perspectives.

In Volume 8, we plan to launch a redesigned Rungh site, with a bold look and navigation that encourages you to linger and delve deeper into our growing content. Rungh will also be adding some “destination reading” with the gradual introduction of Columnist(s) and our growing list of initiatives and archives.

Before we move too far ahead, there is much to read and share in Volume 7, Number 4.

The Artist Run Centre features the work of ceramic artist Heidi McKenzie and her journey in crafting identity (her artwork is featured in the banners for this issue). Jamelie Hassan and Soheila Esfahani’s recent show at the Campbell River Art Gallery explores the idea of translations.

Junie Desil (eat salt/ gaze at the ocean) and Natasha Ramoutar (Bittersweet) present poetry from their newly published collections. In addition, there is a fiction excerpt from Francesca Ekwuyasi’s Butter Honey Pig Bread. Madhur Anand reflects on archival bricolage and the structure of her book This Red Line Goes Straight to Your Heart.

Rungh continues in its commitment to engage with conversations initiated at the Primary Colours/Couleurs primaires gathering with a new reflection by Helena Martin Franco from a Banff Centre for the Arts residency. Artist Soleil Launiere also attended the same residency, and this issue includes a review of her performance art which invokes the spirit of place.

Chris Creighton Kelly’s essay explores art structures in the 1990s and strategies of engagement, in the Rungh Reprints series.

At Rungh, we don’t forget the past, as we reach for the future.

– Editor