Through 3D-rendered black and white images, Moni Omubor creates a fictional museum where Yoruba artifacts exist beyond colonial possession. This artist project, titled “The Backroom” employs speculative fiction and Afro-Surrealism to interrogate Western museum practices and imagine new possibilities.
BlackFlash Magazine Posts
In conversation with Lodoe Laura, artist Annie Macdonell discusses her recent exhibition “The Beyond Within,” which delves into the history of psychedelic therapy. She explores her collaborative films with Maïder Fortuné and the historical ripples that help us read our fractured moment, sustaining an uncynical belief in art even as its institutions falter.
Yaniya Lee advocates for a critical approach grounded in material practice. Drawing on her recent work with textile artists in Edmonton, Lee makes a case for criticism that attends to how black artists work, focusing on their materials, methods, and processes, while calling for more diverse voices to engage with these practices.
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43.1
BlackFlash Spring/Summer 2026 “In my time at BlackFlash, we’ve persistently renegotiated the magazine’s identity, careening between vestigial past eras while plotting a future course, all…
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From BlackFlash Expanded
“Each night, movie attendees gather on the shoreline to watch the beach films, projected on an eleven-meter screen erected directly in the lake. Viewers dig themselves makeshift seats in the sand. Feasting mosquitos gather. Waves lap. Frogs chirp. Credits roll.”
From the archives
The exploitation of Indigenous culture has a long and fraught history in Canada and abroad. The donning of headdresses by hipsters at music festivals and the appropriation of Indigenous patterns in luxury fashion lines, like Canadian designers DSquared2’s “Dsquaw” collection, indicates that the commodification and misappropriation of Indigenous belongings continues to occur in contemporary Canada.