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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Call for Board Members
Call for Pitches: “Patterns”
‘Traces’ Issue Launch / Saskatoon
‘Taste’ Issue Launch / Winnipeg
From BlackFlash Expanded
We are so grateful for the generous support of EQ Bank in developing a three-part publishing and event series dedicated to digital disability justice during the Fall of 2023.
Part THREE – Saturday November 18th
This online panel explores Black, Indigenous, and Crip technoscience and how intersectional disability justice lends itself to innovation.
Co-presented with Inter/Access
Coordinated by Belinda Kwan
From the archives
“Both John and myself had been orbiting around questions of Whiteness and White identity through our own independent research, and we came together to produce an exhibition that looks directly at the topic of White racial identity. […] The following conversation is one of the only occasions where we’ve been able to debrief about our experiences, reflecting on our own curatorial collaboration and the public reaction to the exhibition.”