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	<title>Drain Magazine</title>
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	<link>http://drainmag.com</link>
	<description>Online Arts Journal</description>
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		<title>Dead Wrestlers</title>
		<link>http://drainmag.com/dead-wrestlers/</link>
		<comments>http://drainmag.com/dead-wrestlers/#comments</comments>
		<pubDate>Wed, 18 Apr 2012 06:38:52 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Art Project]]></category>
		<category><![CDATA[Content]]></category>
		<category><![CDATA[ISSUES]]></category>
		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=1743</guid>
		<description><![CDATA[Judith Baumann “There are people who think that wrestling is an ignoble sport. Wrestling is not sport, it is a spectacle, and it is no more ignoble to attend a wrestled performance of suffering than a performance of the sorrows of Arnolphe or Andromaque.” – Roland Barthes “The biggest thrill in the world is entertaining the public, there is no bigger thrill than that.” &#8211; Vince McMahon, Chairman and CEO of World Wrestling Entertainment &#160; &#8220;The Big Boss Man&#8221; Raymond Traylor (Cause of Death: Heart attack due to an enlarged heart, probably the result of steroid use, Age 41), 2012, Digital Print. The first fan letter I ever wrote was to Hulk Hogan in 1987. I was 8 years old. As I grew older and realized wrestling was scripted, I drifted away from the squared circle, occasionally checking in on the happenings of the WWF as I passed through high school and into college. In 2003 however, a series of wrestling deaths rocked the newly christened WWE universe – “Mr Perfect” Curt Hennig, “Miss Elizabeth” Hulette and “Road Warrior Hawk” Michael Hegstrand all died due to steroid and drug induced heart attacks or accidental prescription drug overdoses. Further research revealed [...]]]></description>
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		<title>Satellite Fields</title>
		<link>http://drainmag.com/satellite-fields/</link>
		<comments>http://drainmag.com/satellite-fields/#comments</comments>
		<pubDate>Wed, 18 Apr 2012 06:35:29 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Art Project]]></category>
		<category><![CDATA[Content]]></category>
		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=1652</guid>
		<description><![CDATA[Satellite Fields is a series of large-scale land art formations created on the plains of North Dakota. Each piece is composed of hundreds of living trees, planted in stark geometric formations, so that they are visible and “visitable” by satellite imagery such as Google Earth. In its constantly evolving “final form”, Satellite Fields attempts to re-map the shifting border regions of the natural world in two ways: 1) by examining how virtual space is changing our relationship to both nature and technology and 2) by asking how nature is evolving and being modified by the agendas of science, technology, and global economics. Like Mary Shelley’s Frankenstein – perhaps the first piece of modern literature to imagine the supernatural nightmare of human/scientific intervention into natural life – Satellite Fields animates the ways in which our interventions into nature continue beyond our control, as nature moves forward with a life and mind of its own. &#160; SUPERNATURAL HYPERSPACE: Satellite Fields is a virtual artwork. While existing in a remote natural setting, Satellite Fields also creates a “hyper-location” that distorts both time and space, encouraging visitors to re-envision our relationship to both nature and technology. Covering 4-acres of land on the flat empty [...]]]></description>
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		<title>The Only Way Around is Through. Artifacts of Memory : Crystal Schenk</title>
		<link>http://drainmag.com/artifacts-of-memory-jennifer-rabin/</link>
		<comments>http://drainmag.com/artifacts-of-memory-jennifer-rabin/#comments</comments>
		<pubDate>Sat, 14 Apr 2012 01:52:14 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Interview]]></category>
		<category><![CDATA[ISSUES]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=2408</guid>
		<description><![CDATA[Jennifer Rabin Crystal Schenk, Artifacts of Memory, 2012.  Magnets, wire, silk flower petals.  All images courtesy of Cris Moss. Walking into the Linfield Gallery, where Crystal Schenk’s Artifacts of Memory is installed, is a disorienting experience. It is difficult to make sense of what you are seeing. At first, the eye is drawn across the gallery by two horizontal lines of pod-like structures—the top row hung from the ceiling and the bottom row suspended above the floor with near-invisible wire. As you let your eyes adjust, you realize that what appeared to be a two-dimensional line of pods is in fact a three-dimensional haze that fills the gallery. Schenk, an American sculptor and installation artist, lost her mother to suicide in 2004. She made Artifacts to represent the overwhelming grief she experienced in the wake of her mother’s death. For an artist, there is perhaps no greater challenge than to embody an emotion, to give voice to the ineffable, to bring form to the formless. With Artifacts, Schenk accomplishes this in a number of ways. In the beginning, grief is sharp, savage, violent. The pods start red at the center, like a wound, and are tightly arranged, unnavigable. If you [...]]]></description>
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		<title>Imaging Lazarus: The Undead in Contemporary Painting</title>
		<link>http://drainmag.com/imaging-lazarus-the-undead-in-contemporary-painting/</link>
		<comments>http://drainmag.com/imaging-lazarus-the-undead-in-contemporary-painting/#comments</comments>
		<pubDate>Wed, 21 Mar 2012 23:54:34 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Essay]]></category>
		<category><![CDATA[Related Essay]]></category>
		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=2271</guid>
		<description><![CDATA[Steve Locke I want to avoid the obvious discussion of painting being dead.  It’s not.  Rather, painting has been killed several times and has been brought back to life by a certain kind of belief, or faith in it.  This faith sustains painting as a practice, but recently there has been a kind of representation of the body, the “undead” body in painting that I think has a lot to do with the history of painting, but an attempt to re-inscribe the art in general and body specifically as a site of political agency. It bears an investigation of the story of Lazarus to get a sense of what I am talking about here.  The tale is found in the Gospel of John.  Many people focus on Jesus’s act of raising Lazarus from the dead (he had been entombed for four days) as a pre-figuring of his own resurrection.  It is that, no question.  But there are other elements of the story that I think are often overlooked. Jesus knew that his beloved Lazarus was dying and arrived at Bethany too late to save him.  He does this purposefully.  He is addressed by Mary and Martha, who tell him clearly, [...]]]></description>
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		<title>Convergence Zone: The Aesthetics and Politics of the Ocean in Contemporary Art and Photography</title>
		<link>http://drainmag.com/convergence-zone-the-aesthetics-and-politics-of-the-ocean-in-contemporary-art-and-photography/</link>
		<comments>http://drainmag.com/convergence-zone-the-aesthetics-and-politics-of-the-ocean-in-contemporary-art-and-photography/#comments</comments>
		<pubDate>Wed, 21 Mar 2012 23:03:04 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Feature Essay]]></category>
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		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=2251</guid>
		<description><![CDATA[Abigail Susik I Gradually over the last century, the ancient symbolic rapport between humanity and the sea has changed and contemporary culture at large is taking notice. The formerly awe-inspiring sublimity of the ocean as a cultural symbol has now given way to a new kind of disturbing awareness: humanity can no longer fully escape itself through exploration of alien marine reaches. To be sure, many of the literal and metaphoric associations of the ocean remain firmly ensconced in place as they have for centuries. The ocean’s tidal force still threatens human life on a terrifying scale, just as its depths continue to harbor myriad scientific mysteries. Yet it is also apparent that the ocean has submitted in diverse ways to the persistent shaping forces of the human hand, and this in turn has shifted our conception of its semantic identity. What was once one of the supreme spaces of otherness from a human perspective has been replaced in the last half-century or so by an often grotesque experience of unavoidable self-reflection. Reversing the subliminal onus of the of prehistoric flood myth, it is rather a tidal wave of man-made materiality that surges to embrace the globe’s seas in a [...]]]></description>
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		<title>Zombie Argument</title>
		<link>http://drainmag.com/zombie-argument/</link>
		<comments>http://drainmag.com/zombie-argument/#comments</comments>
		<pubDate>Thu, 15 Mar 2012 18:39:20 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Art Project]]></category>
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		<category><![CDATA[ISSUES]]></category>
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		<guid isPermaLink="false">http://drainmag.com/?p=1753</guid>
		<description><![CDATA[Harrison Higgs I equate the idea of human civilization with that of the supernatural, as a move away from and beyond nature. Technology, language, media, our items of luxury and desire&#8211; taken together have become our (collective) primary activity. The resulting stream of replenishing objects has become the animating engine of this world. Using mostly packaging materials, plastic, and glue, Zombie Argument considers the nature of these objects which are made animate only through the act of observation. &#160; &#160; Harrison Higgs uses photography, sculpture, printmaking, and digital imaging to reconsider the industrial impulse and its relationship to the individual. Based in the Pacific Northwest, his work has been shown in Portland, Seattle, Los Angeles, Toronto, Melbourne, and in Sofia, Bulgaria. Higgs holds an MFA from the University of Washington.]]></description>
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		<title>Preternatural</title>
		<link>http://drainmag.com/preternatural/</link>
		<comments>http://drainmag.com/preternatural/#comments</comments>
		<pubDate>Thu, 15 Mar 2012 17:14:26 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Feature Artist]]></category>
		<category><![CDATA[ISSUES]]></category>
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		<guid isPermaLink="false">http://drainmag.com/?p=1919</guid>
		<description><![CDATA[&#160; &#160; &#160; &#160; &#160; Preternatural was an exhibition of contemporary art that explored the themes of nature, wonder and the extraordinary.  The exhibition featured both Ottawa/Gatineau based and international artists who employ a variety of media including photography, video and sculpture. Curated by Celina Jeffery Dec. 9, 2011 &#8211; Feb. 17, 2012, Ottawa, Ontario, Canada www.preternatural.ca The Museum of Nature, Installation View. Comprising of three exhibitions at venues across Ottawa: The Museum of Nature, St. Brigid’s Centre for the Arts and the Patrick Mikhail Gallery, Preternatural sought to explore the boundaries of the natural and the liminal space where the natural and unnatural collide.  All photos by Rémi Thériault, unless specified. The Museum of Nature (produced and presented by):Marie-Jeanne Musiol, Mariele Neudecker, Anne Katrine Senstad, Sarah Walko and Andrew Wright Marie-Jeanne Musiol, The Radiant Forest, Energy Herbarium, 2011, Electromagnetic photographic installation. Mariele Neudecker, 4.7 km = ~ 3 Miles or ~ 2.5 Nautical Miles, 2009, Mixed media including metal, stereo lithography, glass and water. Anne Katrine Senstad, The Sugarcane Labyrinth, 2011, Video still. Andrew Wright, Nox Borealis, 2011. Sarah Walko, It Is Least What One Ever Eees, 2011. At the Canadian Museum of Nature, there is both reverence and enchantment [...]]]></description>
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		<title>Where The Other Hand Is Clapping</title>
		<link>http://drainmag.com/where-the-other-hand-is-clapping/</link>
		<comments>http://drainmag.com/where-the-other-hand-is-clapping/#comments</comments>
		<pubDate>Thu, 15 Mar 2012 15:53:52 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Art Project]]></category>
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		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=1679</guid>
		<description><![CDATA[Aaron Wexler There’s something about elements in nature that are always surprisingly abstract to me. I’m interested in shapes in nature as they relate to abstraction in painting. In my work I investigate the curious, rich area of visual potential these shapes exist in. I question how we interpret what we see in terms of abstraction whether it is by chance or intentionally looking at a work of art. I collect distinctly different representations of abstraction of nature: prints, books, photographs and more. I make drawings and collages from these source materials. They become cut and paste blueprints from which I build my surface layers on the picture plane. Concealing and revealing in my work is an important form of visual play. I play with the back and forth between what is print, what is paint and what is just negative space. Collage is a form of sampling but for me it’s what’s in between those samples, which is just as exciting. My selection process of shapes, images and paint is based in poetic responses on how I respond to formal elements – it is in that act that I find profound meaning. The Not-So-Distant Future, 2008, acrylic and paper [...]]]></description>
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		<title>SUPERNATURE</title>
		<link>http://drainmag.com/supernature/</link>
		<comments>http://drainmag.com/supernature/#comments</comments>
		<pubDate>Thu, 15 Mar 2012 15:33:41 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Introduction]]></category>
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		<guid isPermaLink="false">http://drainmag.com/?p=2145</guid>
		<description><![CDATA[Supernature is more than nature as science, or nature as art – it exceeds the boundaries of these classificatory systems and opens up a space where the species of things conjure wonder and curiosity, as well as fear and repugnance. This issue of Drain explores the limits of ‘nature’: its extremeties, its uselessness, its non-existence. Neither transcendent nor reified, ‘supernature’ is heterogenous and interdependent: it mimics, inverts, entombs and subverts the natural. Here, the classifications and hence, boundaries between art and nature are eliminated, and the unstable category of the speculative ensues. IN THIS ISSUE Feature Essay Convergence Zone: The Aesthetics and Politics of the Ocean in Contemporary Art &#8211; Abigail Susik Essays Opening the Tomb: Supernature, Beautiful Decay, and Ruination &#8211; Ricky Varghese Imaging Lazarus: The Undead in Contemporary Painting &#8211; Steve Locke Reviews/Interviews Interview with Isabel Manalo &#8211; Craig Drennen Artifacts of Memory. Crystal Schenk at Lindfield Gallery &#8211; Jennifer Rabin Questioning Necessity. Xin Cheng: Mixtures &#8211; Victoria Wynne-Jones Interview with Carrie Gundersdorf &#8211; Avantika Bawa Creative Writing Host &#8211; Monty Reid Teach Me – Ian Rhoodewalt Feature Show Preternatural &#8211; Curated by Celina Jeffery Art Projects Wide Receivers &#8211; Mónika Sziládi Satellite Fields – Nadia Anderson Dead [...]]]></description>
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		<item>
		<title>Host</title>
		<link>http://drainmag.com/host/</link>
		<comments>http://drainmag.com/host/#comments</comments>
		<pubDate>Tue, 06 Mar 2012 21:47:17 +0000</pubDate>
		<dc:creator>avantika</dc:creator>
				<category><![CDATA[Content]]></category>
		<category><![CDATA[Creative Writing]]></category>
		<category><![CDATA[Supernature]]></category>

		<guid isPermaLink="false">http://drainmag.com/?p=1874</guid>
		<description><![CDATA[Monty Reid (for skh) Epidemiology and microbiology are better guides to our future than any of our hopes and plans.                                  -       John Gray &#160; Everyone occupies the same spacious rung on the food chain; everyone is potentially a sacramental meal.                               -        Peter Straub &#160; Enchante Come in, my friends my sprites my microscopic angels. There is no body left. This is not about loss. To be alive is to be alive with you. The cloaks of invisibility are gone. All your precision all your finitude is not who you are. The body is not exhausted by explicability but by your hunger. &#160; &#160; It Means Dissolve A story begins every time it enters. Not in the tongue or the brain, a story never begins there, no matter how much we want to believe it, that it begins with us, our words. Each segment, or proglottid, of the flatworm is more like an individual within a colony since each is a complete sexual unit. These are the ceaseless divisions that make [...]]]></description>
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