Victoria Nolte

, “Capsizing” scene from Celestials of Saltwater City, 2011, wooden projectors, Chinese pigment and ink on transparencies (digital composite still), dimensions variable. Copyright Howie Tsui. Printed with permission from the artist. Filmmaker Ali Kazimi produced Fair Play (2014), a stereoscopic

Jessa Alston-O’Connor

the promotion and symposium of the Komagata Maru centennial series, funding for this exhibition came from the Surrey Art Gallery. The exhibition featured artists Roy Arden, Avantika Bawa, Ali Kazimi, Evan Lee, Ken Lum, the Mass Arrival collective (Farrah Miranda, Graciela Flores, Tings Chak, Vino

Alexandra Chang and Alice Ming Wai Jim

. Vancouver : UBC Press , 2006 . Greenberg Reesa . “ Identity Exhibitions: From Magiciens de la terre to Documenta 11 .” Art Journal 64 : 1 ( 2005 ): 90 – 94 . Hameed Ayesha , and Vukov Tamara . “ Animating Exclusions: Ali Kazimi’s Continuous Journey and the Virtualities of Racialized

Glenn Deer, Christopher Lee and Marissa Largo

installation Celestials of Saltwater City (2011) and Ali Kazimi’s 3D cinema installation Fair Play (2014). Her article in this issue, “Asian Canadian Minor Transnationalism: A Method of Comparison,” draws on Larissa Lai’s study of critical moments of “rupture” in Asian Canadian “anti-oppression movements

Luisa Feiersinger

erhöhten Realitätsgrad auf, geben aber ebenfalls an, dass dieser Realitätseindruck nicht konstant jenen des zweidimensionalen Films übertrifft. Siehe Robert Allison, Laurie M. Wilcox und Ali Kazimi, „Perceptual artefacts, suspension of disbelief and realism in stereoscopic 3D film“, in: Adler