RML3: UNDERCURRENTS AND FOLDS
A Series of Six Artist Books in the Project Reading The Migration Library:
Reading the Migration Library, a long-running artist project that has produced events and publications in the theme of migration and displacement, has just released its third and final series called RML3: Undercurrents and Folds. Artists Lois Klassen and Deanne Achong are thrilled to present six new small edition publications in the series of creative responses to topics of displacement, diaspora, arrivals and failed arrivals, arrivants, travel over sovereign Indigenous territory, and the violence of forcible containment caused by colonizing states.
Lois and Deanne will be at CVAG at 6:30pm on Thursday, October 3, to read from RML3: Undercurrents and Folds publications and to discuss the process of making artist books and zines on the topic of migration. Bring your own zines or artists publications to exchange for RML3 titles.
RML3: Undercurrents and Folds titles are:
- Deanne Achong (2024), Mama D’Lo and Missy G Under the Sea
- Leah Decter and Peter Morin (2024), x: the meeting place makes the spine
- Sarah Shamash (2024), Didactics to Postpone the End of the World
- Candie Tanaka (2024), Hanafuda 花札 (Flower Cards)
- Tania Willard and Leah Decter (2024), Directions to BUSH Gallery
- Clare Yow (2024), ac·cu·mu·la·tions
During this week, Lois Klassen and Deanne Achong will also be engaging in a residency at the McLoughlin Gardens seaside artist residence.
PRESENTING ARTISTS
Lois Klassen is the founding artist-editor of RML with a hand in creating previous publications and events. Klassen hosts Light Factory Publications which has produced RML, Present Cartographers, and Renegade Library.
Deanne Achong works across disciplines. She is the artist-author of Workin’ for the Yankee Dollar (2017), published by RML, as well as the web designer-developer behind ReadingtheMigrationLibrary.com and LightFactoryPublications.ca.
ACKNOWLEDGEMENTS
RML3: Undercurrents and Folds would not be possible without funding and support from BC Arts Council (Individual Arts Award); Canada Council for the Arts (Research Creation, Explore and Create grant); SSHRC Postdoctoral Fellowship at Critical Media Art Studio (cMAS), School of Interactive Art and Technology, SFU; Centre for Inter-Media Arts and Decolonial Expression (CiMADE), NSCAD and Canada Research Chairs Program; SITE/ation Studio, UBCO; and, Light Factory Publications.
