strives to provide a forum for experimental writing and informed polemics without pedantry. It assembles a polyphony of inquiry and documents the messy landscape of opinion and critique that unravels in close proximity to where we work, live and make art in Vancouver.

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    Charcuterie 2: future decapitations under posh hats

  • THE EMPTY HUSK CONDITION

    There is a fine edge of appeal to having the place of art be an empty and hollowed site. Artists can repeatedly seem-to-be detached there. You could even say the contemporary art scene holds the throne to this probe on emptiness.

  • ADVENTURES FROM THE THIRD BUREAU

    The heart is meat. I am learning to be you I am not you cannot you in this harmonized vibration a massive chorus echo sentiment our presences gather together in a lake of song.

  • THE BUS AS HOSTILE ARCHITECTURE I

    Have you ever seen what freedom looks like inside a bus? Have you ever seen hot coffee thrown at a man’s face, or a well-dressed grad student calmly vomiting on the side of the centre aisle for at least 30 seconds, or a man clipping his toenails in the back of the bus.

  • SNAPSHOTS OF THE 34TH CAIRO INTERNATIONAL FILM FESTIVAL

    Delphine and Muriel Coulin’s "Stopover" — This film would cease to exist without its female leads, but Stopover accomplishes much more than mere kudos for representation. / Oliver Laxe’s "Mimosa" — To watch this film is to suppress an appetite for a well-rounded plot or lucid editing / Atilla Till’s "Kills on Wheels" — How wheelchair accessible is the gangster world?

  • TROUBLING GENDER ASSUMPTIONS  IN MIRANDA JULY’S  'THE FIRST BAD MAN'

    If authors wrote more stories that questioned and undermined unconscious, unchecked normativity, readers might be less likely to lazily dismiss work like July’s as “quirky”.

    Charcuterie 1: You should eat something before coming over

  • MY ARGUMENT IS WRONG, BUT

    There are no poems which “fail”, and when they do what we conceive to be as "failing", they are only more interesting for partly exposing today’s aesthetic and linguistic slant.

  • NO STUDIO, NO PRIVILEGE

    For the course of 1 year, Spare Room has hosted 6 projects, numerous podcasts, a film room and an audio room and many undocumented conversations about what collective consciousness is and how does one develop it in our community.

  • HOW TO TAME A FLY

    I’m googling “How to Tame a Fly” now for inspiration, and am briefly transfixed by a 55-second YouTube clip of a man gently prodding a black fly with the point of a chopping knife. The fly doesn’t budge, too busy cleaning itself.

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