Fan Wu was born in Baoding, China and is now based in Tkaronto where he is the wick at the tip of the candle of exhaustion. His practice moves between activating language’s intrinsic capacities and exploring language’s unutterable beyond. You can find more of his writing online at MICE Magazine, baest journal, and Aisle 4; or track down Mourning Anthology or Himalayan Musk Rambler, writing collections that he has edited.
Agamben, Giorgio. The Coming Community. Translated by Michael Hardt. Minnesota, Minneapolis: University of Minnesota Press, 1993.
Unknown. The Toronto Purchase. 1805. Colour manuscript, 39 × 23 cm.
Tod, Joanne. The Magic of Sao Paulo. 1985. Oil on canvas, 213.4 x 170.18 cm. Collection of Mrs Pamela Hallisey.
Simpson, Leanne Betasamosake. “Land as pedagogy: Nishinaabeg intelligence and rebellious transformation.” Decolonization: Indigeneity, Education & Society 3, no. 3 (2014): 1–25.
Pitsiulak, Tim. “Drawing of the whale at the McMichael.”
Mondrian, Piet. “General Principles of Neo-Plasticism.” In The New Art—The New Life: The Collected Writings of Piet Mondrian, edited and translated by Harry Holtzman and Martin S. James. London: Thames and Hudson, 1986.
Jacob, Luis. Form Follows Fiction: Art and Artists in Toronto. Toronto: Art Museum at the University of Toronto and Black Dog Press, 2017. Exhibition catalogue.
Houle, Robert. Premises for Self-Rule: The Royal Proclamation, 1763. 1994. Oil on canvas, photo emulsion on canvas, and laser-cut vinyl on acrylic sheet, 152.4 x 304.8 cm. Collection of the Museum of Contemporary Canadian Art.
Houle, Robert. Premises for Self-Rule: The Indian Act, 1876. 1994. Oil on canvas, photo emulsion on canvas, and laser-cut vinyl on acrylic sheet, 152.4 x 304.8 cm. Collection of the Canada Council Art Bank.