Cover & Editorial

  • Anchi Lin
  • Letters & Handshakes

What meanings are assigned to care, and by whom? Who speaks for care? What ways of knowing, representing, or performing care are erased or marginalized by dominant medical or public health framings of care? Who cares, and under what conditions? How are the perceptions of care and the conditions of care work mutually reinforcing? Where are the spaces of learning to care? What is care’s fate under neoliberal capitalism, which is governed by the ideals of competition and individual responsibility? How is the attentiveness necessary for care affected by the demands of contemporary work and always-on media life? How is care enacted or neglected in the affective economies of art and activism? What is the relationship between care and resilience in communities of dissent? What forms and strategies of collective organization are emerging from care work? What would it mean for the exercise of care to be self-determined? What wider political-economic and social transformations are required to to democratize the burden of care and establish a “care-centered economy”?1 How does, and how might, the category of care function politically? Could an expansive conception of care open common discursive ground toward linking multiple struggles in the domain of social reproduction? And finally, how can we work against the tendency of “curatorial and institutional initiatives that perform radicalism on a discursive or representational level, without addressing or transforming the political conditions under which they operate”?2

—Letters & Handshakes



Anchi Lin is an artist of Taiwanese heritage who lives and works in Vancouver. Her work negotiates and interfaces with concepts such as language, identity, gender, and cultural norms. Lin received a BFA in Visual Art from Simon Fraser University and was the recipient of the Vancouver Contemporary Art Gallery Emerging Artist Award and the Bob Rennie Undergraduate Award in Visual Art. She has exhibited at galleries in Vancouver and Taipei.

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Letters & Handshakes is a collaboration of Greig de Peuter (Department of Communication Studies, Wilfrid Laurier University) and Christine Shaw (Blackwood Gallery and Department of Visual Studies, University of Toronto Mississauga).

Letters & Handshakes’ past projects include the exhibitions I stood before the source and Precarious: Carole Condé + Karl Beveridge, the forum Fighting Foreclosed Futures: Politics of Student Debt, and the symposium and micropublication Surplus3: Labour and the Digital.

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