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announcing the


Call for Cover Images

KAPSULA welcomes artists to submit original art to be used as cover images for our monthly releases.

Although it should be made clear that KAPSULA is not a platform for exhibiting contemporary art, we do wish to support the emergent contemporary art community by exposing our readership to ideas and images that are fresh, salient and speak to the spirit of our publication.

We look for one new cover image each month. This is an ongoing call, but submitted imagery must relate to the current call for article submissions. The current call can always be found here, on the website homepage.

If you're not already a subscriber, we recommend you acquaint yourself with our past issues in the archives.

Submission Guidelines

To submit, e-mail a maximum of 5 images as high resolution .tiff or .jpg attachments to

Please make sure your file is a minimum of 1068 pixels wide at 72 dpi, but no larger than 4 MB.

Please also include the following information w/ your submission:

  • Your full name
  • Your current location
  • A 50-200 word explanation of how your work relates to our current theme
  • Web, blog, or other online presence
  • Image information, including:
    • Title
    • Medium
    • Dimensions
    • Date completed



We are living in a world that is beyond controllability.

– Ulrich Beck

The false security provided by modern industry has revealed itself as such. When failures of the scientific method—and the indisputable logic implicit in it—become impossible to ignore, society scrambles to recover a lost sense of protection that held no guarantee in the first place. To cope with the knowledge that we can’t actually know anything, society allows the anticipation of catastrophe to govern the behavior of its citizens. This is how sociologist Ulrich Beck describes the world risk society—a society occupied with managing risks created from within.

Global risk separates nations based on the degree to which different threats are perceived, and further separates the individuals living in those nations by appearing as an omnipresent uncertainty. Mistrust of societal systems and structures tampers with our ability to use information—a resource which is already delivered through a series of different filters that leave the individual to decide which version to accept. Michel Foucault uses Jeremy Bentham’s panopticon to demonstrate the effects of mass uncertainty, illustrating how the individual spurs autocracy through self-surveillance. Indeed, though risk society has no spatial or temporal limit, its affect resonates in personal choice and decision-making.

The space of uncertainty pointed to by Beck and Foucault, formed of the emptiness of modern promises, has been activated by policies and procedures that attempt to mitigate risk at scales spanning the personal to the global. Recent exhibitions at Columbia College Chicago and MOCA Taipei, titled RISK: Empathy, Art and Social Practice and Risk Society: Individualization in Young Contemporary Art in Germany respectively, show that the art world has felt the effects of global risk on an autonomous level. What then are the particular roles of risk in contemporary art practices, where risk is defined as both a context-specific social phenomenon and, more simply, the threat of the unknown?

KAPSULA asks arts writers to investigate aesthetic negotiations, manipulations, and interventions that relate to RISK in contemporary society.

Possible Topics

  • Social and economic precarity in contemporary art: the plight of the arts worker in a world risk society
  • Artists who put themselves or others at risk in their work (the body becoming metaphor)
  • Ulrich Beck’s description of risk always “becoming real” as an aesthetic proposition
  • The aestheticization of ethics in a risk society (Nietzschian philosophy; “God is dead.”)
  • Works of art and design that attempt to gauge or evaluate potential risk
  • Ars economica and accelerationism as responses to risk society
  • Risk management in the arts, specifically in arts institutions
  • Movements between knowing and unknowing in contemporary art

Submit finished texts or abstracts to by midnight on September 1st, 2015.z
Before sending, we encourage you review our submission guidelines.


As a not-for-profit organization, KAPSULA relies on your support to advance the climate of online art publishing in Canada and beyond.

Subscribing to KAPSULA is free, and we intend to keep it that way. However, none of our staff are paid and our contributors generously agree to publish their content without monetary compensation. Their provocative and often experimental articles, essays and interviews represent the necessity for publications like KAPSULA that strive to provide a platform for the reception and debate of fresh ideas in art writing.

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We encourage you to consider a monthly donation plan of 3, 5 or 10 dollars (CAD). This small but consistent contribution is key in keeping this truly one-of-a-kind publication going. Monthly donors share a commitment with KAPSULA to nurture a more evaluative and experimental landscape for art writing in Canada. When you become a KAPSULA monthly donor your name and the hyperlink of your choice will be listed on our website. This hyperlink could be your personal project, small business or just an equally valiant cause that you want to draw attention to.

Monthly Giving Plans

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Monthly donor
Lisa Visser Writers' Fund (benefactor)
The Lisa Visser Writers' Fund is allocated to provide industry standard compensation for emerging and established art writers that are commissioned by KAPSULA Magazine. The fund is lovingly dedicated to the memory of Ms. Visser, who, like so many writers and practicioners committed to maintaining a critical perspective, had a rich but complicated relationship with the world of contemporary art. KAPSULA would like to acknowledge that this fund would not be possible without the generous conributions of Mr. Higuerey-Nuñez.

Annual donor