Hyperstealth Biotechnology's "Invisibility Cloak" demonstration video (screen grab)


CMA Journal
Issue Eight: Invisibility (escaping notice)


This issue was edited by Allison Mander-Wionzek, C. Olivia Valenza and Faune Ybarra, with editorial support from Jennifer Anderson, Rose Anza-Burgess, Mallory Gemmell, Lea Hogan, Wei Hsin Lee, Becky Low, Josh Marquis, Mohammed Zaki Rezwan, Israt Taslim and Logan Williams. A special thank you to our Managing Editor Yani Kong.

We are grateful to our home at the School for the Contemporary Arts at SFU, our web editor, Brady Cranfield, our Faculty Advisor, Dr. Laura U. Marks, and Peter Dickinson, Graduate Chair.


Allison Mander-Wionzek is an MA candidate at the School for Contemporary Arts, Simon Fraser University, where her research focuses on the labour of making and looks to contemporary art practices that engage outmoded technologies in order to theorize about life in the post-digital era. She holds a Graduate Certificate in Educational Technology from UBC and is interested in designing asset-based learning communities and initiatives that emphasize accessibility. Mander-Wionzek is a practicing artist whose work spans bookmaking, installation and print media.

Faune Ybarra is a diasporic artist currently working and sharing from Vancouver, BC. Originally from Oaxaca and Mexico City, Ybarra conceives her body as a site of translation between human and non-human entities and beyond the constructs of human language. An MFA candidate in Interdisciplinary Studies at Simon Fraser University, Ybarra’s current research/practice focuses on the interrelation of displacement and "diasporic gestures".

C. Olivia Valenza is a composer, clarinetist/performer, and interdisciplinary collaborator from Milwaukee, WI. Her work includes live performance, installation, sound design for dance, and the development of electroacoustic and acoustic concert music. Currently based in Vancouver, BC as an MFA candidate in Interdisciplinary Studies at SFU, her research and process is concerned with eliciting personal and intimate performances and investigating the development of scores that encourage those points of relationality.