THE UNIVERSITY OF SASKATCHEWAN’S MAIN CAMPUS IS SITUATED ON TREATY 6 TERRITORY AND THE HOMELAND OF THE MÉTIS.

THE UNIVERSITY OF SASKATCHEWAN’S MAIN CAMPUS IS SITUATED ON TREATY 6 TERRITORY AND THE HOMELAND OF THE MÉTIS.

This image released by Netflix shows promotional artwork for Guillermo del Toro’s Frankenstein | Netflix via AP

  • Frankenstein, Again (and Again)

    By June 19, 2026

    From Nosferatu to The Bride!, why every generation keeps resurrecting the same monsters — and making them its own.

    • Canva Pro

  • Performative Individualism

    By June 16, 2026

    Everyone wants to be different until being different starts to look exactly the same.

    • Laakkuluk Williamson and Jamie Griffiths, White Liar and the Known Shore: Frobisher and the Queen | Courtesy of the artists.

  • Movement Across Ice and Image: Challenging Fixed Narratives Through Immersion and Collaboration

    By June 10, 2026

    Sikuvoq, sikuerpoq / When the ice holds, when it breaks by Laakkuluk Williamson and Jamie Griffiths at Remai Modern

    • Graduation day | PBXStudio| Canva Pro

  • Finally Free … Falling?

    By June 1, 2026

    Reflections on graduation, and everything it’s taken to get here.

    • This image released by Netflix shows a scene from The Manosphere | Netflix

  • The Manosphere: The Algorithm of Masculinity

    By May 19, 2026

    Louis Theroux, looksmaxxing and the red-pill pipeline

    • Gordon Tootoosis Nikaniwin Theatre

  • From Page to Stage: Apples and Train Tracks Takes the Stage

    By May 5, 2026

    Arnolda Dufour Bowes’ story of Métis displacement finds new life in its Saskatoon premiere

    • Grace Hogg, La Ronge (1953). Collection of Remai Modern | Carey Shaw

  • Reading the Sky: Forecast at Remai Modern

    By April 29, 2026

    An exhibition that uses the weather as a lens into the past

    • Duckweed Growth Module II (detail), mixed media, 2026 | Kelly Jaclynn Andres

  • Latent Swamp at PAVED Arts: Endless Ecological Inquiries

    By April 20, 2026

    Duckweed and Deconstructing the Politics of Attention