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Could a Community-Owned Casino Become a Global Tourist Magnet?

Our Culture Mag & Partners
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Could a Community-Owned Casino Become a Global Tourist Magnet?

Gambling establishments have consistently attracted visitors from around the world, showcasing everything from the vibrant lights of Las Vegas to the elegance of Monte Carlo and the exhilarating atmosphere of Macau. As the gaming and travel landscapes continue to transform, the opportunities for more inclusive and innovative business models are expanding as well. One intriguing model is the community-owned gaming establishment — a bold idea that turns conventional ownership upside down and channels profits back to the local community.

But can this model truly grab the interest of international travellers? Can a community-driven casino truly compete with the most legendary resorts on the globe? At first glance, the concept might appear idealistic, yet compelling arguments indicate that it could indeed shape the future of tourism-driven growth.

What Is a Community-Owned Casino?

At its essence, a community-owned casino is a venue that is jointly owned and managed by the local residents. This type of ownership could manifest as a cooperative, a municipality-operated organisation, or a public trust, focusing on reinvesting revenue back into the local economy instead of funneling profits to corporate shareholders.

This innovative approach stands apart from conventional gaming establishments, as it focuses on reinvesting profits into community initiatives like healthcare, infrastructure, education, and even direct financial benefits for residents. In essence, it promotes growth fuelled by tourism while steering clear of the exploitative practices typically linked to commercial expansion.

Why tourists might flock to a community-owned casino

The allure of a community-owned gaming establishment extends well beyond the excitement of the gaming tables. In a time when adventurers are on the lookout for meaningful and ethical experiences, the concept of a gaming establishment that supports the local community feels wonderfully conscientious. Visitors may opt for this locale, understanding that their spending contributes to the local economy instead of vanishing into the hands of large corporations. To make the experience even more rewarding, players could enjoy tailored casino bonuses designed to keep the fun circulating within the community—benefits that further emphasize reinvestment into local initiatives rather than corporate profits.

Moreover, the narrative surrounding a community-operated resort holds significant promotional promise. A gaming establishment created and managed by the local community for the benefit of everyone in the town makes a compelling story for the brand. It’s the kind of experience that enthusiasts love to highlight, writers enjoy covering, and visitors are eager to immerse themselves in.

A community-driven gaming venue could offer a more personalised and locally tailored experience. The culinary offerings, ambiance, tunes, and entertainment all showcase the unique culture and personality of the area. Rather than just another generic Vegas clone, it offers a glimpse into the true essence of the location.

The appeal of sustainability is undeniable. When the community takes the reins, the possibilities for sustainable building practices, caring for the environment, and honouring local traditions really open up. Conscious travellers are more and more focused on choosing destinations that genuinely address important issues, and a gaming establishment that emphasises transparency and meaningful operations could be just what they seek.

Real-World Examples of Community-Owned Casinos

Although the ideal concept of a completely community-owned gaming establishment is still taking shape, there are numerous existing examples that function on comparable principles and provide motivation for what can be achieved.

Across the United States, tribal casinos have emerged as a standout example of gaming that is deeply rooted in community engagement and success. Locations such as Mohegan Sun and Foxwoods in Connecticut have transformed into major tourist hotspots, generating significant revenues that support healthcare, education, and social initiatives for the tribes that operate them. These destinations blend opulence, excitement, and cultural essence, attracting countless visitors and enhancing the communities that support them.

In Canada, Casino Regina in Saskatchewan shines as a notable highlight. Operated by a government-owned entity, this gaming establishment is located in a charming old train station and funnels its earnings straight into the local economy. It’s not only about fun — it plays a vital role in supporting public services and safeguarding local culture, transforming it into a responsible tourist hotspot.

Challenges to consider…

Absolutely, creating a thriving community-owned gaming establishment presents considerable hurdles. To kick things off, let’s talk about funding. Launching a gaming establishment is a costly venture that involves securing licenses, building infrastructure, training personnel, implementing technology, and managing continuous operations. In the absence of significant funding, communities should consider tapping into crowdfunding, seeking government grants, or finding ethical investors who are eager to back the initiative.

The intricacies of operations present yet another challenge. Operating a gaming establishment involves much more than just dealing cards and serving beverages. It requires adherence to rigorous gaming standards, financial clarity, robust security measures, and exceptional customer service and hospitality skills. Many communities lack this expertise internally and will need to collaborate with seasoned operators while retaining ownership and oversight.

How It Could Work: A Blueprint for Success

Even with the challenges ahead, the opportunity for triumph is tangible when a solid plan is executed. Communities can kick things off by teaming up with licensed experts who offer valuable industry insights, all while keeping the majority stake through a cooperative or public trust model. This blended strategy promotes effective operations while still prioritising community advantages.

Funding might be sourced from both internal and external avenues. Residents might consider investing in shares or bonds, while authorities could provide backing, and socially responsible investors may recognise the lasting benefits of a sustainable tourism approach. Promotion will be crucial, focusing on a narrative that resonates with the community, highlights cultural significance, and emphasises social influence as the core of the initiative.

To truly shine, the resort must wholeheartedly embrace its unique local character. The design, cuisine, events, and entertainment should all embody the spirit of the community that created it. Emphasising sustainable growth, open financial disclosures, and a well-defined reinvestment strategy can foster global confidence and draw in a fresh wave of travelers—those eager to contribute as much as they indulge.

Could this really compete with Las Vegas or Macau? 

When it comes to grandiosity and excitement, likely not — at least not right away; however, that isn’t exactly the aim. Modern adventurers seek experiences that go beyond the glitz and glamour of neon signs and endless food options. They seek out significance, narratives, and encounters that resonate authentically.

A community-owned gaming establishment might not dethrone the industry titans, but it has the potential to establish its own unique space. With the perfect idea, prime location, and strong community backing, it has the potential to transform into a beacon of how entertainment and leisure can progress into a more sustainable, inclusive, and thrilling experience.

Final Thoughts: Betting on the community

The idea of a community-owned casino transforming into a global tourist hotspot is certainly an intriguing concept worth exploring. Reimagining the future of gaming and tourism is no small feat, especially when we focus on the people involved rather than solely on profit margins.

With strategic planning, savvy collaborations, and a focused vision, this endeavour could provide an exciting blend of fun and purpose, a thrilling escape paired with meaningful connections. For communities aiming to shape their future on their own terms, this could be a risk that pays off.

Mavis Staples Announces New Album ‘Sad and Beautiful World’ Featuring Waxahatchee, MJ Lenderman, Justin Vernon, and More

Konstantinos Pappis
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Mavis Staples Announces New Album ‘Sad and Beautiful World’ Featuring Waxahatchee, MJ Lenderman, Justin Vernon, and More

Mavis Staples has announced a new solo album, Sad and Beautiful World, arriving on November 7. Produced by Brad Cook, it’s a covers album that finds the multigenerational legend taking on songs by Leonard Cohen, Curtis Mayfield, Tom Waits, Mahalia Jackson, Sparklehorse, Gillian Welch, and Eddie Hinton. Collaborators on the LP include MJ Lenderman, Waxahatchee’s Katie Crutchfield, Bon Iver’s Justin Vernon, Bonnie Raitt, Jeff Tweedy, Buddy Guy, Derek Trucks, Iron and Wine’s Sam Beam, the Drive-By Truckers’ Patterson Hood, the Indigo Girls’ Amy Ray, Anjimile, and Kara Jackson.

Today, Staples has shared a gorgeously moving rendition of Kevin Morby’s ‘Beautiful Strangers’, which was originally released in 2016 as a tribute to the victims of the Orlando Pulse shooting. The cover features electric guitars from MJ Lenderman and Staples’ bandleader Rick Holmstrom, Brad Cook on vibraphone, his brother Phil on piano, and Nathaniel Rateliff and Tré Burt on backup vocals.

“It isn’t easy to put into words what it feels like having one of the best, most important vocalists and cultural figures of both the 20th and 21st century sing one of my songs,” Morby shared. “But hearing Mavis sing ‘Beautiful Strangers’ is hands down the greatest moment and highest honor of my career. Far beyond any kind of accolade or acclaim — having one of my biggest heroes sing something I wrote is the most validating and flattering thing that could ever happen to me as a songwriter and person. Thank you, Mavis. Mavis also wields that extremely rare power to take a song somebody else wrote and make it entirely her own. As the person who penned ‘Beautiful Strangers’, I feel I have every right to say: her version is better.”

Back in June, Staples shared her version of Frank Ocean’s ‘Godspeed’, which appears on the new LP.

Sad and Beautiful World Cover Artwork:

MavisStaples_SABW art

Sad and Beautiful World Tracklist:

1. Chicago
2. Beautiful Strangers
3. Sad And Beautiful World
4. Human Mind
5. Hard Times
6. Godspeed
7. We Got To Have Peace
8. Anthem
9. Satisfied Mind
10. Everybody Needs Love

Austra Announces New Album ‘Chin Up Buttercup’, Shares New Song

Konstantinos Pappis
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Austra Announces New Album ‘Chin Up Buttercup’, Shares New Song

Katie Stelmanis, aka Austra, has announced her first album since 2020’s HiRUDiN. It’s called Chin Up Buttercup, and it’s set to arrive on November 14 via Domino. Stelmanis co-produced the record with Kieran Adams, drawing inspiration from the Eurodance sound of Madonna’s Ray of Light, and you can hear that reverberating through the first single ‘Math Equation’. Check it out and find the album cover and tracklist below.

According to Stelmanis, Chin Up Buttercup is about “the alienating feeling of being heartbroken in a world that’s awkward and inconvenienced by your pain.” She explained, “I was completely blindsided … the person I loved woke up one day, told me she wasn’t happy, and I basically never saw her again.”

Chin Up Buttercup Cover Artwork:

Austra Cover

Chin Up Buttercup Tracklist:

1. Amnesia
2. Math Equation
3. Siren Song
4. Chin Up Buttercup
5. Fallen Cloud
6. Blindsided
7. Think Twice
8. Look Me in the Eye
9. The Hopefulness of Dawn
10. Good Riddance

Radiohead’s ‘Let Down’ Becomes Their Fourth Ever Hot 100 Hit

Konstantinos Pappis
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Radiohead’s ‘Let Down’ Becomes Their Fourth Ever Hot 100 Hit

28 years after its release, Radiohead’s ‘Let Down’ has entered the Billboard Hot 100 at No. 91. The OK Computer track marks the band’s fourth entry on the Hot 100 after ‘Creep’ in 1993, ‘High and Dry’ in 1996, and ‘Nude’ in 2008.

Though the song was included in the season one finale of The Bear three years ago, it more recently has experienced a viral resurgence on TikTok thanks to its crushing emotional weight.

Since forming a new business entity back in March, Radiohead surprise-released a live album, Hail to the Thief (Live Recordings 2003-2009), earlier this month. Their last album remains 2016’s A Moon Shaped Pool.

Geese Release New Single ‘100 Horses’

Konstantinos Pappis
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Geese Release New Single ‘100 Horses’

On the fantastic lead single from Geese’s upcoming album, Getting Killed, Cameron Winter’s protagonist gloriously proclaimed that if you want him to pay his taxes, you’re gonna have to nail him down. On their latest track, ‘100 Horses’, he proclaims, “There is only dance music in times of war.” It’s apocalyptic dance music in the vein of Water From Your Eyes’ recently-unveiled It’s a Beautiful Place, but Geese’s delivery has its own absurdist bent, not to mention Winter’s beguiling theatrics. Listen to ‘100 Horses’ below, where I have also chosen to embed a video of horses – not quite so many – hanging out with actual geese. You’re welcome.

Getting Killed, the follow-up to 2023’s 3D Country, is out September 26 via Partisan. Check out our Artist Spotlight interview with Geese.

Spoon Return With New Songs ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’

Konstantinos Pappis
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Spoon Return With New Songs ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’

Spoon are back. ‘Chateau Blues’ and ‘Guess I’m Fallin in Love’, which were recorded this summer in Austin with producer Justin Meldal-Johnsen, mark the band’s first new music since 2022’s Lucifer on the Sofa. The A-side is groovy and full of swagger, while the latter is darker and grittier. Take a listen below.

“We started work on an album this year and the way that normally goes, we write, we rehearse, we record, we mix, we get it all wrapped up tightly and then start putting songs out into the world,” Britt Daniel explained in a press release. “But as we finished up the first two songs for the LP, it crossed somebody’s mind and eventually all of ours that these two really should come out now. Let’s get them out there. And so here they are today, ‘Chateau Blues’ and ‘Guess I’m Fallin In Love’. Two new tunes with distinct personalities that were summoned into the world the past few months in Austin TX and Providence RI. It’s a big day all around: tonight we kick off our first tour in a while in Santa Ana, and tomorrow we start up our run with the Pixies — let’s face it, one of theee great bands of all TIMES. A band that some may know has long been near and dear to me. It’s a real pleasure and we’re real happy to be getting back into gig world for a sec. See you down front.”

Book Review: Austyn Wohlers, ‘Hothouse Bloom’

Sam Franzini
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Book Review: Austyn Wohlers, ‘Hothouse Bloom’

It’s fitting that my copy of Austyn Wohlers’ Hothouse Bloom showed up at my doorstep sopping wet, dripping with the rain of a recent thunderstorm. The debut novel, where a young woman leaves a city and her painting career after an undetailed event to care for her grandfather’s apple orchard, is uniquely concerned with the totality of nature. Anna not only wants to live in the orchard, but become it; she hopes to graft her consciousness onto the “ancient, colossal being” of the land. When a neighbor laments the repetition of upkeep tasks (weeding, watering, etc.), Anna says that’s what she’s after — “a certain absolute stillness of psyche, branches like extensions of her fingers, roots like blood vessels. To build up a world from a few repeated actions.”

These cosmic ideas take a while to emerge — from its first 30 or so pages, you’d get the wrong idea about what Hothouse Bloom is about. A sad girl tries to find herself via soft sentences about the enormity of nature and art. But thankfully, the novel is a grower. Anna studies the orchard but realizes it’s better to be in nature, hair in the dirt and the leaves. She marvels at the stars in the sky and often cries from happiness, passing the time by working with the earth in her hands. “Whenever a breeze reached her she felt her body reduce itself to something purely organic,” Wohlers writes. Suddenly the old world, with its beautiful books and meaningful conversations, pale in comparison to the feeling of lying between trees for hours.

She wishes to share this secret, that of “the submission to something outside the bounds of time,” and somewhat delusionally invites an old friend, Jan, to come stay and help out when the time comes. He’s a man who showed her “how to take yourself seriously as an artist even when faced with the vast nothing,” and feels she ought to repay the favor by broadening his consciousness. Anna is lonely; she has two bridges to the outside world, her dogs Midge and Pell, but they don’t talk back, after all. Neither do the trees.

Initially his presence is bothersome; when he steps on the land, Anna feels it on her own face. Living alone for weeks has heightened her mind, truly connecting her to the roots of agriculture, bringing her back to a more pure way of living, even if her thoughts have taken on the cadence of someone whose recent camping trip redefines their personality. Jan’s passions (he’s writing a book about a painter) seem flimsy in comparison to her earthy, muscling work. “Even better than making something is living something,” she tells him, guru-like.

But her pretentiousness is not without reason. Even though Jan interprets her brisk exit from art as a failure or an abrupt change in perspective, she’s realized that her goal — to “understand and process the world without language” — can be achieved far more easily here than in a cramped apartment with some paintbrushes. When he tells her to write this thought down, it’s clear he just doesn’t get it. Writing that, or anything down, would dilute the point. Words can’t capture what she feels. Anna doesn’t exist for art any more, but for her body that’s melting into the orchard. At one point, she chastises herself for not treating people like how she treats apples — that being with kindness. “Jan knows nothing of the inhuman anonymity with which I’m living,” she thinks. “How deliberately I’m annihilating.”

But something more insidious sneaks up on Anna — profit. The apples are starting to bloom, and now she needs workers to help her manage. She hires a meek boy and an experienced farmhand after placing an advertisement in the paper, along with a pomologist that diagnoses her apples’ new infections. In Anna’s “Index of Ruin,” Wohlers writes gracefully of nature’s wrath: “two sleek wasps” make an apple into “their cave”; another with “brown bumps with black pinpricks in their center like a swollen wound”; one rotted black has “gray warping concentric circles.” The apples “[were] alive and wet with bugs and fungus… cognizant.” It’s okay, she reminds herself, throwing away bundles of fruit, “Not everything is about money. Some things are about love.”

But she doesn’t remember her own advice. She becomes a landlord, property owner, a boss, hardening into a personality type she fled. She penny-pinches and nags, mood made worse by a cider Jan starts making by cutting rot off unusable apples and mashing them. She’s humiliated at the farmer’s market by Pleasant Hill Orchard, a jolly competitor who has diversified their product line with apple butters, vinegars, fruit jams, delightfully branded tote bags. She advertises pathetically and imagines the whole thing as sabotage. A seller trots over to introduce herself; irritated that this blocks the view, Anna nearly tells her to fuck off. Anna-as-earth-mother would be terrified by Anna-as-merchant, but you gotta do what you gotta do. Enlightenment and breeze-soaked days are traded for nights staring at the computer, eyes burning with dollar-ridden spreadsheets.

Jan’s interiority irritates Anna; Anna’s escapism irks Jan. None of the apples are selling, and on top of it all, she has to pay her workers for their time; one of them’s being greedy by billing her for help with house construction (she begrudgingly gives it over). The outside world isn’t seeming too bad (an escape from her escape); she pretends like the orchard is a tucked-away reality, but you can hear the car noises and smell the cigarette smoke even amongst the trees, Jan notes. It might not be too special after all. “There was life all around Anna trying to get in and it was like she didn’t know what to do with it,” he thinks.

Wohlers spears capitalism with, thankfully, not too much force, her character study astute and sharp. Anna turns exploitative just as the apples turn black with rot, inadequate care, or maybe, they pick up on the vibrations of her angst. Escape society only to be burdened by the demands of the marketplace — I’d be irritated too. Anna’s grief is familiar to anyone who has enjoyed a tech-free walk in nature while also itching for their phone. You’ll never see an apple the same way again after Hothouse Bloom — someone could have lost herself while picking it.

Hothouse Bloom is out now.

The Soundtrack of Play: From GTA Radio to Bigclash Casino Online

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The Soundtrack of Play: From GTA Radio to Bigclash Casino Online

From the gritty pulse of GTA San Andreas radio stations to the anthems that defined endless FIFA summers, music has always been more than a backdrop to play. It has been the heartbeat of digital culture, turning pixels into memories and online spaces into communities.

In 2025, that connection runs deeper than ever, extending into the iGaming world as well. Platforms like https://Bigclash.com/nz/ and the spaces of Bigclash Casino Online are part of that same cultural current, blending competitive play with soundscapes that make every moment feel alive. It is no longer just about what you are playing. It is about the atmosphere, the timing and the sense that you are sharing a moment that will stay with you.

When music became more than background noise

Think back to FIFA 12 and the way Avicii’s Levels defined a summer, or to tearing through Los Santos with Rage Against the Machine blasting from Radio X. These tracks were more than songs. They were timestamps, stitching themselves into your memory alongside the games you loved and the friends you played them with.

Music has a way of locking moments in place. The choral swell of the Halo theme still carries the weight of discovery for anyone who first powered up an Xbox in the early 2000s, just as Christopher Tin’s Baba Yetu for Civilization IV gave strategy players an anthem that blurred the line between game and art.

You can hear a similar approach at Bigclash Casino Online, where subtle audio layers — from a quiet hum during regular play to sharper cues in high-stakes moments — create a backdrop that adds depth without ever overwhelming the experience.

How sound defines play from sports to casinos

Games have always been about more than mechanics. They have been about the people in the room, even when that room is virtual. Sound ties those moments together, giving scattered players a shared sense of time and place while creating a powerful bond.

Think of the quiet pulse in a Fortnite lobby before a match. If you are a FIFA diehard, you know that buzz kicks in even earlier. The iconic “EA Sports – it’s in the game” fires up the adrenaline, your palms start to sweat and you are already flicking R2 drills to make sure you are sharp enough to roast your opponent when the whistle blows.

That sense of rhythm is also familiar to anyone who spends time in the iGaming world. Just as a stadium crowd builds anticipation before kickoff, well-timed audio cues in platforms like Bigclash Casino Online give every round a sense of momentum that keeps you engaged without ever feeling overwhelming.

From lobby beats to full-blown events

If the early years of gaming gave us iconic soundtracks, the last decade turned sound into spectacle. Fortnite raised the bar with its Astronomical concert, drawing millions into a world where music and play merged seamlessly.

GTA has been doing it for years with curated radio stations that shape how you experience every block of its virtual cities. And it was not just the music. The call-ins on GTA San Andreas’ WCTR were as hilarious as they were memorable, adding humor and personality that players still reference two decades later.

Essentially, what began as background noise has become a shared language, a reason to log in, watch and connect.

Again, that philosophy is echoed at Bigclash Casino Online, where subtle hums during steady play and an energetic swell in key moments give the platform its own rhythm and personality. It is a quiet layer, but it transforms gameplay into something that feels curated and personal.

The next wave: personalized soundscapes

The future of digital sound is personalization, and some of the biggest titles are already showing what is possible. Forza Horizon 5 exemplifies this shift, using granular synthesis and richly detailed recordings — from revving engines to ambient Mexican landscapes — to create audio that reacts in real time to every change in speed and environment. Its work even earned it the Game Awards’ Best Audio Design in 2021.

In the world of competitive play, Valorant introduced HRTF spatial audio in its 2021 v2.06 update, enabling players to detect enemy positions with greater precision through 3D audio cues.

VR platforms are experimenting too. Meta’s Horizon Worlds uses spatial audio that shifts as you move through virtual rooms, lending weight and direction to digital interactions. Creative hubs like Fortnite Creative are showing how shared playlists and custom audio can shape the atmosphere of a session and make online spaces feel more alive.

This is not about volume. It is about making sound feel alive, adapting to the pace of the moment and creating an invisible companion that responds to you and the energy of the room.

Why sound is the soul of digital spaces

What lingers from a night of digital play is rarely just the result on the screen. It is the feeling of being there, of sound carrying you through the ebb and flow of play, of being part of something that felt bigger than the game itself. In every corner of gaming — from FIFA playlists to GTA radio to iGaming platforms — sound has become more than something you hear. It is something you share, a feeling that stays with you.

Walker Art Center Senior Designer Nazlı Ercan Unpacks Innovative Visual Language for Alison O’Daniel’s Groundbreaking Cinema Residency

Abbie Wilson
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Walker Art Center Senior Designer Nazlı Ercan Unpacks Innovative Visual Language for Alison O’Daniel’s Groundbreaking Cinema Residency

At the forefront of visual communication in the arts, Nazlı Ercan, a distinguished Senior Designer at the Walker Art Center, recently discussed her intricate work in designing the visual identity for Alison O’Daniel’s seminal cinema residency, “Alison O’Daniel: Are You Listening?“

This multi-faceted program, running from March 2024 through June 2025, challenges conventional perceptions of sound and communication, a conceptual framework meticulously translated into visual design by Ercan. Her approach exemplifies how sophisticated design systems can enhance access and deepen engagement, particularly within the digital realm.

Alison O’Daniel, a d/Deaf/hard of hearing artist, utilizes film, sculpture, and performance to explore the multifaceted nature of hearing and understanding. Her residency at the Walker Cinema, which commenced with her debut feature film The Tuba Thieves, aims to redefine the cinematic experience by questioning, “What does a d/Deaf cinema sound like?”. This ambitious inquiry presented a unique design challenge that Ercan embraced with her characteristic thoughtfulness.

When asked about her connection to O’Daniel’s work, Ercan articulated her profound appreciation for the artist’s use of “absence—not as mere emptiness or void, but as an active, generative space that invites engagement.” Ercan elaborated, “She makes what is invisible or silent feel meaningful. The gaps in sound, the pauses in language, all serve as openings that ask the viewer to fill in meaning, to participate actively in the experience.” This philosophical alignment deeply informed Ercan’s design methodology, where the deliberate omission or withholding of elements becomes as communicative as their presence, challenging traditional sensory hierarchies.

Designing for a program centered on deafness and alternative hearing modalities prompted Ercan to innovate using visual cues rooted in everyday communication technology. Her response involved exploring the visual language of closed captioning. “I incorporated rectangular boxes around title lock-ups as a direct visual reference to captioning formats,” Ercan explained. Further, the animations for the program feature “flipping title cards reminiscent of analog clocks—silent yet rhythmic.” This ingenious visual rhythm suggests a pulse or beat without auditory input, allowing silence to convey its own form of “sound.” These design elements demonstrate Ercan’s mastery in creating a cohesive visual system that communicates a complex concept through subtle, digital-friendly means.

The deliberate and arresting choices in typography and color for the screenings’ visual identity and accompanying Instagram posts underscore Ercan’s strategic thinking in digital communication. She selected the typeface Topol for its distinctive letterforms, particularly its unique question mark and alternate glyphs, which infuse a playful yet sophisticated character. To enhance visual dynamism, Ercan alternated between all-caps and sentence case across layouts, creating movement within the typography itself. The color palette, carefully extracted from one of O’Daniel’s key works, was specifically adapted for optimal clarity and visibility on diverse social media platforms. “Balancing a reference to her aesthetic with the practical need for digital prominence was essential,” Ercan noted, emphasizing the intersection of artistic integrity and effective digital dissemination.

Ercan attributes the project’s success to the design system’s direct reflection of the program’s core concept: communicating sound through silence. The system’s flexibility and scalability—its ability to adapt to different films and texts without losing coherence—were also crucial factors. This adaptability is paramount for sustaining a strong identity across an evolving, multi-platform program.

Ultimately, Ercan aimed for visitors to recognize the program as more than just a series of film screenings. “I wanted the visitors to come away recognizing that this program was about far more than simply watching films—it was about rethinking how we perceived and processed experience,” she stated. Her design encourages audiences to engage with quiet moments and perceive communication beyond spoken language, fostering a heightened awareness of access, perception, and inclusion. This broader objective reflects Ercan’s commitment to design that serves a profound social and intellectual purpose.

Nazlı Ercan’s extensive career highlights her consistent ability to translate complex artistic and cultural narratives into compelling visual forms. As a senior designer at the Walker Art Center, she collaborates closely with curators on exhibition graphics, publications, and advertising, spanning both print and digital formats. Her impressive portfolio includes work for highly esteemed cultural and arts organizations such as the Carnegie Museum of Art, Columbia GSAPP, OMA New York, David Zwirner, and the Whitney Museum of American Art, among others.

In 2023, Ercan served as Design Director of The Brooklyn Rail, where she spearheaded the magazine’s editorial design and visual identity, further honing her expertise in fast-paced, multidisciplinary environments. Her work has garnered significant recognition, including a Silver award for the Whitney Biennial 2022 Brand from the New York Design Awards 2022 and an Artist Choice Grant for The Brooklyn Rail from the Ruth Awards. Notable career achievements include designing exhibition graphics and a catalog for “Kandis Williams: A Surface” at the Walker, developing visual identities for major exhibitions like “Sophie Calle: Overshare” and “This Must Be the Place,” and contributing to exhibitions for influential artists such as Pope.L and Madeline Hollander at the Whitney.

Beyond her acclaimed design practice, Ercan is deeply committed to arts education, serving as a guest critic and speaker at prestigious institutions including Yale, Princeton, Parsons, SVA, and Rutgers. A graduate of Princeton University with a degree in Art and Archaeology, her work consistently sits at the intersection of art, culture, and publishing, marked by a focus on clear visual language and thoughtful systems. Her innovative approach to the Alison O’Daniel residency exemplifies her profound impact on how audiences engage with contemporary art through the power of strategic visual design and the intelligent application of communication technology.

Can Yağız’s Art Finds Memory in Material, Featured in Upcoming Ely Center Exhibition

Abbie Wilson
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Can Yağız’s Art Finds Memory in Material, Featured in Upcoming Ely Center Exhibition

In a world grappling with the elusive nature of memory and the ever-evolving self, artist Can Yağız offers a profound and visceral artistic exploration, comparing the very essence of identity to the forgotten fragments found in an old coat pocket. Yağız’s evocative works, which delve into the materiality of everyday life, are set to be part of the highly anticipated “Conceptual Romance” group exhibition, opening at the Ely Center of Contemporary Art in New Haven on September 14, 2025.

For Yağız, the inspiration often begins with the seemingly mundane. “Similar to the first cold day of the year, when you grab a coat you haven’t worn in a while and put your hands in the pockets, and find a piece of a receipt, a used tissue, a caramel wrapper, and a band-aid, also used. And not recognize who these fragments belong to,” Yağız reflects on his work.

This powerful analogy underpins his philosophy that the self, far from being an enduring thread, is fragile and can fragment, making it challenging to reconcile memories with who one perceives themselves to be. “Material had memory, in how a tissue soaked and how an envelope scuffed. It rendered progression,” he explains

His new work includes pieces that incorporate newspapers. “When young, I used to receive newspaper clippings from my grandmother,” he recalls. “Just bits of headlines, articles, or an extra insert she must have thought I should be reading. I think everyone to some extent cuts, snips and then arranges them. It feels natural to collage with.”

Yağız found printmaking to be uniquely suited to his interests. The discipline’s inherent qualities of repetition and fatigue resonate deeply with his exploration of time’s passage and the slow unfolding of events. His artistic process is less about rigid planning and more about intimate collaboration with the material itself. 

“I often print without cleaning the plate, with each repeat, the image gets blurrier, more dissolved,” he said. “The body, if it appears at all, dissolves too. It stops being an image but more of a residue. This isn’t just in form, I think bodies are residues.”

One of his influences is the German artist Dieter Roth (1930-1998). “I enjoy Dieter Roth’s work;in how I perceive it, as he moves away from the book but still with concerns of the book, so it’s more about making a composite object,” said Yağız. “Things being bound with or encased in chocolate. And that they exist on borrowed time. I don’t think any chocolate makers ever intended for others to see how the fat of chocolate seeps out over time.”

“I’m less didactic in how I do work, it’s not usually planning something out and executing it,” he explains. “Working with material and seeing where it goes… I walk in on them.” Some of his techniques include sunlight bleaching paper or an obstruction creating a silhouette that transforms a simple sheet into a historical document, rich with context.

Influenced by Turkish philosophers and the profound significance of found objects, Yağız incorporates items such as newspaper clippings, discarded mail, and even crumpled paper from his own pockets into his practice. His minimalist recent works often focus on bodily interactions and the subtle indications of time’s relentless march. 

“It’s so easy to feel at a standstill, being in a time that refuses to move forward,” he said. “Then you notice a stack of four newspapers on the doormat and realize, it’s been four days.”

Beyond two-dimensional pieces, Yağız’s oeuvre includes performance art, such as a compelling sound piece, and sculptural installations like a piece featuring a fridge and glasses, further pushing the boundaries of material memory, as well as video art.

The upcoming “Conceptual Romance” exhibition, curated by esteemed curator Jared Quinton, celebrates the Ely Center’s 10-year anniversary and will feature the works of 23 artists. Yağız will showcase four pieces, including a captivating nine-minute looped video titled “Kettle.” 

Of the work, he notes, “by end of the loop, most of the water evaporates so the kettle gets silent and periodically gets whispery, and dry heaves as it continues to be full blast on the stove.” This piece promises to be a poignant meditation on depletion and persistence, characteristic of Yağız’s approach.

Can Yağız graduated with his BFA in Painting from the Maryland Institute College of Art in 2018. His solo exhibitions include “Not today either” (2024) at the Ely Center of Contemporary Art and “Büro” (2018) at the John Fonda Gallery. His work has also been featured in notable group exhibitions across New York, Beijing, Boston, and New Haven, and he participated in an artist residency in Slovenia in 2017.

Speaking on his new work, Yağız explains: “There’s one type of crayon I use to make prints. I am consistently jealous of what photographs usually imply, because even if an image is a blur and you can’t tell what you’re looking at, and all you can decipher is a blob, you still know it’s pointed at something. You might not know what that “blob” is, but you know it probably exists. Print has a similar dynamic, and running the same print without any kind of reset breaks the image down.”

“I tend to keep everything and hold onto them for a while before deciding whether to throw it away or not. That includes newspapers too and they are a torrent that easily takes over a room. I think a lot about fatigue and being unable to keep up, and boulders of newspaper feels accurate, tangible, physical, almost personified form.

“Conceptual Romance” will run from September 14 to November 2, 2025, offering audiences a unique opportunity to experience Can Yağız’s profound reflections on self, memory, and the silent stories held within the objects we leave behind. For more information about the artist, visit cyagiz.com.

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