Studio Brat | Tommi Watts | December 5 to January 31, 2017


Studio Brat is a durational installation series by Calgary-based artist Tommi Watts. Leveraging the TRUCK Contemporary Art +15 Window as a temporary studio space, the installation projects a constant state of flux and literal fervor. A confrontation to the voyeuristic and very public nature of the +15 window galleries, Studio Brat creates a mise-èn-scene of the invisible labour and various artistic modes of production an artist undertakes in order to create new work. Part aphoristic recording and part assemblage, Studio Brat exhibits and ultimately critiques the subjective conceptions and vulnerabilities of a bratty, white, female.

Tommi Watts

Tommi Watts combines elements of performance, drawing and installation to inform a social / economic commentary, self-reflexive of a ‘Studio Brat’. A recent Bachelor of Fine Art graduate from the Alberta College of Art + Design, Tommi has maintained a studio practice, and is currently the 2016 Calgary Board of Education K-5, artist in residence. Tommi is also super pumped about scoring a FREE STUDIO space in the TRUCK +15 window!!

JINGLE & MINGLE // TRUCK's Annual Holiday Market | December 2 and December 3, 2016


JINGLE & MINGLE // TRUCK's Annual Holiday Market
2009 10th Ave, SW, Calgary, T3K 0C4

Friday Dec 2 5PM - 9PM

Saturday Dec 3 10AM - 5PM

Ho-ho-hold on to your toques because TRUCK Contemporary Art in Calgary’s Annual Holiday Market is back! Bring your festive self over to 2009 10th Ave SW on Friday, December 2nd from 5PM to 9PM and Saturday, December 3rd from 10AM to 5PM, and support Calgary’s arts communities and largest artist-run centre! 

Skip the lines and headaches that usually come with holiday shopping and spend your time with us, enjoying a fun and friendly atmosphere, no hustle and bustle, just jingle and mingle. You’ll have no trouble finding your loved ones gifts while surrounded by one of a kind products made by some of Calgary’s most talented artists, designers, and artisans. 

While you’re here enjoy tasty treats provided by the very lovely folks at Caffè Beano and Sidewalk Citizen Bakery

& welcome the return of the TRUCK Photo Booth! Get your photo taken in a super sweet & psychedelic installation environment designed by Calgary-based artist Sasha Foster

Sasha Foster // is a Calgary based multidisciplinary artist who focuses predominately on large-scale immersive installations. Through use of colour, light, texture and form, she transforms a given space into a magical escape from reality. 

Admission $5

Proceeds from JINGLE & MINGLE support year-round contemporary art programming at Truck Gallery ♥

Artist Vendors:

Kiarra Albina & Stacey Watson / Ann Thrale & Yvonne Mullock / Kelsey Fraser / Jade Nasogaluak Carpenter / TechArt / Kens way woodcrafts / Lam Jam / ink smashed artists / Phillip Ty-Le Ha / Renee Wehring / AVALANCHE! ICA / Connective Threads / Alberta Printmakers / Lowell Smith / Tom Brown / John Gerrard & Clinton St. John / Marlee Watts / Laura McManus / Lane Shordee / Serena Wells

About the Vendors:

Phillip Ty-Le Ha // makes handmade crochet amigurumi inspired by animals and creatures from the real world and video games.

Jade Nasogaluak Carpenter's // art uses humour as a coping mechanism.  She also uses art as a proxy to subtly address diaspora, but to more openly address mental illness. She makes art because it allows her to express her feelings about being sad, experiencing social anxiety, and being uncomfortable most of the time. Jade Nasogaluak Carpenter makes art because she likes to know that she’s not alone. She wants you to laugh, but also wants you to be concerned.
Kens way woodcrafts // Lorna Roselle // hand carves diamond willow walking sticks, fire pokers, brooms, wooden toys, and games.
Connective Threads // is a collaboration between artists Jennifer Crighton and Kasia Gallant. All the items they create feature original patterned fabric and design. All products are made from start to finish in their Calgary studios, including dying, printing, sewing, and embroidery. You can see more of their work a connectivethread.tumblr.com
Renee Wehring // is an interdisciplinary artist using media such as drawing, painting, and fibre. Her interests in nature, organisms, and marks inform her non-representational work, which investigates swarms, patterns, migration, and her own biorhythm. Renee is an eclectic artist who also works representationally. She enjoys working with the human figure as she has many interests in fitness, kinetics, movement, and the muscular/skeletal systems. Renee's work is primarily process based and puts an important emphasis on movement and the physicality of leaving a mark. Renee graduated with a Bachelor of Fine Arts, majoring in drawing, from the Alberta College of Arts + Design in 2011.

AVALANCHE! ICA // Established in 2012, AVALANCHE! ICA is a free-form arts organization dedicated to the production and dissemination of artwork, multiples, and publications created by emerging contemporary Canadian artists. Formerly operating a gallery, shop, and studio space, the current iteration of AVALANCHE! includes an online shop at avalancheavalanche.com, in addition to intermittently programmed special projects.

Brown Wands // is a project by artist Tom Brown, incorporating detailed craftsmanship with an eye for wonder. Made from local collected wood, every wand features a crystal, embedded in the centre by the unique design. Each wand comes with a handmade bag. Tom Brown's work is characterized by a meticulously detailed high volume of labour (of love). More of his work can be seen at www.tombrowncreates.com

Richard Lam's Lam Jam // Using seasonal farmer's market ingredients, Richard's delectable Lam Jam focuses on bringing out the natural flavour of the fresh fruits and herbs used, rather than dousing them in overt sweetness. Each Lam Jam consists of only a handful of the best core ingredients, half the sugar, and no extra additives. Best used on toast, with cheese, or to accompany meats or salads. Select pairings include: Pear Ginger, Sweet and Spicy Red Pepper, and a limited edition Holiday Apple Butter

Marlee Watts // Watts has been making a variety of handmade jewellery and wearable art, specializing in metal work and wire wrapping for almost 9 years. She graduated from The Alberta College of Art + Design with a BFA specializing in Jewellery + Metals in 2013. After graduation she moved to Montreal, believing she could turn her passion into her career. She now travels between Calgary and Montreal where she sells to numerous shops and takes part in local craft sales in both cities. Her collections showcase a variety of techniques and materials. Her work is inspired by two very different cities, the frequent changes in her surroundings and the resources available at the time. She is always teaching herself new approaches and exploring new materials to keep herself inspired. 

Yvonne Mullock & Ann Thrale // will be showcasing a range a lovely handmade things. Yvonne’s leather items include coin purses and card holders made from vintage snaps and Italian calf skin.

Ann will be selling her handcrafted games and chopping boards. Made from local and exotic woods, these will make beautiful gifts you might never want to give away! 

Ink Smashed Artists // is an illustrative group consisting of three Calgary born ACAD graduates. We construct handcrafted zines, artist books and prints of our collaborative drawings by hand and using a local print shop. Our work as a collective is unique in the sense that it could not be created by one-person individuality. It is the effort of three creative minds homogenizing ideas to create a cohesive vision. You can see more of their work at www.facebook.com/inksmashedartists

Alberta Printmakers // is a non-profit, artist-run centre founded in 1989 in Calgary, Alberta. The organization's goals are to increase public awareness of print media, to encourage a diverse audience, to provide resorces for the artistic community and production facilities for printmaking. http://www.albertaprintmakers.com

TechArt // Based in Calgary, Alberta, Craftsman Riley Miljan brings TechArt Custom Creations Ltd. to life. TechArt specializes in woodworking and small metal fabrication projects, while providing innovative, intelligent and affordable design solutions customized for each individual’s needs and budget. Our facility has woodworking and metalworking capabilities. Depending on your creation, your project could be pre-fabricated in our workshop, or on-site.

Serena Wells // of fakesweatshop has been making toys and wearable objects for near a decade. fakesweatshop values the beautiful world we live in. We believe in sustainability and provide ecological solutions to peoples' wants and needs by creating toys and clothes from recycled clothing, fabrics, vintage buttons and locally produced wool. fakesweatshop is dedicated to building strong communities and strong families, and are wholeheartedly devoted to wildly creative and entirely unique designs. Making items that respect the earth and celebrate not only the cute and cuddly, but the weird and wacky too.

Kelsey Fraser // is an artist and illustrator living and working in Calgary, Alberta. Kelsey will be selling printed & hand made greeting cards, and one of a kind painting collages.

Lane Shordee // is a scavenger artist based in Calgary, Alberta. Drawing from construction waste and items found by happenstance, he builds elegant sculptures and installations that both challenge and indulge our relationships with the things we throw away.

Cecil Hotel Open Forum | Artist Talk | November 19, 2016


TRUCK is pleased to present an open forum discussion in collaboration with our recent exhibition Cecil Hotel by Calgary-based artist Mark Clintberg.

The Cecil Hotel Open Forum will include presentations by Cynthia Bird, Son Edworthy, Tomas Jonsson, TracyRay Lewis, and John Rowland that will touch on their work and experiences in fields related to the Cecil Hotel context. The presentations will be followed by a group discussion during which the audience will be invited to contribute their experiences and ideas. The artist of Cecil Hotel, Mark Clintberg, will also be present at the event to discuss his work and answer questions.
This event aims to provide an opportunity for open and inclusive conversation relating to the subject of the Cecil Hotel, and places like it, as well as stimulate discussion that will work to build support for communities impacted by displacement, and encourage participation in movements that support these communities. The discussion will be free to attend and open to all.
Mark Clintberg’s Cecil Hotel is a sculptural artwork and anti-monument for the defunct Calgary hotel of the same name. While the closure of the hotel might seem, from a public relations point of view, to clean up downtown Calgary, it may also be used as a veil that obscures more complex conflicts of social class, sexuality, gender, race, and ethnicity associated with – but not limited to – this site. Cecil Hotel refers to the ongoing challenges facing constituents of Calgary, including differing understandings of the use of public space by citizens of different social classes and the endemic problems associated with violence in public space, people who live without homes, substance use, and the disappearance of indigenous women and youth - issues that The Cecil Hotel came to represent in the public imagination.[1]

[1] Excerpt from Cecil Hotel exhibition essay “Goodbye forever: False Absence” by Alissa Firth-Eagland.

Cynthia Bird is Cree from the Peguis First Nation in Manitoba, Treaty 1 Territory, residing in Calgary since 2004. She is an educator, with 34 years of experience working with not-for-profit organizations, governments, post-secondary institutions, Elders, First Nation communities, urban Aboriginal and mainstream organizations in the following areas: research respecting urban Aboriginal peoples and homelessness, curriculum development related to Treaties and the Treaty relationship, evaluations related to domestic violence, and training that promotes cross-cultural understanding and balanced historical perspectives. She continues her work in Alberta and Manitoba as an Independent Consultant and volunteer Senator with the Aboriginal Friendship Centre of Calgary.
Son Edworthy believes that to address complex problems we need to think more about equity, undoing systemic barriers for diverse participation in decision-making. Son has worked as a landscaper and gardener, a support worker with persons with disabilities, as an arts facilitator and a community-based research coordinator. Son currently works with CommunityWise Resource Centre, an affordable, inclusive community space for Calgary grass-roots and non-profit organizations.
Tomas Jonsson is an artist, curator, and writer interested in issues of social agency in processes of urban growth and transformation. Jonsson has produced several projects in Calgary addressing the city’s urban transformation, including sites such as The East Village and Hillhurst Sunnyside. He has also curated, presented, and performed work in Canada and internationally, including Artscape Gibraltar Point (Toronto), Suvilahti (Helsinki), and MoKS (Mooste, Estonia).  He is currently the Artistic Director of the Mountain Standard Time Performative Art Festival (Southern Alberta).
TracyRay Lewis is a member of Poverty Talks! and as such is involved in anti-poverty, anti-oppression advocacy and work. She is also a Humanities (multi-disciplinary) tutor, a voluntary community/PAR researcher, and a chronic TWD (The Walking Dead) Fan. Not necessarily in the exact order given. She is also a person with lived experience of homelessness and is interested in topics related to healing homeless trauma.
John Rowland grew up in High River in the shadow of the Canadian Rockies.  He graduated from the University of Calgary with a BSC in Civil Engineering.  Since 1996, John Rowland has worked at the Drop In Centre, where he is presently the Director of Data Systems.  John has spent many hours talking with DI clients, many of whom also were patrons of the Cecil Hotel.  John is the co-author of a report on the impact of the loss of housing options such as the Cecil Hotel with Dr. Kneebone from the Calgary School of Public Policy.


Thank you to the Arusha Centre, Calgary Dollars, and the Calgary Foundation for their support with this project through their Take Action Grant program. Venue provided by Calgary Public Library ♥

Mark Clintberg

Mark Clintberg is an artist who works in the field of art history. He is represented by Pierre François Ouellette art contemporain in Montreal, Canada, and is an Assistant Professor in the School of Critical and Creative Studies at the Alberta College of Art + Design. He earned his Ph.D. in Art History at Concordia University in 2013. His doctoral dissertation was nominated for the 2013 Governor-General's Gold Medal. Several public and private collections have acquired his work, including the National Gallery of Canada, Caisse de dépôt et placement du Québec, Bank of Montreal, TD, the Edmonton Arts Council, and the Alberta Foundation for the Arts. He has upcoming projects with Root Division (San Francisco, group exhibition), and the Foreman Art Gallery at Bishop's University (Sherbrooke, solo exhibition). He was Shortlisted for the Sobey Art Award for the region Prairies and the North in 2013.

Femme Wave: This Is What Makes Our Guts So Vibrant | Group Exhibition | November 18 to November 24, 2016


This Is What Makes Our Guts So Vibrant

Where: U-Hall (upstairs) at Truck Contemporary Art – 2009 10 Ave SW
When: Friday November 18, 5:00pm to 7:00pm

Striking an enigmatic balance between bold formal elements and momentous content This Is What Makes Our Guts So Vibrant is a group exhibition not to be missed. This Is What Makes Our Guts So Vibrant features a comprehensive array of work from artists Cassandra Ellanor Avery Faire, Dainesha Nugent-Palache, Emily MacDonald, Laura Hudspith, Nine Kennedy, and Susan Clarahan. Laden with charm and power, This Is What Makes Our Guts So Vibrant builds a dialogue about identity by confidently destabilizing the hierarchies of dominant culture.

This Is What Makes Our Guts So Vibrant runs from November 18 to November 24 and is welcoming visitors during Truck’s regular gallery hours (Tuesday – Friday 11:00 am to 5:00 pm, Saturday 12:00pm to 5:00pm.

Femme Wave's 2016 visual arts programming is an exploration of femme identities in their many forms, pluralities, and understandings. Aiming to be inclusive and intersectional in both politic and approach, this programming endeavors to shift binary thinking. Clear traditions and understandings become murky, without boundary, and offer reprieve from any single meaning or expression of what it means to be femme.

Cassandra Ellanor Avery Faire is a Calgary-based visual artist. Faire is a multidisciplinary artist currently focused on emotional portraiture. Her work deals with the challenges of self love and intimacy. She explores vulnerability through beauty and seduction. Born and raised in Calgary, she has attended both the Alberta College of Art and Design and the Ontario College of Art and Design. This summer her work was featured in the pop-up exhibition Lavender Menace.

Emily Lynn MacDonald is a feminist-identified artist, creative writer and curator. She has a BA in Communications with a focus in critical theory, cultural criticism and creative writing. She is currently working on a collection of prose poetry. Emily is also a member of an all queer and feminist-identified artist collective, Papsmear, with Tegan Bowers and Haley Pukanski. The collective acts as a research incubator for projects that dismantle rape culture, promote sexual health awareness, promote body positivity and autonomy and create inclusive spaces for woman-identified people who are excluded by art institutions for aesthetic, political, economic and social reasons.

Dainesha Nugent-Palache is a Toronto based artist, writer, curator and recent graduate of OCAD University—working primarily in photography, video and with performativity—her practice is often centred around themes of otherness, identity and representation, in relation to both femininity and the Afro-Caribbean diaspora. By employing the use of satire, pastiche and colour, Dainesha’s work is aesthetically tantalizing enough to pull viewers in, then consider the deeper layered complexities which exist within her work. All in all, it is Dainesha’s intent to provide documentation and commentary on twenty-first century realities through visual narratives, for the sake of posterity.

Laura Hudspith is a Toronto-based sculptor and installation artist. Her work combines the idealized (porcelain and plaster figurines) with the mundane (found objects and manufactured materials) to satirically address themes of authenticity and mechanisms of identity-making. Hudspith holds a BFA from Concordia University, Montreal, and has exhibited her work and participated in artist residencies in both Canada and the United States.

Nine Kennedy is an interior designer and visual artist residing in Calgary. They received their Bachelor of Applied Interior Design from Mount Royal University in 2013, and have been practicing professionally since. Their artistic practice explores how queer identity impacts our presence and performance in various architectural and interior spheres, utilizing various mediums including installation, film and performances. Nine is the Co-Founder of Haus of Masc Drag Collective and regularly performs in Calgary.

Susan Clarahan seeks a feminine understanding of sensuality, intimacy, landscape, community and beauty. Clarahan creates a sense of wonder at the natural world, using both performance and landscape to engage the senses and connect with nature.

*Safer Spaces*
Femme Wave Feminist Arts Festival and organizers are committed to providing a harassment-free experience for everyone, regardless of gender, gender identity/expression, sexual orientation, disability, physical appearance, body size, race or religion.

U-Hall is located up one flight of stairs at Truck Contemporary Art. The washrooms at this venue are gender-neutral.

*Treaty 7 Land*
We acknowledge this event takes place on the land of the Treaty 7 People, The Blackfoot from Kainai, Blood, Siksika, and Peigan, The Sarcee from Tsu’tina and Eden Valley, and the Stoney Nakoda people from Morley. We are all treaty people, visitors to this land and we give thanks to the people who came before and keep this land for us and all our future generations.

Intersite Visual Arts Festival 2016 | Group Exhibition | November 2 to November 5, 2016

Intersite Visual Arts Festival (IVAF) actively engages an unsuspecting public and advocates for contemporary art practices through the decentralized presentation of exhibitions, workshops, performances and screenings outside of the traditional gallery setting.

IVAF 2016 is presented by Alberta Printmakers, EMMEDIA Gallery & Production Society, Esker Foundation, M:ST Performative Art Festival, The New Gallery, TRUCK Contemporary Art in Calgary, Stride Gallery, and Untitled Art Society in partnership with LOFT 112 and National Music Centre. 



Gabi Dao: My Goods Be Said


My Goods Be Said is a public, live sound and sculpture installation cum multi-track recording session— engagement is welcome.

An iteration of a project developed while on residence at the Banff Centre, My Goods Be Said begins at the crux of considerations surrounding the phenomena of audio and the yet-to-be-heard potential of stuff. It observes the history of Foley practices, where Foley artists produce sound in studio to represent action, consequence and space within film production to portray a reality when synced with visual material. The work questions these modes of representation through creative gestures and seeks to situate noise, subjectivity, improvisation and personal assemblage within the public arena. It seeks to blend these notions into a thick, viscous milkshake of audio/visual cacophony. 

As audio is created at a certain time in a certain place, it simultaneously describes and disseminates the exact motions and moments that caused it. Through the continual action upon objects during this public jam session, it responds to arts displacement from the gallery to the offsite and ruminates on the idea of completion and context.

In real time, the noise becomes the soundtrack, its creators become the visuals, the objects become instruments and the collective bodies become a story articulated through the language of shared, sensorial experience.

Angela Fermor: A Map of Hollow Spaces


A Map of Hollow Spaces marks an interest in the abstraction of communication through minimal and reclusive gestures. The Map utilizes a fondness for anonymity, and stimulates consideration for both the individuality of the reader’s experience, as well as the peculiar psychological possibilities specific to the prescribed, categorical environments of libraries. 

When we place something into a hollow book, an act of creating value takes place: its is an act of spatial categorization of either an object or the experience of that object. Libraries, similarly, are a categorizing of objects within a specific space, according to their potential use and value of the surrounding community.

But what if nothing is placed inside the hollow of these books? What if instead we imply a value to the very quality of hollownessitself - or to the concept of it’s architecture? The cultural and phenomenological architecture of a “hollow” space is unique: it is understood and defined by its lack of something, or its preparedness for something else. The library and the hollow book both invite a transference; the library is our opportunity to take in the world, and the hollow book is perhaps an opportunity to put a small part of ourselves away into it.

The space of a hollow book, much like that of a library, offers an interior that is both purposeful as well as full of intellectual, imaginative, and - especially so in the case of the hollow book - anonymous possibility. The rooms, the shelves, and the quiet of a library (along with the very nature of reading) are all resources for an individualized and introverted experience. A Map of Hollows Spaces contrasts the book’s small nothing-spaces with the larger library that is, after years of being lived in and used, anything but hollow. 

Maggie Flynn: In Circulation



In Circulation provides a news delivery service for riders on Calgary Transit, its content composed of independent and alternative media platforms. Individual articles from a spectrum of sources are delivered at random, enveloped in newsprint so that neither artist nor recipient can anticipate who will receive what. Commuters may read the article, pocket it, pass it to a stranger, or leave it on the seat for someone else to find.

As she delivers the papers, artist Maggie Flynn asks passengers: “What independent media outlets do you read/watch/listen to?” Responses inform and expand the delivery service for the next morning’s rounds.

The political perspectives we’re exposed to are shaped, and perhaps coddled, by the social settings we inhabit. The internet plenty of space for independent media to live, but algorithms are pretty good at ensuring that the majority of sources someone is exposed to are well within their ideological comfort zone. Offline social dynamics can be just as narrow. In Circulation looks at the limits and possibilities of social interactions and person-to-person dissemination of information. The IRL nature of this newsfeed makes room for surprise, disagreement, and exposing worlds of inquiry to new audiences - LIVE! The transit system provides the lines through which interactions and articles will circulate, or get stuck in traffic.

Friends of Ogden Park: `) OGDEN PARK: RETREAT! ─=≡Σ((((͡ ͜ʖ ͡)





一二三(´◔‿ゝ◔`)☞ OGDEN PARK: RETREAT! ─=≡Σ((((͡◔ ͜ʖ ͡◔)☞ was developed in dialogue with a hypothetical event described by both science fiction authors and futurist prognosticators: the “Technological Singularity.” The Singularity is seen by its proponents as the threshold between our current human condition and post-human transcendence, an event that will transform and expand human consciousness. It is believed that once this threshold has been crossed, to return is impossible. Friends of Ogden Park expect that the average post-human will experience a discomforting sense of floundering in a vast sea of digital consciousness after the singularity. OGDEN PARK: RETREAT! is here to offer hope and guidance.

Over the course of IVAF, Friends of Ogden Park will facilitate a variety of activities that aim to simulate the conditions encountered in post-singularity reality. Launching with a motivational multimedia powerpoint presentation OGDEN PARK: RETREAT! will offer Trusting-Your-Future-Disembodied-Multi-Self exercises, a Paracord String-Theory Workshop and a geo-cashing relay. By tracking participants movements and communications using location based and wearable technologies, smartphones and social media integration our activities will provide an analogy to the algorithmic control of the post-human condition. Each activity will offer valuable lessons on how to navigate the control structure of post-singularity consciousness; investigate the challenges of life following the Singularity; and model the values that will come into play beyond the horizon of human understanding.




LECTURE ON TWO LOCATIONS is an attempt to map two locations with thirteen Western methods, i.e. aerial, geological, chemical, archaeological, etc. This piece was developed in attempt to find ways to refuse to give any ‘content’ to the audience, instead offering feelings of protection, emptiness, sadness about locations. How can we refuse the objectification of locations, refuse ownership? Without the names of the locations, are they identifiable through their data? Like in all sonification, there is an exponential closeness one can get to the data, but not ever become the data itself. There is always the human hand writing the code, playing the instrument, and defining what data or map is in the first place. Trying to look under these maps is like trying to see the ground under our feet. Each time we step aside to see the ground, we are just standing on more ground.

Friends of Ogden Park

Friends of Ogden Park, is a Toronto-based artist collective spearheaded by Ella Dawn McGeough and Dustin Wilson in 2014, whose purpose is to organize games and activities that function as forms of research.

Transdisciplinary in scope, Ogden Park exists without the context of a fixed place. It is a disembodied mind that temporarily occupies various hosts. Whether park, gallery, or online platform, Ogden Park’s host-body functions as an experimental computational device, transforming these sites into a virtual field for game based research. Recent sites include Younger than Beyonce Gallery (Toronto), BiWay Arts Foundation c/o The Wrong Digital Arts Biennial, Forest City Gallery (London, On), DNA Artspace (London, On), Katzman Contemporary (Toronto), as well as several self-organized projects within Toronto’s High Park and Regent Park. Plz join our FB group for info on future events or contact us at: friends.ogdenpark(at)gmail.com

Gabi Dao

Gabi Dao’s practice questions the conditions around display, viewership and aesthetic experience. Thinking through sculpture, she expands these tactile concerns into ephemeral ones such as sound, light or events. The intersection of these matters and their histories inspire subjective narratives that reflect on a roster of topics such as tourism, history, artifacts, objects, music, electronics and museums. Based in Vancouver, Dao holds a BFA from Emily Carr University of Art and Design and will begin a year long interdisciplinary media arts residency at Western Front this fall. She practices amongst a loose community of artists at Duplex, a pair of studio spaces and project space in east Vancouver who independently produce and organize exhibitions, screenings, launches and BBQs amongst other activities.

Angela Fermor

Angela Fermor is an artist and writer emerging with a completed Bachelor’s Degree from the Alberta College of Art and Design, and resides in Calgary, Alberta. Fermor’s current practice involves finding art processes that express the poetics of the introverted experience. With minimal pattern-making/-finding, Fermor uses both visual and written language to investigate the possibilities for the abstraction of communication. Often, the materials used are chosen for their evident vulnerability to receiving marks or meaning (such as an unprimed canvas, a barren wall, or a hollow book). Much of Fermor’s artwork is the result of time spent alone: they each act as a reflection and documentation of thoughtfulness, and offer a small gesture of appreciation to the experience of solitude.

Maggie Flynn

Maggie Flynn is an artist, organizer, and writer. Her practice feels like: collective processes, recreational dancing, listening to all of the sounds in a word, touching paper, hard pragmatism x deep pleasure. Such feelings are explored in the form of artist books, performances, and installations. Maggie has presented projects at the Art Gallery of York University, the Workers Arts and Heritage Centre, the Rhubarb Festival, Hemispheric Institute’s Encuentro, and the New Gallery. She’s taking a break from arts admin after a few years as Director of Whippersnapper Gallery. 

Suzanne Kite

Suzanne Kite is an Oglala Lakota performance artist, visual artist, and composer from Southern California, with a BFA from CalArts in music composition and a MFA candidate at Bard College’s Milton Avery Graduate School. Kite’s work utilizes an expanded idea of sound, including lecture, performance, drawing, animations, choreography, movement, electronic productions, arrangements for large ensembles, sound sculpture, gallery installation, and video compositions. Recently, Kite has been developing a body interface for movement performances, carbon fiber sculptures, immersive video & sound installations, and has launched the experimental electronic imprint, Unheard Records.

Performagraphic | James Luna | October 22 to November 26, 2016


Performagraphic presents a powerful collection of photographic and video works created between 2010 - 2014, referencing his artistic career of over 30 years. In Performagraphic, the viewer finds the merging of Luna's performance ideals into photographic stills that exist as much more than documentation but rather standalone images addressing cultural identity, representation/history, and the spiritual world.
Approaching his work head on, with biting humour and irony, Luna's powerful works transform the gallery space into a battlefield, where the audience is confronted with the nature of cultural identity, the tensions generated by cultural isolation, and the dangers of cultural misinterpretations from an Indigenous perspective. Performagraphic is more a lesson in expressive bodywork than that of standard photography presentation. 

Exhibition Essay: The Epistrophy[i] of James Luna

James Luna — his name should be whispered in reverence by all performance artists everywhere but also should be screamed through the halls of every museum. James Luna is a Puyukitchum (Luiseño), Ipi (Degueno), and Mexican-American performance and multimedia installation artist living on California’s La Jolla Indian Reservation. He has been at the forefront of performance art and its intersections with and influence on photography and media installation since he first stepped into a museum as a living exhibit in the 1970s. Trained by Dutch conceptual artist, Bas Jan Ader, Luna uses psychology, a keen eye to the contradictions contemporary ‘Indian’ people live under colonialism, the aesthetics of a painter, and a fearlessness in “airing our dirty laundry.”

The diptych Apparitions 2 shows the complexity of Luna’s strategy of juxtaposition in his photographic work. For this series, Luna uses self-portraiture as a contemporary Indigenous man paired with anthropologically situated photographs of potential ancestors. Apparitions 2 has Luna mimicking the photo of William Ralganal Benson, circa 1936 and held at Hearst Museum of Anthropology, University of California. Benson was an expert basketmaker, the evidence of which he displays in his hand. In the anthropological discourse surrounding him he is described as follows:

Benson was fortunate enough to have lived his boyhood years during the last decade in which Eastern Pomo speakers enjoyed a more-or-less traditional lifestyle. By the 1870s, the social and environmental disruptions caused by a growing local Anglo-American population would make traditional life impossible, as the lifeways of local Indians became increasingly marginalized.[i]

Benson, along with his wife, exhibited at the St. Louis Fair as an expert basketmaker in 1904. In the Apparitions series, Luna draws parallels between his practice of performing ‘Indian’ for contemporary art crowds and historical figures who also performed their artistry for crowds at world fairs and museums. In Apparitions 2, the clock he holds gives a clue to his critique. While the archival photos show a fascination with an authentic ‘Indian’ culture from pre-contact times, the depicted artists were actually involved in a process of cultural change. Benson made a living from his work and used white expectations of his identity and culture for his own gain. Luna’s photos and performance works’ use of irony do the same, turning societal desire for authentic pre-contact cultures inward by insisting on contemporaneity. In fact, the clock did not stop and Indigenous cultures continue to change and transform as always. The desire to stop time for Indigenous cultures has always meant a denial of place and presence on both the land and in modern societies for current Indigenous peoples. 

Another layer in Luna’s work can be seen clearly in We Become Them, in which he contorts his face into the exact replica of a ‘traditional’ west coast mask. Instead of critiquing the prevalence of desire for west coast art in the white imaginary he reframes the mask in an Indigenous context. As a performance artist, his work is connected to the work of the First Nations who would have used these masks in performance, offering a much longer history to performance art in North America. By using his own body to become the mask Luna draws us into the idea of transformation itself and its potential value in Indigenous cultures. As another kick to the knees of old school anthropology he questions: if the masks are meant to be performed then why are they behind glass? We might also ask ourselves how our cultures have shifted into Luna’s brand of performance and storytelling and how we should value it as equally about social change and community remembrance.

In Half-Indian Half-Mexican Luna challenges our understandings of racial purity and the stereotypic signifiers of culture. While each of his two profile shots are of the same man (Luna), each can be recognized as either Mexican or Indian because of the proliferation of images we recognize as representative of a culture. In this case, the Mexican mustache and the Indian long hair. When you confront both profiles head on you realize the ridiculousness of our standards of recognition and how easy it is to split a person in half by our desire to know who someone is definitively. When people cross borders literally (US/Mexican border) and biologically it challenges us to see the fear that lies at the assertion of all borders and purities. That same fear leads to violence against the bodies that cross those borders. While we might laugh at the absurdity of such a dual face we also realize the reality of imposing the division of those identities. 

While Luna’s photography is a distillation and continuation of his performance practice it also functions in a similar vein. By having his own body confront the viewer, they can no longer deny his existence. The Indigenous body that has been segregated, exterminated, traumatized, disabled, and confined becomes a site of challenge, power, humour, community, and cultural continuity.

By Wanda Nanibush


[i] Title of Thelonius Monk song. He used it to mean the repetition of sounds at the end of a musical line or phrase. Luna loves Jazz and the title is a tribute to him. 

[ii] Luthin, Herbert W. Surviving through the Days: Translations of Native California Stories and Songs: A California Indian Reader. Berkeley: University of California Press, 2002: 261.

James Luna

Internationally renowned performance and installation artist James Luna (Puyukitchum/Luiseno) resides on the La Jolla Indian Reservation in North County San Diego, California. With over 30 years of exhibition and performance experience Luna has given voice to Native American cultural issues, pursued innovative and versatile media within his disciplines, and charted waters for other artists to follow.  His powerful works transform gallery spaces into battlefields, where the audience is confronted with the nature of cultural identity, the tensions generated by cultural isolation, and the dangers of cultural misinterpretations, all from an Indigenous perspective.

Since 1975, he has had over 41 solo exhibitions, participated in 85 group exhibitions and has performed internationally at venues that include the Museum of Modern Art (NYC), Whitney Museum of American Art, New Museum of Art, San Francisco Museum of Art, Museum of Contemporary Art San Diego, Los Angeles County Museum of Art, the National Gallery of Canada, and Museum of Contemporary Native Art, Santa Fe, NM.

He has received numerous grants and awards throughout his career and most notably in 2005,  he was selected as the first Sponsored Artist of the Smithsonian’s National Museum of the American Indian presented at the 2005 Venice Biennale’s 51st International Art Exhibition in  Venice, Italy. In 2012, James was Awarded Honorary Doctorate of Humanities from the Institute of American Indian Arts, Santa Fe, NM.

Skins and Shirt | Polina Teif and Shannon Garden-Smith | October 7 to November 30, 2016


The exquisiteness of the commercial image betrays its mortality in its objecthood. Folding around an uneven wall, buckling and bubbling over a storefront window or bleaching in the sun, images that were fashioned in pursuit of the ideal and eternal become public monuments to a life cycle of decay

Skins and Shirts is an installation of an ongoing photographic project by Polina Teif and Shannon Garden-Smith that returns images taken from the storefront back to the surface of the window. Comprised of photographs digitally printed on adhesive window vinyl, the installation conflates image, body, surface and material disintegration.

Polina Teif & Shannon Garden-Smith

Toronto based artist, Polina Teif, and Guelph/Toronto based artist, Shannon Garden-Smith, began collaborating together in 2009. Their work has been exhibited at the University of Toronto Mississauga, the Art Gallery of Ontario First Thursday’s, Mississauga Living Arts Centre, Gallery Stratford, Birch Contemporary, Art Metropole, Hart House, Art Museum at the University of Toronto and Nuit Blanche (Toronto).

Performing the Landscape | Zackary Drucker and Ming Wong | September 22 to November 12, 2016


Landscape is one of the most evocative tropes in Canadian visual culture, a popular genre and a cliché that often insist on conventional and stereotypical representations of the country. It is nevertheless a most powerful subject matter still very much appreciated by practitioners and audiences alike. Generations of artists have attempted to capture and depict the sensation of being overpowered by the majesty or beauty of the natural environment time and time again.
Performing the Landscape proposes to look at new ideas of landscape through the lens of contemporary art, in particular, the moving image. Each work selected introduces elements of performativity into the ‘natural environment’ and links landscape and performance via different categories: theatre; actions; happenings; cinema; music; circus; etc. In all these works the landscape is a temporarily occupied space, at least for the duration of the action at the centre of each piece, and yet it resists the pressure of simply shifting to the background.

Performing the Landscape is curated by Lorenzo Fusi and features the work of the following artists:

Illingworth Kerr Gallery: Miruna Dragan and Jason de Haan, Mikhail Karikis, Hans Op de Beeck, Sara Ramo, Julian Rosefeldt

Contemporary Calgary: Janine Antoni, Cyprien Gaillard, Taus Makhacheva

Glenbow Museum: Bill Viola

Stride Gallery: Ragnar Kjartansson

TRUCK Contemporary Art in Calgary: Zackary Drucker, Ming Wong

Performing the Landscape is presented in partnership with the Illingworth Kerr GalleryContemporary CalgaryGlenbowStride Gallery, and TRUCK Contemporary Art.

Zackary Drucker

Zackary Drucker is an artist who breaks down the way we think about gender, sexuality and seeing. Her participatory art works complicate established binaries of viewer and subject, insider and outsider, and male and female in order to create a complex image of the self. Drucker uses a range of creative devices that all strive towards the portrayal of bodily identity, her own and that of others, obsessively infusing visual media, photographs, videos and performance art, with acute, masochistic emotional compulsions. Conceiving, discovering, and manifesting herself as a woman in the wrong world, her work is rooted in cultivating and investigating under-recognized aspects of transgender history. She earned an MFA from the California Institute of the Arts in 2007 and a BFA from the School of Visual Arts in 2005. She has performed and exhibited her work internationally in numerous museums, galleries, and film festivals including the 54th Venice Biennale 2011.

Ming Wong

A well-known installation and video artist in the international art arena, Ming Wong has showcased his works in numerous solo and group exhibitions as well as screenings at prestigious locations including the Museum of Contemporary Art Tokyo, the Museum of the Moving Image in New York, House of World Cultures in Berlin, and the National Taiwan Museum of Fine Arts.  His works have also been shown in many parts of the world such as Australia, Austria, Canada, China, France, Hong Kong, Indonesia, Italy, Japan, Netherlands, Portugal, South Korea, Spain, Taiwan, Turkey, United States of America and at home in Singapore.