Sleigh my name, Sleigh my name | Fundraiser | December 15, 2017



TRUCK’s Holiday Karaoke Fundraiser
Friday, December 15th, 2017
TRUCK Main Space
2009 10th Avenue SW Calgary
Join us for a night of HAULLA-day karaoke fun on Friday, December 15th, 2017 from 8PM – LATE at the TRUCK Main Space (2009 10th Avenue SW). Snuggle up with your Calgary art community faves, sing away your winter blues, and enjoy a special holiday mulled beverage courtesy of Lowell Smith. In a hurry to sing? $2 will get you to the front of the karaoke line PLUS we will have other surprises in store to be revealed at the event, including prizes and give-aways galore!

vision's fickle centre, peripheral flicker, denter | Brett Bonk | December 6 to January 31, 2017


The silhouette of an ashtray left on construction paper, its colour bled by the sun. A divot or flattening, as the indentations left in carpet by loveseat legs or the settling of earth upon an interred thing. An action’s afterimage treads softly but exerts real force, connecting and repelling bodies and objects across time, throughout space. Not quite the whole thing, maybe... the hole left by the thing?

Femme Wave Block Party at EMMEDIA + TRUCK Gallery | Group Exhibition | November 17 to November 19, 2017


18+/Pay What You Can
Doors at 6:00PM

FILM (6:15 PM Panel/Films screening on a loop 7:00PM–9:00 PM, EMMEDIA)
*Infiltrating and Dismantling Dominant Narratives: The Manifestation of Intersectionality in Modern Feminist Shorts*
With films by Canadian feminist film makers exploring themes of contemporary feminism and a panel exploring local experiences of working in film from the margins.

Femme Wave wishes to thank EMMEDIA for it’s support for this year’s film programming. In particular this program is produced through EMMEDIA's Homegrown Curatorial Program.

Learn more about the films here: http://emmedia.ca/2017/10/femme-film-2017/

Ursa (7:00PM)
Saskatoon, SK
Ursa is the ambient electronic project of Lenore Maier (The Garrys, Bunwitch). Her works sway between drone and dream, somewhere between sound effect and musical sound. Whether flatlined by drone, or pulsating at 120 bpm, Ursa’s debut album “Prism System” possesses a heartbeat that navigates fluidly through the liminal spectrum of time, dream state and hypnagogic consciousness. 

Daisy D (8:00PM)
Victoria, BC
Born and raised in Calgary, Daisy D has spent the last year living in Victoria where she’s perfected the art of booty house and hyperspeed 90s eurohouse. While she’s found the perfect home for her booty house playing queer parties on the island, her deep roots in Calgary tie her to well-known projects such as CITADEL (melodic ritual drone), along with a heavy involvement in the Discord noise shows happening from 2006-2010.

VISUAL ARTS (U-HALL, Truck Gallery, 6PM-9PM )
Exhibition dates: Nov 17 - Dec 9
Gallery hours: Tues - Fri 11 AM - 5 PM // Sat 12 PM - 5 PM
Behind Our Eyelids - Ruby Smith-Diaz + Isha Adams, Susan Clarahan
Exhibition Text by Victoria Braun

Join us for the opening reception of Behind Our Eyelids
Online presentation of the exhibition at http://femmewave.com/behindoureyelids from November 16 - December 9

HOT GOSSIP COLLECTIVE is doing a special Femme Wave edition of their newsletter: Boy Problems available at all Femme Wave events.

EMMEDIA is located at 2005 10th Ave SW. We will be using the back entrance, which has a few steps to get inside. 
TRUCK Gallery is located at 2009 10th Ave SW. We will be using the main level for music, and the main entrance is wheelchair accessible.
*More detail coming soon*

Femme Wave acknowledges Calgary as the traditional territory of the Blackfoot and the people of the Treaty 7 region in Southern Alberta, which includes the Siksika, the Piikani, the Kainai, the Tsuut’ina and the Ĩyãħé Nakoda First Nations, including the Chiniki, Bearspaw and Wesley First Nations. Calgary is also home to Métis Nation of Alberta, Region III.

Femme Wave is working closely with Indigenous Resilience in Music(IRIM) to create safer spaces for Indigenous musicians and attendees at the festival. If you claim Indigenous status, Metis status, Inuit status or that you are of Indigenous descent, please let us know so that we can connect you with IRIM ambassadors. These ambassadors will be available to help meet the needs of Indigenous musicians and attendees in Calgary and those travelling to Femme Wave from reservations or out of province.

To connect with an IRIM ambassador, please email IndigneousResilienceInMusic@gmail.com.

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.

Thumb Through | Jade Yumang | October 27 to December 9, 2017


Jade Yumang’s artistic practice focuses on the concept of queer form traced through the summoning of historical amnesia, by means of myths, scandal trials, obscenity laws, and filmic tropes. Thumb Through is a series of sculptures that reference a 1972 legal scandal in New Jersey where police officers, without warrant, entered a gay bookstore and seized publications that were deemed obscene. Each sculpture in the exhibition represents a page from an issue of My-O-My, a 1970s North American gay erotic magazine that was used as evidence in the case and compared to an unauthorized weapon. For Thumb Through, Yumang scanned and printed the issue on fabric page-by-page, combining them with contemporaneous materials to construct abstract sculptural forms that evoke the forthcoming visibility of queer desire.


Exhibition Essay: Thumb Through: Jade Yumang and My-O-My
“If men were angels no government would be necessary.” James Madison, Federalist No. 51.
- Case document excerpt, New Jersey v. Shapiro, 1973
In July of 2012 I bought Jade Yumang a vintage gay porn magazine on Fire Island. A pop-up shop in Cherry Grove, New York was selling high quality reprints of 1970s stud mags like Dynamo! and HONCHO, along with island knick-knacks and some belongings from the estate of Rue McClanahan (God rest her soul). I immediately thumbed through a few issues, grabbed two or three, and ran back to the house to proudly flaunt my finds and offer a few gifts. The magazine covers were reprinted in a sturdy glossy plastic laminate—no doubt a material response to the flimsy, fading paper covers of the 1970s that clung to their staples with all the commitment of a short-term relationship. Two of the magazines were more traditionally hardcore: locker room scenes, hikers in denim cut-offs with tall striped tube socks and hiking boots, leather scenes, that sort of thing. The issue I had in mind for Jade was far more romantic and unimaginably colorful.
Printed and distributed in the early 1970s, My-O-My Volume II focused exclusively on two male models in a studio whose sexual narrative unfolded over the course of the 32-page book, at first intimately kissing and undressing page by page before eventually succumbing to one another for several more pages. The models were set against lush monochromatic backdrops of what can only be described as deeply timely colors for the 1970s: rust, ochre, sea foam, deep mauve, avocado green. Solid backdrops of color cast focus on the rich textures and character of each man’s garments and their pink and peach bodies in various states of passion and undress.
My-O-My also had another life as material evidence in New Jersey v. Shapiro, the Superior Court trial of Edward Shapiro and Milton Nerenberg after two police raids of their bookstore, Action Auction, in 1972. At question frequently in the suit was whether indecent material had any “redeeming social significance.”[1] What is remarkable about the language in the case is that it refers to the content of the magazine as “nude males making love to one another,”[2] which in descriptive terms is actually quite sweet. (The title of the other magazine obtained from the raids was Togetherness.) Apart from this, the case language makes no other mention of the magazines’ sexual content, apart from their “obscene” nature. These notions of speaking around bodies and transforming desire into something harmful are at the center of Jade Yumang’s Thumb Through series.
Consistent among the 32 objects, which vary in form and content for each page in My-O-My, is the use of page scans printed in archival ink on cotton and wrapped around long tubular forms, like pillow-soft porcupine quills. Some hang from or jut out of vintage fabrics and objects, resembling—or fastened to—fringe, tube socks, and refashioned garments from the early 1970s. Others like Page 28 (2015), bright and colorful and collected in a corner, offer sewn-cotton candy echoes of Felix Gonzalez-Torres piles. Like Felix’s practice and the pornographic images in My-O-My, Yumang’s works transfer intimate emotion out into the public realm.
The magazine’s retro design features, like typesettings, borders, layouts, and ads for back issues of other magazines in the series, frame the desire on adjacent pages. The edges of the artist’s sculptures pay careful attention to this detail. Fabric borders and underbellies of objects flaunt fringe, long strands of fibers, satin rope, and smooth patches of leather, recalling both nostalgia and biological features of organic creatures. Each sculpture’s tendrils appear both soft and dangerous, wielding a tender and uncertain harm. Like the models in My-O-My, works like Page 10 (2015), Page 12 (2015) and Page 5 (2016) themselves appear to be in states of undress, with zippers revealing inner layers, teasing and unveiling their private contents.


For a time that summer on Fire Island, Jade was tucked away in a basement studio designing and sewing elegant garments of white tulle that resembled diaphanous dragon spirits made of slender clouds. Objects in Thumb Through find echoes of these queered monster-forms, combining intimacy and absence, perceived potential harm and soft surfaces. Neither Jade nor I were yet aware of the power—and the redeeming social significance—of this random porn mag. Looking back it seems fitting that it was a gift from the island. (Had the nude men in the pictures cruised these beach forest paths? Were their ashes underfoot?) In Yumang’s careful hands, the intimate layers of these queer, quiet histories are shed one by one, transformed into something strange—and strangely powerful.


[1] State v. Shapiro (Superior Court of New Jersey, Law Division (Criminal) January 26, 1973), Law.justia.com 300 A.2d 595.

[2] Ibid.

By Evan Garza

Evan Garza is Director of Public Art at Rice University. In 2011, he co-founded Fire Island Artist Residency in Cherry Grove, New York, the first residency program in the United States exclusively for LGBTQ artists. Garza served as Assistant Curator of Modern and Contemporary Art at the Blanton Museum of Art at the University of Texas at Austin from 2014–2016 and was Exhibitions and Programs Director at the School of the Museum of Fine Arts, Boston from 2011–2014. He has organized and curated several exhibitions internationally and his writing has been published by HyperallergicFlash ArtART PAPERS, and Artforum.com

Jade Yumang

Jade Yumang’s work primarily focuses on the concept of queer form through sculptural abstraction, installation, and performance. He received his MFA at Parsons School of Design with Departmental Honors in 2012 and his BFA Honors in University of British Columbia as the top graduate in 2008. He was born in Quezon City, Philippines, grew up in Dubai, United Arab Emirates, immigrated to Vancouver, BC, Canada. He is currently a sessional instructor at the Department of Art History, Visual Art and Theory at the University of British Columbia. He is also part of a New York-based collaborative duo, Tatlo, with Sara Jimenez.
His works have been exhibited internationally, including, Brooklyn Museum, NY; Museum of Arts and Design, New York, NY; Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY; ONE Archives, Los Angeles, CA; International Print Center New York; Invisible-Exports, New York, NY; The Center for Book Arts, New York, NY; Künstlerhaus Bethanien, Berlin, Germany; Equity Gallery, New York, NY; Box13 Artspace, Houston, TX; Eastern Edge Gallery, St. John’s, NL; The Kitchen, New York, NY; Centro de Desarrollo de las Artes Visuales, Havana, Cuba.

what the world does may not be worth doing, and yet it cannot be left undone | asmaa al-issa | October 6 to November 30, 2017


what the world does may not be worth doing, and yet it cannot be left undone intersects Daoist philosophies and Islamic art practices. The work engages seemingly conflicting concepts to think through the transformative nature of the world as a creative process.  
The screen is used as a site of contradiction and opposition: curves are rendered on a grid surface and indeterminate moiré patterns proliferate out of linear grids, which overlap intentionally cut patterns. This work continues a line of exploration that draws on notions of spontaneity, chaos, and creativity.

asmaa al-issa

asmaa al-issa’s practice is heavily informed by art and philosophy of different spiritual traditions. Working in a range of media including drawing, photography, sculpture, and installation, asmaa maintains an art practice that contemplates what is affective but has no form. She recently received a Master of Fine Art in Interdisciplinary Studies from Simon Fraser University. 

CAMPER: SUBTEXT | September 16 and September 17, 2017


SEPT 16 & SEPT 17, 9AM - 7PM

Outside of Arts Commons, 8 Ave near the Ca'Puccini / centre court entrance


In concert with Contemporary Calgary’s NEVER THE SAME: what (else) can art writing do? TRUCK Contemporary Art in Calgary's CAMPER will be on site Saturday, September 16 and Sunday, September 17 from 9AM - 7PM daily. A proposed space for discussion and regeneration, SUBTEXT offers an auxiliary site to meet, connect, and reflect.

Over the lunch hour, symposium participants and members of the public are invited to sign up to speak with symposium panelists, Amy Fung and Dr. Jeanne Randolph during two special public workshops on a first come, first seated basis.

Join Amy Fung for, "There is no such thing as your objectivity: a workshop on the art of non-descriptive writing", a series of micro writing workshops for 6 people each day.

Dr. Jeanne Randolph will be hosting a group workshop titled, "an intellectual adventure for passive and assertive people". 

The lunch hour schedule:
Saturday, September 16
1:15p - 1:45p - "an intellectual adventure for passive and assertive people" with Dr. Jeanne Randolph
1:50p - 2:30p - "There is no such thing as your objectivity: a workshop on the art of non-descriptive writing" with Amy Fung

Sunday, September 17
1:00p - 1:30p - "an intellectual adventure for passive and assertive people" with Dr. Jeanne Randolph
1:45p - 2:15p - "There is no such thing as your objectivity: a workshop on the art of non-descriptive writing" with Amy Fung

CAMPER (Contemporary Art Mobile Public Exhibition Rig) is a 1975 Dodge Empress motor-home, modified to become a portable public exhibition and project space.  CAMPER’s mandate is to investigate the places where art, the road, education, and recreation meet, and to explore these intersections in an inclusive, participation-oriented manner that fosters public engagement and appreciation of contemporary art practices.

Learn more about Contemporary Calgary’s NEVER THE SAME: what (else) can art writing do? symposium, including the complete line-up of symposium participants and ticketing information, by following this link

Amy Fung

Amy Fung is a writer, researcher and curator currently based in Toronto, Canada, with a specialization in criticism, poetics, and the moving image. Fung received her Masters in English and Film Studies from the University of Alberta in 2009 and was the Artistic Director of IMAGES Festival, Toronto for 2015 – 2017. Fung has published her writings in Canadian Art, Art Papers, C Magazine, Fuse, and Frieze, among other publications and is a co-founder of MICE Magazine. Fung’s recent curatorial projects have included a two-day reading series featuring Maria Fusco, Eileen Myles, Lynne Tillman, and Jacob Wren co-presented by Artspeak, the Western Front and 221A in Vancouver;  and “They Made A Day Be A Day Here,” a touring exhibition at the Art Gallery of Grande Prairie, the Mendel Art Gallery, and the School of Art Gallery, University of Manitoba. She is currently writing her first book.

Jeanne Randolph

Dr Jeanne Randolph is a Canadian cultural theorist, performer and author who is renowned for her method of ficto-critical writing that emerged in Canada in the 1980s. Randolph was also the first and only writer in Canada to develop Object Relations Psychoanalytic Theory as a medium for cultural criticism. As part of the art writing and knowledge production panel, Randolph will unravel some of the assumptions about what (else) art writing can do.  Her presentation might possibly resemble a stand-up theory performance.

In Blood and Bone | Alana Bartol | September 8 to October 14, 2017

In Blood and Bone asks how dowsing might shift our relationships to natural resources, technology, and place, while examining remediation, care, and the reliability of information. Dowsing or ‘water-witching’ is a form of divination used to locate ground water, oil, sites, and information. Last year, the Orphan Well Adoption Agency (OWAA) began investigating new methods of remediation through the practice of dowsing at abandoned oil well sites in Alberta. From September 8 - October 14, 2017 the OWAA will have an off-site office at TRUCK Contemporary Art. Oil well adoptions will be facilitated throughout the exhibition. Learn more at: http://www.orphanwelladoptionagency.com/

Click here for a two minute preview of Alana Bartol's video work, Total Field, 2017. 
In Blood and Bone is supported by funding from the Canada Council for the Arts.

Exhibitiion Essay: an aware form of care

In Blood and Bone is a compilation of Alana Bartol's many multifaceted constructs; its result is similar to a corporeal body. This body—an accumulation of different organs, which in turn are different facets of Bartol’s work—reaches out into the world in a multitude of ways. The body works and in doing so makes this body of work.
First, there is the Orphan Well Adoption Agency (OWAA), which walks the line between a real functioning not-for-profit and a fictitious organization. The OWAA, like any adoption agency, busies itself with matching orphans, in this case orphaned oil wells, with people that will act as their caretakers. While at a first glance, the OWAA may seem the penultimate step towards a reconciliation with the land and its peoples, Bartol knows the reality to be far more complex; she knows this to be but the first step of many*. In actuality there may be no final step towards a reconciling but instead a resolve to actively care with awareness.The OWAA is a radical step in envisioning—stepping out of fantasy and into a messy reality. The responsibility inherent in privilege is only performed if a person puts their agency into action, and this is something that Bartol clearly is devoted to doing in this exhibition. Bartol utilizes her privilege granted from the exhibition version of In Blood And Bone to draw attention to the hazy grey area between real organizations, performance within fine visual art. This in turn is a tool to consider what it would be like if we entered a realm focused on care.
Also exerting the pushes and pulls of a physical body is Bartol's water dowsing practice, a second tenet of this exhibition. Dowsing, or water witching, is the practice of using a pendulum, dowsing rod, or forked stick to determine the location of water or other rare minerals. Water witching itself is contentious and controversial and is seen by many to be a dubious practice, though it has been practiced for over a century to successfully find water. To practice this, the dowser must ask the rod yes or no questions. Bartol also has a blue uniform for dowsing and uses Ganzfeld goggles, which renders the user's vision blank, making her as susceptible as possible to the whims of the dowsing rods, and responses to her questions. The dowsing rods are tools of the field worker but they also relate to the third and final element of In Blood and Bone,  which comes flying into the gallery and becomes an entity of its own. Black vinyl neckties made of garbage bags, representing corporate culture, patriarchy, and evil spirits in general, which haunt the land and places where these orphaned wells reside. The dowsing rods themselves are installed to animate the dispersion of these ties, and this is represented in both the installation of the neck ties in the space and the animated video in the gallery’s front room.
The great pleasure of a body of work like this is that it offers viewers a space to consider the gargantuan and contentious issue of the oil industry within Alberta in a completely different manner. The absurdity of the ties that bind corporate structures to the land is intimated by the black neckties, which add an element of humour. The laughter that follows can both confound and disarm people to discuss socially and politically charged subjects which can be very difficult to address within the economic systems that we have created. Bartol poses the questions, “How do you get people to connect to issues that are overwhelming even if they are relating to them personally?” and “How do you shift a perspective so that the contentious and uncomfortable topic of oil can be considered?” If this exhibition is to serve as a starting point in which Bartol begins her inquiries, she does so by first listening, processing, acting, and persisting—with care.

Essay By: Ashley Bedet
*A consideration she is aware of given Bartol’s history of incorporating walking into her practice. See A Woman Walks the City Limits, 2016. 

Ashley Bedet came back to Calgary, where she was born. Bedet is the product of many very different worlds reproducing, meeting difference, and then reproducing again. That makes her the product of at least four distinct separate paths. She graduated from NSCAD University in 2014 and has been slowly making and showing work since.

Alana Bartol

Alana Bartol comes from a long line of water witches. In her art practice, she explores visibility, transformation, and survival by negotiating the boundaries of our relationships with the non-human world and each other. Through performative, research-based, and community embedded practices, her site-responsive works propose dreaming, walking, and divination as ways of understanding across places, species, and bodies. Her participatory works invite others to engage in acts of trust, inquiry, care, and improvisation, while making visible unseen forces that shape our world.
Her work has been presented and screened nationally and internationally at various galleries including PlugIn ICA (Winnipeg), ARC Gallery (Chicago), Karsh-Masson Gallery (Ottawa), Simultan Festival (Romania), Museo de la Ciudad (Mexico), Access Gallery (Vancouver), InterAccess (Toronto), Art Gallery of Windsor, and Groupe Intervention Vidéo, (Montréal), amongst others. Recent residencies include The Banff Centre, Neighbourhood Time Exchange, The City of Calgary's Public Art residency Open AiR, and the Santa Fe Art Institute. She currently lives in Calgary and teaches at the Alberta College of Art + Design.

Visit Alana Bartol's website to learn more about her practice and projects: http://alanabartol.com

TRUCK'S TAILGATE KARAOKE | Fundraiser | August 19, 2017


Saturday August 19 / 2017
4PM – 10PM BBQ
10PM – LATE Karaoke
Join the TRUCK crew as we open up the Main Space to the summer sun on Saturday August 19 for our BBQ fundraiser. Starting at 4PM we’ll be grilling up hotdogs and serving a special batch of refreshing lemonade courtesy of Lowell Smith to help beat the heat. Once the sun sets, it’s time to fire up the microphones and search Youtube for all your karaoke desires. What better way to beat that summertime, su-su-summertime sadness than to share good eats and sing with friends! 

Entry by donation / $2 Hotdogs + Song Selections