The usual place, but to the side | Group Exhibition


Curated by Toni Cormier



-The Des Moines Register, Iowa, March 28, 1916


The revealing of a secret is a point of no return, it cannot be undiscovered as much as you cannot unscramble eggs. An irreversible shift raises the question: If you can't un-something, what can you do? This moment offers opportunity through a multitude of possible futures (and multiple presents). Somehow, the revealing will morph the expected, what is understood, what will never happen, what is swallowed. This permanent change of state is an event that requires a response, fostering a relationship between subject and object. Five artists were asked how they move productively forward after being confronted with this shift, using personal tools and methodologies to negotiate what cannot be undone. Each artist utilizes a relationship with something found or collected during an encounter (either day-to-day or during a pursuit of interest) as a way to access this shift of reality. The otherwise discreet object becomes a deviation from the expected, a lost translation, an estranged artifact, a moment of possibility, a radical connection.

Tess Eva Cournoyer

Proof 2 is a collection of objects and disposable photograph, taken from the streets during meandering ventures. Gathered from moments of wistful wandering, they are collected and rearranged in an attempt to revisit the moment of encounter, the inexplicable draw of curiosity that led to the accumulation of such objects in the first place, and re-situate such discoveries into a new context of narrative, understanding, and interpretation. Without any pragmatic reasoning, the objects become estranged artifacts of an alien motivation, and open up to a repurposed realm of meaning independent to the viewer.

Declan Hoy

Investigation of representation and time through the use of objects and images are conducted through the lens of speculative fiction, photography, and new materialism. Using this methodology, the investigations conducted manifest in quiet arrangements of things in space. In these sculptural and installation works, images are used as objects and objects are used to construct images, questioning the horological positioning of photographs and objects, and, imagining futures of representation.

Kaylee Maciejko

MOSPPRADS is a research and documentation society that examines vacant construction sites in search of MOSPPs: Moments of Speculative Possibility and Promise. The Society is interested in investigating perceived ruptures in the purported goals and actual outcomes of architectural and urban planning enterprises. This fictional organization follows an intense and vigorous practice-led research methodology that includes psychogeography, a ‘pataphysical approach to gathering conjectural data and the application of research findings through sculpture, photography, sound works and writing. The telos of this research is to foster a sensitive and intersectional dialogue around spatial production in urban landscapes.

Kerry Maguire

Replicated the optical properties of tinfoil/plastic become personal interpretations of objects. I think often of the replicator in Star Trek; with the push of a button, a meal, material or object appears. I see CMYK and print as some sort of optical replicator; although the actual functional properties of the object are not present, I have made some kind of movie set version of them. The “mystery” of the real-world creation of these material-objects is capitalist labour; the mystery of my CMYK replication is maybe just how four colours can trick us into seeing a multidimensional, full-colour entity.

Martina Westib

I explore the idea of the reservoir as a repository for matter. With the sink as a metaphor we can think of its form as a container for collected energies that are in varying states of release over time. My works are resonant bodies recording the moment of impact. They absorb instances of directional force and reverberate the dual nature of experience. Caught in cycles and outside of them simultaneously, they are fast and slow, touched and untouched as they retain and let go.

to the AWE #2 | Group Exhibition | February 15, 2018



to the AWE encourages artists to embrace risk and defy genre - play with the unfathomable, inhabit the experimental and dare to re-imagine their practice and performance. The series is dedicated to rigorous creativity and highlighting those seeking the opportunity to risk and potentially fail.

to the AWE invites audience to experience the unknown and rejoice in the excitement and precious ephemerality of live performance.

Nathan Huisman
Rodney Diverlus
Jared Tailfeathers
Bianca Guimaraes
Devery Bess
Stacy Cann

// FEBRUARY 15th
/// 8 PM
///// TICKETS $8 - $12 - $20 CASH AT DOOR or $15 ONLINE!!!

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.

The Hours We Wait | Dominic Pinney and Ryan Danny Owen | August 1 to 5, 2017


THE HOURS WE WAIT | Dominic Pinney and Ryan Danny Owen

August 1st- 5th | TRUCK U-HALL SPACE | 

Reception August 4th 5-7pm

THE HOURS WE WAIT explores concepts of time, transition, and leaving. The work of Dominic Pinney and Ryan Danny Owen employs methods of fragmentation and fluorescents to explore the movement of light and time within a space and its physical and sentimental manifestations. 

In addition to the work in the U-Hall space THE HOURS WE WAIT features a moving public installation with locations around Calgary, locations announced day-of on the Facebook event, running August 1st, 2nd, and 3rd from 2- 7pm.

Ryan Danny Owen

Ryan Danny Owen's work explores loss, queer identity, relationships, and time through the use of the archive, found imagery, text, and installation. His work examines the dynamics of ruins and memorials as a means to explore relationships and an affiliation to the past and present.

Dominic Pinney

Dominic Pinney is a visual artist who primarily explores the duality in order and control, the struggle between systems and the relationship between individuals and the authoritative structures that define our lives. Utilizing sculptural forms and light installation he aims to create a dialogue around the conflict of control, when do systems of authority stop being something that provides form and substance and when do they become constraints that hinder growth and freedom.

Close to Home | CAMera Collective | June 6 to June 10, 2017

The CAMera Collective (formerly UCFK) is pleased to present a photo installation exploring the theme, Close to Home, in the TRUCK Contemporary Art U-Hall Community Space. 

This exhibition investigates the concept of “home”, exploring different notions of place, grounding and perspective. As their home areas widen to areas outside of Calgary, the members of CAMera Collective work has evolved from past exhibitions without losing sight of the details that often get lost in larger narratives: Angela’s work in the exhibition encompasses both an intimate look at a sunrise in Mexico as well as a more voyeuristic perspective from her former downtown apartment. Cat’s photos are meticulous creations that remind the viewer of the connection between our bodies and our creations; our humanity that overlays the temples of urbanity: the high-rise offices, apartment towers and streets that typify a city. Melody’s work explores the theme with images that show their human subjects as being in a liminal state, of being close to home, but not quite there yet. 

Since 2010, CAMera Collective has been operating in collaboration, documenting urban environments from the unique perspectives of three photographers. Through exhibitions, photo walks and publications, our collective aims to make photography more present in Calgary, and start a critical dialogue about photography and image-making. Members of CAMera are Angela Inglis (Calgary), Melody Jacobson (Vancouver) and Cat Schick (Calgary).

In the eight years we’ve worked together as a collective, our techniques may have changed but our interests haven’t—photos that represent a finger held to the pulse of life in urban Canada.  We seek the unusual and the unnoticed in order to add to the understanding of a city’s diversity, with our subjects ranging from architecture, hidden communication and unintended meanings in signage and graffiti to traces of our human creatureliness and the biodiversity living in the city.

UCFK (now CAMera Collective) had its inaugural exhibition as part of the Sugar Shack Art Salon’s Debutantes’ Ball in Fall 2009. Photos on display included a range of themes; vaulting lines and cracks, architectural propensity, gritty graffiti, grid-lined people, speedy landscapes and phenomena in light.  

Since that time, we’ve had nine exhibitions of our work and we continue to search, learn and grow.  UCFK began as four anonymous photographers interested in exhibiting as a Banksy-like collective. In the ensuing years, one member of our group left to pursue his own projects and the remaining three have branched into different projects together, from yarn-bombing and performative crocheting on public transit, to further explorations of street photography.  Each photographer has developed her own voice while learning about and celebrating each other’s viewpoint in the collective.

Something From Nothing | Group Exhibition | April 7 to April 13, 2017


Something From Nothing is a collaborative, experimental installation/performance constructed over the course of two days. In sharing authorship, Something From Nothing is an exercise in trust. Each pair of artists (selected at random) will spend two hours in the gallery, responding to the materials and residue left in the space. One artist will be present for the duration of the experiment, a witness and responder to the development of a process-based work. Something From Nothing is a group exhibition featuring work by Mercedes Alexander, Alana Bartol, Rosa Campbell, Andreea Catana, Jonah Cutler, Megan Fen, Brock Green, Lusine Manukyan, Polly Orr, Jordan Schinkel and Tanisha Wesley.

FINA 450, Section F was established in January of 2017. It is comprised of ten fourth year students from the Alberta College of Art+Design and one instructor. Collectively, FINA 450 has over four decades of art making experience. The members meet every Friday at one o’clock to discuss their art practices, contemporary artwork, a collaborative exhibition, and future ambitions. Local and national artists and arts professionals have met with FINA 450 both in classroom and at local galleries and art spaces. Something from Nothing is the first public presentation of their work.

Digital Artifacts | Greg Marshall, Peter Redecopp, Anna Semenoff and Trevor Van den Eijnden | February 3- March 4, 2017




An artifact in the digital realm; an unintended glitch or distortion that by digital processes, echoes indefinitely, rapidly branching in scale and scope, leaving the impression of artificiality. Digital Artifacts explores these artifacts through the ritual repetition of patterns in a digital landscape, tackling the themes of memory, relics, religion and warfare. Digital Artifacts is a group exhibition featuring work by Greg Marshall, Peter Redecopp, Anna Semenoff and Trevor Van den Eijnden. 

Digital Artifacts is part of the PARTICLE + WAVE Media Arts Festival and presented in partnership with EMMEDIACarvel Creative and TRUCK Contemporary Art. 

Peter Redecopp and Trevor Van den Eijnden will also be taking part on the festival artist panel, The Sacred and the Profane. For more information, click


Warware // Greg Marshall
This video art installation is based on the single-channel video entitled, Drone (2016). Similar to the one camera angle from Drone, the animation presents coded and extruded data visualization from a portion of a large number of news stories, gathered via Google Alerts on lethal US military drone attacks dating back to 2013. A continual video roll of extruded grids slowly drifts in slightly varying forward directions. There are no cuts in the video—it is one long perpendicular take, using an overhead meandering camera move across this constructed landscape.
Pentaphonic Sound System // Peter Redecopp
Pentaphonic Sound System could be a haunted house prop, or a set piece from a b-movie. The 5-channel soundscape that is projected from the sculpture is reminiscent of a horror film; a combination of synthesized, sampled and modulated sounds move from speaker to speaker in various patterns, creating an undulating, spatialized aural composition. The soundscape is continually changing, composed in real-time through an algorithm written by the artist, and brings to mind sinister rituals and black magic. With this project, the computer algorithm is envisioned as a form of cyber-incantation. To be wary of false idols is a common maxim in the Western Tradition, and the pentagram has come to embody this adage in popular culture. Inserted within an art exhibition, it raises questions about if and how we would conceive of idolatry in the context of contemporary media art.
Memory of Mother // Anna Semenoff
Memory of Mother is composed of one long video sequence, fractioned and looped in no particular order, demonstrating a lack of a linear narrative. Capturing the essence of the whole by remembering the chosen fragments of the past: Memory of Mother functions like a memory in real time, with each fraction fulfilling an equal role to create a larger, more coherent representation of the figure.
The Relics of the Anthropocene Temple // Trevor Van den Eijnden
A collection of proposed Anthropocene relics for reverence in a deep, hypothetical future function as warnings, prophecies, and a form of solastalgia for something ill-defined that has not yet fully come to pass. The work is an extension of my interest in pattern as a visual indicator of the ways in which we pattern the world. Rather than presenting a pattern that definitely ends or breaks down, they present an indeterminate expanse that fades into the unseeable blackness of the interior space. The materials explored within the Relics include a diverse array of hyper objects that physically or psychologically demarcate the Anthropocene, such as plastics, styrofoam, uranium glass, simulacrum of nature, and memorials to extinction. Inside the relics thre is an aesthetic existential bleakness from the see-through black mirrors facing inward that cannot physically invite, nor act as a reflection to carry the viewer into the scene.

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.