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JULY 2026
Current is a new series of public art activations presented by The New Gallery (TNG), transforming the Bow River pathway into a flowing corridor of creativity. Connecting Calgary’s cultural landmarks and natural landscapes, these activations merge art, nature, and community through installation, performance, and interactive projects. It invites audiences to experience the city through the rhythm of the river and the energy of downtown life.
Presented by The New Gallery and supported by RISEUp Calgary, Current runs through July 6 – 30th, 2026.
︎ Sign Up to Volunteer
Current brings together the works and creative processes of Calgary artists through installation, performance and socially engaged practice. At times ecological, social and deeply rooted in process, Current invites artists to slow down and work directly within the liminal space of the river's edge, the histories it holds, its riparian habitat, transition to the urban environment, and the material relations both carried and deposited.
Artist participation is site-specific, and interventions are simultaneously temporary, time-based and socially engaged. Current merges an outdoor exhibition program with musical and movement-based performance, installation, sound, participatory workshops and facilitated interdisciplinary tours.
Featured artists;
︎ Alexis Moerman
︎ Mia + Eric
︎ August Klintberg
︎Hannah Dubois
︎Nahanni McKay
︎Soloman Chiniquay
︎Melanie Kloetzel
︎ Caitlind r.c. Brown & Wayne Garrett
︎ Mia + Eric
︎ August Klintberg
︎Hannah Dubois
︎Nahanni McKay
︎Soloman Chiniquay
︎Melanie Kloetzel
︎ Caitlind r.c. Brown & Wayne Garrett
︎ Natasha Faye Jensen
︎ Yilu Xing & Phoenix Kefei Ning
(ING Collective)
︎ Julya Hajnoczky
︎Jennifer Ireland
︎JJL & Pam Tzeng
︎Gai Lan Ensemble
︎ Yilu Xing & Phoenix Kefei Ning
(ING Collective)
︎ Julya Hajnoczky
︎Jennifer Ireland
︎Jordan Baylon & Mackenzie Bedford
︎JJL & Pam Tzeng
︎Gai Lan Ensemble
EVENTS, PERFORMANCES & ACTIVATIONS
Reading Chinatown’s Water System through Print: A Community Print Workshop
- ING Collective - Yilu Xing and Phoenix Kefei Ning -Location: Sien Lok Park Gazebo at Riverfront Avenue SE & 1 Street SE
Date: July 17, 2026
1 - 3PM
︎Sign Up Here
This event is free. Registration is required and the workshop can accommodate up to 6 participants.
Print directly from Chinatown's manhole covers using a water-based ink developed from natural, environmentally conscious ingredients. Together, we'll explore the often-overlooked infrastructure beneath our feet and reflect on how it connects us to our waterways and the environment around us.
You'll also print from a custom lino block inspired by one of Chinatown's manhole covers and take home a hand-printed coin pouch and a fun zine. Those who are able to stay afterwards are warmly invited to visit our studio in Chinatown and continue the conversation.
ING is an artist collective by Yilu Xing and Phoenix Kefei Ning, working across communication design, printmaking, and public engagement. Our projects focus on connection, collective learning, and hands-on engagement. Using everyday life as inspiration, we are interested in responding to our surroundings through observation, conversation, and shared experiences in public spaces. Recent projects include public murals, printmaking, performance, video works, and community workshops that bring together artists, collaborators, and participants through collective making.
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Yilu Xing is an artist-educator with a BFA from AUArts and an MFA from the University of Alberta, currently working in a non-profit art gallery in Calgary. She has received support from the Canada Council for the Arts and the Social Sciences and Humanities Research Council for her research on culinary traditions within immigrant families and how food nurtures connection and belonging. Her work explores food, care, and cultural memory through print, installation, and community-based projects. Xing’s practice emphasizes hands-on processes, collaboration, and the ways art builds community and shared learning.
yiluxing.ca
Phoenix Kefei Ning is a Calgary-based graphic designer, illustrator, and emerging artist. She graduated from AUArts in 2026, majoring in Visual Communication Design. She explores the interplay of colour and shape to create visually engaging work and storytelling. She primarily works in digital formats while continuing to experiment with hands-on techniques. She contributes to numerous community-based and public art initiatives across Calgary, with a focus on making art more accessible and joyful for the public.
phoenixning.myportfolio.com
and phoenixning.com
--
Yilu Xing is an artist-educator with a BFA from AUArts and an MFA from the University of Alberta, currently working in a non-profit art gallery in Calgary. She has received support from the Canada Council for the Arts and the Social Sciences and Humanities Research Council for her research on culinary traditions within immigrant families and how food nurtures connection and belonging. Her work explores food, care, and cultural memory through print, installation, and community-based projects. Xing’s practice emphasizes hands-on processes, collaboration, and the ways art builds community and shared learning.
yiluxing.ca
Phoenix Kefei Ning is a Calgary-based graphic designer, illustrator, and emerging artist. She graduated from AUArts in 2026, majoring in Visual Communication Design. She explores the interplay of colour and shape to create visually engaging work and storytelling. She primarily works in digital formats while continuing to experiment with hands-on techniques. She contributes to numerous community-based and public art initiatives across Calgary, with a focus on making art more accessible and joyful for the public.
phoenixning.myportfolio.com
and phoenixning.com
Fathead Minnow
Beading Workshop
- Alexis Moerman -Location: The New Gallery
208 Centre St S
Date: July 18, 2026
1 - 4PM
︎Sign Up Here
Participants will have the opportunity to make a beaded bag charm of a stylized Fathead minnow; this freshwater fish can be found throughout Alberta, including in the Bow river. A zine sharing information and reflections on the Fathead minnow will be available and participants are encouraged to reflect on their relationship with the waterways of Alberta and the beings that live there and share our home alongside us.
Alexis Moerman is an artist, writer, and science educator whose work largely explores the perceived/self-imposed separation between humans and the natural world. She primarily works with dry media while also pursuing work with traditional Indigenous art practices such as caribou fur tufting, quillwork, and beadwork using seeds from the wolf willow. Born and raised in Mohkinstsis, Moerman is of Cree and settler descent and a member of the Lac La Ronge Band who traces her Indigeneity matrilineally. She is interested in themes of (dis)connection, reciprocity, and community.
Performances
at Sien Lok Park
- JJL & Pam Tzeng -
- Gai Lan Ensemble -
Location: Sien Lok Park
Date: July 19, 2026
--
JJL x Pam Tzeng
Location: Bow River Pathway
Time: 3:00pm
Meet us in Chinatown along the Bow River's edge for an improvised music and movement meditation performed by JJL and Pam Tzeng.
a confluence of embodied memories
of place
of lineage
of who we are
in the present unfolding here and now.
Born and raised in a family of musicians in Beijing, JJL spent her young
life marinating in her parents’ musical training and influences. As a
young adult, she left her hometown (and parents’ watchful eye) in search
of her own musical self. Her recent solo project is a continuation of
her self-exploration and musical experimentation. With her flutes and
electronics, JJL hopes to express her unique musical character through
the meditative process of creating self-sustaining music in realtime.
Pam Tzeng 曾小桐 (they/she) is a second-generation Taiwanese-Canadian choreographer and interdisciplinary artist based in Mohkinstsis, Treaty 7. Led by their embodied curiosities, Pam takes pleasure in extremes to craft honest, visceral and animated performances and immersive installations. At the heart of their practice is the question: What becomes possible in the felt space of knowing each other as different and the same?
pamtzeng.com / @pamtzeng
Photography Credit: Suzanne Nolan
Pam Tzeng 曾小桐 (they/she) is a second-generation Taiwanese-Canadian choreographer and interdisciplinary artist based in Mohkinstsis, Treaty 7. Led by their embodied curiosities, Pam takes pleasure in extremes to craft honest, visceral and animated performances and immersive installations. At the heart of their practice is the question: What becomes possible in the felt space of knowing each other as different and the same?
pamtzeng.com / @pamtzeng
Photography Credit: Suzanne Nolan
Gai Lan Ensemble
Location: Sien Lok Park
Time: 6:00pm
Founded in 2022, Gai Lan Ensemble is a Calgary-based chamber group that brings Chinese music to audiences in fresh and engaging ways. Led by flutist Jiajia Li, the ensemble brings together leading Chinese instrumentalists, performing in concert halls, community spaces, and collaborative projects across the city. Rooted in both traditional repertoire and new works, Gai Lan Ensemble reflects the evolving voice of Chinese music, connecting cultural heritage with contemporary expression.
The Deep Dark
- Caitlind r.c. Brown & Wayne Garrett -Location: St. Patrick’s Island
Date: July 25, 2026
10PM - 1AM
…all the darkness was suddenly dark in contrast with something else that wasn't darkness, namely light.
- Italo Calvino, Cosmicomics
The Deep Dark is a spatial installation intended to illuminate the interspace between our sacred (and natural) environments and cultural constructs of darkness. Why do we fear the dark? Is darkness a presence or an absence? What separates real fears of nighttime from imaginary fears of things we cannot see? Using domestic doorways as an entry point, the installation invites you to move through ghostly architecture. As you pass through each illuminated frame, you are blinded by intense white light that overexposes your eyes. The darkness beyond is magnified, much darker than before (Nyctalopia). As your eyes adjust, the next illuminated door frame becomes visible in the distance, beckoning you onward. From an outward perspective, as viewers step through the gates, they can disappear completely.
Drawing from commonalities in the human experience of darkness as a physical and metaphysical entity, The Deep Dark offers light by which the darkness grows darker and disillusions the night.
Caitlind r.c. Brown & Wayne Garrett are artists, collaborators, and cultural organizers based in Calgary/Mohkinstsis, Canada. Since 2010, they have cultivated a practice that is site-responsive, participatory, and poetic, inviting sensory engagement on a human-scale through novel experiences and collective effervescence. Many of their sculptures, installations, interventions, and curatorial projects transpire in non-traditional spaces, ranging from ancient forests to derelict buildings, suburban parking lots to municipal libraries, public parks to their own backyard. Caitlind & Wayne believe in art’s potential to shift our perspective of the everyday, building public intimacy, environmental connections, and radical empathy in a complex world.
Caitlind & Wayne have exhibited extensively, both nationally and internationally, notably at Setouchi Triennale (Japan), Weisman Art Museum (USA), GLOW Eindhoven (Netherlands), Pera Museum (Turkey), Koohouse Museum (South Korea), Garage Museum of Contemporary Art (Russia), Times Art Museum (Beijing), and the National Arts Centre (Canada). Their "permanent" public art can be found in Calgary, Edmonton, Airdrie, Toronto, and Agios Nikolaos (Greece). In 2019, they were awarded three Mayor’s Art Awards for public art in Calgary and Edmonton. The same year, Caitlind earned an Alumni of Merit Career Award from Alberta University of the Arts. In 2025, they were interviewed by Matt Galloway on CBC national radio. In 2026, Caitlind & Wayne won the G.& A. Mamidakis Foundation Art Prize for Chronotopia in Greece, resulting in the creation of a site-specific artwork on the island of Crete, unveiled in June.
www.incandescentcloud.com
Instagram: @incandescentcloud
Caitlind & Wayne have exhibited extensively, both nationally and internationally, notably at Setouchi Triennale (Japan), Weisman Art Museum (USA), GLOW Eindhoven (Netherlands), Pera Museum (Turkey), Koohouse Museum (South Korea), Garage Museum of Contemporary Art (Russia), Times Art Museum (Beijing), and the National Arts Centre (Canada). Their "permanent" public art can be found in Calgary, Edmonton, Airdrie, Toronto, and Agios Nikolaos (Greece). In 2019, they were awarded three Mayor’s Art Awards for public art in Calgary and Edmonton. The same year, Caitlind earned an Alumni of Merit Career Award from Alberta University of the Arts. In 2025, they were interviewed by Matt Galloway on CBC national radio. In 2026, Caitlind & Wayne won the G.& A. Mamidakis Foundation Art Prize for Chronotopia in Greece, resulting in the creation of a site-specific artwork on the island of Crete, unveiled in June.
www.incandescentcloud.com
Instagram: @incandescentcloud
Evening Activation
Along the Bow
- Jordan Baylon -
- Mackenzie Bedford -
Location: The New Gallery
208 Centre St S and the Bow River Pathway
Date: July 29, 2026
Time: TBD
Jordan Baylon (they/she) is a diasporic Filipina/o/x artist, community worker and kapwa futurist, born, raised and practicing in Mohkinstsis (Calgary), Treaty 7. Their work emerges from the intimate stories experienced by their diasporic multongbakla [queer ghost] body orienting itself to the irresistible urge of kapwa (“we relate therefore we are”). For Jordan, kapwa is felt as a powerful treaty-making offering, integrating anti-oppressive practices that morph to meet the complexity, nuance and systemic scales of colonial existence: poetry, performance, facilitation, video, ritual, design, strategy, care-work and witnessing.
Professional projector gremlin Mackenzie Bedford (they/them) is a media artist constantly humbled by the expanse of the known universe. They use their work to examine scale, particularly in the ways humans measure themselves. From larger-than-life nature tableaus to intimate cosmic moments, they have explored the emotional and physiological impact when the human-centric scale is subverted Self-taught in projection mapping, Bedford has pursued the medium since 2021. They develop interactive projection installations and have collaborated with creators in theatre, dance, and music to produce multidimensional experiences. Their work has been featured in festivals across the city such as: Chinook Blast, Beakerhead, BUMP, Sled Island, Big Winter Classic, and
Night Light. Off-duty, they are picking up the art of burlesque.
www.mackenziebedford.com
@mackenziebedford
Professional projector gremlin Mackenzie Bedford (they/them) is a media artist constantly humbled by the expanse of the known universe. They use their work to examine scale, particularly in the ways humans measure themselves. From larger-than-life nature tableaus to intimate cosmic moments, they have explored the emotional and physiological impact when the human-centric scale is subverted Self-taught in projection mapping, Bedford has pursued the medium since 2021. They develop interactive projection installations and have collaborated with creators in theatre, dance, and music to produce multidimensional experiences. Their work has been featured in festivals across the city such as: Chinook Blast, Beakerhead, BUMP, Sled Island, Big Winter Classic, and
Night Light. Off-duty, they are picking up the art of burlesque.
www.mackenziebedford.com
@mackenziebedford
Scenograph: Ghost River of the Elbow River
- Natasha Faye Jensen -Location: Elbow River Traverse
In Scenograph: Ghost River of the Elbow River, I explore the layered histories of Calgary through the landscape of the Glenmore Reservoir, which is fed by the Elbow River. Situated at the foothills of the Rocky Mountains, Calgary’s relationship to water has long shaped both its ecology and urban development. While the Bow River dominates the city’s landscape, the smaller Elbow River carries its own complex and often overlooked histories.
This research-led project examines how land and waterways are transformed through development and economic expansion, focusing specifically on the section of the Elbow River submerged following the construction of the Glenmore Dam in 1933. I became interested in the idea of the “ghost river” , a river that continues to exist beneath the surface, obscured but not erased. If we can no longer see the river, does it still exist? Can rivers function as palimpsests, holding traces of ecological memory, displacement, and human intervention?
Through archival research conducted at the Glenbow Western Research Centre at the University of Calgary, I investigate the histories embedded within this altered landscape. The project considers how acts of flooding, damming, and urban planning reshape not only the physical environment, but also collective memory and relationships to land.
As part of this inquiry, I am presenting a selection of drawings and text that brings together archival imagery, research, mapping, and speculative visual narratives. The reference of a scenographic is one that reimagines the submerged river as both a historical site and a living presence. By revisiting these hidden geographies, the work asks how we might better honour the histories of the land in order to foster greater care, responsibility, and reciprocity with the environments we inhabit today.
This research-led project examines how land and waterways are transformed through development and economic expansion, focusing specifically on the section of the Elbow River submerged following the construction of the Glenmore Dam in 1933. I became interested in the idea of the “ghost river” , a river that continues to exist beneath the surface, obscured but not erased. If we can no longer see the river, does it still exist? Can rivers function as palimpsests, holding traces of ecological memory, displacement, and human intervention?
Through archival research conducted at the Glenbow Western Research Centre at the University of Calgary, I investigate the histories embedded within this altered landscape. The project considers how acts of flooding, damming, and urban planning reshape not only the physical environment, but also collective memory and relationships to land.
As part of this inquiry, I am presenting a selection of drawings and text that brings together archival imagery, research, mapping, and speculative visual narratives. The reference of a scenographic is one that reimagines the submerged river as both a historical site and a living presence. By revisiting these hidden geographies, the work asks how we might better honour the histories of the land in order to foster greater care, responsibility, and reciprocity with the environments we inhabit today.
Natasha Faye Jensen is a dual Canadian and United Kingdom interdisciplinary artist from Moh’kins’tsis (Calgary), located in Treaty 7 territory in Southern Alberta, Canada. Working across sculpture, collage, photography, and film, her research-driven practice examines the intersections of ecology, materiality, and colonial history, with a particular focus on cultivated landscapes as contested sites of power.
She received her Bachelor of Fine Arts from the Alberta University of the Arts (formerly the Alberta College of Art and Design) in 2013 and completed a Master of Arts in Contemporary Art Practice at the Edinburgh College of Art in 2020. Her work has been presented in solo and group exhibitions, screenings, and festivals across Canada, the United States, Finland, and the United Kingdom.
Jensen’s practice has been supported through grants from Calgary Arts Development, the Alberta Foundation for the Arts, and Creative Scotland. She is the recipient of several awards, including the RSA Barns-Graham Travel Award (2020), the RBC Emerging Artist Award from the Mayor’s Lunch for Arts Champion and Visual Artist and Craft Maker Award from Creative Scotland.
Look There Listen Here
- August Klintberg -Location: Crossroads, East Village
Look There Listen Here uses public architecture and public space as a performative arena for disclosing private emotions. With this piece I want to examine how private needs and engagements deserve demonstration in public space, and also how public space might invade the private sphere in a meaningful way. The clear divide between desire and disinterest that my work lays out underscores the sort of ambivalence that I feel, and that I believe other people feel, when mapping out relationships and expectations for what humans might accomplish together.
Photography Credit: David Miller
August Klintberg (he/him, formerly Mark Clintberg) is an artist who works in the field of art history. He is an Associate Professor at the Alberta University of the Arts, completed his PhD at Concordia University, and is represented by Pierre-François Ouellette art contemporain. His practice engages with antecedent artworks, architectures, and archives through installation, works on paper, photography, artist’s multiples, and textiles. Collections holding his work include the National Gallery of Canada, Caisse de dépôt et placement du Québec, the Bank of Montreal Corporate Art Collection, and The Rooms, and he has created public artworks for Western Front, Edmonton Arts Council, the Walter Phillips Gallery, and the Alberta Foundation for the Arts.
Currently, in Montreal he has a permanent work installed in the lobby of the Humaniti complex, an ongoing installation on the façade of the Maison de la Culture, Côte-des-neiges, and is featured in the exhibition Génération XEROX at the Archives gaies du Québec.
Klintberg has been an artist in residence on Fogo Island, at Banff Centre, and La cité international des arts. In 2013 he was a finalist for the Sobey Art Award.
Currently, in Montreal he has a permanent work installed in the lobby of the Humaniti complex, an ongoing installation on the façade of the Maison de la Culture, Côte-des-neiges, and is featured in the exhibition Génération XEROX at the Archives gaies du Québec.
Klintberg has been an artist in residence on Fogo Island, at Banff Centre, and La cité international des arts. In 2013 he was a finalist for the Sobey Art Award.
The Multi-Being Camera Project
- Julya Hajnoczky -Location: Prince’s Island Park and the Bow River Pathway
For this project with The New Gallery, I’ll be building a group of multi-aperture pinhole cameras that will be inspired by and in dialogue with the Bow River. Working along a stretch of Prince’s Island Park, these cameras will be loaded with black and white photo paper and will remain up for the month of June, making very long exposure images known as solargraphs. This park is an abundantly busy place in spring and summer, where humans and other animals like beavers, squirrels and birds, as well as plants, will be coming and going. These cameras will bear witness to these activities, but recording them on a different timescale than an ordinary snapshot.
Ultimately my hope is that these works are an invitation to imagine how other beings, with all of their different ranges of sensory strategies, might experience the world. By working together with each species, and their neighbours and kin, I'm attempting to offer an alternative perspective, one where we can envision the more-than-human as equals, pushing back against the hierarchical and colonial worldviews that have allowed Western society to engage in destructive and extractive behaviours that harm all living beings on the planet. Perhaps by putting ourselves in the shoes of these beings, we can move through the world with greater care and empathy.
Ultimately my hope is that these works are an invitation to imagine how other beings, with all of their different ranges of sensory strategies, might experience the world. By working together with each species, and their neighbours and kin, I'm attempting to offer an alternative perspective, one where we can envision the more-than-human as equals, pushing back against the hierarchical and colonial worldviews that have allowed Western society to engage in destructive and extractive behaviours that harm all living beings on the planet. Perhaps by putting ourselves in the shoes of these beings, we can move through the world with greater care and empathy.
Julya Hajnoczky was born in Mohkinstsis/Calgary, and raised by hippie parents, surrounded by unruly houseplants, bookishness and art supplies, with CBC radio playing softly, constantly, in the background. Inevitably as a result, she grew up to be an artist. A current MFA candidate at Emily Carr University, her practice includes digital and analog photography, and seeks to inspire curiosity about the perspectives of our more-than-human neighbours. Julya has completed artist residencies at Terra Nova National Park, the Beaty Biodiversity Museum, and the Empire of Dirt. Her work has been acquired by public and private collections including the Canada Council Art Bank and the Alberta Foundation for the Arts, and was recently published in National Geographic Magazine.
Correspondence: Clay / Rock / River
- Hannah Dubois -Location: Prince’s Island Park and the Bow River Pathway
While the Bow River has certainly shaped Calgary's urban landscape, its course is continually influenced by the people and infrastructures that border it. I am drawn to the moments when these contrasting forces become visible: where the river's capacity to erode, carry, and transform bump up against the human interventions that attempt to redirect or contain it.When I moved to Calgary this past September, the Bow River became a steady presence amongst my own period of change. Its shifting shores and enduring flow offered a way of orienting myself to a new city, climate, and community. Both steadfast and constantly evolving, I began to notice time unfolding in the river itself – in the rise and fall of the water level, the gradual construction of magpie nests in bare trees, and the ice that gathered, fractured, and drifted downstream.
Correspondence: Clay / Rock / River is part of my ongoing experimental collaborations with the Bow River and its more-than-human inhabitants, which explore possibilities of shared authorship between maker, material, and place. For this iteration, three ceramic "rocks" have been installed among the stones that line the river's edge at the North-West side of Prince's Island Park. Formed using river rocks as structural molds and intentionally under-fired, the sculptures remain materially vulnerable to the river that hosts them. I am interested in how the river's current, sediment, and fluctuating rhythms might continue shaping these forms, eroding their own marks alongside those of the original stones and my hands.This project is a curious and experimental one, asking: how does the river accommodate the objects we place in its path, and where does it resist them? Can these sculptures become site-specific records of that negotiation, preserving traces of both human intervention and the river's enduring agency to shape the landscapes and lives at its edge?
Hannah Dubois (she/her) is a multidisciplinary artist born and raised in
Vancouver, BC, on the unceded territories of the Sḵwx̱ wú7mesh
(Squamish), Səl̓ ílwətaʔ (Tsleil-Waututh) and xwməθkwəy̓ əm (Musqueam)
peoples. Working across ceramics, drawing, photography,
film, and weaving, her practice centres processes of material
correspondence; how bodies, materials, and environments imprint upon one
another.
She received a BFA from Simon Fraser University and is a current MFA candidate at the Alberta University of the Arts. Her artworks have been exhibited at the Audain Art Museum, the MacKenzie Art Gallery, the Morris and Helen Belkin Art Gallery, the Polygon Art Gallery, Griffin Projects, TRAPP Projects, and Terminal Creek Contemporary (Bowen Island). Hannah’s practice has been supported by grants from the Canada Council for the Arts and the BC Arts Council.
https://www.hannahdubois.ca/
She received a BFA from Simon Fraser University and is a current MFA candidate at the Alberta University of the Arts. Her artworks have been exhibited at the Audain Art Museum, the MacKenzie Art Gallery, the Morris and Helen Belkin Art Gallery, the Polygon Art Gallery, Griffin Projects, TRAPP Projects, and Terminal Creek Contemporary (Bowen Island). Hannah’s practice has been supported by grants from the Canada Council for the Arts and the BC Arts Council.
https://www.hannahdubois.ca/
Wapta ispa oh na agateya mâwanino
- Soloman Chiniquay -Location: Bow River Pathway (muliple locations)
I am walking slowly on the Elbow river. These are a collection of photographs and audio recordings he has taken on various points on the Elbow river. Soloman narrates a story of when he and his cousins played in the Elbow River when they were children. The story is accompanied by field recordings from where Soloman remembers playing, mixed and smeared through a granular synthesizer.
Sol is a documentary photographer and filmmaker living between xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, səl̓ilwətaɁɬ territory and his homelands of Treaty 7 territory. His lens-based work explores the ways he is welcomed to witness expressions of Indigeneity, creating imagery that attempts to show, in sometimes raw ways, the land and the people on it, the ways people use and connect to the land, and the artifacts they leave on it.
Sol has worked on film productions such as The Body Remembers When the World Broke Open, and documentary shorts Joe Buffalo and Be Long, and is a founding member of The Stoney Nakoda AV Club. In 2020 he published the photography book Wahiâba O-zaza Ta-pa, with poems by jaz whitford, Yujin Aspen Kim and DEBBY FRIDAY.
Sol also tries to incorporate teaching and education in the projects he is involved in. He also teaches photography workshops at various high schools and community organizations throughout Canada.
Sol has worked on film productions such as The Body Remembers When the World Broke Open, and documentary shorts Joe Buffalo and Be Long, and is a founding member of The Stoney Nakoda AV Club. In 2020 he published the photography book Wahiâba O-zaza Ta-pa, with poems by jaz whitford, Yujin Aspen Kim and DEBBY FRIDAY.
Sol also tries to incorporate teaching and education in the projects he is involved in. He also teaches photography workshops at various high schools and community organizations throughout Canada.
Glacial Basin
- Nahanni McKay -Location: Bow River Pathway
Nahanni McKay is a multidisciplinary artist based on Treaty 7 Territory, in Mînî Hrpa (Banff) and Mohkínstsis (Calgary). Nahanni is a member of Otipemisiwak (Métis Nation of Alberta) which deeply inspires her work. Producing sculptures, images and beadwork that takes the shape of spirits around her hometown in the Rocky Mountains.
Her work aims to discuss navigating the complex national park system not only as an Indigenous person but through the perspective of wildlife. Her work is closely related to the human impact of the natural environment by creating an unsettling artwork to be observed by the viewers. Nahanni is mesmerized by the beauty of her hometown and how the mountains attract a colonial desire to conquer this sacred place, turning nature into a commodity.
Her work aims to discuss navigating the complex national park system not only as an Indigenous person but through the perspective of wildlife. Her work is closely related to the human impact of the natural environment by creating an unsettling artwork to be observed by the viewers. Nahanni is mesmerized by the beauty of her hometown and how the mountains attract a colonial desire to conquer this sacred place, turning nature into a commodity.
Jennifer Ireland
Location: Bow River Pathway
Date: July 24, 2026
Jennifer Ireland is a research based, multi-medium artist, working with curiosity and wonder; to re-imagine ways of knowing and ways of being with land. Ireland strives to make work that is mindful of situation, site, context, and access. This ethic is found in her work through materials and methods which are often light, sustainable and provisional. Ireland’s practice ranges from drawing, photography, video, and sculpture, to site-sensitive installation and performance. Each of their works strives to operate as speculative way-finding.
As a Treaty 7 person of settler descent, Ireland’s home is in Mohkinstsis/Calgary, Canada, and they are grateful to be a Treaty 7 person and committed to the responsibilities thereof.
Ireland holds a BA in Philosophy from the University of Calgary, studied drawing and sculpture at Alberta University of the Arts, and holds a Masters of Fine Arts from Emily Carr University of Art + Design.
As a Treaty 7 person of settler descent, Ireland’s home is in Mohkinstsis/Calgary, Canada, and they are grateful to be a Treaty 7 person and committed to the responsibilities thereof.
Ireland holds a BA in Philosophy from the University of Calgary, studied drawing and sculpture at Alberta University of the Arts, and holds a Masters of Fine Arts from Emily Carr University of Art + Design.
Vines
- Melanie Kloetzel -Location: Peace Park at
8th Street & 2nd Avenue SW
Date: July 9, 2026
VINES is a site-adaptive and ecosomatic practice and performance by Melanie Kloetzel (kloetzel&co.). Using a state-based durational approach, VINES explores how the human body can corporeally adapt to urban spaces by rigorously embodying growth patterns from climbing plants. VINES helps viewers and participants alike consider what it might mean to respectfully learn from and identify with plants as kinship species. Deeply informed by Indigenous concepts of relationality, the VINES practice and performance shows how humans can translate the movements of our plant kin into the human body, supporting the development of empathetic connections to more-than-human species.
VINES has been developed through research intensives in both Toronto and Calgary with initial dramaturgical support from Brandy Leary (Anandam Dance) and with support from Canada Council for the Arts and the Alberta Foundation for the Arts. Tonight's performance is produced by TRAction, an Indigenous and non-Indigenous led climate art collective based in Moh'kinsstis, with support from Calgary Arts Development.
VINES has enjoyed presentation at Contemporary Calgary Art Gallery in 2024, through the New Works Calgary season in 2025, and as part of the first Calgary Climate Week in 2026.
VINES has been developed through research intensives in both Toronto and Calgary with initial dramaturgical support from Brandy Leary (Anandam Dance) and with support from Canada Council for the Arts and the Alberta Foundation for the Arts. Tonight's performance is produced by TRAction, an Indigenous and non-Indigenous led climate art collective based in Moh'kinsstis, with support from Calgary Arts Development.
VINES has enjoyed presentation at Contemporary Calgary Art Gallery in 2024, through the New Works Calgary season in 2025, and as part of the first Calgary Climate Week in 2026.
Hello Neighbours
- Mia + Eric -Location: Trout Beach
St. Patrick’s Island
Date: July 10, 2026
How well do you know the plants, animals, insects, and fungi you live next to?
Hello Neighbours is a participatory project that addresses the biodiversity crisis by giving people the chance to get to know their more-than-human neighbours. The project invites people to see themselves as part of a larger ecological community—and elevates the position of other beings to neighbour status. Without a shared verbal language, getting to know each other will require all of our senses, some unconventional ways of relating, skills of observation and patience.
We are Mia + Eric, an interdisciplinary artist duo from Calgary whose collaborative work moves between transdisciplinary research and community engagement. For nearly 20 years, we have worked across visual art, performance, writing, multi-species ethnography, and public policy to explore how people live together in relation to the environments, systems, and species that shape our shared world. Our practice is relational, site-responsive, and community-oriented. We approach art as a form of inquiry—a way of thinking with others, testing ideas in public, and transforming research into collective experience.
We grew out of Calgary’s artist-run and performance communities, where collaboration and experimentation shaped our independent approach to making work. Our practice moves slowly, by design, treating time, relationship, and process as our primary materials. The collaborations we build, the knowledge exchanged, and the networks of care that emerge through our projects are as integral to the work as any visual or performative outcome. Our process often unfolds over years, guided by listening, dialogue, and the specific needs of the people and environments we work with.
Since 2008, we’ve created 40 projects, joined 30 residencies, toured to over 40 cities and rural spaces, and produced more than a dozen publications. We work in contemporary performance and visual art contexts, including galleries, festivals, and post-secondary institutions. Our work has been presented at Arctic Arts Festival (Harstad, Norway), GIFT Festival (Gateshead, UK), Matchbox (Germany), Buenos Aires International Festival (Argentina), Kelowna Art Gallery (BC), University of Saskatchewan (SK), Contemporary Calgary, Esker Foundation, and the Art Gallery of Alberta, among others.
Our practice operates on two interconnected scales. The first includes touring and gallery-based works that share ideas publicly—such as In a Strange Place, Future Perfect, and Hello Neighbours. The second includes long-term, site-responsive research processes that unfold over years through residencies and community partnerships, including 3 WOODS, Brains, Strains + Other Domains, and No Longer Impossible. Each mode sustains the other: public works circulate ideas born of deep engagement, while durational projects deepen through the communities they reach.
Currently Artists-in-Residence at the Calgary Institute for the Humanities, we are developing Brains, Strains + Other Domains, a multi-year research project exploring neurodivergence and the sensory, cognitive, and relational worlds of animals, plants, and fungi. In 2025 we founded The Entanglement Bureau, an arts-led ecological think tank that explores new frameworks for co-regulation and ethical interdependence between human and ecological systems. In 2027 we will publish Becoming Forest, a resource for artists and communities interested in socially engaged, ecologically informed practice.
We grew out of Calgary’s artist-run and performance communities, where collaboration and experimentation shaped our independent approach to making work. Our practice moves slowly, by design, treating time, relationship, and process as our primary materials. The collaborations we build, the knowledge exchanged, and the networks of care that emerge through our projects are as integral to the work as any visual or performative outcome. Our process often unfolds over years, guided by listening, dialogue, and the specific needs of the people and environments we work with.
Since 2008, we’ve created 40 projects, joined 30 residencies, toured to over 40 cities and rural spaces, and produced more than a dozen publications. We work in contemporary performance and visual art contexts, including galleries, festivals, and post-secondary institutions. Our work has been presented at Arctic Arts Festival (Harstad, Norway), GIFT Festival (Gateshead, UK), Matchbox (Germany), Buenos Aires International Festival (Argentina), Kelowna Art Gallery (BC), University of Saskatchewan (SK), Contemporary Calgary, Esker Foundation, and the Art Gallery of Alberta, among others.
Our practice operates on two interconnected scales. The first includes touring and gallery-based works that share ideas publicly—such as In a Strange Place, Future Perfect, and Hello Neighbours. The second includes long-term, site-responsive research processes that unfold over years through residencies and community partnerships, including 3 WOODS, Brains, Strains + Other Domains, and No Longer Impossible. Each mode sustains the other: public works circulate ideas born of deep engagement, while durational projects deepen through the communities they reach.
Currently Artists-in-Residence at the Calgary Institute for the Humanities, we are developing Brains, Strains + Other Domains, a multi-year research project exploring neurodivergence and the sensory, cognitive, and relational worlds of animals, plants, and fungi. In 2025 we founded The Entanglement Bureau, an arts-led ecological think tank that explores new frameworks for co-regulation and ethical interdependence between human and ecological systems. In 2027 we will publish Becoming Forest, a resource for artists and communities interested in socially engaged, ecologically informed practice.
& MORE DETAILS TO COME....
Current works with these concepts at the river’s edge in Moh’kins’tsis, Wîchîspa, Guts’ists’i and Calgary, a place of continued generational significance to the Nations of the Blackfoot Confederacy (the Siksika, the Piikani, and the Kainai), the Stoney Nakoda (the Chiniki, Bearspaw, and the Goodstoney), the Tsuut’ina First Nation and the Métis Nation within Alberta (Districts 5 and 6).
Curator: Bridgette Badowich an artist, administrator, and interdisciplinary practitioner and based in Treaty 7 territory in Mohkinstsis.
Her practice spans drawing, photo-based methods, sculpture, and rudimentary craft to investigate elemental formation and materiality in relation to time, memory, and place, and the notion of nostalgia as personal artefact. Grounded in a relational exploration of how places, materials, and histories connect to one another, this work unfolds through an autoethnographic lens in close dialogue with her landscape practice.
Bridgette is a graduate of the University of Calgary (MLA, 2025) and Emily Carr University of Art + Design (BFA, 2016) and was recently named a 2025 Venice Architecture Biennale Fellow and LAF Olmsted Scholar. Her work has been developed through residencies at Coppermoss (Tuwanek, BC), Nes (Skagaströnd, Iceland), and Obras (Évoramonte, Portugal).
Graphic Designer:
Claudia Weigelsberger
Curator: Bridgette Badowich an artist, administrator, and interdisciplinary practitioner and based in Treaty 7 territory in Mohkinstsis.
Her practice spans drawing, photo-based methods, sculpture, and rudimentary craft to investigate elemental formation and materiality in relation to time, memory, and place, and the notion of nostalgia as personal artefact. Grounded in a relational exploration of how places, materials, and histories connect to one another, this work unfolds through an autoethnographic lens in close dialogue with her landscape practice.
Bridgette is a graduate of the University of Calgary (MLA, 2025) and Emily Carr University of Art + Design (BFA, 2016) and was recently named a 2025 Venice Architecture Biennale Fellow and LAF Olmsted Scholar. Her work has been developed through residencies at Coppermoss (Tuwanek, BC), Nes (Skagaströnd, Iceland), and Obras (Évoramonte, Portugal).
Graphic Designer:
Claudia Weigelsberger
This programming is graciously supported by
