Guide to Archival Holdings /

Our collection has been coming into being as long as our organization has. Holdings include anything relating to The New Gallery that staff saw value in preserving, including ephemera from our programming, internal communications, correspondence between our staff or volunteers and artists, and reference material on artist issues gathered by TNG members since 1975. Visit the evolving finding aids below ︎︎︎ for an idea of what is available.

In 2008, a collection of documentation relating to The New Gallery’s founding, organization, board materials, histories and reports, was deaccessioned to the Glenbow Archive for custody. If you are interested in material pertaining to the founding and early organization of TNG, visit the page for this collection at Alberta On Record.

Our most extensive collection is our artist and exhibition files. These files are continuously updated, with a folder added for every new exhibition. These collections are also in the process of being made fully available online. You can browse those already digitized by artist, year or exhibition location and type by using the links on the search page. If you browse by artist name, you will also find folder numbers corresponding to the physical archival files we hold about that artist. Occasionally, everything in that folder has been digitized, but often, further material is available for perusal in the physical file. If you’d like to browse the contents of these archives, please make an appointment by contacting one of our staff. They will pull the files you are interested in for your visit. Please cite the collection in your research with: [folder number], The New Gallery Archive, The New Gallery, Calgary.

Finding Aids

The New Gallery / Archive

Archival Guide


The New Gallery’s collection is a repository of materials dating from the founding of Clouds ‘n’ Water Gallery in 1975 that encompasses gallery activities, reference materials, artist correspondence, and exhibition ephemera. Over the course of our history, records have been retained and organized by an always-rotating, and always small, base of arts workers, leading to an archive that reflects the volatile fluctuations of artist run culture in both its contents and its methods of care.  

Our collection may be useful for artistic or curatorial inspiration, and we encourage you to browse our material for ideas, provocations, and fruitful gaps, errors, or faults. Individual artist files may also be helpful for researchers interested in primary sources written or created by artists.

The New Gallery’s collection includes archival holdings, which encompasses our large artist and exhibition files, as well as other material, as well as our library, which contains a collection of books, magazines, and pamphlets.

Our collection documents the functions of our organization from 1975 to the present day, and continues to update with each exhibition. We are currently undergoing a digitization process, making selected exhibition materials and born-digital exhibition material content available online. Other born-digital material is being retained on our google drive archive.

If you are searching for a specific artist or show, please browse our search terms above. To learn more about our archival collection, please consult our finding aids. If you would like to request to view material from our archive in person, or if you would like more information about part of our collection, don’t hesitate to contact a member of our staff.


Library /

The resource centre library is currently open for browsing and undergoing an organizational process. Books acquired by The New Gallery have a focus on visual art, and can be used for artistic inspiration, reference, or curatorial context. Books include art history surveys, craft typologies, monographs on artists, and artist books, both small and large. This collection occupies two shelves in the resource centre. The library also holds a variety of art magazines, collected by staff and associates throughout TNG’s history. An updating spreadsheet detailing our magazine collection and book collection may be downloaded below ︎︎︎

Our library is still very small, so we do not currently have a program in place for borrowing from our collection. We also currently do not have a full list of holdings for our library, but our small collection is meant to be browsed. All are welcome to book the resource centre during office hours to explore our library and archive. To book time in the resource centre please email our Programming Coordinator, Jasmine at


Archive / By Artist or Curator Surname



Abel, Michael -G.100
Abeleva, Olga
Abson, Jill -G.113
Action Hero
Action Terroriste Socialement Acceptable (ATSA)
Adams, Adrienne -A.101, G.263
Adler, Dan 
Adrian, Robert -A.102
Aebi, Iréne -A.422
Al-Issa, Asmaa -A.394
Alberta Now (EAG) -G.105
Albrecht, Hans -G.114
Alfon, Alden -G.278
Alexander, Maddie -A102.5
Alkalay, Andrea
Allard, Pierre -G.104
Allen, Wendy -A.103
Allikas, Barry -A.104
Allison, Carrie
Alvarado, Dan
Amantea, Gisele -A.105
Ambivalently Yours -A.440
Amir, Sefi -A.106
Amos, Barbara -G.110, G.247
Anderson, Colleen -A.107
Anderson, Jack -A.108, G.123, G.135, G.162.100, G.162.101, G.162.102
Anderson, Joseph -A.109
Anderson, Randy -A.110
Andresen, Kim -A.111
Arberry, Dan -A.112
Archinuk, Tracy -G.303
Armitage-Ferguson, Stephanie -A.113
Armstrong, Leila -A.114
Armstrong, Neil -A.115
Arnott, Ryan - A.115.100
Arroyo, Victor
Art Tour Detour -G.115
Askren, Patricia - G.114.100, G.124.100, G.215
Attoe, Karen
Authier, Melanie -A.116
Aust, Konrad
Ayling, Carl -A.117, G.149
Azad, Madeleine - A.117.100, G.114.100
Aziz, Sylvat -A.118, A.118.1, G.103


Baars, Ab 
Bachmann, Ingrid -A.119
Baczynski Ryan & Smith -A.120
Badrin, Omar -A.122
Baigent, Jane -G.244, G.244.1
Baily, Derek -A.121
Baker, Cindy -A.124, G.193, G.200, G.256.100
Baker, Griffith Aaron -A.123
Bakker, Conrad -G.256
Balcaen, Jo-Anne -A.124.100
Balfour, Barbara McGill -A.125
Balz, Suzan Dionne -G.130
Bampton, Brooke -A.127, G.149
Banana, Anna -A.126, G.187, G.257.2, G.304
Bandura, Phillip -A.128
Bankey, Miriam -A.129
Bannerman, James -A.130
Bannerman, Maja -A.131
Barbier, Sally -A.133, A.134, G.204.100
Barbour, Dave -G.234.100
Bareham, Dean -G.171
Baril, Celine -A.135
Barker, Charlotte - A.135.100
Barnson, Kathy -A.136
Bartholomew, Sophia -A.137
Bartol, Alana -A.138
Barua, Kiki -G.291
Battle, Christina
Baxter, Iain -G.198, G.238, G.311
Baylon, Jordan
Beal, Kyle
Beam, Robert -A.139
Beauchamps, Ron -A.139.100
beaulieu, derek -A.140, G.267
Beck, Sarah -G.290
Beckly, Steven -A.141
Beef, Joe (Michael Haslam) -A.142
Belanger, Erin -G.291
Belcourt, David -A.143
Bell, Wade -G.172
Bellas, Benjamin -A.141
Belliveau, Elisabeth -A.144
Bender, Arnold -G.106
Benesiinaabandan, Scott
Bennett, Brent - G.124.100, G.234.300
Bennett, Rick -G.234.100
Berg, Eddie -A.145
Berg, Nowell -A.145.100
Berquist, Douglas -A.145.100
Berry, Melissa -G.291
Berscheid, Helen -A.146
Besant, Derek
Bessette, Myriam -G.129.100
Bethune-Leamen, Katie 
Bewley, Jon -A.147
Bickel, Barbara -A.148
Biebrich, Tamara Rae -G.265
Biedak, Louis -G.108
Bienvenue, Marcella -A.149, G.148, G.162.100, G.162.101, G.162.102, G.198, G.224, G.224.1
Bierk, David -G.113
Bigras-Burrogano, Frederic
Bilsen, Joke Van -A.665
Binder-Ouellette, Alison -G.130
Birhanu, Eva
Birnie, Colin -A.150
Birse, Ian -A.151, G.149, G.211
Bishop, James -A.152
Black, Anthea -G.193
Black, Byron -A.153
Black, Lascelles -A.154, G.310
Black, Liam
Blackwell, Adrian -A.155, G.208.200
Blanchard, Sam -A.156
Blatherwick, David -A.157
Blom, Monique -A.158
Bloom, Tony -G.124.50
Blouin, René -A.159
Blyth, Michael -A.160
Boisvert, Cynthia -G.198
Bök, Christian 
Bond, Eleanor -A.161, G.207, G.301
Bondaroff, Carole -G.101, G.114.100, G.120
Borch, Gerald -A.162
Bote, Tivadar -G.118
Bouabane, Kotama
Bourgault, Rébecca -G.244, G.244.1
Bowers, Harry - G.234.200
Boyne, Chris -A.163
Boyle, Hannah -G.117
Boyle, John -G.113
Bozic, Susan -A.164
Bozdarov, Atanas
bpNichol -A.540
Brace, Brad -A.165
Bradley, Maureen - G.158
Brady, Lee -G.174.200
Brant, Jennifer
Brawley, Dawn -G.118
Brawn, Lisa -A.166
Brdar, Nick -A.167
Brennan, Blair
Brent, Rodney “Guitarsplat” - G.149
Bresnahan, Keith
Bristol, Joanne -G.256.100
Brodie, Jim -G.124.100, G.145.100
Brookes, Chris -A.168
Brouwers, Stephen -A.169
Brown, Caitlind -G.291, G.292
Brown, Collin
Brown, Dennis -A.170
Brown, Janet -G.303.100
Brownoff, Alan -A.171
Bruckner, Gary -G.106
Bruneau, Serge -G.113
Brunel, Cookie
Brunel, Nicole
Buckland, Michael -A.172
Buchanan, Heather -G.100
Bucknell, Lea
Budsberg, Brent -G.309
Buis, Doug -A.173
Bunnell, Alexa
Bureau, Patrick L. -G.102
Burger, Steve -A.174, G.216
Burisch, Nicole -G.193
Burnett, Murdoch -A.175, G.103
Burns, Kay -A.176, G.278
Burroughs, William S. -A.177
Busby, Billie Ray -G.253.100
Bush, Dana -G.253.100
Butler, Jack
Butler, Sheila -A.178, G.207, G.302
Byrne, Peter -A.179


Cabri, Louis
Cairns, Cassie - G.123.200
Caldwell, Alex -G.240
Calgary Chinese Community Service Association (CCCSA)
Campbell, Blaine
Campbell, Carol -A.474, G.129
Campbell, Colleen -G.124.100
Campbell, Kasie -A.179.15
Campbell, Michael -A.180, A.181, G.256
Campbell, Tim -G.145, G.205, G.205.1, G.205.2, G.239, G.286, G.303
Canadien, Bruno -A.182
Capune, Simone -G.117
Cardiff, Janet -A.183, G.190
Cardinal-Schubert, Joane -A.183.100, G.103, G.160, G.197, G.280
Carlos, Marbella -G.292
Carlson, William
Caron, Quentin -A.105, G.162.100, G.162.101, G.162.102
Carrión, Ulises -A.184, G.159
Carson, Bob -A.262
Carte, Suzanne
Carter, Kent -A.422
Carwadine, Mary -G.118
Casey, Dave -A.185, G.194
Cassells, Laara -A.186
Castrée, Genevieve -A.187
Caulfield, Sean -A.188
Celli, Joseph -A.189
Center for Tactical Magic -G.256
Centofanti, Melissa -A.190
Century, Michael -A.190.100
Chadbourne, Eugene -A.191, G.255
Chalke, John -A.658, G.204.100, G.257, G.257.1
Chambers, Jonathon -G.106
Chan, Ed -G.109
Charron, Robert -A.192
Charzewski, Jarod -A.193
Chaykowski, Natasha
Chellas, Merry -A.194
Cheney, David -A.195, G.240
Cheng, Qian
Cherniavsky, Pippa -A.196, G.186
Cheta, Bogdan
Cheung, Christine -A.197
Cheung, Joni “Snack-Witch”
Cheung, Raeann Kit-Yee
Chitty, Elizabeth - G.300
Cho, Diana Un-Jin -A.198
Chordalone, Max -A.199
Christiansen, Cam -A.200
Christianson, Shirley - A.225.100
Christopher, Gordon -A.474, G.129
Chu, Josie -A.201, G.156, G.257, G.257.1
Clamp, Alannah -G.146
Clark, David -A.202, A.203.1
Clark, Elizabeth -A.203, G.118, G.119,  G.257, G.257.1
Clark, Joe -A.204
Clark, Robert -A.204.100
Clarke, Michèle Pearson -A.204.15
Claxton, Dana 
Clément, Jacques -A.205
Clintberg, Mark -G.278
Coleman, Victor -A.207, G.182
Coles, Maury -A.476
Colín, Carlos
Commanda, Marcel -G.245, G.245.1
Connor, Linda - G.234.200
Connolly, Brian -A.208
Connolly, R.P. -A.209
Conway, Jenny -A.210
Cook, Christine -G.171, G.221
Cook, Jo -A.211
Cooley, Alison
Coolidge, Michael 
Corless, Marianne -A.212
Corry, Corrine -A.213
Cottingham, Steven
Coultas, Stella -G.124.100
Cousins, Charles (C.K.) -A.214, G.106, G.190, G.257, G.257.1
Coutts-Smith, Kenneth -A.215, G.112
Craig, Ken -A.216, G.134, G.194
Cram, Paul -A.216.100, G.191
Cran, Chris - A.216.200, G.163, G.198
Creighton-Kelly, Chris -A.217, G.103, G.160
Crespin, Augusto -G.245, G.245.1
Crighton, Jennifer
Crispin, Sterling
Crop Eared Wolf, Marjie -A.219
Crozier, Lorna (Uher) -A.220
Curnoe, Greg -G.113
Curry, Derek
Cuthland, Ruth -A.275
Curtis, David -A.221, G.198
Curwin, Will -A.222
Curzon, Daniel -A.223


Dajczer, Brigitte -A.224, G.263
Dalziel, Frank - A.224.100, G.114.100, G.124.50, G.124.100
Dang, Qui Dac -G.124.100
Danker, Carl -G.120
David, Paul -G.106
Davidson, Sarah
Davis, Judy -A.225, A.225.100, G.101, G.216
Davis, Karrie -A.226
Day, Kevin
Deacon, Peter -A227
Dean, John -G.215, G.257, G.257.1, G.303.100
Decker, Ken -A228, A288.100
DeHaan, Jason -A.229
Delage, Guy -A.229.100
Delve, Ryan
Demchuk, Kristin -A.230
Demkiw, Janis -A.231
Dempsey, Shawna -A.232, G.199, G.265
Demuth, Michel -A.233, G.160
Dennett, Derek
Dennis, Danièle -A.234
Dennis, Sheila -A.235
Dennison, Noland -A.236, G.234
Denoon, Amber -A.237,  G.257, G.257.1
DesChene, Wendy -G.212
Deslile, Cindy
De Souza, Shyra -A.238
Diamond, Dallas -A.239

Dicey, Mark -A.240, G.106, G.107, G.118, G.119, G.122, G.134, G.162.100, G.162.101, G.162.102, G.174.100, G.187, G.214.100, G.218.100, G.226, G.232, G.238,
G.257, G.257.1, G.306, G.307

Dickson, Jennifer -G.113
Diduch, Luba -A.241
Diep, Vi An -G.149, G.263
Dierdorff, Brooks -A.139, A.242
Doerksen, Hannah -G.100
Donahue, Mary -G.244, G.244.1
Dong, Chun Hua Catherine -A.243
Dong, Qui Dac - G.114.100
Donoghue, Lynn -G.113
Doremus, Ernest - G.75, G.114.100, G.124.50
Dorrer, Angela - A.244
Doucet, Hannah -A.245
Doyle, Dan (sam d.d. iiguana) -A.246
Doyle, Keith H. -A.246.100, G.181
Dragan, Miruna
Dragojevic, Vuk
Dragu, Margaret -A.247
Drummond, Jeremy -A.248
Duchesne, Corrine -A.253
Dueck, Jonathan -A.249
Duff, Tagny -A.250
Dufour, Garry -A.251
Dufresne, Leah -G.118
Dufresne, Martin 
Dugas, Daniel -G.304.100
Dunning, Alan -A.252, G.162.100, G.162.101, G.162.102, G.176, G.239, G.257, G.257.1, G.273, G.274
Dupuis, Robin -G.129.100
Dutton, Paul 


Edgar, Linda -A.254, G.124.50
Edmonson, Greg
Edmundson, Grier-A.255
Edwards, Richard - G.162.100, G.162.101, G.162.102, G.198, G.216
Eggermont, Marjan -A.256, G.120
Ehrenworth, Daniel -A.106, A.257
Eigenkind, Heidi -G.265
Eisen, Johnnie -A.258
Eisler, John -A.259, G.230
Elder, Bruce -G.113
Eliot, Elyse -A.260, A.261
Ellis, Alyssa
Ellis, Lyle -A.476, A.216.100
Ellison, Coby -G.256
Ely, Roger -A.262, G.204
Enns, Maureen -A.262.100
Erban, Daniel -A.263, G.186
Erfanian, Eshrat -A.264
Escribano, Mark -G.309
Esguerra, Marilou 
Espinoza, Nery -G.245, G.245.1
Esteban, Jason -A265
Eurich, Liza
Evans, Daniel -A266
Evans, Jane -G.205, G.205.1, G.205.2, G.241
Ewasiuk, Jennifer 


Fabijan, Miriam -A.267
Fabre-Dimsdale, Anyes -A.268
Fagan, Christine -A.269, A.307
Faulkner, Norman -A.270, G.204.100, G.252, G.252.1
Fawcett, Brian -A.271
Fearon, Elizabeth -A.271
Feimo, Fung Ling -A.436.5
Ferguson, Gordon -A.273, G.162.100, G.162.101, G.162.102, G.205, G.205.1, G.257, G.257.1, G.307
Ferron -A.274
Festa, Angelika -A.275
Feucht, Johann - G.114.100
Fiegal, Murray -G.309.100
Filewych, Gordon - A.354.100
Filliou, Robert -A.276
Filman, Sonya -A.276.5
Fineday, Kylie
Finlayson, Lesley -A.277, G.253, G.286
Finney, Halie
Fisher, Kyra -A.278, G.118, G.119, G.252, G.252.1, G.253, G.286
FitzGerald, Pamma -G.291
Fitzpatrick, Jason W. Fowler -A.278.100
Fleck, Jillian -G.146
Florian, Mark -A.279
Flower, Chris -A.258
Flynn, Maggie
Forcade, Tim -A.290
Ford, Peter -G.117
Forkert, Kirsten
Forrest, Julian
Forster, Andrew -A.291, G.201
Fowler, Richard -A.281
Fowler, Skai -A.280
Fox, Charlie -A.282, G.162.100, G.162.101, G.162.102, G.215
Franceschini, Amy -G.256
Fraser, Joshua -G.253.100
Fraser, Joyce -A.283, G.134, G.176, G.251, G.314
Fredrickson, Denton
Freeman, Paul -A.284
Frenken, Susanne -G.114
Friedman, Ken -A.285
Friel, Chris -A.286
Friesen, Shaun -A.287
Friesen, Wayne -G.174.200
Frizzell, Jason E. -A.288
Frosst, Andrew 
Frosst, John -A.289

Fuglem, Karilee -G.130
Fullerton, Brady
Fulmer, Mary-Jo -A.292
Fulton, Jack - G.234.200


Gabor, Lana Ing -A.293
Gajda, Stefan -G.205, G.205.1, G.205.2
Gallie, Tommy -G.124.50, G.214, G.214.1
Gammon, Lynda -A.293.100
Gardner-Popovac, Jasmine -A.294
Garlicki, Elizabeth -G.265
Garneau, David -A.295, G.109, G.149, G.234, G.242.100, G.278, G.279
Garrard, Rose -A.296
Garrett, Wayne
Gartley, Vera -A.297
Gaysek, Fred -A.298
Gerin, Annie -A.299
Gerz, Jochen -A.300
Geuer, Juan -A.301
Giammarino, Lorenzo -G.108.100
Gibson, Rick -A.302
Gibson, William -A.303
Gilbert, Gerry -A.304, G.182
Giles, Ken -A.305
Giles, Wayne - G.119, G.131, G.257, G.257.1, G.162.100, G.162.101, G.162.102
Gillon, Annette -A.306
Gläser, Christine -G.114
Glenn, Allyson - A.269, A.307
Glenn, Mat
Godberson, Celine -G.158
Goertz, Jim -G.106
Gogal, Janice -G.117.100
Gogarty, Amy -A.308, G.117, G.244, G.244.1, G.257, G.257.1, G.261, G.266, G.277, G.278 Goldberg, Whoopi -A.309
Golden, Anne -G.158
Göllner, Adrian -A.310
Gooden, Tom - G.123.200
Goreas, Lee -A.311
Gorris, Susan -G.117.100
Gosselin, Marcel -A.312, G.299
Gossen, Cecelia -A.313, A.494
Grabinsky, Marliyn -A.314
Gradecki, Jennifer
Graham, Rocio
Graham, Sara -A.315, A.316, G.267
Granberg, Janice -G.117
Grant, Vicki -A.317
Green, Frank -A.318
Green, Michael -G.205, G.205.1, G.205.2, G.229
Greenwood, Vera -A.318.100
Greenspan, Shlomi -G.290
Gregson, Sandra -A.319
Groat, Maggie
Gronau, Anna -A.320
Grootveld, Belinda -A.107
Grunwald, Bettina -A.321, G.242.100
The GTA Collective
Guan, Yong Fei
Gueourguieva, Dafina -A.322
Guha-Thakurta, Anu -A.323
Gundersen, Bruce -A.204.100
Gundersen, Jesper -G.293
Gustafson, Anna
Guttman, Freda -A.324


Haas, Alyssa -A.394
Habermiller, Bart -A.325, G.219, G.227, G.251,  G.257, G.257.1, G.277, G.311
Hadala, Helen - A.326, G.124.100
Haglund, Susan Fae -A.327
Hall, David

Hall, John -A.328, G.151, G.162.100, G.162.101, G.162.102, G.163, G.176, G.198, G.235, G.250, G.250.1, G.250.2, G.251, G.252, G.252.1
Hall, Joice -A.329, G.162.100, G.162.101, G.162.102, G.277
Hall, Pam -A.330
Hall, Shirley -A.331
Halley, Caroline -G.146
Hamilton, Reginald -A.332
Handleigh, Ursula -A.333
Hanscom, Jay -A.334
Hansen, Mike -A.335
Harcsa, Lenke -A.336
Harding, Noel - A.337, G.113
Hardy, Ann - A.338
Hardy, Patricia -G.118, G.196, G.196.1
Hargrave, David -A.339
Harmsen, Alexander -G.106
Harris, Gail -A.340
Harrison, Amy -A.697
Hassall, Matt -A.201
Hauf, Hans-Peter -G.114
Hawke, Linda
Hawkins, Paulette -A.474, G.129
Heap of Birds, Hachivi Edgar A. -A.341
Heavyshield, Faye -A.342
Hebert, Amber -A.343
Heimbecker, Steve -A.217, A.344.1, A.344.5, G.205, G.205.1, G.214.100
Heintz, John L. -A.354.100
Heisler, Franklyn - A.345
Henderson, Clark Nikolai -A.346
Henderson, Jill -A.347

Henricks, Nelson -A.348, G.106, G.190, G.206, G.214.100, G.238, G.251, G.252, G.252.1, G.257,
G.257.1 G.257.2, G.277, G.311

Herbert, Simon -A.349
Hewes, Jane -A.217
Hewson, Paul -A.350, G.301
Heyd, Thomas -G.244, G.244.1
Hiebert, Ted -A.351, A.351.1
Higgins, Dick -A.352
Hill, Blair David
Hill, Gabrielle L’Hirondelle
Hill, Gail -A.353
Hinchliffe, Ian -G.204
Ho, Carol -G.186
Ho-You, Jill
Hockenhull, James -A.354
Hodgan-Christiansen, Maureen -A.354.100
Hoey, Brian
Hoiberg, Joshua -A.354.200
Holm, Signy
Holmes, Charlie -A.355
Holt, Timothy
von Holtz, Lucretia -G.259.100
Holzer, Jenny
Horowitz, Marc -G.256
Horowitz, Risa S. -A.356
HORSE Collective
Hoszko, Sheena -A.357
Houde, Marie-Andrée -A.358
Houle, Robert -A.359
Houle, Terrance -A.360
Housley, Kirk -G.102
Howard, Keith -G.145.100
Howes, Mary -G.205, G.205.1, G.205.2
Hoy, Declan
Hu, Helen
Hudson, Dan
Hughes, Chuck
Hughes, Lynn -A.361
Hume, Brent -A.362
Hume, Vern -A.363, A.363.1, G.135, G.162.100, G.162.101, G.162.102, G.206, G.274, G.295
Humniski, Dara
Hung, Roselina -A.364
Hunter, Geoffrey -A.365, G.174.100, G.176, G.252, G.252.1 G.257, G.257.1, G.266
Huot, Claire -A.368
Hushlak, Gerald - G.50, G.135
Hutchinson, Lynne -G.245, G.245.1
Hutchinson (Hutch), M. -A.366
Hutton, Jen -A.367
Hutton, Randy - G.137
Huxtable, Tamara -A.369
Huynh, Kim -A.370
Huysman, Adrian -A.371


Jackson, Paul -A.377
Jacob, Luis - A.378
Jacobson, Melody - A.379, G.174.100
Jahraus, Audrey
James, Rachel
Janvier, Alex -G.280
Jarvis, Aaron -A.381
Jenkins, Adrienne -A.382
Jennings, Packard -G.256
Jim, Calvin D.
Jivraj, Christophe -A.383
Jodoin, André -A.384, G.50, G.241
John, Sarah -G.118
Johnson, Luke
Johnson, Marcia -A.386
Johnson, Oliver -A.422
Johnston, Teresa -A.387
Jolicoeur, Nicole 
Jones, Colby -G.178.100
Jonsson, Tomas -A.388, A.428, G.125, G.200, G.215, G.149, G.228.100, G.256, G.304.100
Jorritsma, Marijke -G.256
Joseph, Clifton -A.206
Juan, Gever -A.301
Jule, Walter -A.389
Juliusson, Svava -A.389.100
Jupitter-Larsen, Gerald -A.390


Kabatoff, Mathew -A.391
Kablusiak -A.440
Kalisch, Edward -G.242.100
Kalmenson, Felix -A.392
Kantor, Istvan -A.393, G.200, G.201
Karsten, Jayda -A.394
Kavanaugh, Laura -G.149, G.211, G.263
Kawamura, Toyo -G.165
Keim, Alexandra - A.354.100
Kelly, Joe -A.395
Kelly, Michael -A.396
Ken, Steph Wong
Kennedy, Kathy -A.397
Kennedy, Shauna -A.398
Kerbel, Janice -A.399
Kerr, Colleen -A.400, G.206, G.214.100, G.238, G.242.100, G.257.2, G.272, G.274
Khan, Nazeer -G.245, G.245.1
Kick, Urs -A.401
Kidd, Jane - G.204.100
Kierspel, Jürgen -A.402, G.114, G.237, G.114, G.114.1
Kim, Mary -A.403, G.102
King, Pam -A.404, G.286
King, Romana -A.405
Kinsella, Fiona -A.406
Kisseleva, Olga -A.407 
KIT - G.192, G.249
Kite, Suzanne -A.408
Kiyooka, Harry -A.409
Klassen, Christine -A.201
Klimek, Lylian -A.410
Knelman, Sara
Kneubühler, Thomas
Kniss, Garry -G.184.100, G.253.200, G.310
Ko, Jinhan -A.411
Koh, Germaine -A.399
Kokoska, Mary-Ann -A.412
Kolijn, Eveline
Koller, George -A.413
Konadu, Luther -A.413.15
Kongsuwan, Irena M.
Konyves, Tom -A.414, A.528
Koop, Wanda -A.417
Koprek, Cheryl -G.106
Koschzek, Rai -A.154, A.415, G.123.200, G.124.50, G.215, G.253.200
Kotlaris, Johanna
Kottmann, Don -A.416, G.176, G.198
Kramer, Mark
Krulis, Kamil -A.418, G.252, G.252.1
Krynski, Bryce
‘Ksan Performing Arts
Kubota, Nobuo
Kupka, Michael -A.139.100, G.75
Kuras, Christian -A.419
Kwandibens, Nadya -G.283
Kwong, Alex
Kyba, Matthew -A.419.5


L’Hirondelle, Cheryl -A.420
Labovitz, Vikki -A.154, A.421
Lacy, Steve -A.422
Ladies’ Invitational Deadbeat Society (LIDS)
Ladner-Zech, Sami -A.424
Laiwint, Jennifer -A.423
Lam, Amy
Lambert, Mathieu
Lambert, Steve -G.256
Landin, Aurora
Landry, Paméla -A.425, A.538
Langford, Jon -A.426
Larsen, Anna-Marie -G.107
Larson, Nare -A.427
Larsson, Rina -A.428
Latitude 53
Latour, Toni -A.428
Lau, Rachel -A.428.5
Lauchlan, Natalie
Layzell, Richard -A.429
Learn, Beth 
LeBlanc, Valerie -G.304.100
Lee, Ahreum
Lee, Serena
Lee, Su-Ying
Leeming, Frances -A.430, A.590
Leffler-Akill, Wanda -A.474, G.129
Lemecha, Vera - G.241
Lemieux, Lisette -G.130
Lemmens, Marilou -A.431
Lennox, Sheena - A.354.100
Lepley, Debbie 
Lessard, Denis -A.332
Levesque, Anita -A.433
Levy, Bill -A.434
Lewis, Marien
Lewis, Michael -A.435
Lexier, Micah -A.436
Liang, Kev
Licht, David
Ligtvoet, Kiona Callihoo
Lim, Milton
Lindenberg, Mat
Linklater, Duane -A.437, G.283
Linklater, Tanya Lukin
Lipton, Lisa -A.438
Lister, Ardele -A.439
Liu, An Te
Livedalen, Rachel -A.440
Loban, Conrad -G.165.100
Loban, Gillian -G.165.100
Lockwood, Frank -A.441
Loeffler, Carl -A.442
Lomow, Robert -A.443, G.314
Lord, Erica
Los-Jones, Tyler -A.487
Loschuk, Vicki -A.444
Louis-Adams, F. -A.669.1
Low Horn, Sikapinakii
Lowe, Larry Blackhorse -G.283
Lu, Henry Heng
Lukacs, Attila Richard
Lukeman, Paul -A.413, G.174
Lum, Maymee Ying -A.445
Lum, Morris
Lund, Ginette
Lundeen, Patrick -G.109
Lundeen, Stacy -A.364
Luong, Alvin
Lupypciw, Wednesday - G.231.100, G.193
Lyon, George -A.446
Lytle, Donna -A.228


Mabie, Don -A.447, A.447.1, G.122, G.123, G.124.100, G.149, G.151, G.159, G.162.100, G.162.101, G.162.102, G.176, G.187,
G.215, G.216, G.224, G.224.1, G.225, G.227, G.232, G.238, G.242.100,
G.257, G.257.1, G.260, G.277, G.296, G.305, G.306, G.312, G.312.1, G.314

MacDonald, Jody -A.449
MacDonnell, William -A.448
MacEachern, Scott - G.234.300
Maciejko, Kaylee
MacInnis, Neil -A.450
MacKay, Allan Harding -A.451
MacKinnon, Angus -A.452, G.311
MacKinnon, Shannon -A.453
MacLean, Laurie -G.124.100
MacLennan, Alistair -A.454
Macleod, Myfawny -A.455
Magpie -A.397
Mahovsky, Trevor -A.456
Mahr, Sigrid
Majer, Juli
Majzels, Robert -A.368
Mandseth, Chris -G.292
Mansell, Alice -A.457, G.198
ManWoman -A.458, G.176, G.257, G.257.1
mantis mei
Mark, Matthew -A.487
Markotic, Yvonne -A.459, G.239
Mars, Tanya -A.460, G.298
Marsden, Scott -A.461
Marsh, Lynne -A.462
Marsh, Ruth -A.463
Marshall, Gregory - G.242.100
Marshall, Teresa - G.270, G.270.1
Martin, Annie -A.464
Martin, Messi -A.465
Martin, Tony -A.465.100, G.75, G.114.100, G.124.50, G.124.100
Martineau, Luanne -A.354.100, A.466
Martinis, Dalibor -A.467
Mass, Sherrill -A.468
Masters, Chris -A.469
Mathis, Jason -A.470
Mathur, Ashok -A.471, A.472, G.242.100
Matta-Clark, Gordon
Mawani, Selma - G.242.100
May, Walter -A.473, A.474, A.475, G.129, G.132, G.134, G.162.100, G.162.101, G.162.102, G.163, G.196, G.196.1, G.205, G.214,  G.214.1, G.215, G.216, G.257, G.257.1, G.260, G.277
Mayer, Jillian
Mayes, Malcolm -A.474, G.129
Mayes, Michael -A.474, G.129
Mayr, Suzette -A.166
Mayrhofer, Ingrid -G.245, G.245.1
Mazinani, Sanaz
McAffee, Dionne
McCabe, Penny -G.245, G.245.1
McCaffery, Steve  
McCaffrey, Gregg -A.233, A.495
McCall, Khadejha -G.130
McCallum, Kirstie -A.496
McCan, Shana -A.498
McCann, CB
McCarroll, Billy -A.497, G.181.100, G.234
McCaw, Shana -G.309
McClure, Robert -A.499, G.131, G.260
McConnell, Clyde -A.500
McCullough, Jane -G.309
McDonald, Fred -A.501
McDougall, James -A.502, G.120
McFadden, Kegan -G.284, G.285
McFaul, George -A.503, G.196, G.196.1
McGrath, Tammy
McGregor, Kathryn -A.148
McGregor, Wade -A.481, G.136, G.162.100, G.162.101, G.162.102, G.258
McHugh, Bryan -A.352
McKenna, Brian -A.482
McKenzie, Lesley -G.265
McKeough, Frank -A.483
McKeough, Rita -A.484, A.485, G.162.100, G.162.101, G.162.102, G.198, G.210, G.258, G.307
McKinnon, John - A.485.100
McKinven, Alastair -A.477
McLaren, Andrew A. 
McLaren, Paul -A.486
McLean, Michaelle -A.478, G.166
McLeod, Nate -A.487
McMackon, Jennifer -A.488, A.504
McNab, Anthony 
McNeil, Joan -A.479
McPhail, Andrew -A.505
McQueen, Kari -A.489
McQuitty, Jane -A.490
McSherry, Fred -G.130
McTrowe, Mary-Anne -A.491, A.492
McVeigh, Don -A.473, G.132
McVeigh, Jennifer -A.493, G.228.100
Meade, Celia -A.494
Mehra, Divya -A.506
Meichel, Dan - G.263
Melnyk, Doug -A.507, G.301
Menard, Cindy -G.102
Mendelson Joe -A.385
Merchant, Rithika
Mersault, JD -A.508
Mesquita, Ivo Costa -A.509
Meuwissen, Roy -G.230
Mia & Eric
Michelena, Miguel
Middleton, Rory -A.510
Mikols, Lauren -G.291
Miles, Kirk -A.503, A.511, G.196, G.196.1, G.229
Millan, Lorri -G.199
Millar, Cam
Millard, Laura -G.240
Miller, Juliana -A.513, G. 281.100
Miller, Rebekah -A.512
Miller, Shanna -A.514
Mills, Royden -A.188
Milo, Michael - A.514.100, G.106, G.205,  G.205.1, G.205.2
Milthorp, Robert  -A.515, A.516, A.517, G.118, G.127, G.162.100, G.162.101, G.162.102, G.206, G.219, G.227, G.257,
G.257.1, G.295, G.311

Minh-Ha, Trinh T. -A.518
Mitchell, Charles - G.75, G.114.100, G.124.50, G.124.100, G.308
Mitchell, Jackson -A.519
Mochizuki, Cindy
Modigliani, Leah
Moffat, Ellen -A.520
Moller, Peter -A.521, G.101, G.137, G.181.100, G.257, G.257.1
Monk, Meredith -A.522
Monkman, Kent -A.523
Monroe, Deanne - G.123, G.162.100, G.162.101, G.162.102, G.295
Montadas, Antonio -A.532
Moody, Robyn -A524, A.525
Mootoo, Shani -A.526
Moppett, Carroll
Moppett, Ron-G.118, G.119, G.151, G.162.100, G.162.101, G.162.102, G.198, G.215, G.236, G.250, G.250.1, G.250.2 Mora, Cris -A.525
Morosoli, Joélle -A.527
Morris, Ken -A.528
Morstad, Julie -A. 269, A.307, A.529
Mortimer, Karly -G.146
Moschopedis, Eric -A.530
Mosher, Jay -A.510
Mountain, Harry -A.531
Mueller, Stephen -A.533
Mühleck, Georg -G.114
Murphy, Craig -A.534, G.148


Nachtigal, Conroy -A.536, G.242.100
Nagata, Kerry -A.354.100
Nakagawa, Ann Marie -A.535, G.149
Nam, Hwayeon
Nelles, Tammy -A.537
Neu, Noreen -G.117
Neufeld, Grant -G.228.100
Newman, Holly - A.540.100, G.256.100
Newman, Les -A.425, A.538 
Newton, Alma -A.541
Ng, Petrina -A.542.5
Nguyen, Jacqueline Hoang -A.542
Nguyen, My Le -A.543
Nicol, Nancy -A.539
Nigro, Richard -G.113
Niro, Shelley -G.245, G.245.1
Nisbet, Nancy
Nishimura, Arthur - G.162.100, G.162.101, G.162.102, G.257, G.257.1
Noguchi, Louise -A.544
Norgren, Jeff -A.545, A.545.1, G.241
Nordlund, Ryan -A.155, G.208.200
Normoyle, Michelle -A.547
Norouzi, Anahita
Nothing, Peter -A.548, G.196, G.196.1
Notzold, Paul -A.549
Nowatschin, Liz -A.550
Nowicka, Aneta -A.551
Nunoda, Steven - G.50, G.205, G.205.1, G.205.2, G.244, G.244.1, G.270, G.270.1


O’Donnell, Jaynus -A.552
Ochiena, Rob -A.157
Oellers, Jeanette -G.114
Olaniyi-Davies, Nike -A.553
Olbrich, Jürgen O. -A.554, G.159, G.187, G.225, G.227, G.232, G.312, G.312.1
Oliveira, Susy
Oliver, Cody -G.110
Ollenberger, Leanne -A.555
Olson, Daniel -A.556, G.249
O’Neill, Kathleen - G.142
Ono, Yoko -A.557
Osborne, B.G. -A.557.100
Osuntokun, Keyede
Ouchi, Conrad -G.109
Oullet, Shelley -A.558, G.218.100
Ouellette, Kim -A.559
Oxenbury, Glen -G.174.200, G.310
Ozeri, Moshe - G.124, G.160, G.206, G.242.100, G.295


Painchaud, Dan -A.560
Paleczny, Catherine -A.561
Papp, Shannell B. -A.562
Park, Sora
Parker, Evan -A.121
Pashuk, Robert - A.354.100
Passmore, Heather -A.563
Patience, Alexandria -A.564
Patry, Réal -A.565
Patterson, Andrew James
Patterson, Jim -G.124.50
Patterson, Justin
Paul, Cassandra -A.487
Paulus-Maly, Jan -G.118
Pavka, Jeremy
Pearson, James -A.262
Pellerin, Lee Ann -A.566
Penny, Evan -A.567, A.568
Pepper, Gordon - G.205, G.205.1, G.205.2
Perkins, Marcia -A.569, G.198, G.252, G.252.1
Perreault, Carrie
Perron, Mireille -A.570, G.50, G.242.100, G.273, G.274, G.278
Peters, Ethan
Peterson, Stephen -G.162.100, G.162.101, G.162.102
Phelps, Stan -G.101
Philipsen, Neal -A.394
The Pidgin Collective
Pike, Bev -A.571, G.207
Pillar, Peter (Loys Egg) -A.572
Pink Flamingo
Pinter, Leslie -A.573
Piper, Danielle Elizabeth -A.573.5
Pisio, Lyle - G.263
Pitch, Marcia -A.574
Plimley, Paul -A.476
Poier, Grant -A.575, G.123, G.150, G.162.100, G.162.101, G.162.102, G.198, G.205, G.206, G.227, G.241, G.242.100,
G.257, G.257.1, G.257.2, G.278, G.295, G.312, G.312.1

Poitras, Edward -A.576, A.643, G.302
Pond -G.256
Pope, Laura -G.110
Possberg Denne, Morgan
Potter-Mael, Brigitte -A.577
Potts, Steve -A.422
Predika, Arion -A.578
Prent, Mark -G.113
Prentice, David -A.132
Priegert, Portia
Prize, Turner
Proskow, Deborah -A.354.100
Provost, Guillaume Adjutor
Ptak, Sylvia
Puchala, Diane - G.123.200
Puchala, Dolores - G.123.200
Puddle Popper
Puhach, Dan -G.118
Pura, Gregory -A.579



Radul, Judy -A.581
Randolph, Jeanne
Raponi, Maria -A.582
Ratkay, Sonja
Rauscher, Colleen -A.583
Realica, Margaret
Rehman, Amin -A.583.50
Reid, Judy -G.118
Reid, Tony -A.474, G.129
Reimer, Julia -A.583.100
Reiter, Shawna -A.584
Renpenning, Robert -A.283, A.585, G.251
Rezaei, Mohammad -G.178.100
Riddle, Jeanie -A.585.100
Rimmer, David -A.585.200
Risk, Amy -A.586
Ritter, Celine 
Rob, Bruce -A.587
Robert, Paul
Robertson, Clive -A.589, A.590, A.591, G.162.100, G.162.101, G.162.102
Robertson, Diane -G.130
Robertson, Don - G.176
Robertson, Genevieve
Robertson, Mitch -A.592
Robertson, Valerie -G.165
Robinson, Spider -A.303
Robles, Paul -A.588
Rodger, Elsbeth -A.594
Rodgers, Bill -A.595, G.162.100, G.162.101, G.162.102, G.198
Rodriguez, Pablo 
Rogers, Honor Kever -A.597
Rogers, Lia -A.598
Rogers, Scott -A.593, A.596
Rojo Nuevo Collective -G.245, G.245.1
Rolfe, Nigel -A.599
Roneau, Brigitte -G.242.100
Ross, Bev -A.217
Ross, Will -A.600
Rothenberg, David -G.244, G.244.1
Rothlisberger, Mary -A.601
Rousseau, Chantal -A.602
Rowley, Rebecca -A.603
Roy, Annie -G.104
Ruschiensky, Carmen -A.605
Rushfeldt, Debra -A.604, G.117, G.118, G.119, G.134, G.216, G.277
Rusnak, Tanya -G.270, G.270.1
Russell, Charles -A.262.100
Rusted, Brian -G.206, G.273, G.274, G.295


Saar, Allison -A.606
Saldana, Zöe Sheehan -G.256
Salzl, Tammy
Sampson, Leslie - G.204.100
Sasaki, Jon -A.607
Sato, Teak -G.278
Saucier, Robert -A.607.100
Saunders, Zachary -A.190
Sauvé, Eric
Savage-Hughes, Carlan
Savage, Uii
Sawatsky-Cariou, Sandra -G.118
Sawyer, Carol -A.608
Schäffler, Edith -G.114
Schein, David -A.309
Schick, Cathy (Cat) -A.609, A.609.1
Schmid Esler, Annmarie -A.133, A.610, G.163, G.165
Schmuki, Jeff -G.212
Schoenberg, Alice
Schofield, Stephen -A.612
Schoppel, Amanda -A.613, G.256.100
Schraenen, Guy -A.614
Schulz, Lynne -G.265
Scott, Mary -G.163, G.278, G.314
Scott, Ryan McClure
Sebelius, Helen -A.225, A.615, G.101, G.162.100, G.162.101, G.162.102, G.163, G.165, G.252, G.252.1, G.257, G.257.1
Semple, Glen -A.616, A.617, G.198, G.286
Senini, Blake -A.251, G.162.100, G.162.101, G.162.102, G.205, G.205.1, G.205.2, G.257, G.257.1 Sepúlveda, Dámarys -G.245, G.245.1
Shahab, Alia -G.178.100
Shatzky, Melanie -A.618
Shaw, Christine -A.619, G.208.200
Shecky Formé - G.121.100
The Shell Projects -A.619.5
Sherlock, Diana -G.244, G.244.1, G.242.100, G.278
Shikitani, Gerry -A.620
Shimamoto, Shozo -A.621
Shin, TJ
Shindelman, Marni -A.427
Shortt, Stephen -A.622
Sidarous, Celia Perrin
Sidorowicz, Anetta -G.102
Siebens, Evann -A.246.100
Simmonds, Wright -A.623
Simpson, Gregg -A.216.100, G.191
Sinotte, Michelle -A.624
Skelton, Carl -A.625
Slams, Zac
Sleziak, Zofia -A.626
Slopek, Edward Renouf -A.627, G.234, G.273
Sloten, Sarah van
Smibert, Evan -G.100, G.178.100
Smith, Clint Adam
Smith, Jason B. -A.586
Smith, Leo -A.628
Smith, Rosemary
Smith, Whitney -A.207
SMOLinski, Richard -A.629, G.149
Smylie, Barry -A.500, G.108.100, G.114.100, G.124.50, G.124.100
Snow, John -A.630, G.222
Snow, Michael -A.631, A.636, G.113
Snowden, Mike -A.632
Snyder, Achim -A.611
Snyder, Brett -G.110
Snyder, Nikko -A.615
Soerensen, William -A.633
Sokol, Casey -A.634
Somers, Sandi -A.224, G.158
Sorell, Lindsay -A.634.1
Sosnowski, Kasia -A.440
Souliere, Rolande -A.634.100
Spain, Maeve -G.118
Spanhake, Shannon -G.256
Spencer, Karen -A.635, A.636
Spencer, Kellen
Spindler, Chris -A.637, G.196, G.196.1, G.226
Spiteri, Ed -G.174.200, G.310
Sprouse, Grant -G.124.100
St. James, Marty -A.638
Stach, Eric -A.170, A.639
Stamp, Arlene -A.568, A.640 
Statz, Ryan -A.641
Steen, Harry -A.642
Stein, Don -A.643, G.173, G.174
Stellick, Jeff -G.162.100, G.162.101, G.162.102, G.303
Stephen, Roberta -A.645
Stephens, Dave -A.644
Stephens, Lincoln - G.108.100, G,124.100
Stewart, Krista Belle -A.646
Stewart, Nick -A.647
Stewart, Tracy -A.387
Stilwell, Lawrence -A.649, G.257, G.257.1
Stinson, Peter -A.648, G.171, G.241, G.257.2, G.268
stirnemann, m. vänçi -A.650, G.225, G.227, G.237, G.312, G.312.1
Stitch, A. Vanilla -G.158
Stone, Tamara -A.651
Strang, Su Ying
Strohmeier, Eva -G.256
Stromsmoe, Gary - G.205, G.205.1, G.205.2
Struble, Brad -A.652, A.652.1, G.136, G.162.100, G.162.101, G.162.102, G.196, G.196.1, G.215, G.216, G.258, G.257, G.257.1, G.260 Sujir, Leila -G.206, G.295
Sun-Ergos - A.652.25
Sutherland, Julia Rose -A.652.30
Sutherland, W. Mark
Swalling, Doug - A.365
Swift, Jenna -G.253.100
Swithenback, Gail -A.652.50
Switzer, Maynard -G.124.100
Szeto, Jessica


Takahashi, Yasufumi -A.652.100
Takashima, Yoko -A.653
Tam, Ho
Tam, Teresa
Tamano, Huroko -G.108
Tamano, Koichi -G.108
Tang, Brendan -A.654
TAPS -G.106
Tarnowski, Candice -A.655, A.655.1
Tate, Jordan -A.655.100
Taylor, James -G.123.200
Te, Sahar
Tellier, Jennifer
Terada, Ron -A.656, A.656.1
Thachek, Cynthia -A.657
Thibodeau, Melanie
Thinn, Christopher
This is My City Art Society
Thomas, Aislinn
Thompson, Nicole
thurairajah, geetha
Tice, Nancy -A.658, G.162.100, G.162.101, G.162.102, G.165, G.277
Tiggelers, Larissa -A.487
Tindale, Adam
Tipton, Barbara - G.204.100
Todd, Brad -A.332
Tokaryk, Wendy -A.659
Toogood, Wendy -A.660, G.134, G.139, G.162.100, G.162.101, G.162.102, G.198, G.215, G.216, G.238, G.252, G.252.1, G.257, G.257.1, G.260, G.277, G.296 Torrell, Ehryn
Tourbin, Dennis -A.661
Tousignant, Serge -A.662
Tousley, Nancy -A.663
Toye, Chester
Trueman, Dawn -A.456
Trusch, Christopher - A.663.100
Tsang, Henry - G.270, G.270.1
Tsui, Ben HF
Tsui, Jadda
Tucker, Gary -A.664, G.196, G.196.1
TV Baby
Tyson, Alana -A.664.100
Tzeng, Pam -A.664.150


United Congress
Udok, Chika -A.664.200, G.100


Valverde, Nano -G.245, G.245.1
Van Dinh, Andy -G.100
Van Dyck, Yolanda -G.118
Varga, Vincent -A.666, A.666.1
Varney, Ed -A.667, G.187, G.238, G.304
Varvara & Mar
Varvis, Esmé -A.365
Vaughan, Lantry - G.123.200
Veldhoen, Scott
Vermaas, Lydia -A.668
Vickerson, Laura -A.669, A.669.1, G.176, G.257, G.257.1

Vida, Sandra (formerly Tivy) -A.460, A.670, G.122, G.127, G.162.100, G.162.101, G.162.102, G.187, G.198, G.206, G.214.100, G.216, G.232, G.236, G.238, G.257, G.257.1, G.260, G.266, G.277, G.280, G.296
Vieira, Alvin -A.354.100
Ville, Harri de -A.670.100
Villeneuve, Mario -A.671
Viner, Jeff -A.672, G.107, G.251, G.281.100
Vivenza, Francesca
Volkman, Marilyn -A.673, A.673.1
Vostell, Wolf -A.675


Wagner, Kyle -G.135, G.173, G.174
Wagner, Ryan -G.173, G.174
Waldron-Blain, Adam -A.676, G.146
Walker, Linda Marie -A.350, G.301
Walker, Petere -A.677
Walkes, Irvin -A.474, G.129
Walkes, Kevin -A.474, G.129
Wall, Denis -A.678
Walsh, Wendy -A.225.100
Wang, Chih-Chien -A.678.100
Wanke, Angelika -A.679
Ware, Syrus Marcus
Washington, Patrice Renee
Watkins, Mel -A.681
Watkins, Tim -A.682, G.162.100, G.162.101, G.162.102, G.219, G.227, G.257, G.257.1, G.311
Watson, Morley -A.680
Webb, Ken -A.465.100, G.162.100, G.162.101, G.162.102
Webber, Kristen
Weber, Steph
Weir, Sky -G.117
Weir, Thomas
Weisgerber, Sean
Welburn, Ken - G.123.200
Welch, Wendy
Wells, Craig -A.683
Wellze, Elzze -A.684
Wenberg, Teresa -G.116
Weppler, Rhonda -A.685
Werden, Dyana -G.130
Wershler-Henry, Darren 
Westbury, Tim V.S. -G.106, G.241
Westman, Nicole Kelly
Wharton, Tracy Leigh -A.686
White, Carl -A.686.100
White, Jay
White, Norman D. -G.118, G.119, G.134, G.244, G.244.1, G.314
White, Stephanie -G.111
The WhiteBoxPainters -G.309
Whitecalf, Azby
Wickramasinghe, Pavitra
Wiegers, Yvonne -A.687
Wiggle, Dr. B.W. -A.688, G.159
Wilcke, Jonathon -A.688.100
Wildrick, Chris -A.689
Will, John -A.517, A.690, G.162.100, G.162.101, G.162.102, G.179, G.196, G.196.1, G.239, G.257, G.257.1, G.286, G.295, G.311
Williams, James -A.691
Williams, Tara -G.102
Williamson, Andrea -A.692
Williamson, Hector -A.693
Williamson, Jason -A.694
Williamson, Louise -A.695, G.257, G.257.1
Wilson, Anne -A.638
Wilson, Chris -A.157
Wilson, Clint -A.696
Wilson, Grant -A.697
Wilson, Ian -G.205, G.205.1, G.205.2
Wilson, Megan -A.157, A.698
Wilson, Rebecca - G.259.100
Winet, Jon - G.190
Wolf, Carla - G.158
Wolters, Ryan -A.699
Wong, Amy
Wong, Annie
Wong, Cheryl Wing-Zi
Wong, Paul -A.700, G.160
Wood, Kelly Lynne -A.258
Wood, Susan -A.297
Woodrow, Paul -A.701, G.50, G.181.100, G.242.100
Workman, Lenni
Wostenberg, Jacinta
WP Puppet Theatre
Wren, Jacob
Wright, Helen -G.112
Wybert, Donna-Lee -A.702



Yang, Yi
Yao, Christina
Yates, Richard -A.703
Yee, Angela -A.704
Yee, Lan “Florence” -A.704.001
Yee, Wil
Yin, Livien
Yoon, Jin-Me -A.704.1
Young-Ing, Greg -A.471
Young, Nathan -A.705


Zadler, Christine -A.706
Zak, Aaron -A.707
Zamkotowich, Frank -A.708
Zarovich, Jave Von -A.674
Zaumseil, Andrea -G.114
Zech, Doug - A.354.100
Zeindler, Mike - A.709, G.303
Zhang, Shellie
Ziemann, Sylvia -A.710, G.185
Zimmerman, Walter -A.711
Zingeler, Kristine -A.712, G.100, A.664.200
Zinkan, Judith -A.713, G.117, G.261, G.311
Zsako, Balint -A.714
Zurek, Eva -A.715

Artist Trading Cards

Artist Trading Cards (ATCs) are part of an effort to increase the public’s acceptance of art as an aspect of daily life, and to encourage artistic production not just consumption. ATCs encourage Calgarians, regardless of background, to become active in the local arts community. TNG began supporting ATCs in 1997 and used to support its activities by hosting Trading Card Sessions on the last Saturday of each month from 5:00 – 7:00 PM and by promoting ATCs provincially, with a touring ATC exhibition and workshop program through The Alberta Society of Artists (ASA) as part of Alberta Foundation of the Arts Travelling Exhibition Program (AFATEP).

ATCs are miniature works of art, created on 2.5 x 3.5 inch card stock. There are no restrictions as to medium (they run the gamut from painting to collage to rubberstamps to found images to the limits of your imagination), subject matter or number; they may be 2D or 3D, original, a series, an edition or a multiple.

Regular Trading Sessions were held on the last Saturday of every month from 5:00 to 7:00 PM at The New Gallery. Whatever your age or art background, you were invited to attend the Trading Sessions. (Observe for the first time if you like, but we guarantee you will be making your own cards soon after!)

The last artist trading card session 


The concept of Artist Trading Cards (ATC) was initiated by Zürich artist m. vänçi stirnemann and developed/promoted by himself and artist Cat Schick through in Zürich. In September 1997 Don Mabie (a.k.a. Chuck Stake) brought the first ATC session to Calgary at The New Gallery. Since that time regular Trading Sessions have been held every month. As many as 75 individuals have attended the monthly trading sessions with a core group of 30-35 people in regular attendance. The participants include artists, art students and members of the general public ranging from six to sixty years of age. The democratic and free exchange involved in trading these cards creates a space for the production of a vernacular art form outside of the hierarchical high-art world. In addition to the in-person trading sessions where artists meet to discuss and trade works the phenomena of ATCs continues to spread across the globe through trades via mail.

ATC Committee

The Artist Trading Card Committee is a committee of The New Gallery and the organizing group which keeps ATCs going in Calgary and aids in growth of the ATC movement world wide. The official members of the committee are Paul Brown, Theo Nelson, Georgie Stone, and June Hills. Honorary members are Chuck Stake (aka Don Mabie) and Melody Nayler Keller.


Join the group at


The New Gallery’s Resource Centre (208 Centre St. SE, upstairs) holds our Artist Trading Cards archive. Included in the collection are ATC event posters from 1998-2001, administrative files relating to ATC events and the ATC committee, programming materials from ATC events held at TNG, and TNG’s own collection of 225 ATCs. To view the collection or request more information, please contact our team. 

Archive / 2023

ᓄᐦᑕᐃᐧᕀ ᐊᐢᑯᑖᐢᑯᐱᓱᐣ

nohtawiy askotâskopison

My Father’s Cradleboard

Morgan Possberg Denne

November 18 - December 22, 2023

Closing Reception:
December 15th, 2023
7PM @ The New Gallery
208 Centre St SE
A backlit colour photograph. Two hands holding a translucent tanned salmon skin. The light behind the salmon skin shines through the skin showing the hands through the skin.
Photo by Dan Cardinal McCartney. Courtesy of the artist.

Cradleboards have been used for thousands of years by our ancestors to carry and love for our future generations. They have protected us, acted as an external womb, and given us a place as children to watch our parents' culture and learn from a safe distance. I’ve always wondered if the fact that neither my father, his father, or myself was ever put in a cradleboard may have had a long term impact on our development, personhood, and our coping mechanisms to the ways that colonialism, residential schools and the foster care system has affected my family.

Now as an adult I deeply wish I could rewind the clock and put myself, and my father before me, and his father before him in a cradleboard as a child. To softly sing songs to us, give us safety, and to give us a connection to our culture in a safe environment. Maybe this would fix things. As kids when we were supposed to be kept safe and playing in the woods we were instead being prepped for the meat factory - the eternal meat grinder of colonialism.

The western world teaches us to push aside this childhood imagining and innocence - “These things can’t be undone!”, but what if they could? In another world somebody took better care of us, in another time we learned to drum and sing and dance, in another place we were listened to by adults who had the capacity to love and care for us.

These hot chest and aching throat feelings, the times of biting back angry tears and saying “It’s fine” have to count for something….right?

In this text Morgan and Jordan speak on consent and permission, considering what is sacred and sharing their feelings on relational community.

Documentation by Danny Luong

Morgan Possberg Denne is Two-Spirit millennial scoop and foster care survivor; with settler, Cree, Metis, and Chippewa blood connections. They have grown up in treaty 7 territory, and have relatives in southern and northern Ontario. Morgan creates imaginative, illustrative objects which could be seen as pieces of possible narratives, different ways to connect with the past and potential futures through layers of abstraction with no right or wrong answer. What matters to them is not accurately recreating the past or to predict the future, but rather to capture an inner truth and a possible alternative reality of colonial experiences. In a sense, creating new culture from a series of “what-ifs” and new stories / lore. Their work has been recently shown at the Confederation Centre for the Arts and Gallery Gachet.

Jordan Baylon (they/she/he) is a second generation PilipinX artist, critic and community worker imagining justice and abundance for equity-deserving peoples within the spaces of all our relations: personal, communal and societal. As an artist, Jordan explores queer and racialized identities as liminal spaces: both and neither; between, across and through; both inside and outside; and both literal and imagined. Jordan’s community practice leverages a decade of experience in the non-profit arts and culture sectors, where they developed their critical lens around equity, anti-racism and systems change. After many years navigating institutions, Jordan now devotes their interest and attention to working at grassroots alongside equity-deserving individuals and communities.--

中文翻译 Chinese Translation ...

ᓄᐦᑕᐃᐧᕀ ᐊᐢᑯᑖᐢᑯᐱᓱᐣ
nohtawiy askotâskopison
My father’s cradleboard

A conversation between
Jordan Baylon and Morgan Possberg Denne

In this text Morgan and Jordan speak on consent and permission, considering what is sacred and sharing their feelings on relational community.

M - Going into this conversation I think it's best to be chill with things. When things are overly planned, or you think about it too much it becomes academic, and that's not the purpose or goal. There's nothing wrong with academic, but it's not accessible or the vibe.

J - Yeah I think the accessibility is an important part.

M - Yeah it shows. You can have these deep conversations about art, feelings and the world and how one person might process those things but still have it be understandable is important. How we all are inhabiting our own worlds but processing them differently. I think that relates to what I wanted to talk about. The main things I'm thinking of lately when I make work is permission and consent, which I think are linked together.

J - That's when I become interested. Let's break that down.

M - What's the difference?

J - What does either one feel attached to that's real for you, in either case, or both, or neither?

M - When I think about permission vs consent, I think both can be given and taken away. Permission is something you give yourself, but I’m not sure if you’d give yourself consent?

J - Both of these things are very connected to the container that surrounds them. Which is a situation or a context. For example, if this is about me having to locate my individual agency, that means a really different thing on an interpersonal level vs systemic or structural or societal or cultural or communal level. Permission seems more connected to….something that feels raw and unfiltered. Some sort of relational space. vs consent feels very specific to a shared cultural experience around things like sexual violence, hegemony, oppression, colonialism, right? We use the word consent when we’re discussing the points of interface with other humans that often are connected to potential for the most harm. We’re using that word to invoke what a collective space of safety looks like.

M - Consent as related to harm mitigation.

J - Yes , in how I have a relationship to the word. As connected to the Me Too movement and how over politicized that word has become. Not just what we’re talking about, but a culture as well. Permission seems so personal, not as connected to harm. Connected to acceptance, affirmation, holding, welcoming.

M - When I think about permission; it's an oversimplification to say it's a more positive word than consent but it almost is. I feel that there is something more sacred about permission. My association is that you would give yourself to do something, or be ok with something, or to feel something, that feels like a very deeply internal personal healing process. vs. consent I don't have that association with that.

J - I've been thinking a lot about the dichotomy of what is sacred vs what is merely expensive. What is priceless vs something that can be bought. I don’t know if consent even fits into that

M - I think consent can be bought, but permission can not. At least in how I understand them.

J - Consent is connected to negotiation, but permission seems deeply personal. When you offer permission its to yourself and the other on a sacred level, It has to do with your sense of self. Whereas consent is describing a shared space that we may not completely inhabit in and of ourselves. This is connected to the Filipino cultural concept of kapwa, the personal sacred permission space and the ways we relate to each other in a good way, in a community shared space are one and the space in kapwa. We see our individual selves as inextricable from our collective shared experience and identity of being in community.

M - From what I know of most indigenous cultures we would see things that way too. You as an individual and how you experience the world can’t be removed from community, your nation and the land. That's where a lot of the harm of colonialism has come in. This western idea of having to be this special individual is actually quite harmful. Traditionally you’d see yourself as part of a community in kinship with people and the land.

J - Being separate is the original wound for humans. I’m connecting to that. Another way of looking at this is that the word of consent is burdened with our unaddressed wounds. That's why it has a diff feeling space than permission. It resonates with a collectively and systemically perpetuating harm. Cups spilling over generations and generations. I also think about it on a fractal scale too, if the permission is on the level of taproot deep sense of self and values and ancestors, consent is the community space. I think there's other names and words for how we describe the condition of relating on a macro level in society. But we’re not past consent yet. The level of harm that's possible simply in our most intimate personal moments is so high. This word doesn't have the joyful ringing of permission. Permission I can think of sentences for permission. When I think of permission, if I'm giving it it's also reciprocal. If it's myself I’m saying I’m allowing myself to live in a world where this exists. If it's another person, that they exist and their wholeness exists, even if it's not the same as mine. But we affirm each other in that. That's a well shaped emotional space. Even if we can’t always embody that all the time.

We can talk about theory and practice, but where are you personally situated in these feelings? How does it relate to your practice?

M - That's a good question, taking it back to the art and actualization. Maybe I’ll rewind a little bit and say that the reason I wanted to talk about permission and consent; in my experience it's mostly in relation to cultural knowledge and culture. Because of my own lived experience of being mixed Indigenous and going through foster care and then being adopted out and growing up in a territory that isn’t actually my traditional territory. It's kinda being a settler, but also not really in the normal sense of the word. I was placed here in foster care and didn’t choose to be here, but I’m still here. It's a weird thing I’ve always struggled with, and will always continue to. And I should; this is the struggle that should be happening. There's a lot of tension with that around cultural knowledge in art making and permission and consent. This permission and consent around cultural knowledge could be from community, elders, knowledge keepers, peers, or yourself, and I’m interested in how that applies to art making, healing, storytelling, even down to learning actual craft techniques like how to weave something or tan a hide or fish skin which I’ve been doing a lot of. There's a lot of tension there, but it's a really specific type that's specific for Indigenous people in this place. I know this is quite a shared experience of being worried about stealing your own culture. It's difficult. I don't think you can actually steal your own culture. Inherently as a human you have a birthright to your own culture, but because of colonialism we feel like we don't. We’re not always able to give ourselves permission to dive in. I mean there are protocols you have to follow of course. I don’t have an issue with protocol at all, but it's difficult if there's something that's almost died out and it's hard to find the right person with the knowledge. I do think in those cases it's more important to just do the thing to the best of your ability rather than to let a piece of culture die. That's a bit of a point of contention within my community. I do understand the want to protect culture, and feeling like you need to gatekeep, but it's difficult. It all comes back to permission and consent, right?

J - Whats interesting to hear you share that, is it would be easy to respond to you from a place of trying to give you permission. But that's not what we’re doing right now. It's interesting to examine all the layers of this. We feel permission is related to the sacred, and our values and communities, while consent feels further away. The other thing I was thinking of while you were sharing, if we’re talking about permission being sacred, priceless and something that can’t be bought, I think we can diagnose everything you talked about by saying, well, your culture was stolen. I’m using that in the broadest sense, it's the idea that what was sacred was tampered with, was taken away, is either being literally or figuratively or financially or politically controlled by those who should instead live in relation to that sanctity. When it comes to the cultural knowledge of what youre talking about I’m hearing that the word is burdened by the reality of what has been stolen. If it's been stolen, you asked a question about how can you appropriate yourself? Maybe it's a sacred thing of like that can never be appropriated because that's who I am. Who I am is also a part of the fabric of what the collective story looks like. On the other hand maybe it is possible to feel like we’re in the space of the stealing of our actions aren’t bringing that culture collectively back to the sacred. That's what we’re always worried about - like pretendians and people appropriating indigeneity, and allies, other racialized folks displacing you. Other diasporic people displacing the original peoples of this land. It makes sense that the stakes are that high because it doesn't seem safe. Because honestly, we’re not back home yet. And we need to bring it home.

M - I dont think you can appropriate your own culture, but I’ll add a footnote; you do have a right to your own culture because it's yours, but you can misuse it. I’m not qualified to be the singular decider of what “misusing” it is, I mean I have some ideas. Profiting from things that culturally shouldn’t be profited from, or sharing closed practices that shouldnt be shared. I know there's some people who have rights to some very closed ceremonies who decide to share them in germany. They’d rather share the rights to those ceremonies with germans who are paying for it - they’re making $ off of doing this. They'd rather do that then go out in community and connect with youth, and queer, trans, 2S people. The people who are really struggling and may really benefit from having access to those things, often don’t have access to ceremony and culture. In a situation like that, yeah, it's almost like you’re appropriating your own culture. I think that's wrong.

J - I hear us trying to figure out how to talk about it. I feel the emotional throughline of what you’re saying, I understand it. And I also hear you searching for language to match at a communal level what is actually an embodied feeling you have. That's interesting to me. Again, because something is stolen we’re always thinking about credentials now. But if I try to do the futurist thing and imagine a utopia where our values are embodied by us, and we have a space of pluralities. If we’re relating from that place, the relationships themselves are the sacred structure. But we don't have that on a societal level because of colonialism and capitalism. Stolen lands, stolen bodies. It's like we’re looking for criteria on a communal level that is aligned with our values at our most personal, which is where we have to live if we’re people of the global majority who have experienced this colonial violence. It's almost like we need a set of relational criteria. This is the language of people who are stealing, trying to put a price and make money off of the spiritual. The way they have conversations about the sacred is to put a price on it. This related to conversations about representation too. We’re just counting brown faces, wheelchairs etc in spaces. We’re realizing it's not really about whose faces are in these harmful structures, it's about being able to relate in a good way and have structures reflect that. That's what we don't have in a societal way. You’re just trying to be yourself. How many hyphenations do you have to do, impossible metaphysical existential calculus around just to solve that equation. Because you don't have someone to say, ‘OMG morgan it's ok to just be you’. The respect is born out in your relationality. You will respect your knowledge and teachings because you're of your community. I’m still trying to figure this out for myself in my community too. A lot of it is trying to be an elder to yourself sometimes. You’re like an elder, you do have experiences that are very valuable. We have so much more relating to do across so many gradations of experience, making sure the whole family is at the table.

M - A little bit ago you mentioned hyphenations, I see that actualized for Indigenous people in our last names. Lots of people have 2, 3, 4 last names, often hyphenated together, sometimes not. It's our own attempts to understand our own community, and place ourselves into something that has been so colonized that it's hard to even process. But it's actualized in our attempts at cobbling together last names. It's related to something I’ve been thinking about too; we’re trying to climb out of this hole of colonialism and everything related to it, but we’re still grasping for colonial solutions to the colonial problem.

J - That's the thing, yeah! I thought after 2020 we’d still be having more conversations about this, the word structure is being co-opted. I remember talking about intent over impact in 2020. This isn’t new, it's very bedrock, but not reflected in the way we talk about things, or the frameworks of meaning making that we’re applying to our situations which are still very much colonial. I think it's getting more and more confusing to try to work it out on the level of the communal. For folks like us who share a very liminal and venn diagram relationship to all of our structures because we both also have relative privilege and those sorts of things, I also feel like we’re missing that permission space. We don't have spaces to have the sacred kind of conversations. What is the accounting of the cultural currency that we think we’re trading? If we’re looking at it on that level are we willing to also look at capitalism and its interconnectedness with colonialism, and white supremacy? That's a hard conversation, but people want to have it on the level of public discourse, so it just becomes things like policing each other's language. What does the proper certification look like? A lot of people I work with want me to give them a gold star, when like, I want them to just be able to relate to me in the space we’re in - it's messy.

M - It's that fear of vulnerability, but you have to be vulnerable if we’re going to try to move together through this.

J - Vulnerability is the gift. It's the permission to be intimate with what's real for you. One of the cultural artifacts of colonialism is the individualism, every white man for himself and then everyone else is disposable. That's connected to all of this as well. We’re imagining vulnerability as a resource like a fossil fuel - there's already a violence in how we’re framing that. Instead we could choose permission to be who I am. Even though we know that the textures of that, experiences of that, societal implications of that have different stakes for people in different bodies. That's a gift, I think. How do we think about this interpersonal alchemy? How do we do that fractal, portal jumping? It's going back to myself, even just checking in, like do I feel good, is my whole self present in the conversation? Even thinking about Pam Tzeng, another person in our communities, thinking about choices. Choices feel connected to sacred somehow to me. If I'm in relation that means I choose it. The personal agency has meaning because I'm navigating that with others. That's the dance and the music of it all, of relating in a good way.

M- You’re making me think about one of my friends, Cowboy, he talks often about ghosts, and how people often become ghosts in response to colonialism, as a defense mechanism of having to move through the world in the way that it is. One thing he's talked about that stuck with me, is that the tactic of shaming didn’t exist in indigenous cultures pre colonialism. Like shaming others because of something, or as a tactic to do something or not to do something, or to agree with you, or not take action when something is wrong. I’ve experienced that too in workspaces or in the arts, the use of that shaming tactic via white supremacy. I feel this is also very related to permission and consent.

J - We’ve all got the download; you know how when you get a computer they just come with microsoft? You live in colonialism you just get downloaded christianity. All of us have a pretty passing understanding of basic christian tenants. Shame is very connected to permission; to taboo, to the idea that your body is not yours - you don’t make those choices. It took something that is inextricable from my guts and externalized it. But to then take that and extrapolate an  ideological framework and then transmit that through the violence of colonialism,  what you get is a whole society of people who are not connected to where the beauty of community lives, which is also in their bodies. The joy of community is also the joy of getting to be yourself. The joy of being in right relations is the joy of being in harmony, and the joy of allowing your best self to emerge. I really believe that. I want to revisit some old conversations with Cowboy now - ghosts is something I’m working through in my own practice as well. Same christian download of shame and the theft of body autonomy on a basic level. It's brought me to a place now where the ghost thing speaks to a lack of my own substance and presence in one universe and more the reality that as a person who shares these experiences with others, its multiple selves, multiple identities and multiple dimensions some of which are overlapping and some of which are not. When I feel ghostly, its really a description of whatever are the conditions of that universe in which I’m being perceived partially.

M - It's related to people not actually having an understanding of your full self - which, they maybe never can?

J -
They maybe never can, but whether they can intuit that or not, the conditions created by colonialism make it so that the material conditions of me being able to exist as my whole self are at stake and theirs are not if they’re privileged within that system and structure.

M - When you're in community the reality that we can’t fully understand each other almost isn’t a concern.

J - Right. It's not a concern because there's capacity and wisdom and experience and a community practice around conflict transformation. In our individualistic society we don't have that, where instead of working through differences we just build up cases against each other, and whoever loses is disposable.

It's at these moments where I become quiet - oh man! I guess what I’m trying to say is that relating in a good way in whatever scale that is connected to the real is already the magic happening. It's the goal and the outcome in itself. If we can live there and build out connections in that space - it's also where we feel the most resourced. It's also where we feel coregulated with other people, yeah, then we can make mistakes. Privileged artists, they don't worry about making mistakes. Across all these equity deserving communities that you and I intersect with, nobody ever feels like they can fuck up.

M - Even when it comes to specific cultural knowledge, like if you're making work to do with your culture - I’m even seeing white artists doing that now, which is fine and valid, but they don’t have the level of struggle. They don't have to think about or worry about self appropriation of culture. But almost every Indigenous artist I've talked to has worried, or thought about it at some point.

J - Because it's been stolen from them. The white folks don’t even know it's a thing. They imagine they inherited it. I would reframe that as their own erasure, not our lack (equity deserving, colonized folks, disabled, queer folks). We don’t have permission to be ourselves a lot of the time. Having permission to relate at that really basic level I feel like. Did I make a big jump there?

M - Part of that conversation was telepathic I think, but vibes were received. These kinds of conversations are so important, but you kinda come to the end of it and you’re almost more confused. Maybe not confused, but maybe you’re nourished but overwhelmed at the same time.

J - I feel that too. I think at this moment I’m nourished, but maybe what makes it feel more chaotic is the idea that I have to have language for this thing that is very deeply body felt.

M - These feelings are such deep body feelings, and it's so hard to translate them to words. I wish I could just interpretively dance them to you instead.

J - This is a limited discourse! Dance works too! There's also play, you know? If we could just relate in a good way all this stuff doesn't have the same stakes. But we keep trying to relate through broken harmful structures; some outcomes that we don’t want are going to keep happening. Why do we keep perpetuating that structure? Even that thing of “we gotta be vulnerable in order to…..” Instead of “we get to be vulnerable if we just give ourselves permission to do that right now?” I love that! It feels confusing too. It's naming the wholeness that's inscribed by the circle of your body.

M - That whole idea of vulnerability, I'm simultaneously on board and yet not on board at all. In that specific situation I am Schrodinger's cat.

J - it's all about boxes! It's literally about where you get to be. The boxes that are placed on us don't fit. When you place vulnerability in the permission space it's a sacred thing, but if you put it into the land of the stolen it becomes exploitative. All of the things we really value, when they are placed in community, relations, and things we really value it becomes a good thing. When it comes into the space of ownership - not everything should be owned. We’re owned by the land. Colonial culture is all about extraction and controlling.

M - Not to minimize this, the conversation, or any kind of theory, but on a visceral level, it's also not that complex! What if you just were nice to other people, and yourself?

J - Lets be specific! What it comes down to for me in my community practice which is anti-oppression in a lot of nonprofits; is grandma stuff. Have you eaten? Did you sleep enough? Little reads like you need to take a nap! Those are the things that are missing from our relational fabric, in oppressive cultures connected to patriarchy. Its that simple, its just figuring out how to be around each other.

M - We need to go back to kindergarten.

J - Yeah we didn't have that! Decolonial kindergarten. We were already being prepped for the meat factory.

Gendai CBA: Collective Bargaining Agency

October 18th, 2023
@ The New Gallery

208 Centre St SE
T2G 2B6 Calgary, AB

︎Please RSVP here by October 16.

There are limited spots total to participate in this workshop, if you sign up and realize later that you can't make it, please be mindful and email to give your spot up to someone else who may want to participate!

Join Gendai for a contracts workshop on Wednesday, October 18 from 1-4pm. Gendai is a collective based in Tkaronto/Toronto dedicated to envisioning a more equitable art sector through collective research with BIPOC artists and arts workers.

The workshop aims to reform contract language by starting with the material needs of freelance artists/arts workers. We will look at samples of employment or exhibition contracts issued by cultural institutions and critique them as a group. We encourage participants to bring a contract that they are currently struggling with and use our discussion as a leveraging tactic. Participants can also bring an older contract, as an example of what worked and what didn't. Please note that we will not have lawyers present at the workshop.

With your consent, discussions in the workshop will contribute towards materials for Gendai NDA, an online, crowd-sourced database of contracts commonly encountered by contemporary art practitioners. The project informally and anonymously utilizes collective bargaining power to encourage sector transparency and demand more equitable standards for labour conditions in the arts. A beta version of Gendai NDA will launch on The New Gallery's Mainframe platform in November.

For more information on Gendai’s work on contracts, check out their interview in the podcast The Transparency that Helps All of Us by Geneviève Wallen.

If you have any questions/concerns, please email


  • What kind of contracts can I bring?

    • Exhibiting artist contracts
    • Independent curator contracts
    • Arts writer contracts
    • Short term arts employment (internships, technicians etc.)
    • Long term arts employment

*** Tip: highlight any particular clauses that you wish you discuss

  • Can I share a contract and remain anonymous?

    • There are several ways to protect your identity:
      • Redact any sensitive information that you may not be comfortable sharing with a public audience
      • Create a new, temporary google account and send us your contract via our Google Form
      • Have a friend submit your contract on your behalf

About Gendai
Gendai (Marsya Maharani and Petrina Ng) is an art collective based in Tkaronto/Toronto dedicated to racialized artists as the next generation of cultural leaders, radical thinkers, and visionaries.

Throughout its twenty-year history, Gendai has supported experimental curatorial and organizational practices, whilst creating space for East Asian artists and artists of colour. As Gendai’s newest stewards, Marsya and Petrina are investing in the future of racialized arts leadership through collective research and practice. We began with Gendai MA MBA: Mastering the Art of Misguided Business Administration: a year-long capacity-development & network-building think tank between nine majority-BIPOC art collectives to critique and re-imagine institutional practices by centering values of collectivity, equity, and access. This developed into Gendai CO-OP: an ongoing research that responds to toxic labour conditions especially experienced by BIPOC arts workers at museums and art galleries. Using gossip as a methodology to trace the contours of institutional power, Gendai builds relationships with emerging and mid-career arts practitioners of colour to learn about current workplace dynamics in the sector. By offering peer mentorship and access to Gendai’s platform, resources, and network, they invite collaborators to support each other in pursuing non-institutional futures and imagine “off-ramps” from the linear expressway of traditional, capitalist, and institutional career progression in the arts. Gendai also participates in Guidance Council, a bi-monthly casual drop-in organized by Alexandra Hong and Peter Rahul for racialized arts workers to share stories and solicit advice from each other. Gendai has published their research in the Gossip issue of C Magazine, titled “We Should Talk: Obvious Truths About Working in the Arts.”

October 14, 2023


@ The New Gallery
208 Centre St SE
T2G 2B6 Calgary, AB

As a part of 家電是家人 (Machines to Love), Mantis 美 Mei will guide a Family Portraits Workshop featuring participants favourite home appliances. Mantis will be focusing on teachings from bell hook's book; "All About Love". Participants are asked to bring a home appliance to the workshop, something they use often and that is easy for them to transport.

There are 12 spots total to participate in this workshop, if you sign up and realize later that you can't make it, please be mindful and give your spot up to someone else who may want to participate!
Mantis 美 Mei Bio:
I am still little. So I play. Gift giving and hanging out and LOVINGG!!! is a part of my practice. Through my work, I ask you to consider laughing (hehe hahahaha) and smiling ( sometimes crying (wahhh wahhh) together as forms of community building.

Fun facts about me:
- I am super young and cute. And overall irresistible. And young.
- My favourite family guy quote "Love is like a fart. If you have to force it, it's probably crap."
- ^Just kidding. I've never watched family guy

Calgary Floods (2013):
Business as Usual

Brady Fullerton

October 4 - January 3, 2023

In June of 2013, Southern Alberta experienced one of the worst floods in its history. In Calgary, the Bow and Elbow rivers burst their banks and spilled into downtown just weeks before the Calgary Stampede. Following the flood, the response of the city and province became a rallying cry for a type of Albertan work ethic. “Hell or High Water,” the Calgary Stampede would declare as enormous forces gathered to ensure the Stampede could continue, that life could go on and that things could return to normal as quickly as possible.

However, this attitude glorified an Albertan “spirit” tied to an imagined cowboy identity, toxic masculinity, poor land stewardship, and racial injustices. Just like the flooding erased and redefined what Calgary’s downtown looked like for a short period, a rapid return to normalcy also masked numerous injustices and erased the possibility of considering the dangers of the status quo.

In their strange tranquillity, these images capture a space transformed, reclaimed by nature, and ripe with theoretical prospects left unrealized. On the tenth anniversary of the flooding of southern Alberta, I invite viewers to consider what possibilities the flood exposed and what injustices a return to normalcy quickly erased.

I invite the viewer to consider how these images create a dialogue around consumerism, capitalism, environmentalism, global warming and climate change, land stewardship, social and racial injustices, and the notion of what it means to be an Albertan.

Brady Fullerton is a neurodivergent academic and photographer whose photographic work raises philosophical questions regarding themes of isolation, mental health, addiction, and beauty through a visual exploration of the quotidian and mundane. Brady is a Ph.D. candidate in philosophy at the University of Guelph and has been an analogue photographer since 2005. He primarily works in a photographic documentary style, preferring the ways philosophical questions are raised in art over the ways they are raised in traditional philosophy. Brady Fullerton is an award-winning photographer whose work has been exhibited in two solo exhibitions, numerous group exhibitions, online, in print, and at philosophy conferences. His philosophical work has also been published and presented multiple times.

中文翻译 Chinese Translation ...

Archive / 2022

Main Space Exhibition /


‘Time of Acquiring Learning’

Julia Rose Sutherland

November 12th - December 23rd

Opening Reception /
Saturday November 12th, 7PM- 9PM

GINA’MATIMG ‘Time of Acquiring Learning’:
In Conversation with Julia Rose Sutherland

Listen on Youtube:
Jasmine Piper talks with Julia Rose Sutherland about Sutherland's exhibition, GINA’MATIMG ‘Time of Acquiring Learning’.

*Content Warning: Police Brutality, Self Harm, Bodily Harm, Missing Persons, Adult Language*

Julia Rose Sutherland's exhibition "GINA'MATIMG" is a contemporary collection of explorations subverted Gawiei's "quillwork" inspired by her heritage as a Mi'kmaq First Nations woman of Turtle Island. Gawiei is a process of embroidery/ embellishment with porcupine quills.

Sutherland is using this opportunity to start a dialogue about the representation of Indigenous craft, questioning the canon of westernized gallery practices, authority, and decolonization practices. This work and practice challenge power structures and systemic racism (which actively hinder and oppress minorities) and push for dismantling white supremacy through active conversation and dialogue.

This exhibition included one community quillwork workshop at The New Gallery site.

Documentation by Chelsea Yang Smith

Generous Pain, Denied Indulgence


Gaining knowledge is riddled with challenges and triumphs. The journey of doing so is abundant in opportunities to grapple with developing a new skill and confronting our insecurities as we face trial and error firsthand. It is in that experience of building our understanding, whilst coming to terms with the investment required to truly master its execution, that we are humbled and proud—of ourselves for what we have achieved, of those who came before who have taught us, and those who will come after who will learn.

That relationship with learning is further complicated when its preceded by barriers of trauma and genocide—when the people who would have shared their stories and abilities are denied the right to do so by violent force. When Indigenous communities on Turtle Island had the lands they cared for stolen, children abducted and murdered, and cultural practices banned, their colonizers intended to purge Indigenous peoples from history so settlers could determine the narrative’s retelling. And yet, Indigenous people persist.

Resilience is not an adequate word to describe confronting generations of harm, disputing a continued effort to historicize a living population, and criticizing the deeply held anti-Indigenous beliefs that run rampant in Canada. Resilience implies overcoming the hardships an unbiased universe proposes, rather than surviving a concerted effort to violate and destroy; both are admirable, but the latter is a necessity. Julia Rose Sutherland’s work is much more than resilient; it is haunting and beautiful, pointed and evocative, and encourages an appreciation for practices that are maintained rather than archived.

In her performance Gesipatl Iga’latl” (Pain and Release), porcupine quills pierce Sutherland’s flesh, rendering her body sacred and precious. She mirrors the beloved birchbark boxes that are delicately woven with quills by her Mi’kmaq community, honouring her people by using those same slender barbs against her skin and calling attention to the commodification of Indigenous bodies often denied dignity and life. Sutherland embodies a resonant autonomy because she is not an object for a glass case and her actions are not for you. They are a tribute and we are simply fortunate she has decided to share that moment with us.

In this, Sutherland compromises one of the foundations of colonialism. Rather than enabling the legacy of a white supremacist lens that would fetishize or exoticize her actions and maintain a hierarchy of power, she has repurposed the frame to reflect the strength of Indigenous peoples as they persevere and thrive. Simultaneously, Sutherland exposes the intimate ties between privilege and complacency as she bleeds to reconcile with Canada’s colonial history and honour her Mi’kmaq ancestors.

It is in Sutherland’s stoic gaze that we are denied any indulgence in her pain. Instead, we are asked to watch as Sutherland draws the explicit parallels between seeking colonially forbidden knowledge and the mutilation of her body, a spiritual gesture that is deeply tied to endurance and kinship in certain Indigenous ceremonies and does not abide by the comfort of an audience who may be unfamiliar with its significance.

In the end, Sutherland is generous with her rich metaphors and references, but it is up to us to learn from them. Her example provides insight into the terms we must embrace when addressing Canada’s colonial history that has largely been left to fester, and inspiration for the possibilities that lie ahead.

- Brandon Giessmann

Documentation by Chelsea Yang Smith

Julia Rose Sutherland (b.1991) is a Mi’kmaq (Metepenagiag Nation) / settler artist and educator (Assistant Professor at OCADU) based out of Tkaronto (Toronto, Canada). Sutherland’s interdisciplinary art practice employs photography, sculpture, textiles, and performance. She earned her MFA at the University at Buffalo (2019) and BFA in Craft and New Media at the Alberta University of the Arts (2013). She has recently shown work at  The Biennale d’art contemporain autochtone (BACA), Bemis Center of Contemporary Art (where she was also a summer 2021 Artist in Resident), the Mackenzie Art Gallery, K Art Gallery, WAAP Gallery, and 59 Rivoli Gallery in Paris, France. Sutherland is a recent recipient of the Canada Council for the Arts Creating Knowing Sharing award and the AFA Indigenous Individual Project grant.

Brandon Giessmann is a visual artist and writer who explores trauma, identity, and memory. He received his BFA from the Alberta University of the Arts in 2018 and his MFA at SUNY: University at Buffalo in New York in 2020. His interdisciplinary practice often uses performance, photography, and installation to bridge generational gaps in knowledge and experiences of the closet and genocide, consider the effects of the ongoing AIDS crisis, and reflect upon the role that institutions play in the conservation and presentation of queer histories.

中文翻译 Chinese Translation ...

Photograph by Megan Conley

Quillwork Workshop

When: November 4th 2022
Where: The New Gallery Upstairs Resource Centre (208 Centre St S, Calgary, AB T2G 2B6)

The New Gallery is thrilled to invite our community to join us for a quillwork on birch bark workshop with Julia Rose Sutherland, Saturday, November 5th, 2022, 11 AM to 2 PM.

Please join Artist Julia Rose Sutherland in an interactive workshop exploring the foundations of porcupine quillwork. This workshop will run for three hours and will cover how to clean and apply colour through natural dyes, basic quillwork applications, and stitches to create patterns and design motifs. Participants will be provided with birch bark and porcupine quills gifted by the Artist.

Please note that we are asking participants to wear masks for the safety of our community, artists and staff. The workshop will be held in TNG’s Resource Centre, which is not wheelchair accessible. There will be a 30 to 45 minute break during the workshop for lunch. Spaces are limited and registration is required. 

Julia Rose Sutherland is a Mi’kmaq (Metepenagiag Nation) / settler artist and educator (Assistant Professor at OCADU) based out of Tkaronto (Toronto, Canada). Sutherland’s interdisciplinary art practice employs photography, sculpture, textiles, and performance. She earned her MFA at the University at Buffalo (2019) and BFA in Craft and New Media at the Alberta University of the Arts (2013). She has exhibited nationally and internationally, recently showing work at the Bemis Center of Contemporary Art, the Mackenzie Art Gallery, K Art Gallery, WAAP Gallery, and 59 Rivoli Gallery in Paris, France. Sutherland is a recent recipient of the Canada Council for the Arts Creating Knowing Sharing award and the AFA Indigenous Individual Project grant.

The New Gallery Resource Center is located directly above The New Gallery Main Space. The entrance door is not automatic. There are 22 narrow stairs that lead into the Resource Center. The bathroom is gender-neutral, and multi-stall, but does not have a wheelchair-accessible stall. Some of our neighbours smoke cigarettes indoors, and the smell permeates into the Resource Center. We do allow service animals and pets to join us upstairs!


Cris Mora, Book Challenge, 2022. Image courtesy of the artist.

The New New Society: Ang Bagong Bagong Lipunan

Cris Mora

September 16 – October 29, 2022

Opening Reception: Friday, September 16th, 2022, 7PM - 9PM

Canada has long been a site of migration for Filipinos.  You will find Filipinos working across the country in every industry.  These Overseas Foreign Workers (OFWs) are separated from family for years while supporting dozens of people back in the Philippines.  Their remittances account for nearly 10% of the GDP of the Philippine economy in 2019. 

Sadly, OFWs are leaving for the same reasons today as the previous generations did decades earlier.  Those that left during the Marcos dictatorship of the seventies and eighties have seen the cycle of corruption, poverty and state sponsored violence repeat itself through successive administrations.  The process has come full circle with the election of Ferdinand “Bong Bong” Marcos Jr., the son of the late dictator, as the 17th President of the Philippines in 2022.  Thirty-six years after his father was ousted from power, the younger Marcos threatens to correct the wrongs of the history books that “are teaching the children lies.” 

This exhibition is an exploration of the fragility of history and the dangers that come when it is made malleable. Through video, photography and installation, Mora investigates how the situation got to this point and what it may mean for the future of the Philippines, as well as the impact on those who have been forced to leave. 

Cris Mora, Mirror Check (detail), 2022. Image courtesy of the artist.

Documentation by Danny Luong

Ang Bagong Bagong Lipunan
(The New New Society)
Exhibition Essay by Marc Chavez

The Nigerian novelist Chimamanda Ngozi Adichie spoke about “the danger of a single story” and the power to tell that story, to make it the definitive story of a people or country. There is no single story about the Philippines – no one story about the Marcos dictatorship or martial law. Instead, there are many stories that have been told and many that have been erased.

In Ang Bagong Bagong Lipunan (The New New Society), Cris Mora looks at how these stories are told, rewritten, forgotten, or discarded. Mora’s art and practice has been one of observation; an investigation of history uncovering the scale of power structures that underpin political, economic, and social issues in the Philippines. He conducts a census of who and what has been forgotten and we are given the role of historian and witness, navigating both the loss and preservation of collective memory.

The Marcos dictatorship and martial law were monumental events in Philippine history, a period that changed many lives. It shaped the futures of ordinary people, families, activists, journalists, and artists, and our responsibility today is to remember these stories refracted through the lens of history.

Maniwala (Belief)

In light of the “resurrection of the country’s most divisive political dynasty,” Mora’s exhibition explores the malleability and fragility of historical narrative by acts of censorship and disinformation. Through five new art works, Mora looks at the erasure and revision of history by those in power and the impact it has had on the Philippines. By asking us to confront those attempting to rewrite Filipino history, Mora challenges us to take our power back, to put into action our unwavering belief in the future of the Philippines as a democratic country and to tell a new story.
The New Society

In 1974, Ferdinand Marcos had a vision of a New Society in the Philippines, a “Bagong Lipunan,” where he would use the special powers given to him under martial law to usher in an era of reforms for the country.

One such reform was the 1974 Labor Code – the Marcos administration institutionalized cheap labor export creating measures that facilitated Overseas Filipino Workers (OFW). Today you will find Filipinos working in every industry in countries like Canada, the United States, and Great Britain. Whether they leave as OFWs or as immigrants, the desire to leave the Philippines is driven by the notion that better opportunities only exist outside of the country.  Mora’s own parents left for Canada in 1989 in search of a more secure future. Separated from their families for years, the Filipino diaspora supports millions of people back in the Philippines. Their remittances accounted for nearly 10 percent of the GDP of the Philippine economy in 2019. In 2021, the Bangko Sentral ng Pilipinas showed that cash remittances rose to $31 billion. This export of labor was a solution meant to improve the country’s employment and economic prospects, but in reality the unsustainable policy robs the Philippines’ of one of its most valuable resources – its people.

There are claims that Marcos’ administration was a so-called “Golden Age” for the Philippines, however data examined by the Martial Law Museum tells a different story. The realities of martial law not only saw increased poverty, decreasing wages, deforestation, and massive international debt, but it also meant silencing the free press, imprisonment of political adversaries, and suspension of the democratic process.

Now in 2022, disillusioned by the failure of successive administrations to tackle the legacies of the Marcos dictatorship like rampant poverty and political corruption, Ferdinand “Bong Bong” Marcos Jr., the son of the late dictator, has been elected with a majority of votes as the 17th President of the Philippines.


Bio /

Cris Mora is a Filipino-Canadian artist and cultural worker. He was born in Manila in 1984 and moved to Toronto at the age of four. Mora studied Visual Art and Economics at the University of Western Ontario in Canada. He works across disciplines and media to explore the relationship between politics, migration and identity. In addition to his art practice, Mora is also an experienced cultural worker. He has worked as an arts administrator in North America, Europe and Asia. He is currently the Public Art Coordinator at the City of Surrey, BC. Mora has exhibited in Canada, Singapore and the Philippines.

中文翻译 Chinese Translation...

Notes From an Artist-Run Archive

Online Archive Launch & Publication

The New Gallery (TNG) is thrilled to present our newest publication, “Notes From an Artist-Run Archive” written by Steph Weber: “From June until August, 2022, [Steph] was employed via a Canada Summer Jobs grant with the task of addressing TNG’s collection of unpublished archival material: a collection housed in various locations-- cataloged digitally, sorted into filing cabinets, and, in large part, haphazardly arranged in unlabelled cardboard boxes, relics of the multiple institutional relocations in TNG’s recent history.”

You can pick up a free copy of this publication at TNG during gallery hours, or through our publication mail out program, “You’ve Got Mail”

In addition to the launch of this publication, The New Gallery invites you to explore our newly published online archive. This online archive was organized and published by Steph Weber with help from our Mainframe Coordinator, Winona Julian. Our online archive features exhibitions, by artist name, year, and exhibition space all the way back to 1975. It also has a comprehensive guide on how to use TNG’s physical archives, which are open and available for public viewing. For more information, or to explore the archives, head to the link in the bio.  

Take a stroll down memory lane, or discover an artist you never knew before - Click the link below!

︎Online Archive︎




May 30 – September 15, 2022

Curated by The Shell Projects

In asinnajaq’s words, ummmmp is an attestation of love for Inuit come and gone and still with us. It is an acknowledgment of life, love, and loss.

asinnajaq’s practice is led by a care and generosity towards images. The work presented at TNG in Calgary’s east village speaks to a sister work presented simultaneously in the window space of *Queenspecific in Toronto’s Queen West neighborhood. In their kindred visuals, the two pieces share the desire of memorialisation critical in remembrance. The high visibility and simultaneous temporariness of both exhibition spaces are important aspects to reflect upon in relation to how they are deployed vis-a-vis the marginalized realities of the unhoused across the country and the related realities of gentrification, housing exploitation, and barely existing social infrastructures. asinnajaq’s work overlays these interlinked social realities with a politics of care characterized by the intimacy, openness, and celebration necessary to caring for community.

asinnajaq is the daughter of Carol Rowan and Jobie Weetaluktuk. She is an urban Inuk from Inukjuak, Nunavik and lives in Tiohtià:ke (Montreal). asinnajaq’s art practice spans many mediums from film to performance video, to curation and much in between. She co-created Tilliraniit, a three day festival celebrating Inuit art and artists. asinnajaq wrote and directed Three Thousand (2017) a short sci-fi documentary. She co-curated Isuma’s show in the ‘Canadian’ pavilion at the 58th Venice Biennale. She was long listed for the 2020 Sobey Art Award. She co-curated the inaugural exhibition INUA at the Qaumajuq. Asinnajaq’s work has been exhibited at art galleries and film festivals around the world.

The Shell Projects is a collaborative curatorial collective led by Maegan Broadhurst and Barbora Racevičiūtė. Initiated in 2017, shell showcases contemporary multi-media artistic practices. It focuses on cultivating relationships between emerging and mid-career practitioners, fostering dialogue between non-traditional art exhibition spaces, and in connecting locally-situated cultural discourses to international contemporary art movements.

Archive / 2021

Morris Lum, documentation of Friends of Chinatown Toronto’s development sign

Whose Chinatown?

A Virtual Conference

APRIL 10 – 11, 2021 | LIVE OVER ZOOM


DAY 1:
DAY 2:

Download the virtual conference brochure here.

Whose Chinatown: A virtual conference brings together a weekend of collaborative panels and talks facilitated live over zoom, brought to you by Griffin Art Projects, Centre A, The New Gallery and the Asian Canadian Writer’s Workshop with collaborative support from Tea Base, aiya哎呀 and Youth Collaborative for Chinatown. Join us for a weekend of conversation, connection, and solidarity as we celebrate Chinatowns across the country and engage with topics that range from cultural heritage and revitalization to gentrification, economy and the changes that have swept across Canada’s Chinatowns due to development and population, prior to and post-COVID.



Join us as we kick off our virtual weekend with a warm welcome and introductory remarks from the team! Join Griffin Art Projects’ Director Lisa Baldissera and guest curator Karen Tam, The New Gallery’s Director Su Ying Strang, Centre A’s Interim Executive Director and Curator, Henry Heng Lu and the Asian Canadian Writers Workshop’s Executive Director Allan Cho, to learn more about the vibrant institutions they lead and their hopes and goals for this virtual weekend together.


Centre A’s curator and Interim Executive Director Henry Heng Lu will be in conversation with Toronto-based artist Will Kwan about his exhibition Exclusion Acts at Centre A. This exhibition brings together a number of new photo, text, and media-based works that take an unflinching look at the systemic and absurd ways that economic ideology shapes social relations and beliefs. The works examine a range of conditions, from the racialization of low wage and precarious labour, to the financialization of housing by private equity, to the fanatical neoliberal rhetoric used to support the supremacy of the economy. Seen in the context of the coronavirus pandemic, the works in the exhibition portray not an inflection point, but systems and minds trapped in a recursive state—inertia, entrenchment, business as usual. This virtual conversation will discuss different manifestations of inequality explored in the exhibition.

Presented by Centre A: Vancouver International Centre for Contemporary Asian Art



The artist and poet Jim Wong-Chu once remarked that Chinatown is all in our imaginations, for each generation who has lived or interacted there remembered it differently or had different experiences according to their place in time. What first began as a ghettoized space by colonialists used to contain and segregate a predominantly displaced Chinese male bachelor society from the rest of society, Vancouver’s Chinatown has hardened to survive major threats to its existence —race riots, the TransCanada highway, and gentrification— and has now become a contested space between real estate developers, small businesses, and those who reside there. As Chinatown is very much a cultural and historic relic of Canada, the city of Vancouver and the province of British Columbia have pushed to have Chinatown designated as a UNESCO World Heritage site, the future of Chinatown is uncertain in the midst of a global pandemic. Join us as our four speakers whose roots and history with Chinatown discuss and share their memories, experiences, and thoughts about the future of Vancouver Chinatown.

Presented by the Asian Canadian writers workshop

6:45 – 7:30 PM MST | CHAT & CHEWS

Join us as we raise a virtual glass in cheers of community, conviviality and great conversation! We’ll be capping off each day with an informal mingling session during which participants will have the opportunity to meet and chat about some of themes and ideas of the day. Zoom links for each mingling session will be sent upon registration.




Join us for a panel that addresses the changes that have swept across Chinatowns throughout Canada and beyond due to gentrification, development, and population, prior to and post-COVID. Panelists will consider the anti-racism that has surged during the pandemic, and what can and should be done about it. This panel is planned on the occasion of the presentation of Whose Chinatown? Examining Chinatown Gazes in Art, Archives, and Collections from January 9 – May 2, 2021, a vibrant exhibition curated by Karen Tam that brings together an art history of Chinatowns and their communities by historical and contemporary Canadian artists.

Presented by griffin art projects



Join us for a discussion featuring Calgary Chinatown Artists-in-Residence, Teresa Tam (Calgary, AB), Annie Wong (Toronto, ON), and Cheryl Wing-Zi Wong (New York, NY), moderated by Su Ying Strang, Director of The New Gallery. The artists will share their ongoing research and work specific to Calgary Chinatown, and how Chinatowns inform their respective practices and/or lives. This residency, organized by The City of Calgary Public Art Program and The New Gallery, is an opportunity for these artists to connect with stakeholders in Calgary Chinatown, and to learn about the community’s past, present, and possible futures. The residency also takes place during a time when The City is undergoing consultation and planning for the future of Calgary Chinatown. The overlapping timelines of these projects poses the question: how does artistic research support engagement and advocate for communities?

Presented by The New Gallery

5:30 – 6:15 PM MST | CHATS & CHEWS

Join us as we raise a virtual glass in cheers of community, conviviality and great conversation! We’ll be capping off each day with an informal mingling session during which participants will have the opportunity to meet and chat about some of themes, topics and ideas of the day. Sessions will be lightly moderated by conference Partners and Collaborative Supporters. Zoom links for each mingling session will be sent to participants upon registration.

Please download the Conference Brochure for a full list of participant bios, restaurant recommendations and information about our collaborative supporters!


Syrus Marcus Ware – I am because you are. Image courtesy of the artist.

I am because you are

Syrus Marcus Ware

November 17–December 18, 2021

Exhibition Description /

I am because you are explores the presence of Black and East Asian communities in Alberta—and features images of Black and East Asian Albertans moving together, supporting each other, and dancing across the wall. The wall work offers a chance to consider the ways that Black and East Asian communities can be in solidarity with each other and support each other. Images of artists, activists and friends of The New Gallery are repeated across the wallpaper—making an alternative environment wherein freedom is everywhere and wherein we recognize that we need each other—that we are because of each other.

Biography /

Syrus Marcus Ware is a Vanier Scholar, a visual artist, community activist, researcher, youth-advocate and educator. For 12 years, he was the Coordinator of the Art Gallery of Ontario Youth Program. Syrus is currently a facilitator/designer for the Cultural Leaders Lab (Toronto Arts Council & The Banff Centre). He is the inaugural artist-in-residence for Daniels Spectrum (2016/2017). Syrus is also a core-team member of Black Lives Matter Toronto.

As a visual artist, Syrus works within the mediums of painting, installation and performance to challenge systemic oppression.  Syrus’ work explores the spaces between and around identities; acting as provocations to our understandings of gender, sexuality and race.   His work has been exhibited at the Toronto Biennial of Art (2019), the Art Gallery of Ontario, the Art Gallery of Windsor, the University of Lethbridge Art Gallery, Art Gallery of York University (AGYU), Gladstone Hotel, ASpace Gallery, Harbourfront Centre, SPIN Gallery and other galleries across Canada.  His work has been reproduced in FUSE Magazine, The Globe and Mail, THIS Magazine, and Blackness and Sexualities, amongst others. His work has also been included in several academic journals including Small Axe and Women and Environment International.

You can read Syrus’ full biography here.


Pulling Back the Paper

Curated by Su Ying Strang with essential contributions by Curatorial
Assistant Steph Weber and Translator Christina Dongqi Yao

September 25 — October 23, 2021

Exhibition Description /

Pulling Back the Paper is an archival exhibition and research lab that gathers and shares the expansive histories of two intersecting communities from The New Gallery’s past and present— the Calgary faction of the Minquon Panchayat and Calgary Chinatown. This interactive project invites community members to help build out the organization’s archival materials related to these histories, addressing gaps found within the “official” institutional record.


Curatorial Text /

In 2013, while The New Gallery’s staff and Board of Directors were on the search for a new home for the organization, we found ourselves carefully shuffling down a set of wooden stairs into a dim basement, finally landing on a dirt floor covered in plywood. The tallest among us had to crouch beneath low ceilings replete with wooden beams supporting the floors above; as our eyes gradually adjusted to the low-lighting, we found ourselves amid countless silhouettes that slowly revealed themselves to be piles of videocassettes, old books, and other random peculiarities such as styrofoam seagulls. “Woah,” someone said, as we ascended the stairs to debrief.

The material evidence of the many histories of Unit 208—The New Gallery’s present home—would come to define our initial visit, and inform our ongoing tenancy within the Canton Block of Calgary Chinatown. A few weeks after this visit was the devastating flood of 2013, an event which critically impacted thousands of people, damaging or outright destroying countless homes and institutions across Mohkinstsis/Calgary. The flood was particularly destructive in the community of Calgary Chinatown, which sits right along the edge of the Bow River and is home to many aging buildings—several of which have units below grade. This significant event came in the midst of The New Gallery’s negotiations with our landlord, whose insurance company cleared out Unit 208’s basement following the flood, including all those floor-to-ceiling remnants from tenants past. Everything we saw during our initial visit was thrown out prior to our move-in that July. We returned to that emptied space, disappointed at both the material loss and at what felt like the loss of the space’s context. The basement had little immediate interest now, stripped of its more obvious history.

Some time after—days, weeks, or months—some old layers of wallpaper peeling back from one of the wooden support beams downstairs caught my eye. Tucked behind this worn membrane was a small sheet of cut stationery: on one side, a drawing proclaiming, “Dad the GREAT!” alongside a portrait of Dad, and on the other, the letterhead for “Eastwest Publishing Company,” sharing our address, “208 Centre Street S.E.” The drawing, later identified as belonging to the Wong family, offered a glimpse into one of the stories and lives that this space has held. I carefully placed the drawing back in its home, considering it a good omen to have with us, gently informing the work at The New Gallery upstairs.

The move to Calgary Chinatown changed The New Gallery, and it also changed me. Upon being steeped in this neighborhood, with its deep connections to Chinese culture and community, I began to unpack my own identity and relationship to being a mixed-race Chinese American settler. While my mother, of Chinese descent by way of Malaysia, did her best to connect my siblings and I with our traditions and culture, the forces of assimilation that permeated the mostly white suburbs we grew up in dampened many of her efforts; instead I succumbed to the homogenizing effects of my surrounding community. Any strong desire for a connection to my own cultural background remained dormant until I found myself spending most of my days firmly couched in a large community of other Chinese folks through my work at The New Gallery within Calgary Chinatown. Despite not having any family lineage in this particular place, I found a warm, open community that has helped me connect to, and build a better understanding of, my own cultural heritage and family.

I would revisit the found drawing several times throughout my tenure at The New Gallery. Each time, that fragment of stationery offered a moment of joy and curiosity about the previous identities of this space and the people within. This small artifact would be the point of departure for Pulling Back the Paper, with my curiosity shifting into a responsibility to know more about and acknowledge those who had come before and contributed to Calgary Chinatown while inhabiting this space. The histories of Units 208 and 208B 1 are conjured through the creation of a timeline of past organizations that have been listed as tenants of these units from 1911 to present day. Records also cite lodgers at “208 Centre St.” sporadically between 1911 and 1955. This documentation provides some additional insight, including the types of organizations, census data for individuals, and the occasional headline of “newsworthy” events. However, these resources flatten the community’s narratives to what fits within these limited information-collecting frameworks and often privilege a singular voice, leaving little space to account for the expansive histories that have occurred. It struck me that the vibrancy of the community I had gotten to know over the past several years—the richness evident in the found drawing—was missing from these historical records.

This growth and learning occurred alongside my ongoing work to understand and reckon with the settler-colonial dynamics implicit in working in Calgary Chinatown, which is located on Treaty 7 Territory. This land holds the living cultures and histories of the Blackfoot Confederacy (Kainai, Piikani and Siksika First Nations), the Stoney Nakoda (Chiniki, Bearspaw, and Wesley First Nations), the Tsuu T’ina First Nation, and the Métis Nation of Alberta Region III—among countless other contributions from First Nations, Métis and Inuit who have travelled through and gathered on this land. When learning about and acknowledging the histories of Calgary Chinatown, one must also ask, what historical and contemporary intersections exist between this community and the Indigenous peoples of this region?

In 2019, we invited artist Annie Wong to take part in the Calgary Chinatown Artist Residency. One of her resulting projects, Braids in the Front / Braids in the Back speaks to early Chinese settler and Indigenous community-building, and was conceptualized after Wong met Blackfoot Elder Sheldon First Rider through the residency. That first meeting was in Unit 208B, our Resource Centre, where so much of The New Gallery’s history is kept; this is where Elder Sheldon shared many of his stories and teachings, and where a new relationship with Wong led to the creation of this artwork. The connection between Indigenous and Chinese communities demonstrated through this artwork not only reveals an important history—it also points to a necessary future of collaboration and coalition building.

It wasn’t until after working in Calgary Chinatown for a few years that I recognized I could exhale—a much-needed relief resulting from being connected to and constantly within a large racialized community. It was this breath that motivated me to want a better understanding of the histories and labour of racialized folks in the communities I am part of. I was curious not only about the people who had made their lives in Calgary Chinatown before me, but also about the contributors to artist-run culture, in particular that of The New Gallery. An opaque sentence in our official history2 mentions that The New Gallery had worked with a group called the Minquon Panchayat, which I later learned translated to Rainbow Council.3 I rooted around in The New Gallery’s archives, wanting to know more about this group, but I found that our documentation surrounding the Minquon Panchayat was inconsistent and scattered, with no clear narrative outlining their integral contributions specific to The New Gallery. An essay by Tomas Jonsson in Silver: 25 Years of Artist-run Culture spoke about this relationship in a little more detail, as did Clive Robertson’s Policy Matters: Administrations of Art and Culture. While grateful for these references, I couldn’t help but wonder where the accounts were from those who were directly involved in this partnership between The New Gallery and the Minquon Panchayat.

The Minquon Panchayat was a coalition of racialized artists that formed in 1992 at the Association of National Non-Profit Artists Centres (ANNPAC) / Regroupement D’Artistes Des Centres Alternatifs (RACA) Annual General Meeting and conference in Moncton, NB. Artist and activist Lillian Allen was invited to give a keynote address that year, during which she made the call to action for ANNPAC/RACA to grow its membership to include 40% racialized members in response to the Annual General Meeting’s “dismally low presence of First Nations and peoples of Colour participants.”4 Allen’s leadership moved the conversation about racial equity in artist-run centres leaps and bounds forward, resulting in the immediate formation of the Minquon Panchayat. Over the course of the next year, the Minquon Panchayat worked ardently toward creating a path to racial equity in artist-run centres—the first of a two-year commitment from ANNPAC/RACA—which culminated in the 1993 artist-run gathering, It’s a Cultural Thing organized by Cheryl L’Hirondelle5, and ANNPAC/RACA’s ensuing Annual General Meeting.6

This national movement, and the then-forthcoming 1993 gathering, spurred the creation of a local faction of the Minquon Panchayat in Mohkinstsis/Calgary, which connected racialized artists across the local community. Members from this local faction were invited to select artists for the 1994-95 programming year at The New Gallery. Several members, including Faith Adams, Steve Nunoda, Kevin Walkes, and Kira Wu, served on that year’s Programming Committee, while others, including Ashok Mathur, Darmody Mumford, Steve Nunoda7, and Aruna Srivastava served on The New Gallery’s Board of Directors. Michael Mayes, another member of the 1994 Programming Committee, was not directly involved with the Minquon Panchayat, but shared their goals of racial equity, as evidenced through his programming selections.8

As I learned about this history of the Minquon Panchayat and Units 208 and 208B, parallels began to take shape. I started to notice how often the lives and labour of racialized communities are difficult to access in archives or are undocumented altogether. The New Gallery’s artist files include correspondence that is occasionally signed by or addressed to specific members of the 1994 Programming Committee—this happened primarily during the initial invitation to programmed artists. In a few cases, Programming Committee members are referred to as exhibition facilitators or as the curators of their programming selections, and files contain curatorial statements or mention the committee member within the press release. However, the Minquon Panchayat and the specific context of that year’s Programming Committee are rarely mentioned, with the exceptions of: a letter from Kira Wu describing the make-up of the committee to one of her programmed artists, a letter from Henry Tsang citing “the new and improved Programming Committee agenda,” and a final piece of correspondence from Thomas Heyd addressed to Steve Nunoda of the “Panchayat Programming Committee.” Lastly, a newsletter from Latitude 53, several copies of which were tucked into the artist file for Survivals: Cultures & Contexts,9 has a column contributed by the Calgary faction of the Minquon Panchayat. The column outlined the collective’s purpose, encouraged new members to join, and promoted their collective’s upcoming exhibition, DOORS, at TRUCK Gallery.10 Archived city directories and the City of Calgary’s records of Units 208 and 208B—like The New Gallery’s archival records of the Minquon Panchayat—imperfectly recall the history of these units in the Canton Block. Tenants and owners of Units 208 and 208B are listed inconsistently, occasionally misspelled, the dates of many of their tenures unclear, and the units themselves appear under many guises—sometimes labelled 206 and occasionally including a Unit A or a Unit C.

Returning to Annie Wong’s Braids in the Front / Braids in the Back, an important history is elicited: first shared orally with the artists-in-residence by Elder Sheldon First Rider, the kinship between local Indigenous communities and early Chinese settlers is indicated through the phrases cited in the work’s title, which shares the monikers that these communities used to refer to one another.11 The obscurity of this history is another example of how settler-colonialism, in tandem with white supremacy, has actively suppressed the histories and contributions of countless communities—a violence that continues today. The narratives that have surfaced while developing Pulling Back the Paper begin to illustrate the numerous voices that get left out of institutional records, and the processes of how they are excluded. How can we insert multiple perspectives and communities in the narratives shaping our histories? The unacknowledged labour and direct accounts from racialized peoples—in this particular case, the intersecting communities of Calgary Chinatown and the Calgary faction of the Minquon Panchayat within the context of Treaty 7 Territory—is at the centre of this archival exhibition and research lab.

The obfuscation of these distinct yet intersecting histories—whether intended or not—amounts to the erasure of the significant contributions and happenings led by racialized people and their movements. This exhibition, in response, problematizes the official archive and record by exposing its deficiencies, biases, and its violent erasures. Our communities’ histories must not privilege a single author, and instead, must make space for simultaneous truths and perspectives to be captured. In that spirit, Pulling Back the Paper is intentionally a research lab, and I invite community members to add to and annotate these parallel histories with their truths. Please share your additions, amendments, and related perspectives during this project, including within this curatorial text. Throughout the exhibition run there will be a live link to a Google Doc with editing and commenting capabilities. I welcome respectful additions to this text, which will be added to The New Gallery’s archive of this event.12 Collaborative in spirit, this project aims to rebuild our histories collectively, and to know and share all that makes up our pasts—even that which sometimes resides behind a layer of wallpaper but none-the-less persists now and into the future.

This project would not have been possible without the time, support, and knowledge of so many generous friends and colleagues. My deepest thanks to Lillian Allen, Natasha Chaykowski, Lynne Fernie, Sheldon First Rider, Tomas Jonsson, Alice Lam, Cheryl L’Hirondelle, Ashok Mathur, Michael Mayes, Victoria McInnis, Nate McLeod, Evan Neilsen, Cassandra Paul, Aruna Srivastava, Zool Suleman, Sandra Vida, Kevin Walkes, Steph Weber, Annie Wong, Paul Wong, Kira Wu, Christina Dongqi Yao, and Yolkless Press (Areum Kim & Teresa Tam). I’d also like to express my gratitude to the community of Calgary Chinatown, the Minquon Panchayat, and the past and present contributors to The New Gallery.

—Su Ying Strang


TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), Tsuu T’ina First Nation, and Métis Nation of Alberta Region III. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.

  1. In 2018 The New Gallery moved the Resource Centre into Unit 208B, which is located directly above the Main Space in Unit 208.
  2. “In 1992 The New Gallery partnered with Minquon Panchayat, a national coalition supporting artists of colour, to raise awareness around issues of race and gender, and to actively address these issues in the context of regular The New Gallery programming.” For the full text, visit:
  3. The program guide for It’s A Cultural Thing explains that “Minquon” is the Maliseet word for “Rainbow” and that “Panchayat” is Hindi for “Council.” p. 9
  4. For additional information about the formation of the Minquon Panchayat and the objectives of the movement, see Lillian Allen’s ”Transforming the Cultural Fortress: Imagining Cultural Equity,” Parallélogramme, vol. 19, no. 3, p. 54
  5. Cheryl L’Hirondelle was the Minquon Panchayat’s Animation Coordinator who organized the celebrated landmark event, It’s a Cultural Thing, which took place in the Calgary Chinese Cultural Centre. Cheryl also served on The New Gallery’s Board of Directors in 1993, and was the Programming Coordinator at TRUCK from 1991-93.
  6. The 1993 ANNPAC/RACA AGM was an attempt to achieve Lillian Allen’s call to action to reach 40% racialized membership—the result of a year of planning and labour by the Minquon Panchayat. New racialized representatives showed up and were ready to join the organization, but when it came time to vote, they were presented with several barriers to joining by existing members. This break in trust by ANNPAC/RACA members resulted in the Minquon Panchayat walking out of the AGM, and the initiative crumbling. Several existing ANNPAC/RACA members resigned in solidarity with the Minquon Panchayat, leading to the eventual dissolution of ANNPAC/RACA. For more information about this significant event in artist-run history, read the 1993 issue of Parallélogramme vol. 19, no. 3., “Anti-Racism in the Arts.”
  7. Steve Nunoda is listed on p. 97 in the Silver catalogue as a Board Member as well as a member of the Programming Committee in 1994.
  8. Individual names are listed on p. 97 of the Silver catalogue, but are not cited as members of the Minquon Panchayat. Membership to the Minquon Panchayat was confirmed through personal interviews with Kevin Walkes, Kira Wu, Ashok Mathur, Michael Mayes, Aruna Srivastava in August 2021.
  9. The newsletter was likely included in this artist file as it had information about a Latitude 53 exhibition by Teresa Marshall, one of the artists included in the Survivals: Cultures & Contexts exhibition at The New Gallery. Coincidentally, this newsletter also included information about an exhibition by Kent Monkman, who was programmed at The New Gallery during the 1994-95 programming year by committee member Michael Mayes.
  10. TRUCK Gallery is now called TRUCK Contemporary Art.
  11. For a full project description and image of the work, visit:
  12. If you’d like to be credited for your contributions, please sign in to your Google Account when editing, or comment on your additions with your name. All other contributions will be cited as “anonymous.”


Annie Wong – Braids in the Front, Braids in the Back, 2021.

Braids in the Front, Braids in the Back

Annie Wong

September 3–November 30, 2021

Exhibition Description /

“Braids in the front, braids in the back” is an alias once used between the Chinese and Indigenous communities in their respective languages to refer to each other. The term came to use during the early periods of Chinese settlement on Treaty 7 territory when the two communities were in proximity along the Bow River. “Braids in the front” refers to the double braids worn by Indigenous people. “Braids in the back” refers to the single braid, or Qing queue, worn by the Chinese men. Modelled after Chinatown storefront signs, Braids in the Front / Braids in the Back recalls an obscured history of mutual aid and kinship between the two communities. 

The Blackfoot translation is by Sheldon First Rider. The Chinese translation is by Christina Yao. Braids in the Front, Braids in the Back was curated by Su Ying Strang in conjunction with the Main Space project, Pulling Back the Paper.

Biography /

Annie Wong is a multidisciplinary artist, writer, and community organizer based in Tkaronto, Treaty 13 Territory.

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.


‘P’ from The Yellow Pages (set of 26 images), Ho Tam, 2021. Image courtesy of the artist.

The Yellow Pages

Ho Tam

August 9–September 4, 2021

Exhibition Description /

The Yellow Pages
looks at the relationship between image and text in a playful and satirical manner. Divided into 26 chapters and arranged from A to Z, the work roams through the past and present of the pan-Asian experience within North America and beyond. The series covers many topics from whitening beauty products, internment camps, and transgender performers, to the democratic movement in Hong Kong. Simple yet complex, The Yellow Pages seeks to compel viewers in multiple ways, never allowing for one single reading.

Biography /

Ho Tam was born in Hong Kong, educated in Canada and the U.S. and worked in advertising and community psychiatric care before turning to art. He practices in multiple disciplines including photography, video, painting, and print media. Tam has made over 20 experimental videos and films. His work has been exhibited internationally, including the traveling exhibition Magnetic North: Canadian Experimental Video organized by Walker Art Center (Minneapolis, US). His feature documentary film Books of James was awarded Outstanding Artistic Achievement by Outfest, and Best Feature Documentary by the 2008 Tel Aviv International LGBT Film Festival. From 2004 to 2010, he also taught full time at the University of Victoria, BC. Since the 2010s, Tam has been focusing on independent publishing of artist books and zines, and currently he manages a bookshop/gallery in Vancouver, BC.

Territorial Acknowledgments /

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.

Archive / 2020


Milton Lim – whitepages.


Milton Lim

November 7–December 19, 2020

Exhibition Description /

whitepages is an object-oriented multimedia installation examining the phonebook as a living archive of human migration. Consisting of projected datasets, generative sound, twelve phonebooks arranged as a telephone keypad, and an overhead camera sensor, whitepages creates a space to consider the extended relationships of names, phone numbers, and addresses across time.

Using common Chinese surnames to create a sampling frame, the phonebook becomes a time capsule of conditions preceding contemporary concerns of Vancouver’s housing market crisis and Richmond’s racialized linguistic policies. It traces the distinct waves of Chinese immigration to Canada over the last century; journeys resulting from the promise of gold, new employment opportunities, many significant political shifts overseas, and more recently, the now-defunct Immigrant Investor Program (IIP) which, from 1986-2014, rapidly transformed the racial demographics of British Columbia.

Telephone directories retain information about who was permitted to own land, who was recognized as a citizen by the government, and where enclaves developed. They even document the exclusion of Chinese names from BC phonebooks in the early 1900’s, which in turn, gave rise to the Chinese Publicity Bureau (Vancouver) publishing their first separate Chinese-Canadian phonebook in 1935.

whitepages, like the technologies it references and is built upon, interfaces past contexts via present conditions. Today, the decline of these hardcopy directories gestures towards our changing relationship to our contact details as we continue transacting public ‘information’ into the currency of public ‘data’. Access to digital material is immediate, direct, and efficient. On the other hand, the phonebook offers an alternative perspective, one that holds the complexities and weight of the decisions that brought us here.

Exhibition Text /

“The telephone was already thought, correctly, to be responsible for rapid industrial progress. … The areas depending on ‘instantaneous communication across space’ were listed by the United States Commerce Department in 1907: ‘agriculture, mining, manufacturing, transportation, and in fact, all the various branches of production and distribution of natural and artificial resources.’ … In other words, every cog in the engine of the economy” (Gleick, 2011, p. 191-192).

In this brief paragraph, historian James Gleick (2011) recounts the pivotal role telephony played not just within the history of the telecommunication industry, but also in all other facets of the socio-economic landscape in the early twentieth century. Against this backdrop of unprecedented industrial growth in North America, immigration formed another facet of this landscape, an indispensable but often marginalized part of this growth. Considering that a significant part of the Chinese population in Vancouver at the time was employed by the railroad industry, one could propose a link between the proliferation of telephony with immigration and industrialization, a link that can be read through the records of phonebooks. Coincidentally, 1907 was also the year the Asiatic Exclusion League organized the parade that led to the three-day riot in Vancouver’s Chinatown and Japantown. The delicate relationship and socio-political entanglement between notions of race, immigration, telecommunications, industrialization, and the cataloguing of human populations are all encapsulated in Milton Lim’s interactive media installation, whitepages, activated through participants’ interactions with the phonebooks on display.

“Telephone books soon represented the most comprehensive listings of, and directories to, human populations ever attempted” (Gleick, 2011, p. 194). Seen in this light, telephone books are arguably the precursors of the ubiquitous algorithmic surveillance and ever-expanding databases of the human (and non-human) today. There is a strong link between traditional classification systems of knowledge and commercial search engines, a link that emphasizes how classification systems—or a seemingly benign list of people—are largely determined by existing power structures (Noble, 2018). Arguably, the phonebook and its classificatory structure would be no different. Embedded within them are the politicized processes of information creation, dissemination, and retrieval, having been designed and deployed by the dominant political forces.

To investigate the socio-political landscape of Vancouver in the 1900’s and the place of Chinese-Canadian residents in BC, Lim looked into the existing phonebooks of the era. It was thought that each phonebook would act as a historical record of the respective Chinese-Canadian population at a given point in time, giving the artist a sense of the population’s size, how this size changed over the years, and most importantly, functioning as a conduit to the lives lived (or not). Upon investigation, and perhaps unsurprisingly, the BC/Vancouver phonebooks in the early 1900’s skipped the Chinese residents and businesses. In the 1900 BC directory specifically, sandwiched between the Chilean Consulate and Chipman, is a note that says, ‘Chinese Directory, see at end of the Vancouver.’ The Chinese-Canadians were segregated. According to the records, this segregation began in 1882 (with 45 entries listed, and 3 years before the Chinese head tax was introduced in 1885), first with the Victoria directory then the Vancouver directory, and lasted until 1923 with Henderson’s Greater Vancouver Directory (also the year that the Chinese Exclusion Act was introduced). The phonebook, arguably the search engine of the time and much like the search engines of today, is marked by decisions that enact, enable, and sustain specific social relations.

In addition to the BC directories, a curious artifact turned up: a Chinese-Canadian phonebook, separate from the conventional phonebook. The Vancouver Chinese Telephone Directory and Chinatown News have been in publication since 1935. Read in conjunction with the inconsistent inclusion and systematic segregation of Chinese-Canadian residents and businesses in the BC directories, the Chinese Telephone Directory adds to the complex relationship between information, policy, and the building of communities.

Technological artifacts embody the social, cultural, material, and economic conditions of their development as well as operations, and are therefore inevitably political (Winner, 1980). In whitepages, the assemblage of interactive digital media enables an engagement between the participants and the phonebook interface. The indexical quality of the phonebooks, a record and catalogue of the human lives of a certain historical period, is then activated by participants’ physical presence in relation to the twelve ‘touchpads’ of the interface, producing a number of distinct sound and projection states. The phonebook is then reframed in different forms, as conventional data, but also as geography, as time, as a set of policies, as statistics, and as the human lives that were lived, among others, exemplifying the phonebook’s position within the larger political landscape where it is situated. Entangled with socio-political and cultural-economic elements beyond the telecom context, the phonebook becomes the nexus through which Lim examines and invites visitors to consider the histories of the Chinese diaspora as they unfolded in Vancouver in the early twentieth-century, and continue to do so today.

– Kevin Day


Milton Lim (he/him) is a media artist and performance creator based in Vancouver, Canada. His research-based practice utilizes publicly available data and interactive media to illustrate expressions of value, discourse, and labour within abstract frameworks of power and politics. Milton holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University.

His projects have been presented at the PuSh International Performing Arts Festival (Vancouver), the Vancouver Art Gallery, VIVO Media Arts Centre, CanAsian Dance Festival (Toronto), Carrefour international de théâtre festival (Quebec City), Seattle International Dance Festival, Risk/Reward Festival (Portland), artsdepot (London), soft/WALL/studs (Singapore), and Australia’s Darwin Festival, among others.

Milton is a Co-Artistic Director of Hong Kong Exile, Artistic Associate with Theatre Conspiracy, archivist with videocan, Digital Interaction Designer with The Cultch, and one of the co-creators behind culturecapital: the performing arts economy trading card game. He is currently an Artist-in-Residence with The Theatre Centre (Toronto).

Kevin Day’s practice and research, encompassing sound, video, text, graph, and media installations, examine digital media polemics such as algorithmic culture, digital epistemology, big data, mediation, immaterial labour, and information capitalism. Informed by philosophy of technology, media studies, and critical theory, his research articulates an urgency of questioning the ubiquitous logic of framing the world through information. Day was born in Taipei, Taiwan. He received his MFA and PhD from the University of British Columbia and is currently based in Vancouver. His work has been generously funded by the Canada Council for the Arts and the Social Science and Humanities Research Council of Canada (SSHRC).

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.


Gleick, J. (2011). The information: A history, a theory, a flood. New York, NY: Pantheon Books.

Noble, S. U. (2018). Algorithms of oppression. New York, NY: NYU Press.

Winner, L. (1980). Do artifacts have politics? Daedalus, 109(1), 121-136.

The artist would like to acknowledge the support of the British Columbia Arts Council.


Mat Glenn – Earn Your Stripes, 2020.

Earn Your Stripes

Mat Glenn

September 12–October 24, 2020

Exhibition Description /

Earn Your Stripes is an ongoing project by Mat Glenn investigating the visual language of human-nonhuman opposition in the natural landscape. Reified by the outdoor-equipment-industrial-complex, the market inspires humans to control and conquer landscapes using a specific material language of straps, nylon, taped seams, backpacks, synthetic down, Gore-Tex, and zippers. This exhibition re-appropriates these materials to destabilize the notion that human life-force is in opposition to nature. Through this series of sculptural works, life-force and nature are enmeshed into assemblages of synthetic and organic materials, which composes our experience in the exhibition.

Earn Your Stripes creates a space where life-matter and subject-object binaries are rendered obsolete. Hybrid moments appear in this obsolescence, with life and matter vibrating between human and nonhuman references. Hybridity celebrates the unlearning of human exceptionalism by showing us that life-force is not exclusive to human bodies. Instead, it exists within these assemblages of co-existing living and non-living forces. Something like an incorporeal web connecting us to our surroundings, the work suggests that our life-force only exists insofar as it happens in our relationships to things, living and non-living.
Each human is a heterogeneous compound of wonder-fully vibrant, dangerously vibrant, matter. If matter itself is lively, then not only is the difference between subjects and objects minimized, but the status of the shared materiality of all things is elevated.
Such a newfound attentiveness to matter and its powers will not solve the problem of human exploitation or oppression, but it can inspire a greater sense of the extent to which all bodies are kin in the sense of inextricably enmeshed in a dense network of relations. And in a knotted world of vibrant matter, to harm one section of the web may very well be to harm oneself. Such an enlightened or expanded notion of self-interest is good for humans. [1]

Earn Your Stripes is indebted to the writings of Jane Bennett, who created the conceptual space the artworks occupy, as well as the Syilx/Okanagan territory where Glenn’s understanding of the natural world was created.

[1] Bennett, Jane. “The Force of Things.” Essay. In Vibrant Matter: a Political Ecology of Things, 11–12. Durham, NC: Duke University Press, 2010.

Exhibition Text /

I’m told our age and expansion is a dense exhale. At some point soldered by a violent incandescence, then hot distention, and now atomies spattered with remnants of a crucial heavenly decay. Sometimes I can still taste the pennymetal in my mouth, living life as a residue extant rarity. But calcification is not causation, and we never earned our origin.

Versions of matter domination crumble when you realize what we see accounts for 4% of what there is. We respond to a horrific complexion by polishing our own; glinting human ascendance. As if a machinated lexicon and gore techs could choke meaning out of an impractical corporeity. As if wetware keeps us from being wet.

Yet our ultra instance, this slight articulation of carbon valency and other gossamer, has figured a lust cause to be or become. Trace senses waxing haptic for total material subordination— bending dust to subdue dust.

I like to think of a core domain that does not care to transcend. Without limit and without centre, it dislocates, disintegrates, then dissolves.

– Nivedita Iyer

Biographies /

Mat Glenn is a recent graduate from the University of British Columbia’s Bachelor of Fine Arts program with a major in Visual Arts and a minor in Art History. Glenn is an emerging artist working and living in the unceded Syilx/Okanagan region of British Columbia. Specializing in sculpture, installation, printmaking and digital media, his practice explores new-materialism and objecthood in the context of ecological thought. Glenn has curated exhibitions in the Okanagan including Chasten My Fantasies of Human Mastery at the Alternator Centre for Contemporary Art. This year he exhibited Fear Frequency at the Vernon Public Art Gallery, and the two-person exhibition Creative Growth Centre for Spiritual Nourishment at the Kelowna Art Gallery with Lucas Glenn.

Nivedita Iyer has an academic background in Communications, as well as a professional background in cultural media and writing. Her interests include reading in philosophy and physics, and playing music. In 2016, she co-founded Malform Press, an artist-run publishing platform and events initiative focused on interdisciplinary conversation within the arts. ⁠

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.


you stare, i stare

Eva Birhanu

August 8–September 5, 2020

Exhibition Description /

you stare, i stare is a show composed of three weavings that involve the viewer in communicating with the bodies embedded within these textiles. This conversation implicates the viewer in how they interact with Black women’s bodies– specifically their hair. Black women are objectified and exoticized for their features, which are used to Other them, alienating them within society. Microaggressive acts of touching, staring, and commenting on Black women’s hair succeed in forming a harmful clutch of power over these women. In hair weaving 2, the hair stands bodiless, creating tension between the viewer and the textile, speaking to the objectification of Black women in Western society. However, this power dynamic is interrupted and questioned by the implication of the effectual gaze coming back to the viewer in the two accompanied weavings– wear my hair and cake. Together, these weavings force the viewer to question the tokenization of Black women, while also allowing the bodies in these weavings to take back their power as Black women.

Online Program /

Artists in Conversation: Eva Birhanu & Khadijah Morley

Biographies /

Eva Birhanu is an interdisciplinary artist working in Calgary, Alberta, Treaty 7 Territory. Born in Canada to immigrant parents from Denmark and Ethiopia, she focuses on identity and race in her work. Eva mainly works in mediums of fibre and sculpture, autoethnographically exploring exoticism and objectification. Eva recently graduated with distinction from the Alberta University of the Arts with a BFA majoring in Fibre. In her time at AUArts, Eva was the coordinator and organizer of the Poly + Esther Gallery Wall. She was a recipient of the Louise McKinney Scholarship for academic achievement in 2019, a BMO 1st Art Competition Nominee, and was awarded the Fibre Major Innovative Development Award in 2020.

Khadijah Morley is an artist from Toronto, Ontario. She is currently enrolled at OCAD University for a BFA in Drawing and Painting, as well as a minor in Printmaking. She prioritizes the Black female gaze through an autobiographical lens. Her work attempts to deconstruct the colonial fallacy of what constitutes Black female identity within the canon of Eurocentric Western art.

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.

The online programming was generously funded by the Rozsa Foundation and the Calgary Foundation.


Future Perfect

Mia & Eric and Action Hero

August 1–October 31, 2020

Exhibition Description /

Future Perfect is a hopeful, positive act of re-configuration. City bylaws that regulate behaviours in civic spaces—in this case the 1986 Chinatown Area Redevelopment Plan—are cut up and rearranged, word by word, into new rules for a transitioning world. From the same set of words, a different set of imagined behaviours, interventions, and performances are made visible and new meanings/ideas emerge. As these new playful documents are created, an accidental poetry also emerges. From this new poetic script, selected phrases act as meditations, instructions, or manifestos. These words are enlarged and inserted into the architecture of the city to give pause, welcome contemplation, and give rise to a collection of imagined alternative behaviours for a possible future. They trigger a rare act of imagination untainted by commerce or sales. As a large-scale remnant of the cut-up process, the billboard works against the fast-moving digital dialogues of the internet, media, and advertising. Its words sing an unusual tune amongst the white noise of the city, and invite the reader to imagine alternative ways in which to move through civic space.

Future Perfect has been developed with support from Springboard Dance, The British Council, and the High Commission of Canada in the UK through the New Conversations fund.

Biographies /

Mia Rushton and Eric Moschopedis are an artist team from Calgary, Alberta. They bring together elements of craft, performance, and cultural geography to create site-specific and socially-engaged performative works. Thematically their practice deals with urban and rural ecologies, social relationships, and place-based knowledge production. Since 2008 they have developed a practice that operates in both a gallery and public context. Their projects, workshops, and artist talks have been presented in formal and DIY performance festivals, galleries, and post-secondary institutions throughout North America and in Europe.

Gemma Paintin and James Stenhouse share an interdisciplinary performance practice together under the name Action Hero. Since 2005, they have created theatre, live art, installation, multimedia, and site-specific projects which have toured to nearly 40 countries across 5 continents. Their ongoing interests lie in the iconography of popular culture and its use; both as a weapon and as a shared cultural memory. They have worked in some of the world’s most prestigious performance contexts, teach at the undergraduate and postgraduate levels, as well as lead master’s classes world-wide. They are based in Bristol, UK.

Day 1, September 1

Day 2, September 2

Day 3, September 3

Day 4, September 4

Day 5, September 5

Day 6, September 6

Day 7, September 7

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.

The creation of Billboard 208 and the first year of programming is generously funded by the Rozsa Foundation.

The online programming was generously funded by the Rozsa Foundation and the Calgary Foundation.

Bannock and Tea with Loonette the Ghost and House-Head the Home, performance still from IKG Live 2 (2018) at the Illingworth Kerr Gallery. Photo credit: Jeremy Pavka⁣

M:ST 10 Residency

Halie Finney

April–May, 2020

The New Gallery is thrilled to announce our upcoming residency with Halie Finney, in partnership with M:ST Performative Art! Halie will be hosted by Catalyst Arts in Northern Ireland throughout April and May 2020.

"To celebrate our 10th Anniversary Biennial of embodied art practice in ten only months, M:ST is connecting eight local and global arts organizations to host a series of month long residency exchanges leading up to the Biennial in September 2020.⁣⁣⁣ All of our local and international partners have worked with us to curate an outstanding cohort of M:ST 10 Biennial artists, including Halie Finney!⁣⁣⁣"⁠

Halie Finney is an emerging Métis artist currently based in Edmonton, Alberta. She received her degree from the Alberta University of Art and Design in 2017 where she majored in drawing. She also graduated from MacEwan University in 2014 with a diploma in fine arts. Born and raised in the Lesser Slave Lake region of Alberta, Halie holds a strong connection to the area, specifically to her hometown of Canyon Creek, a quiet hamlet consisting of approximately 260 people, a harbour, a beach, some sheep, a Winks, and a bar. She understands her Métis heritage through memories told to her by generations of her family who still reside there and through the unchanged characteristics of her home's landscape and lifestyle.⁣⁠

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.


Archive / 2019


Kasie Campbell and Ginette Lund –  Matrilineal Threads, 2019.

Matrilineal Threads

Kasie Campbell and Ginette Lund

November 9–December 21, 2019

Exhibition Description

Matrilineal Threads is a performative sculptural installation created from 2016 to 2018 by Kasie Campbell in collaboration with her late mother, Ginette Lund. Consisting of large yarn sculptures and a crocheted bodysuit, the work explores Campbell’s relationship with her mother, and the ways in which women can relate to themselves respective of their mothers. Working long distance, Campbell (Edmonton) and Lund (Grande Prairie) used thread, yarn, nylon, batting, and other textiles as an embrace of  their filial practice of crochet. Together, they worked to interrogate the link between gender, craft, domesticity, and tradition. The body remains central to these works, as crochet emerges from the labour of both artists, and the material is subsequently rendered flesh-like in its own right. Woven skin and orifices, alongside textile appendages simultaneously draws familiar comfort and uncanny unease.

Lund beat the odds while battling lupus for 35 years, passing in May 2018. Lund worked tirelessly with Campbell, determined to continue despite the onset of a pervasive cancer, and requiring carpal tunnel surgery in both hands. Campbell sees this tenacity as a testimony to women’s strength and the power of art. Although a person’s passing can never be timely, Campbell considers herself lucky to have collaborated on this project with Lund. Even though she is gone, her mother’s name will stand beside her own whenever this exhibition is shared.

Exhibition Text /

Matrilineal Threads is a powerful and resonant collaborative exhibition between Kasie Campbell and her mother, Ginette Lund, who passed away in 2018 after a brave, three decade-long fight with Lupus. The artwork is simultaneously an homage to the largely female-dominated handcrafting tradition of crochet that Lund handed down to her daughter and granddaughter, and an exploration of socially constructed expectations of femininity and matrilineality. Conceptualized from the body—insides and out—Matrilineal Threads consists of a series of oversized sculptures and constructed clothing that disrupts (mis)conceptions relating to topics of femininity, motherhood, womanhood, and the body. Handwoven materials bring forth a sense of nostalgia and sentimentality, and inherently suggest a longstanding tradition of women-makers, but with a nightmarish twist. Fibre objects that initially recall domesticity, craftwork, and femininity, are turned into an abject experience that destabilizes the expectations of feminine bodies, and conveys the artists’ messages through a (dis)corporeal medium. The exhibition manifests as an unsettling tickle-trunk-like world, full of the bizarre and surreal.

Immediately, we encounter two grossly enlarged and overstuffed crocheted hands that guard the gallery entrance, growing out of the floor and ambiguously greeting—or perhaps trapping—visiting bodies in the space. Anthropomorphized sculptures constructed with colourful yarn create an unsettling contrast between whimsy and the uncanny. The body is visible in the sculptures whether overtly or subtly, drawing in viewers with a sense of familiarity, all the while resisting overidentification through the incorporation of extra limbs, disembodied pieces, and hybrid constructions of human parts and furniture. Despite the presence of these body parts, there remains a strong notion of corporeal absence; works that are made to resemble displaced skin and hair may not directly depict the body, but they elicit the strongest visceral reaction. The crocheted bodysuit, Campbell’s second skin for her performance work, sits overlooking the exhibit, deflated and empty.

Hung on the far wall of the gallery are knitted and crocheted sweaters of varying sizes. On each garment, Campbell’s hand-embroidered text and garment labels allude to a mother’s guilty conscience. “Too many mouths to feed,” “It’s my fault that you’ll have to live everyday with your existence in question,” “Reminders of my GREAT childhood;” these short but loaded phrases suggest a narrative of remorse—memories and conscious thoughts that could belong to any one of the members of a matrilineal thread. The vague statements and empty garments hold space for the viewer to project their own personal narrative, while also inspiring a desire to delve deeper into the (hi)stories of the bodies that may have occupied the clothing.

The inviting nature of the bright and fully saturated colours of the artworks, contrasted with complicated subject matter, serves tension and a state of cognitive dissonance for the viewer. The pinks, reds, and purples that dominate the palette of these artworks both fuel, and are critical of, socially constructed ideas of the feminine. The delicate hues of Campbell’s creations start to morph into shades of blood, violence, and pain. Tightly bound mutated figures sprout human body parts. These text-infused splashes of colour, therefore, become a metaphorical rainbow of body dysmorphia, menstruation, sexuality and gender, rape culture, and misogyny. Preconceptions of colours commonly associated with delicateness, fragility, and vulvas, are destabilized by their overwhelming presence within the work, in the displayed garments, and enormous leaning sculptures that are threatening and ominous to approach.

Matrilineal Threads runs rampant with dichotomies: beautiful and repulsive; exteriority and interiority; intergenerational trauma and tradition; macro and micro; presence and absence. It poignantly and forwardly addresses the anxieties perpetuated within lineages and passed onto our society, both immediate and far-reaching. A spectacle to behold, Campbell’s artworks defy the cultural framework of femininity that ultimately birthed them, in the form of a carnivalesque graveyard filled with ghosts.  

– Brittany Ball-Snellen

Biographies /

Kasie Campbell is an award-winning visual artist working out of Edmonton, AB. In 2015, she received her Bachelor of Fine Arts, majoring in Sculpture at the University of Alberta. Campbell’s work integrates a variety of mediums, including sculpture, photography, and installation with performative means. Notably, Campbell has exhibited her work throughout Canada and internationally, with exhibitions at Grounds for Sculpture (Hamilton, NJ), Mana Contemporary Jersey City (Jersey City, NJ), Mana Contemporary Chicago (Chicago, IL), Westbeth Gallery (New York, NY) and most recently, in Viljandi, Estonia.

Brittany Ball-Snellen received her MA in art history from the University of Alberta where she specialized in midwifery, the maternal, and child-birthing rituals in Early Modern Italy. These topics continue to extend into her everyday practices as a birth photographer and doula. She explores the traditions and patriarchal interventions into childbirth, and how these approaches persist in contemporary times. Her personal research and interest in gross human anatomy/dissection add a unique insight to her writing about, and close analysis of, body-based art.

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.


(spooky cash rules everything around me)

The New Gallery's Annual Fundraiser

Saturday, November 2, 2019 from 8PM to late.

The New Gallery's Main Space at 208 Centre St S.

It’s that time again! The New Gallery is back with our annual fundraiser, only this time it’s sp0o0oky! TNG presents: s.C.R.E.A.M (spooky cash rules everything around me) on Saturday, November 2, 2019 at our Main Space (208 Centre St. SE) at 8PM!

Dress up, show up, and dance the night away to jams courtesy of  DJ Anput!  (

- $2 entry / no one will be turned away for lack of funds! :)
- Drinks / refreshments will be available! :)
- There will be an amazing door prize and a costume contest! :)
- $1 per ballot / you choose the winning costume! :)
- Cash / credit / cheques are all accepted! :)

In the ~spirit~ of fundraising, we are launching a very special limited-edition artist multiple. Keep an eye out for that announcement!

A spooktacular thank you goes to TNG Board Member Megan Kirk for lending her incredible screen-printing skills for this multiple, and to Village Brewery for supplying the good stuff!

Donations are always welcome throughout the year, and can be made online at:

Spooky cash rules everything around me! See you ghoulies there!

Sweet Nothings: A Celebration of Non-Productivity

Carlan Savage-Hughes

An evening of crafting and trading discarded art/materials!

Bring your own discarded prints, drawings, paintings (etc!) to trade with peers and pick up a new piece for your collection!Swap out some of the art supplies you no longer use for new treasures. All mediums are welcome and the excess will be donated to a local organization.

Or just bring yourself and come be a kid again! Let’s do some crafts!


To address the art world in the present moment, we must acknowledge that it reflects our capitalistic economy in its structure. One of capitalism’s greatest downfalls, its disproportionate distribution of wealth, is echoed within the global art world. Non-commoditized artistic production, that is art for the sake of enjoyment as opposed to art for the sake of capital production, is an action that resists the current art world’s focus on the capital based value of art. Independent arts communities create spaces where marginalized members of the art world are able to collect, connect, and create. The space they hold, though fiscally minute in comparison to the more commercial sector of the art world, is incredibly valuable. How does the strengthening of arts communities allow for more representation? It develops a means for artists to have their needs met and their existence seen, independent from any institutional power.

This evening is an attempt to connect at the margins of current powerful systems through community, accessibility, and fun. We invite you to come, create, and to experience the joy of sharing creations, while considering alternative systems of trade that are less capital driven and bring emphasis to the gift of cooperation and sharing.


From the Treaty 7 land of Calgary, Alberta, Carlan Savage-Hughes is currently a visitor in BC where she is studying visual arts and community engagement at the Emily Carr University of Art and Design. Through interdisciplinary methods of making, she is a painter, writer and sculptor. Her artistic practice is accompanied by an on-going effort to strengthen independent arts communities as an act of resisting the capital-driven values of the art world. Curation has had a key role in this process of creating opportunities. In her artistic practice, Carlan explores the emotional realm as a place of legitimate embodied knowledge.


Michèle Pearson Clarke – Suck Teeth Compositions (After Rashaad Newsome), 2018, installation view.

Suck Teeth Compositions (After Rashaad Newsome)

Michèle Pearson Clarke

September 14–October 26, 2019

An opening reception for members and invited guests will take place on Friday, September 13 at 8PM. Admission is free and all are welcome. The New Gallery is barrier-free with a single-stall, all-gender washroom.

Screening / Saturday, September 14 at 6:30PM at Globe Cinema

In conjunction with this exhibition, Clarke has curated a screening of Karen Chapman’s Lesson’s Injustice (2017, running time of 8 minutes) and Charles Officer’s Unarmed Verses (2016, running time of 85 minutes) on Saturday, September 14 at 6:30 PM at Globe Cinema. Tickets are available through Eventbrite or at the door for $12. Students and current TNG members can purchase tickets for $10. All proceeds from this screening will go towards supporting TNG’s future programming and operations.

Exhibition Description /

In Shade Compositions (2005-present), a series of live performances and videos, the African-American artist Rashaad Newsome explores issues of Black authorship, appropriation, identity and belonging by conducting choirs of women (and sometimes, gay men) of colour who snap their fingers, smack their lips, roll their eyes, and cock their heads, creating expressive linguistic symphonies out of the nonverbal gestures and vocalizations of African-American women. Suck Teeth Compositions (After Rashaad Newsome) (2018) is a three-channel video and sound installation that both responds to and extends this inquiry by focusing on sucking teeth, an everyday oral gesture shared by Black people of African and Caribbean origin and their diasporas, including those of us who live here in Canada.

Referred to variously as kiss teeth, chups, steups, and stchoops, to suck teeth is to produce a sound by sucking in air through the teeth, while pressing the tongue against the upper or lower teeth, with the lips pursed or slightly flattened. West African in origin, this action is used to signify a wide range of negative affects, including irritation, disapproval, disgust, disrespect, anger and frustration. Given that representations of African-American Blackness dominate and define mainstream understandings of the Black experience, when it comes to anti-black racism, most white Canadians are allowed to feel comfortable and are supported in their comfort by the historical and ongoing narratives of “not me,” “not us,” “only them, down there.” Suck Teeth Compositions (After Rashaad Newsome) is a response to the frustrations of living within this denial, and an expression of the anger and pain that many Black people often experience living in Canada, where we are always assumed to be better off, if not completely free of racism.

Exhibition Text /

Like any child of Caribbean parents, sucking my teeth was something I came by naturally. Socialized perhaps by osmosis, I learned what circumstances called for such a response and to whom I dared never respond that way. Otherwise known as “kissing teeth” (or “chups,” “steups,” and “stchoops,” which mimic the noise the gesture produces), the sound—a tongue pressed against teeth behind separating pursed lips through which a sharp stream of air is sucked—reproduces a hiss similar to, but far more critical than, the slow opening of a carbonated drink in a plastic bottle. Sucking teeth is the sonic gesture of struggle and defiance. Of flippant frustration, hence its often requisite concealing. An open proclamation of exasperation and reluctant restraint. When brave, it is a direct challenge. An oral archive that draws on its West African routes and diasporic dispersal, thinly veiled but opaque enough to persist through centuries of genocide and ethnic cleansing. A dialectical song of subalternity and outer-worldly survival. Potentially anthemic.

Michèle Pearson Clarke’s Suck Teeth Compositions (After Rashaad Newsome) has woven this oral and aural revolt into a chorus of provocations. Inspired by Rashaad Newsome’s Shade Compositions (2005-present), in which the artist renders Black women and gay men’s paralinguistic gestures into orchestral comments on questions of identity and agency, Clarke’s Suck Teeth taunts the Canadian nation-state and its gaggle of anti-Black cultural institutions with a large scale three-channel video installation documenting the very Black presence they have so ardently sought to absent (to borrow from Rinaldo Walcott).

First showcased as a part of the travelling exhibition, Here We Are Here: Black Canadian Contemporary Art, the work emerges from and responds to the question: “What is the Black Canadian presence and history in our country?” Suck Teeth intervenes with audible and visual irritation, iteratively expressed individually and in unison, sequentially and all at once. Clarke’s repositioning of this long-existing oral gesture within a new context decidedly speaks to a people and a history that Canada has made invisible—or hypervisible—for the purposes of racial discrimination, state violence, and strategic positioning as an exceptional example of “Black excellence.” Following a familiar thematic that now spans her work—see All That’s Left Unsaid (2014) and Parade of Champions (2015)—Clarke utilizes rhythm and repetition to blend soundscapes into language that, in all cases, provide an essential comment on the insufficiency of words.

In “Interview with an Empire,” from her most recent offering Bla_k: Essays and Interviews, M. NourbeSe Philip writes of her “profound distrust of language” (54). A distrust born of an intimate understanding of the world-forming work of language, its colonial origins and uses, its insufficiencies, its bankruptcy. Philip explains,
“After all, this was a language that the European forced upon the African in the New World. So that the exploitative plantation machine could be more efficiently run. It was a language of commands, orders, punishments. This language—english in my case, but it applies to all the languages of those European countries involved in the colonialist project—was never intended or developed with me or my kind in mind. It spoke of my non-being. It encapsulated my chattel status. And irony of all ironies, it is the only language in which I can now function.” (55)

Looking for a way out—or better yet, through—Philip calls for the transformation of language through ‘decontamination.’ Philip demonstrates this most notably in Zong!, her seminal work that revisits the text from the legal ruling on the 1781 Zong ship massacre. The ship’s captain ordered 150 enslaved Africans be thrown overboard in a quest to collect insurance monies—the court found in his favour—and Philip deconstructs the text from the ruling by breaking down words into distinct entities that call forth new meanings through sound, when read aloud, or sight, with their non-linear placement on the page. The process ruptures sign, signifier, and signified, looking for exposure in the breaks and spaces. This exposure links past and present, and like Suck Teeth, makes way for language unsurrendered.

To understand Suck Teeth is to understand the silencing of Black Canadians. When we speak, we are not heard. Clarke’s intervention and Philip’s reflections raise Gayatri Spivak’s question: “Can the subaltern speak?” When viewing Suck Teeth, one must also ask: “Can I hear?”

– Nataleah Hunter-Young

Further Reading:

Philip, M. NourbeSe. Bla_k: Essays and Interviews. Book Thug, 2017.

Philip, M. NourbeSe. Zong! As told to the author by Setaey Adamu Boateng. Mercury Press, 2018.

Spivak, Gayatri. “Can the Subaltern Speak?” Colonial Discourse and Post-Colonial Theory: A Reader, edited by Patrick Williams and Laura Chrisman, Colombia University Press, 1994.

Walcott, Rinaldo. Black Like Who? Writing Black Canada. Insomniac Press, 2003.


Michèle Pearson Clarke is a Trinidad-born artist, writer and educator who works in photography, film, video and installation. Using archival, performative and process-oriented strategies, her work explores the personal and political possibilities afforded by considering experiences of emotions related to longing and loss. Her work has been featured in exhibitions and screenings at the Art Gallery of Nova Scotia (2019), LagosPhoto Festival (2018), Gallery 44 Centre for Contemporary Art (2018), Le Musée des beaux-arts de Montréal (2018), ltd los angeles (2018), and Museum of Contemporary Art Chicago (2016). Based in Toronto, Clarke holds an MSW from the University of Toronto, and in 2015 she received her MFA in Documentary Media Studies from Ryerson University, where she is currently a contract lecturer. Most recently, Clarke has been awarded the Toronto Friends of the Visual Arts 2019 Finalist Artist Prize, and she has been appointed to serve a three-year term as the second Photo Laureate for the City of Toronto.

Nataleah Hunter-Young is a film programmer, writer, and PhD Candidate in Communication and Culture at Ryerson and York Universities. She has supported festival programming for the Toronto International Film Festival, the Hot Docs Canadian International Documentary Festival, and the Durban International Film Festival in South Africa. In 2019, Nataleah became a Pierre Elliott Trudeau Foundation Scholar which will support her ongoing doctoral research on late representations of mediated police brutality in contemporary art. She was born and raised in community.

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.

The New Gallery would like to thank Globe Cinema for their support of this public program.


Carrie Allison – An Identity Metaphor, 2017, beads on pine with reflective surface.

These Threads Hold Memory

Carrie Allison

July 6–August 10, 2019

Exhibition Description /

These Threads Hold Memory brings together works of art that decenter western notions of information and data by Indigenizing western information paradigms. This exhibition utilizes beading as a tool to share statistics, thoughts, and contemplate stereotypical and perhaps unknown narratives. By mixing what is known as “technology” such as websites, QR codes, and video with beadwork, this exhibition asks the viewer to recenter and value Indigenous histories and ways of knowing. Carrie Allison uses beading in her practice to connect to ancestors, to gain insight with Indigenous epistemologies and methodologies. Beading is ceremony, a meditative practice that centers oneself in the present, a repetitive gesture that asks the maker to consider the content of the object being made. Beading is, and always has been, a tool for engaging Indigenous ways of knowing and being. It’s not about the individual bead; it’s about the collective, the whole. Through labour intensive methodological processes, this exhibition situates Indigenous language, visual culture, and knowledge as legitimate technologies.

Exhibition Text /

These Threads Hold Memory features beaded works by Carrie Allison that explore knowledge and knowledge mobilization. Misinformation about Indigenous communities and technology has been internalized as truth within Canadian understanding. Allison joins the ranks of artists such as Barry Ace and Skawennati, whose art practices use electronics and the Internet to carve out space for Indigenous voices as well as affirm that Indigenous peoples have always been technologically inclined. Like many other aspects of Indigenizing, first we must unlearn colonial narratives around contact.

150 is a series of loom-beaded objects that play with the appeal of interactive technology; scanning codes, clicking numbers, and finding information on the Internet. This style of research relates to the process of beading and storytelling, and brings those elements to a gallery space. Beading, when done in groups, revolves around jokes, cackles and the sharing of information or ideas on relevant topics. Beading, like all artwork, isn’t done in a vacuum and 150 presents those layers of (underappreciated) knowledge in a medium that is recognized and holds cultural value; via electronics.[1]

Allison, like many Indigenous folks (myself included), have to work for cultural knowledge which continues to be suppressed through genocidal acts sanctioned by nation-state strategies; as a result, knowledge isn’t something that can be commodified and it’s through the generosity of our community that we can receive these gifts. Identity Metaphor and Kiskisohcikew document the process of learning Cree through repetition, as well as the struggle for access, with these language lessons being delivered over the phone.

The Western-European relationship to knowledge is defined by the “enlightenment” period,[2] that everyone has a right to “know” the answer and that emotional investment in the subject reduces the ability to be impartial. This is compounded by the fact that gendered relationships expect womxn and underrepresented communities to share knowledge with no reciprocation and that they don’t know how to properly utilize it. An example of this was the art movement Primitivism;[3] This also justified residential schools, anthropologists entering communities to take people’s belongings, and the settler resistance to prioritizing oral histories.

Recently, there has been recognition that Indigenous communities have always had technology and important knowledge. Articles have circulated where cells of trees are the same as the art of the local community, sage is medicinal, Indigenous peoples have been in North America and the sites could be located via oral histories [FH22], and so on. In Allison’s work, Book Intervention: Library of misrepresentation and False Narratives they subvert the adage that published information is truth. Through redacting terms by blocking them out with black beads,the figures in the story are re-centred, in this case the depiction of a Western cowboy is covered with Allison’s intervention of a beaded bison.. Using beads as the tool to reframe, and even bind the books shut, Allison is emphasizing the ongoing challenge Indigenous knowledge systems pose to foundations of western-European thought.

The work within These Threads Hold Memory explores a conceptual trifecta; the relationships between storytelling and electronics; the validity of both Indigenous epistemologies and western-European thought; and the relationship between Indigenous technology and western-European thought. This essay isn’t to say that western-European knowledge systems don’t have value, it’s that they aren’t without their flaws. Once structures are willing to examine their shortcomings and acknowledge Indigenous epistemologies and systems as equal, everyone will benefit.

–Franchesca Hebert-Spence, BFA MA

Further Reading:

Nicholas, George. “When Scientists “Discover” What Indigenous People Have Known For Centuries.” February 21, 2018. Accessed June 5, 2019.

Wang, Jenica. “Primitivism: A Study of Cultural Appropriation.” Omeka RSS. Accessed June 5, 2019.

[1] I use the word electronics instead of technology because the assumption that electronics are synonymous with technology invalidates forms of technology or knowledges that are materials other than electronics.

[2] The Enlightenment period occurred during the 18th century and is the foundation of all Western-european scientific processes. It affects how humanities and otherwise conduct research and was compounded by colonialism. 

[3] Primitivism was an art movement where artists used imagery from various colonized cultures to depart from representational imagery. Artists from the communities whose aesthetics were appropriated were not welcomed into the art community.


Carrie Allison is an Indigenous (Cree/Métis, European descent) visual artist, writer, arts administrator and educator, born and raised on unceded and unsurrendered Coast Salish Territory (Vancouver, BC). Situated in K’jipuktuk since 2010, Allison’s practice responds to her maternal Cree and Métis ancestry, thinking through intergenerational cultural loss and acts of resilience, resistance, and activism, while also thinking through notions of allyship, kinship and visiting. Allison’s practice is rooted in research and pedagogical discourses. Her work seeks to reclaim, remember, recreate, and celebrate her ancestry through visual discourses. Allison holds a Master’s in Fine Art, a Bachelor’s in Fine Art, and a Bachelor’s in Art History from NSCAD University.

Franchesca Hebert-Spence’s first engagements with art were as a maker, creating an empathetic lens within her curatorial praxis. Her grandmother Marion Ida Spence was from Sagkeeng First Nation, on Lake Winnipeg, Manitoba. Kinship and its responsibilities direct the engagement she maintains within her community and, by facilitating a plurality of voices, complicates oversimplified narratives. The foundation of this practice stems from Ishkabatens Waasa Gaa Inaabateg, Brandon University Visual and Aboriginal Arts program. She is an Adjunct Curator, Indigenous art at the Art Gallery of Alberta and Independent curator.

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.


Kasia Sosnowski – SELF!HELP!

The Topography of Bodily Sentiments

Ambivalently Yours, Kablusiak, Rachel Livedalen, and Kasia Sosnowski

November 9—December 22, 2018

Exhibition Description

The Topography of Bodily Sentiments exists at the convergence of four practices, each ethically entangled with bodies host to precarious labels. Denying simple synthesis, instead opting for tactics of revision and re-envisioning, the discreet methods and aesthetic concerns of the artists — Ambivalently Yours, Kablusiak, Rachel Livedalen, and Kasia Sosnowski — stand apart from one another. The linkage in the exhibit lies somewhere in between; a unifying disenfranchisement, stemming from the socio-cultural forces that seek to shape their bodies, erase their voices, or distort their outputs. “The Topography of Bodily Sentiments” is a site for the reaffirmation of identity, the connection of the emotional to the physical, and the resistance of bodies in the face of oblique, ever-changing, and often contradictory standards.

Exhibition Text

The artists present in The Topography of Bodily Sentiments are seemingly connected by a moment of mutual discovery: they are not who this world thinks they are. They aren’t pristine. They aren’t dead. They aren’t meant to choose anything for certain, and they aren’t as familiar to their forms as you say they are. The Topography of Bodily Sentiments addresses these intrusive distortions, enforcing different understandings, bodily, experientially and socially. The artists present set themselves to the tasks of re-definition in the face of oblique, ever-changing, and often contradictory standards.

Part archive of resistance, part high femme techno-dimensional rift, Ambivalently Yours’ work is a generative platform extending from the digital space to invade the gallery and your heart. The pink hued installation provides a place for viewers to manifest, engage with and submit their own experiences from in between the decisions forced upon them. Participants should find themselves in good company, both in the text of the work and in the interactions invited; Hundreds of drawings, fueled by a transcriptive practice, re-mediating scores of online correspondence about being resolute in one’s indecision, serve as the wallpaper to a physical economy of emotional sentiment. Taking a final form of endearing mass portraiture, Ambivalently Yours reaches beyond themself to act as a conduit for the emotions and experiences of others.

Kablusiak presents us with a more introverted kind of dialogue, revolving around the ongoing stress of socio-cultural disempowering of lived experience on an othered existence. A comparison is drawn between a large-scale, nude figural work, the face obscured by floral cloth; a grid of sometimes humorous, often sad, drawings; and a beaded statement: “You can mourn someone who is still alive.” A bedrock of sentiment provides the basis for the connection between the commanding quality of the faceless nude and the minimalist nature of the drawings. I get the sense that it’s hard to be in view, an advocate for a vital, though oft mistakenly framed as static, culture. The socio-cultural mingles with personal anxiety, the result being an installation equal parts conversation around coping and the reality of existing in an Inuk body.

At this point, I’d infer the territory being mapped is an inherently anxious one. A unified sense of disenfranchisement, misrepresentation and a desire for re-interpretation literally draws lines, constitutes dialogues and manifests new understandings of conditions inside and beyond the body. Kasia Sosnowski’s ceramics exist peripherally in the site suggested so far.  Plaintive, fragile, and deeply funny, Sosnowski reaches out to viewers with disembodied ceramic limbs. Embracing the indiscreet and intuitive exploration of the body free of coded perception, the tiny beings comprising Sosnowski’s work are vessels brimming with empathy. I think they want to interact with you, but some of them seem pretty fine all on their own. Bypassing the frenetics of anxious interpretive efforts, this work couples directly with the emotional landscape present within The Topography of Bodily Sentiments, deliberately moulding limbs and bodies bent towards strange but earnest ends.

In a corrective measure, and as a sort of catalytic reaction, Rachel Livedalen elevates the decayed cultural forms of classical female sculpture to ecstatic heights by way of trapper-keeper, hard glittering aesthetic alchemy. A feat of Necromancy by way of Lisa Frank stickers, the synthesis between oppressively standardized forms and what is in essence, an extension of 90’s girl-power design, revives and reassembles the expectations of feminine beauty towards more personable ends. Citations intact, Livedalen’s reproductions of stale, academic imagery prompts a new interpretation to stem from the limiting factor of physical beauty. Here, the white surface of Grecco-Roman artifacts are rendered accessible, even relatable, imagined as a canvas for the expression of a certain kind of bodily understanding, chosen by Livedalen over what is taught in academic circles.

The Topography of Bodily Sentiments can be characterized as an attempt to stabilize and nurture a kinder future, one where resistance is a carefully understood activity. Equally carefully, the artists are helping propagate this site for a new discovery, one more focused on the self. They mark boundaries around their particular kinds of knowledge, kindly providing guideposts and pathways, all leading to moments that give form and voice to dissatisfaction with the preconceptions that permeate their experience.

— May G N


Under the pseudonym Ambivalently Yours, this Montreal-based artist explores ambivalence within a multimedia web-based practice inspired by her feminist questions and online interactions. Her work aims to highlight the potential for political resistance and emotional empathy that exists within conflicting emotions. Her meticulous online engagement as Ambivalently Yours has resulted in a large social media following and her interactions with her online community directly influence and participate in her practice. Her work has been exhibited in North America, Europe and Australia, shared virally online and featured prominently in media publications, teenage blogs and zines worldwide.

Kablusiak is an Inuvialuk artist and curator based in Alberta and holds a BFA in Drawing from the Alberta College of Art and Design. They recently completed the Indigenous Curatorial Research Practicum at Banff Centre for Arts and Creativity. Kablusiak uses art and humour as a coping mechanism to address cultural displacement. The lighthearted nature of their practice extends gestures of empathy and solidarity; these interests invite a reconsideration of the perceptions of contemporary Indigeneity. Kablusiak is a board member of Stride Gallery (2016-present). Awards include the Alberta Foundation for the Arts Young Artist Prize (2017) and the Primary Colours Emerging Artist Award (2018). They have recently shown work at Art Mûr as part of the Biennale d’art contemporain autochtone (2018) and at the Athens School of Fine Arts as part of the Platforms Project (2018). Kablusiak, along with three other Inuit curators, will be creating the inaugural exhibition of the new Inuit Art Centre in 2020.

Rachel Livedalen grew up in Texas, North Carolina, and Virginia. She earned her BA in Studio Art and Art History from the University of Virginia. Upon completion of her degree, Rachel was awarded the Aunspaugh Fellowship from the University of Virginia to continue her creative research on campus. In 2014 Rachel graduated with an MFA in Printmaking from the University of Iowa. Rachel Livedalen is currently an Assistant Professor of Art at Texas Christian University in Fort Worth, Texas. She has held this position since 2014 and heads the printmaking area. Rachel exhibits her interdisciplinary work widely with recent solo exhibitions in Dallas, Tallahassee, and Kansas City. She also recently received a 2017-2018 Kala Fellowship Award from the Kala Art Institute in Berkeley, CA and was accepted into the 2018 Artist Program at Eastern State Penitentiary in Philadelphia, PA. Her creative research explores contemporary femininity through the lens of past histories and mythologies. Rachel Livedalen is represented by Erin Cluley Gallery in Dallas, TX.

Kasia Sosnowski is originally from Calgary, Alberta – she moved to Lethbridge in 2007. She graduated with honours from the University of Lethbridge with a Bachelor of Fine Arts-Art History and Museum Studies, and a Bachelor of Fine Arts-Art Studio in 2014. She moved to Banff in 2014 where she worked at The Banff Centre as a Preparatorial Practicum at the Walter Phillips Gallery. After completing her year contract as a practicum she participated in the Banff Centre’s Late Fall BAiR program where she began exploring ceramics. She now lives and works in Lethbridge, Alberta where she maintains her art practice.

Territorial Acknowledgments

TNG gratefully acknowledges its home on the traditional territories of the people of the Treaty 7 region, including the Blackfoot Confederacy (Kainai, Piikani and Siksika), Métis Nation of Alberta Region III, Stoney Nakoda First Nation (Chiniki, Bearspaw, and Wesley), and Tsuu T’ina First Nation. TNG would also like to acknowledge the many other First Nations, Métis and Inuit who have crossed this land for generations.

Something is coming

Suzanne Kite and Nathan Young

In collaboration with M:ST 9 Performance Art Biennial

Friday, October 5, 9:30 PM at the National Music Centre (850 – 4 Street SE, Calgary)

Project Description

Something is coming is a site specific sound performance which listens into the electrical grid. Utilizing ground loop noise, field recordings, digital processing, and analog manipulation, Kite and Young propose a way to listen through the grid to the source. This form of listening is not a metaphor, but way to access and reimagine power systems. This mode of listening is a relinquishing of belief. To listen to the grid and hear the physical source of power is to not mistake the map for the land itself. This form of listening provides an opportunity to hear and think beyond colonial constraints of cartography and large-scale exploitations of natural resources.


Suzanne Kite (born 1990, Sylmar, CA) is an Oglala Lakota performance artist, visual artist, and composer. She was raised in Southern California and earned a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a Ph.D. student at Concordia University. Her research is concerned with contemporary Lakota epistemologies through research-creation, computational media, and performance practice. Recently, Kite has been developing a body interface for movement performances, carbon fiber sculptures, immersive video & sound installations.

Nathan Young (born 1975, Tahlequah, OK) is a multidisciplinary artist and composer working in an expanded practice that incorporates sound, video, documentary, animation, installation, and experimental and improvised music. Nathan’s work often engages the spiritual and the political and re-imagines indigenous sacred imagery in order to complicate and subvert notions of the sublime. A 2016-2018 Tulsa Artist Fellow, Nathan is a founding and former member for the artist collective Postcommodity (2007-2015) and holds an MFA in Music / Sound from Bard College’s Milton-Avery School of the Arts.

To read more about the biennial, including all of the the events taking place on October 5, visit the M:ST website here.


feedback loop of commensurability

Kevin Day

September 29—November 3, 2018

Exhibition Description

A floor-based interactive installation, feedback loop of commensurability consists of several speaker units positioned in a grid, communicating with a computer situated on the side. It collects information (movement, colour, and density, et al) from the viewers/users at regular intervals, translates this information into a coordinate (x, y), and plots it on the grid in the form of a notification tone emitted via one of the speaker units.

In such a way, the viewers/users experiencing the piece will be subjected to the compulsory and clandestine operations of surveillance and the machinic abstraction of distilling human subjects to quantifiable traits that will come to determine their identity, regardless of how decontextualized and inadequate they may be. Through the process of experiencing the piece, the users become abstracted, reduced to a single node on the grid, while their data continues to influence their behaviour as they navigate through the piece. The process emphasizes the ways in which one ‘becomes’ the data that has come to represent them, confounding the relationship and questioning the neutrality between the subject and their data-representation.

The sounds might induce a Pavlovian response where the viewers are summoned to voluntarily approach or compelled to avoid the source, foregrounding the agency information and communication technology (ICT) has in determining and priming human behaviours/responses and ways of thinking. The grid functions as both an emblem of ICT-facilitated capitalism and a particular epistemological framework.

Exhibition Text

Ts’ui Pe must have said once: I am withdrawing to write a book. And another time: I am withdrawing to construct a labyrinth. Every one imagined two works; no one did it occur that the book and the maze were one and the same thing.

– Jorge Luis Borges, in The Garden of Forking Paths, 1942

At present, each passing minute in the world is marked with an average of 3,607,080 google search queries, 4,146,600 youtube video views, and 456,000 new tweets entering the Twitter-sphere. Ninety per cent of all data produced today has been created within the last two years alone.

– statistics referenced from: Data Never Sleeps 5.0, Domo¹

We like to think of our data as separate from ourselves. Data doesn’t define our identity. Each data-set is but a recurring fractal and fractional dimension of our complex selves, of our entirety. Data is surface, not depth. But what if it were both?

Kevin Day’s work titled feedback loop of commensurability, is a simulation of a simulation. An interactive work involving sound, sculpture, sensors, programming, and feedback, this work presents visitors with data for data’s sake. According to Day his installation, “emphasizes the ways in which one ‘becomes’ the data that has come to represent them, [thus] confounding the relationship [between the two]”.  feedback loop of commensurability is an orderly cartesian x/y grid and sculptural installation. Tiny speaker boxes are plotted in an equidistant formation across the floor. Each box is also a networked-node containing a sensor that collects information from visitors as they move throughout the installation. The information is relayed to a centralized system which interprets the data, then disperses it back to the network as a series of triggers over randomized time intervals. Each triggered output is comprised of a singular repeating sound that resembles a smartphone notification tone.

Depending on one’s interest in the minimalist aesthetic of the installation and their proclivity, or aversion, towards the ubiquitousness of sonic push notifications, there are a variety of potential experiential observations of the work. These range from boredom and apathy to curiosity, anxiety, and confusion. Perhaps the most telling reaction is from many visitors who assign a degree of personal interactivity onto the work; they assume that they are able to alter the way in which the installation/program acts. Sorry, visitor, it’s not all about you. True, when one walks through the space, they trigger a series of micro events. However, the only predictable outcome of the programming response is that it is indeterminate. The trigger outputs in the work may even continue sounding after the visitor has left the space. Visitor presence is affective, but to a certain degree, non-essential. Day’s work often includes distorted intentions that obfuscate one’s understanding of what is happening. Visitors are left asking: what is this work doing, how is it functioning? One must surrender to randomized disruption.

In the case of this work, the third axis, the ‘z-axis’, in the grid formation is paramount. Bodies moving throughout the space are the entities that form this critical axis, thereby extending the grid’s floor-based x/y-flatness into a third, spatial dimension. From surface, we now have depth. The ‘z-axis’ is not seen, but rather, sensed. The visitor’s body provides and is provided with, a multi-layered experience, subjected to affective pendulum swings between sound, movement, and vision. One’s attention oscillates across these three states. Similar to, but not an exact replica, the imitation push notification tone holds great power within its sonic vibrations. The tone’s similitude, coupled with visitors’ previously learned behaviour and memories, inform an interpretation of the tone’s significance both consciously and subconsciously. Reactions of anxiety, distraction and compulsion rank high… Sound phone-miliar?

Essentially, the artist provides a simulated version of an information and communication technology system (ICT); a smart device mockumentary. Picture a smartphone as if it was a building. Now imagine humans trapped inside the building’s Push Notification Centre and all the zany antics that would ensue. Visitors are drawn into a virtual space where the absurdities, dependencies and compulsive tendencies of their own online behaviours are triggered, then magnified, satirized and projected back onto themselves. Both body and mind are stuck-in… deeply.

Day uses embodied and pragmatic strategies in his installation work in order to incite learning threshold challenges in visitors. feedback loop of commensurability highlights the multiple ways in which lived experience and live data streams are intertwined and inseparable. From the primed and conditioned Pavlovian responses that are sensed in our bodies, to the misinterpretation of the work existing solely as an end-user experience, what is foregrounded is the following primary observation: who is beholden to whom? Do we consume data, or does it consume us?

When data is lived, when it becomes embodied, and when the awareness of this body-data interchangeability is foregrounded, one is able to step outside of themselves. feedback loop of commensurability generates critical reflection of both personal and collective methods of communicating with, and through, data. Are we held captive by analytics, big-data, and deep fakes? Undoubtedly. These unruly, new constructs have irreversibly become part of the evolving fabric of today’s existence. One can’t stop the information apocalypse². However, by deepening the understanding of how one affects their own data and how their data, in turn, affects them, the space between body and data will, with certainty, become more fluid, critical and reflexive.

²Information Apocalypse is a term coined recently by Aviv Ovadya to highlight the danger of apathy in an era when everything can be faked.


Kevin Day’s practice and research examine digital media polemics such as algorithmic culture, big data, mediation, cyber control, post-human concerns, and information capitalism. Informed by philosophy of technology, media studies, and critical theory, the research questions the ubiquitous logic of framing the world through information, indicative of a cybernetic way of knowing. His work seeks to resist the reduction of codification through an insistence on the presence of noise in the interface, which persists within the signals in the capitalist communication industry.

Day was born in Taipei, Taiwan. He received his MFA from the University of British Columbia and is currently based in Vancouver. He has presented his work nationally and internationally, at locations such as the Vancouver Art Gallery (Vancouver), Creative Media Centre (Hong Kong), University of Hamburg (Hamburg), Qubit (New York), and Gallery 1313 (Toronto), among others. He has authored several published articles on information and cyber politics, and has received funding from the Canada Council for the Arts and the Social Science and Humanities Research Council of Canada (SSHRC).

Sunshine Frère is a writer, curator and artist based in Canada. She has an MA in Interactive Media from Goldsmiths, and a BFA in Studio Arts and Electroacoustic studies from Concordia University. Frère’s practice is cross-disciplinary and interactive. Her work has been exhibited in Canada and Europe. Frère works within local, national and international art communities in a variety of projects and roles. She is currently the Curatorial Programmer at the New Media Gallery and the General Manager for Other Sights for Artists’ Projects. Frère is also the Strategic Initiatives Chair on Access Gallery’s Board in Vancouver.

A Thousand Cuts


August 6—September 28, 2018

+15 Window Exhibition

On September 4, 2018 Arts Commons turned off the 3-channel video work being exhibited by B.G-Osborne in The New Gallery’s +15 Window. The reasons cited being that the work contained “a lot of swearing and nudity” that had garnered “a lot of complaints from concerned patrons.” The installation in full was removed the following week. You can find full details about the actions that led to this censorship in TNG’s statements:

Initial statement:

Follow-up statement:

The video work, “A Thousand Cuts” can now be viewed at three alternative venues: the University of Calgary Art Department (Calgary, AB), Latitude 53 (Edmonton, AB), and Left Contemporary (Windsor, ON). Please contact these organizations to find out viewing hours. We thank these organizations for their support of this important artwork. An open forum to discuss this unfortunate dispute and related topics will be held on Tuesday, September 25 from 6PM to 8PM at the Chinese Cultural Centre (197 1 St. SW), room 235.

B.G-Osborne has also written an open letter in response to this censorship:

Dear viewers,

It has been brought to my attention that there have been several complaints against my video work due to “cursing and nudity”. Rather than re-edit and censor my work to comfort certain viewers who are offended by the very banal acts of swearing and non-sexual nudity, I have decided to remove the piece from the space entirely. It is ironic that a video compilation that highlights the far-too-common act of cisgender actors being permitted and feeling entitled to play trans characters in film and television, is too offensive when looked at through a critical/ trans-lens. The entire work is meant to be offensive, but several individuals have chosen to fixate on cursing and one brief scene of nudity. If you are cisgender and you were offended by this work: think about why you were offended. Are you trying to protect your children from what you perceive to be vulgar representations of bodies? Are you comfortable with the violence that is perpetuated against trans people, but offended by five or six swear words (that your children have already heard) and a flaccid penis? If you cannot accept seeing a penis on a woman in a movie (even though the actor is a cisgender woman with a prosthetic)- think about the other types of transphobia you might perpetuate in your daily routines. To me, it seems you are afraid of the questions this video will raise in the minds of your children, or in yourself.

To Arts Commons: I implore you to deal with complaints against challenging art work (especially when the content deals with marginalized communities and bodies) in a more constructive way, rather than shutting down a conversation before it can begin. Trans people are still being murdered at a seriously alarming rate, misrepresentation will continue to happen in mainstream media, we will try to take back our image and tell our own stories, cisgender people will keep being offended, and we will keep fighting.

Deeply disappointed, but not surprised,



A Thousand Cuts


August 6—September 28, 2018

Closing reception is Thursday, September 20 at 6:00 PM, followed by drinks at the Palomino (109 7 Ave SW) from 7:00 to 9:00 PM. All TNG reception guests will receive 15% off their bill when presenting the exhibition postcard. Admission is free and all are welcome.

Exhibition Description

A Thousand Cuts is an in-progress found-footage video compilation of cisgender actors playing transgender roles in film and television. The work confronts transgender cinematic tropes and the erasure of transgender people in mainstream media. The clips that are selected for the compilation are, more often than not, from films and television series produced for cisgender audiences. By editing, arranging, and locating visual and thematic similarities between certain clips and dialogue, A Thousand Cuts creates new meaning through a crescendolike composition ranging from humorous to violent- but always inauthentic- representations of trans individuals. The large poster included in the exhibition lists the names of all documented murdered transgender people in the past two years. Last year alone, there were over three hundred documented murders of transgender people world-wide. The poster serves as a reminder to the viewership of the common consequence of transgender expression, especially for trans women of colour.


B.G-Osborne is a Transmedia artist from rural Ontario, currently working in Montreal. Their work focuses on exploring and interrogating the potential of gender-variant embodiment to serve as both a tool for gender deconstruction and revision. They graduated as valedictorian from NSCAD University in 2014 with a BFA in Intermedia. Osborne’s ongoing projects seek to address the complexities of trans representation and violence, mental illness, and family secrets/stories. They place great importance in showcasing their work in artist run centres and non-commercial galleries throughout Canada.

List of clips used in the compilation:

3 Generations (2015)
20 centímetros (2005)
40 Year Old Virgin (2005)
Ace Ventura Pet Detective (1994)
The Adventures of Sebastian Cole (1998)
Albert Nobbs (2011)
All About My Mother (1999)
Beautiful Boxer (2004)
Boys Don’t Cry Oscar Awards Ceremony (2000)
Better than Chocolate (1999)
Breakfast on Pluto (2005)
Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (1982)
Crocodile Dundee (1986)
The Crying Game (1992)
Dallas Buyers Club (2013)
The Danish Girl (2015)
Desperate Living (1977)
Dog Day Afternoon (1975)
Dressed To Kill (1980)
Ed Wood (1994)
En Soap (2006)
Flawless (1999)
Glen or Glenda (1953)
Hedwig and The Angry Inch (2001)
I want what I want (1972)
In a Year with 13 Moons (1978)
K-11 (2012)
Kiss of the Spider Woman (1985)
La Mala Educacion (2004)
Laurence Anyways (2012)
Ma vie en rose (1997)
M.Butterfly (1993)
Naked Gun 33 1/3 (1994)
Normal (2003)
ROMEOS (2011)
Soldiers Girl (2003)
Soapdish (1991)
TO WONG FOO Thanks for Everything, Julie Newmar (1995)
Tomboy (2011)
Transamerica (2005)
Trich Doan Phim (Man on high Heels) (2014)
The World According to Garp (1982)
Zoolander 2 (2016)
Different for Girls (1996)
Elvis and Madonna (2010)
The World’s Fastest Indian (2005)

TV Shows:
All My Children, “Zoe: At the Crossroads part II” (2006)
American Horror Story, Season 5 Episode 3 “Mommy” (2015)
The Bold and the Beautiful, Episode 7078 (2016)
Californication, Season 5 Episode 5 “Charlie got a Blowjob from a Tranny Hooker” (2012)
Cold Case, Season 2 Episode 3 “Daniela” (2004)
Cold Case, Season 5 Episode 9 “Boy Crazy” (2007)
Coronation Street: Roy and Haley’s Wedding (1999)
CSI: Crime Scene Investigation, Season 8 Episode 8, “Identity Crisis” (2002)
Dead of Summer, Season 1 Episode 3 “Mixtape” (2016)
Degrassi, Season 13 Episode 7, “Young Forever” (2013)
The Education of Max Bickford, Season 1 Episode 7 “Revisionism” (2001)
Friends, Season 7 Episode 22 “The one with Chandlers dad” (2001)
The Golden Girls, Season 3 Episode 7 “Strange Bedfellows” (1987)
Hit and Miss, Season 1 Episode 3 (2012)
Hollyoaks, Jason tells Bart it’s over (2010)
The Jeffersons, Season 4 Episode 3 “Once a Friend” (1977)
Just Shoot Me, Season 5 Episode 6 “Brandi You’re a Fine Girl” (2000)
Law and Order: Special Victims Unit, Season 4 Episode 21 “Fallacy” (2003)
Night Court, Season 3 Episode 6 “Best of Friends” (1985)
Nip/Tuck, Season 3 Episode 14 “Cherry Peck” (2005)
It’s Always Sunny in Philadelphia, Season 3 Episode 10 “Mac is a Serial Killer” (2007)
Orphan Black, Season 2 Episode 8 “Variable and Full of Perturbation” (2014)
Penny Dreadful, Season 2 Episode 4 “Evil Spirits in Heavenly Places” (2015)
Pretty Little Liars, Season 6 Finale (2015)
Sex and the City, Season 3 Episode 18 “Cock-A-Doodle-Do” (2000)
Sons of Anarchy, Season 5 Episode 5 “Orcha Shrugged” (2012)
Tales of the City, Part 1 Chapter 7 (1994)
Tales from the Crypt, Season 6 Episode 8 “The Assassin” (1994)
Transparent, Season 1 Episode 1 “Pilot” (2014)
Twin Peaks, Season 2 Episode 11 “Masked Ball” (1990)
Two and a Half Men, Season 1 Episode 18 “An Old Flame with a New Wick” (2004)
Ugly Betty, Romijn and Mabius on Joining the Cast (Interview, 2007)
Wentworth, Season 3 Episode 11 “The Living and The Dead” (2015)
WKRP in Cincinnati, Season 3 Episode 5 “Hotel Oceanview” (1980)

Music Videos:
Arcade Fire “We Exist” (2014)

The artist would like to thank The Canada Council for the Arts for their continued support of this project.


Ambient Photo

Luther Konadu

July 6 — August 4, 2018

In conjunction with this exhibition, Konadu has curated a screening of Charles Burnett’s film, Killer of Sheep and the short, Several Friends, on Thursday, July 26 at 7PM at Globe Cinema (617 8 Ave SW). Tickets to this screening are $12 at the door and on Eventbrite, or $10 at the door with a valid student ID. Tickets can be purchased ahead of time here. Thank you to the Globe for their generous support of this program!

Exhibition Description

Luther Konadu’s photographic processes and experiments ultimately seek to expand ways of viewing.  As part of one continuous documentary series, Konadu’s work considers a discursive approach to self-portraiture; one that is less linked to autobiography but rather to a diverging collective identity. Konadu’s work acknowledges the legacies of social documentary photography as an interpretive site for constructing narratives that counter prevailing and dominant ones. Konadu is interested in how he can create an alternate past in order to imagine a different future of self. The resulting fragment images highlight Konadu’s close community of family of friends in his personal studio as they create a document of self on their own terms.

Exhibition Text / Purple Prose

Position. Colour,

angle, light. Moved

No logos. Just youth

Pride and Cool

A pose in the coup of age. Once

power and dust shape the earth

On sticky notes in blue, pink and in green

History will snap flat. Culture will be held!

The tune carrying the curtain

shut. With brass will blast

In the clasp of pressure. Lights

will strobe. Released and whole

Around 19 BCE, the poet Horace coined the often quoted phrase: “as is painting, so is poetry.” A modern equivalent could substitute painting for the ubiquitous pictorial frame of the internet, “as is the internet, so is poetry”. A twentieth-century equivalent could have been something like, “as was photography, so too, was poetry.” Assuming the internet took up where photography left off—is poetry really a thing that can endure being paralleled to painting, photography, and the internet?

Many useless parallel analogies can be drawn between the structure of a poems’ lines, its rhythmic energy, and the arches of technical prowess one can display while working in an old darkroom. Black and white tonality and subtractive colour systems worked like the large family of liquid semivowels and aspirate and mute consonant sounds that paved the way for free verse. I suppose the process of applying skill in framing a thought or an image, is also comparable to knowing html, or any other markup language or coding cypher used to make the world today.

Proficiency is the overlord. After all, what is language if not a proficiency machine? Horace addressed our need to decorate the world with words—a purple patch he called it. What we now call purple prose. Horace preferred a more unified poetic code; one that called for technique and power, for ingenuity—as the most valuable properties demanded from a poet.[1]

Like phantom limbs, the technologies for writing and making imagery have taken a hold of us as much and as quickly as we have let them. When we don’t have our devices nearby we still feel them somatically, grotesquely shaping our movements and thoughts. And while technical expertise does not guarantee originality or an artist’s capacity to make nuanced work, folding the need for virtuosity in (folding the use we give to equipment along with the meat of our means for making the world) allows these somatic roams to resolve our approach to artistic production. Through a fold we meet the needs of the spirit in a healthy or therapeutic way because a fold highlights ambivalence as resolve.

I look at Luther Konadu’s photographs on the screen of a 10-year old laptop. The machine itself only days away from failure, each key pushed slowly leading to dilapidation. Konadu’s images in contrast appear bright and luminescent and sometimes, because of the device’s instability, they emerge a crumbled mix of digital pixels. Under these conditions I slowly preview his work. The computer’s existence is, reasonably, no longer a threat to me, but its potential break would disrupt my flow of communication. I stare out the window. Bells ring outside from an ambulatory ice cream vendor. Every afternoon he walks by pigeon songs, children and adults. He walks past their errors. Every afternoon stops at the margins. A page, a park, a teenager noodling on an electric guitar wearing a crumpled leather jacket and a punk band’s t-shirt. What and who is it that looks at any of these images? The real and the screened? The crumbling objects, other people, the park, a dog’s bark, my gaze, Southern California, mild weather, good light. I write:

On the screen young adult faces stare into the lens of a camera in a photographic studio. On the screen, it is winter or fall in Winnipeg, Manitoba. The kids are clothed in sweatshirts and turtlenecks. Warmed. The photographs are printed cheaply on laserjets, or so I am told. The biggest luxury the reader will have over me will be the ability to see the texture of the paper and the ink on the page, that inherent fragility that is made of material. The viewer will have the ability to linger on the analogue and I don’t mean analogue in the sense of film vs. digital, but in the sense of real life vs. live streamed. They will get to see how these objects and images take presence in a shared plane of space while all I get is their phantom stream.

Walking sense into pleasure in the Epistles to the Pisos Horace wrote, “If a painter should wish to unite a horse’s neck to a human head, and spread a variety of plumage over limbs [of different animals] taken from every part [of nature], so that what is a beautiful woman in the upper part terminates unsightly in an ugly fish below; could you, my friends, refrain from laughter, were you admitted to such a sight. Believe, ye Pisos, the book will be perfectly like such a picture, the ideas of which, like a sick man’s dreams, are all vain and fictitious: so that neither head nor foot can correspond to any one form.”[2] Konadu’s images do not respond to a singular form either. The photographs fracture the faces they depict, those of Konadu’s friends and relations, across multiple pages. The images bend or at least slightly skew elbows, wrists and thoughts over xeroxes. While Horace might have frowned at the incongruous, for us, it is a way of life. Astray, we make sense! Anything else doesn’t. It could also be said that the complex composition process behind these images imitates the fragmentation or content divisibility of an open tab on a web page, yet Konadu’s work is not made for the screen. It is printed on paper, lays on a table top with post-its and notes penciled over it. In these artworks, what remains below or above the fold, or edge of each image is the spatial element with which Konadu is concerned and where the elegance of his approach is best perceived. The surface space where meaning, determination, significance and readability blend.

“My eye, myself and my sock over many surfaces.” “There is one single lens, but the printing is repercussive.” The imagined voice heard here is of the artist’s friend explaining Konadu’s process to me. Let’s call them X. Their voice anticipates how the photographs might look in a gallery, edited and display-ready, instead of archived as they are in the digital folder I face. Across the opened window, on the screen, the works read as performative. My voice blends with X’s. As I write, I too become an extension of Konadu’s direction, “write from a personal stance,” he told me. What exactly does the personal get reduced to over text? What does it come to be, when you only see delayed images of each other? Online, awkward gestures frozen on a screen? A giggle or an interlude of gags between more serious conversation.

K, T and P.

Mute sounds.

Konadu’s images, like this text, aim to avoid reduction but they cannot do without. Even as we know we are more than the geographical contingency of the place from where we stand or from whence we came. When we pose, when we sit, when we write, when we speak, when our semblance is frozen on a screen, when we go take a leak, we are not singular forms. We are not duplications either, nor reproductions, not strangers, nor passersby, although that immaterial content of relation is what—in these images—the photographic limbo attempts when in that fraction of a second light hits a sensor or a piece of film. That irreducible amount of time it takes for ink to hit the page, or for a single letter of the alphabet to appear when I type, that is the aura and the allure of image-framing. Reduction, how the stranger becomes familiar, is the heavily relied-upon approach of the powerful. Reduction is also the equally unexpected apparition to which we as artists and subjects, as writers and objects-to-be, are exposed and into which we are immersed. Take in power.

Looking is always a more pregnant address than any description of the sight-seen claims. It grows over time. It is birthed into further expression. Looking not only demands a surface and a platform from which the viewer stands to see, a pair of eyes. It also arrests the surface and the platform suspending any decisions made by the artist, the writer or the poet, into the phenomenology of the visible, into its vision. In this way, what was once urgent is now frozen, what was once status quo is now reflection, what was once there, is now faded and aided by the memory of what is visibly in its place. What was once life is now stream. What gels, gets replicated in an image and distressed by the