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• The 10th Alberta Biennial

  The video starts in a dark cave draped with a host of stalactites, shrouded in soft synth sound. Absurd and whimsical forms emerge from the transmuting landscape of Devon Beggs's Echo's...

• The 10th Alberta Biennial

  Delightfully, it asks me to swipe right if “It frustrates me to not understand how something works.” And I am frustrated by the unclear ways that my answers...

• The 10th Alberta Biennial

  Vignettes of everyday detritus flash across the screen: objects fall to the ground, balloons pop, garbage lays scattered or is employed as an instrument for sound-making. Stacey Watson and...

• The 10th Alberta Biennial

  Creating limitless entry and exit points, Object Vocation exists as a rhizome, working laterally rather than hierarchically. It resists narrative structure, enabling a waterfall of connections between semiotic chains,...

• Anj Fermor

  *Anj Fermor* is an artist and writer residing in Calgary, Alberta on Treaty 7 Territory. They have provided art work and writing for exhibitions throughout Calgary. This summer they...

• St. Martins, New Brunswick

  The trails leading to the caves are overrun with calf-like children and their heifer mothers. In defiance, I discover untraveled, rocky ledges, grab branches for support—nettles catching, but not...

• St. Martins, New Brunswick

  Dear Leonard, I saw an albatross at the Royal Ontario Mus eum. Not a real one, silly. In the bird gallery. There’s a glass cage like nothing you’ll ever...

• St. Martins, New Brunswick

  Dear Leo, Looney won’t eat and no one talks to me. Nothing ever happens here. I’m like a painted ship upon a painted ocean (I didn’t make up that...

• Performing objects, readymade bodies

  Video, photography, sculpture, and painting share a common space and duration in Liddington’s exhibition; autonomous objects from different disciplines have the opportunity to exchange meaning. In this, Merce Cunningham’s...

• Performing objects, readymade bodies

  Liddington’s they danced with the understanding that this was for them, eventually it was at the SAAG situates itself within this tradition of quotidian performance on film, movement as readymade....