Accessible on the main page of the M:ST website, crossing blue is influenced by Shyra DeSouza's move from Calgary to Berlin, and the kind of re-orientation process through which their practice has had to be translated as it shifted in-between these two global positions.
Explore the interactive online tour: M:ST Performative Art and TRUCK Contemporary Art present the newest and the fourth in a series of installations by artist Jin-me Yoon that explores the intersections of militarism, colonialism, and tourism. The exhibition is the result of three years of relationship building between the artist, M:ST, TRUCK, and Tsuut’ina and Mohkinstsis|Calgary-based artists, knowledge keepers, and historians.
Unfolding durationally and spatially, as a socially activated thought-space, The Blue Light begins to circulate like a provisional interface in the staging of imaginary situations.
To celebrate our 10th biennial, M:ST is connecting eight local and global arts organizations to host a series of month long residency exchanges leading up to the biennial.
Assembled during the 2021 winter Covid-19 lockdowns, Richard Boulet’s contribution to The Blue Light is a work that began its process as a collaborative essay.
The Blue Light backroom is an assemblage of discontinuous textualities. It is a thought that becomes a place. It changes forms. It remains unfixed, decentered and perpetually unmoored.
Drawing from the psychotropic properties of these plants*, the Kaffeeklatsch Scheinpräparat (30 mL) can be used like a portable, imaginary mind garden where one can nourish ongoing fictions and their potential to re-articulate spaces and situations from everyday life.
This performance involves decorating funerary cakes while calling friends, relatives, and kin to talk about occasions where feeding people cake is contemporary tradition, verging on protocol.
Working with aesthetics informed by disability, this performance deliberately rejects the fetishization of “pushing one’s self” as an achievement in performance.
This performance is centered in knowledge transmission, language retention, and creative practice that will allow Carrie and future generations to learn Nêhiyawêwin.
The ninth and final iteration in an ongoing series, this performance continues his exploration of “enacted images (agierte Bilder)," a term he has used since 1989 for his works.
While people all around the world are experiencing the effects of COVID-19, artist Jood Jung is living and working on a cow farm in Chiang Mai Province, Thailand.
Exploring the nuances of human failure, this performance places a single individual at the centre of humanities woes as it abstracts and contemplates what it means to “end” something.
The Ballad of Plastic Bags will livestream the journey of two plastic bags caught in the wind tunnel of my apartment’s almost deserted parking lot while a Figure of Pestilence lurks in the background.
This performance combines the elements of writing, music, and movement improv. Using face masks, hoarded groceries, and ribbons as props, the performance involves the artist singing poetry about being
Part of the Fare Trade fundraiser curated by Signy Holm. Mother’s Preserves is a series of learning experiences that take 3 forms: a plant walk, a canning workshop, and a sharing circle.
Part of the Fare Trade fundraiser curated by Signy Holm. 2 cents cart is a mobile installation and performative artwork modeled after Asian street food and tea carts.
Fare Trade approaches contemporary performance art through the act of preparing and sharing food. Curated by Signy Holm. Featuring work by Taylor Harder and Teresa Tam.
M:ST and TRUCK Contemporary Art in Calgary are proud to work with artist Jin-me Yoon on the creation of the video work "Untunneling Vision" (working title), shot on location in Calgary.
This performance involves decorating funerary cakes while calling friends, relatives, and kin to talk about occasions where feeding people cake is contemporary tradition, verging on protocol.
Working with aesthetics informed by disability, this performance deliberately rejects the fetishization of “pushing one’s self” as an achievement in performance.
This performance is centered in knowledge transmission, language retention, and creative practice that will allow Carrie and future generations to learn Nêhiyawêwin.
The ninth and final iteration in an ongoing series, this performance continues his exploration of “enacted images (agierte Bilder)," a term he has used since 1989 for his works.
While people all around the world are experiencing the effects of COVID-19, artist Jood Jung is living and working on a cow farm in Chiang Mai Province, Thailand.
Exploring the nuances of human failure, this performance places a single individual at the centre of humanities woes as it abstracts and contemplates what it means to “end” something.
The Ballad of Plastic Bags will livestream the journey of two plastic bags caught in the wind tunnel of my apartment’s almost deserted parking lot while a Figure of Pestilence lurks in the background.
This performance combines the elements of writing, music, and movement improv. Using face masks, hoarded groceries, and ribbons as props, the performance involves the artist singing poetry about being
Part of the Fare Trade fundraiser curated by Signy Holm. 2 cents cart is a mobile installation and performative artwork modeled after Asian street food and tea carts.
In the tradition of Impressionist paintings of white Europeans performing leisure activities, the performance imagines this for our ancestors who are no longer alive, as well as those that are.
In 2013, a long-buried and relatively obscure village was uncovered in a remote region of the Mediterranean. Researchers slowly unearthed increasingly bizarre artifacts and architecture.
M:ST and TRUCK Contemporary Art in Calgary are proud to work with artist Jin-me Yoon on the creation of the video work "Untunneling Vision" (working title), shot on location in Calgary.
Capturing the zeitgeist of the biennial, our M:ST 9 writer-in-residence and Vancouver-based author Steffanie Ling will produce a written work published in a post-biennial reflection.
To celebrate our 10th biennial, 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 an attempt to claim and share our own histories, the M:ST 9 roster of artists question the physical and metaphysical boundaries between body and territory.
Over the coming weeks, the generous labour of these coalescing energies will generate many points of intersection, creating spaces of exchange and contestation.
Building on an incredible history of collaboration, innovation, and community support, the M:ST 5 Festival will bring two weeks of cutting-edge performative art to Calgary.
We invite you to join us for the fourth installment of the M:ST Performative Art Festival. Building on an incredible history of collaboration, innovation, and community support, the M:ST 4.
The 2005 Mountain Standard Time 3 festival will present the works of 31 local, national and international artists in 18 programmed events in the communities of Banff. Calgary, and Lethbridge.
Life of a Craphead will talk about their relationship to movies. This includes watching a lot of them, through their specific lenses of race, gender, and class.
A moderated this panel with performative artists that have a long-standing trajectory in the field and are seen by their peers and the community as leaders and innovators.
A moderated panel, bringing together Craft Off artists to discuss the intersections of contemporary craft and performance art practices in light of their projects for the M:ST Festival.
This panel brings together several of the artists part of the M:ST 4 Event Architecture Series to discuss the ways that they have used administrative strategies to develop their practices.
Grand Action is a three-day seminar event that included studio visits, a public Grand Action Panel Discussion, and Community Party and Networking Session.
This panel discussion explores the idea that performativity can be seen as a process, how the body is gendered through the repetitive enactment of societal markers, and more.
This project invited local artists and public audiences to engage in various forms of dialogue about social, political, and cultural issues affecting the various regions of the Americas.
Part of the Fare Trade fundraiser curated by Signy Holm. Mother’s Preserves is a series of learning experiences that take 3 forms: a plant walk, a canning workshop, and a sharing circle.
Tuesday October 25, 2016 | Wednesday October 26, 2016 — 10:00am – 12:30pm Daily.
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This ground-breaking retreat assembles representatives of organizations, each dedicated to the promotion and exhibition of performance art across Canada.
Wednesday, October 19, 2016 – Friday, October 21, 2016 — 10:00am – 6:00pm Daily.
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This workshop will introduce participants to what is involved in the creation of a live action piece as related to infiltrating or intervention practices that take place in public spaces.
Monday, October 6, 2014 - Thursday, October 9, 2014 — 11:00am - 5:00pm
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This workshop aims to re-think the basic elements of Performance Art and experiment with performativity in a wider sense and applied to different art practices.
This workshop is designed for artists interested in working across distances and borders both literal and conceptual and artists collaborating across discipline or cultural affiliation.
This class will be a daylong event filled with theory, discussion and action. It is an opportunity to reflect on your practice, what’s happening today and create space for impromptu actions.
Monday, February 17, 2014 - Friday, February 21, 2014
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This workshop offers theoretical and practical explorations of performance art with a focus on our interactions with everyday objects by integrating sound, images, and performative processes.
Monday, October 15, 2012 - Saturday, October 20, 2012 — 12:00pm - 5:00pm
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Aligned with the IMAA national conference at The Banff Centre, John Grzinich will facilitate MUTOPIA, a workshop that explores collaboration, collective creativity and open forms of authorship.
Monday, October 15, 2012 - Wednesday, October 17, 2012
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Making Way presents complementary workshops by Adrian Stimson and Rebecca Belmore that engages participants in critical discourse on contemporary Indigenous performance art theory and praxis.
A collaborative workshop and mobile sound performance that enables participants to contribute to the acoustic ecology of the city through simple sonic experimentation.
This workshop will provide students from the Alberta University of the Arts the opportunity to work with renowned multidisciplinary artist Cheryl L’Hirondelle.
M:ST Presents a workshop by TouVA collective through a gradual yet intensive learning process to introduce participants to what is involved in the creation of a live action.
M:ST presents PAS — Performance Art Studies (Germany), a professional studio that is offering intensive studies to young artists, art students and other interested people in Performance Art
Explore the interactive online tour: M:ST Performative Art and TRUCK Contemporary Art present the newest and the fourth in a series of installations by artist Jin-me Yoon that explores the intersections of militarism, colonialism, and tourism. The exhibition is the result of three years of relationship building between the artist, M:ST, TRUCK, and Tsuut’ina and Mohkinstsis|Calgary-based artists, knowledge keepers, and historians.
Entertaining Every Second is a new body of performance and sculptural work by Life of a Craphead that engages with experiences and representations western imperialism in Asia.
Festival: July 7 – 15, 2017 | Exhibition: July 7 – August 26, 2017 | Reception: Friday, July 7, 5:00 PM at the Globe Cinema (18+)
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Exploring the affectations of settler colonial romanticism and its persistence in performances of the “Wild West”, this project troubles settler hegemonies and offers alternative practices of wildness
Saturday, October 22, 2016 — Saturday, November 26, 2016.
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With humor and irony Luna's works transform the gallery space into a battlefield where the audience is confronted with the nature of cultural identity and the tensions generated by cultural isolation.
Friday, October 21, 2016 – Wednesday, October 26, 2016 — 11:00am – 5:00pm Daily.
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Patrick Morarescu will present a two-channel photo installation. The juxtaposition of these works will create random and accidental pairings, enabling viewers to conjure their own associations.
Saturday, October 1, 2016 — Sunday, November 20, 2016.
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Lipton brings together the nine chapters of her film and performance opus THE IMPOSSIBLE BLUE ROSE. The project is the culmination of video, theatre, dance, poetry, sculpture, and more.
Saturday, October 8, 2016 — Wednesday, November 30, 2016
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Jessie Short's 2015 film, Wake Up! , is an exploration of her identity as a Métis woman. The work addresses the absence of Métis people from larger conversations about Indigenous visual culture.
Thursday, October 2, 2014 - Saturday, October 10, 2014
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In a network-centric techno-society shaped by privatized surveillance and ubiquitous computing, how do we, as individual human beings, define ourselves?
Friday, September 26, 2014 - Saturday, October 11, 2014
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This exhibition highlights the contradictions and anxieties around choosing what is acceptable as food and what is not; McKeough’s humour makes it possible to get close to these difficult concepts.
An exhibition centred on the body and identity in ways that can be conceptualized as performance art, even though the artist’s body is not visibly present in the work.
Friday, October 26, 2012 - Friday, November 23, 2012
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A gigantically negative act that rejects crafting traditions, or a positive gesture that inaugurates and invites people into a new craft guild of fuck-ups, mischief makers, and badasses.
Friday, October 26, 2012 - Friday, November 23, 2012
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A video installation based on Gertrude Stein’s play Doctor Faustus Lights the Lights, incorporating traces of the original text interwoven with other found “texts”.
Monday, October 15, 2012 - Monday, November 5, 2012
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This exhibition gathers key works selected from over 30 years of art production, including significant statements on evolving issues on body politics through that time period.
Artwork by Dick Averns from his deployment to the Middle East with Canadian peacekeeping troops. The exhibition contains photographs, sculpture, video and text portrayals of his experiences.
A bicycle covered with mirrors of various shapes, assuming the silhouette of a bicycle, this specular object comes to reflect the people, the architecture and the scenery passing.
Monday, October 13, 2008 - Friday, October 17, 2008
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The Final Frontier puts a Canadian spin on Afrofuturism, a movement that mixes digital culture and history to posit alternative futures reflecting the black experience.
Friday, October 10, 2008 - Saturday, November 8, 2008
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An exhibition of ambiguous objects, images, videos and sounds that evoke a love for and a satirizing of both the ambitions of Modern Art History and the DIY ethos of folk and lo-fi indie music.
Friday, October 10, 2008 - Saturday, November 8, 2008
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A new exhibition of installations in which Adrian Stimson explores identity, history, and transcendence through the reconfiguration of fragments culled from the Chief Old Sun Residential School.
Fare Trade approaches contemporary performance art through the act of preparing and sharing food. Curated by Signy Holm. Featuring work by Taylor Harder and Teresa Tam.
Thursday, July 27, 2017 — 7:00pm – 10:00pm | Sunday, August 20, 2017 — 2:00pm – 4:00pm
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Artists, Alana Bartol and Maggie Flynn will perform in their respective cities, fields, and studios to raise funds in support of Mountain Standard Time as well as their own artistic practices.
Spring Runoff is an annual local and international performance art fundraiser. Donors had the opportunity to donate to performing artists in return for exclusive performance paraphernalia.
Assembled during the 2021 winter Covid-19 lockdowns, Richard Boulet’s contribution to The Blue Light is a work that began its process as a collaborative essay.
Unfolding durationally and spatially, as a socially activated thought-space, The Blue Light begins to circulate like a provisional interface in the staging of imaginary situations.
Accessible on the main page of the M:ST website, crossing blue is influenced by Shyra DeSouza's move from Calgary to Berlin, and the kind of re-orientation process through which their practice has had to be translated as it shifted in-between these two global positions.
The Blue Light backroom is an assemblage of discontinuous textualities. It is a thought that becomes a place. It changes forms. It remains unfixed, decentered and perpetually unmoored.
Drawing from the psychotropic properties of these plants*, the Kaffeeklatsch Scheinpräparat (30 mL) can be used like a portable, imaginary mind garden where one can nourish ongoing fictions and their potential to re-articulate spaces and situations from everyday life.
Intimate musings on the complexity of performing queer bodies in a comparison of Ryan Danny Owen's performance in M:ST 9, Love Me Like There's No Tomorrow, and William E. Jones' TEAROOM.
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