All Programming

Gathering itself around specific histories, environments, identities, and bodies, the 10th Biennial will witness and consider “the local” in the context of entangled and interdependent global relations.

M:ST 10 connects eight local and global arts organizations to host a series of residencies.

M:ST 10 connects eight local and global arts organizations to host a series of month long residency exchanges leading up to the Biennial.

M:ST 10 connects eight local and global arts organizations to host a series of residencies.

M:ST 10 connects eight local and global arts organizations to host a series of residencies.

M:ST 10 connects eight local and global arts organizations to host a series of month long residency exchanges leading up to the Biennial.

Alicia will join us during M:ST 10 as the Biennial Writer in Residence.

M:ST 10 connects eight local and global arts organizations to host a series of residencies.

Hannah Doerksen and sophia bartholomew have poured their two hearts into a project this last year and a half, and they would love to trade a copy of it with you!

Conceptually, this sign mirrors the functional utility of a second neon sign that operates remotely in an undisclosed satellite location — where it is used as a generic advertising prompt for a local nail salon.

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.

Somewhere between being and not being and breathing, straddling humour, hopefulness and despair: Solutions to the Problem of Staying Alive.

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.

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.

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.

"To look and touch are two sides of the same objective. Sometimes a persons objective is simply to look but do not touch, or touch but do not see..."

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.

Join us for an artist talk and Q&A with Jin-me Yoon in conjunction with "Untunnelling Vision."

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.

A food-based performance blending self-isolation, food, and online gathering into a social nourishing and culinary performance.

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 work is based on a piece Julianne first performed by bringing a corner of their living room into a theatre, and later in other galleries.

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

A live stream series created in response to the impact that our community is experiencing worldwide due to COVID-19 related restrictions.

Stephanie was hosted by Kamias Special Projects in the Philippines during the 3rd Kamias Triennial.

KC was hosted by the Directors of Asiatopia in Thailand where she traveled, lectured, and performed throughout the country.

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.

This radio podcast script speculates on the conversations that overlap between a group of friends, LEE, BUB, ANG, and JET.

A free multi-day workshop for artists of all disciplines who identify as Indigenous, Black, or as a Person of Colour.

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.

Presented in this interactive publication, the M:ST 9 biennial was captured through the documentation of liminal fragments.

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.

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.

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.

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.

This durational performance places common physical materials used in earthworks in relation to the artists' own physical body.

Quotidian violence can be classified by its invisibility. The quotidian is such because it is perceived so often that one stops perceiving it.

How to make an image is a duet between Eshan Rafi and a six-and-a-half-minute segment of archival video footage dealing with issues of representation.

Love Me Like There’s No Tomorrow is a durational lip-syncing performance to the solo record, Mr. Bad Guy by Farrokh Bulsara.

Something is coming is a site specific sound performance which listens into the electrical grid.

This research-based performance examines normalized associations be­tween criminality and sound.

Jeneen Frei Njootli’s performance turns an ear to caribou antlers sounding the transmis­sion of embedded and layered ancestral knowledge.

An individual and collective performative experiment: physiological relaxation as a basis for a conversation.

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.

Performance by Jamie McDonald + Signy Holm as part of the Rita McKeough: Works - Publication Launch Event

Performance by NIK as part of the Rita McKeough: Works - Publication Launch Event

Performance by Toni Cormier as part of the Rita McKeough: Works - Publication Launch Event

Join us to celebrate the launch of our new publication celebrating the career of prolific Calgary artist Rita McKeough.

Disclosure Cookbook is a conversation­al culinary experience bringing HIV positive people together over a lavish meal to discuss disclosing HIV status

A collectively authoured participatory performance and workshop. The public is invited to perform a score that takes place in a set.

A series of two panels - "Listening Awry" and "wnoondwaamin | we hear them" - by M:ST 9 artists and wnoondwaamin | we hear them exhibition artists.

Magnus Tiesenhausen and Kylie Ward will take reprieve from the waking life in a disused riding arena just outside of Calgary city limits.

Ideational Apraxia borrows everyday household implements and the contents of a femme purse, dis­covering and diverting the domestic system implied by these objects.

Writing for building invites the public to write and share a text addressed to a building of social or historical significance.

We invite art makers and researchers of all disciplines to engage in a performance workshop process.

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.

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.

Book launch and signing accompanied by a live reading from the authors for the publication 7th Sense.

Paydirt is a call for crowdsourcing under-the-radar info on extractive industries.

The OWAA is dedicated to finding “forever homes” for abandoned oil wells through symbolic adoptions.

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.

A 16-song work recounting the ever-cycling decay of a desert drought from the view of its flora and fauna. Trumpets, bass drums, strings, piano and voices dirge through the only path to the end.

Come join the fun, march to a de-colonial tune, celebrate yourself and come tickle, slap and dance your colonial blues away!

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

A twenty minute performed oral history that recounts the disremembered journey of the Bowen family from its earliest documented history in Clinton, Jones County, Georgia in 1815.

Ejideh: Push it! is a moose hide that interrupts space through Indigenous construction and reverberations. When installed and touched, it becomes a decolonial instrument for resonating the Land.

Night School is an emerging initiative from M:ST to facilitate the origination of new performative art making methodologies.

Weaving the Métis sash around a solid object in a public space is, likewise, a statement of presence. I am here. I live here. My stories are deeply entwined with this place.

This ground-breaking retreat assembles representatives of organizations, each dedicated to the promotion and exhibition of performance art across Canada.

Rooted in space and time, the performance comments on our unique relation to food and other members of the global community.

The Star in Question is a performance that translates a high school trigonometry exercise into an absurdist inquiry of perception, belonging, and celestial harmony.

By exercising a symmetric aesthetic, Bujold’s performance for M:ST 8 will seek to explore themes of tension and the uncanny through the manipulation of an installation space.

Drawing on themes surrounding collective memory and post-colonialism, Nathalie Mba Bikoro seeks to engage with communities by initiating public discussion surrounding their local environments.

For M:ST 8, Bartol has created a walking project to trace the limits of the City of Calgary on foot, covering a distance of over 174 km.

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.

Ishi’s story remains as a grim reminder of Western fascination with Indigenous cultures and its detrimental disregard of humans, forgetting that we are all sentient beings.

For La Jamésie, the artists will be re-creating an interdisciplinary experience combining installation, live music, poetry, video projections and performance to create a immersive experience.

In queer slow dance with radical thought, Choi and Hermant themselves serve as library items for loan, recounting the histories orally into participants’ ears while slow dancing.

For his interactive performance, Feeding the Masses, artist Tom Brown will set up his miniature kitchen as a freestanding anti-environment in a public space to cook food for willing passersby.

Without Eyes is an audio-sensory performance that employs verbal storytelling as a means to convey the potential possibilities (and limitations) of the written word.

Existing in the interstices of M:ST8, sophia bartholomew will hold a series of “book club” meetings in response to the festival’s other programming.

Desearch Repartment’s focus is building tools for survival and prosperity to empower world citizens with skills for successful living at the zenith of neoliberal capitalism.

Over the course of the festival the space will collect traces of the artist’s efforts, paper compounding paper in a monument to the shortcomings of media.

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.

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.

This project will consist of three parts: a video work of their journey to Calgary, a performance with new songs, and a small publication recording the new songs produced in response to the event.

Recognizing the hierarchies that exist within the local landscape, the artist comments on the instruments that are integral to the nervous system of Calgary.

This meticulously orchestrated audio-visual installation offers an uncanny world rife with narrative and opportunities to explore.

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.

Over the coming weeks, the generous labour of these coalescing energies will generate many points of intersection, creating spaces of exchange and contestation.

Alexander Steinitz will gather recordings from around the city and publish them into tapes to be found by community members. The resulting process will be presented online via Soundcloud.

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.

Performing the Landscape proposes to look at new ideas of landscape through the lens of contemporary art, in particular, the moving image.

Emily Promise Allison invites donors to contribute their imaginations.

From April 23-30th, M:ST is presenting our second annual performative art fundraiser, Spring Runoff.

A showcase of performance art exploring the body as site by students at Alberta College of Art + Design brought to you by M:ST and The A/V Performance Club.

I am in the middle of an oval lying inside a clear inflated pod at dusk. The pod is both a shelter, a mode of transport and a mechanism of camouflage.

Johanna reads Orlando by Virginia Woolf, one chapter a day for 6 days, Chris runs for the time it takes to read the chapter, listening to the podcast, beginning and ending at the location.

ECHO is a performance for one (and only one) person. The single participant will be guided in a real-time exploration of Echo Park in downtown Los Angeles, via a live cell phone call with the artist.

David Frankovich performs in spaces they have never visited before, in a city they have never been to before, not knowing what traces will be left from previous performances.

St-Laurent delivers fresh cut orchids to donors' chosen sites around the National Capital Region.

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.

Chun Hua Catherine Dong collects used stuffed animals in Montreal and uses a butcher knife to cut each animal’s mouth one by one. The mouths are randomly sewed back on, bodies and mouths mixed.

A labour-intensive work addressing the nature of daily life (and death), this piece will be accessible only to those who support the project.

Join us for a karaoke party Featuring HOLY JACKAL and Ryan Scott. Admission by donation.

D’Arcy will host a memorial service for Calgary’s lost wildlife and prairie habitat— an opportunity to collectively mourn the city’s incompatibility with nature.

Johannes Zits uses, sand, stones and water to investigate our relationship with the earth, considering the land as a body, one that is alive, vulnerable, and as socially contextualized as our own.

A ritual meditation, as ink traditionally used as an artistic tool is used as a by Dong as a weapon upon herself. The gestures are political apologies for her twelve-year absence from her culture.

The pianists will present iconic works of the western classical canon while struggling with visual, aural and physical obstructions which hopefully will stimulate new musical experiences.

Presented post-humously in honour of Kenny Doren, through the support of The National Music Centre.

A verbatim performance. Johanna Householder works at the intersection of popular and unpopular culture, shaping plundered source material in order to talk back to mass forms.

Witnesses attend private meetings with the artist and reveal publicly the performative narrative of their encounter. Storytelling becomes the only way of retracing the author.

Guillaume Adjutor Provost questions the presentation and representation inherent to autonomous objects. By association, he creates non-linear narratives crossing investigation and storytelling.

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.

Boehme explores sports as an arena in which social and political tensions are remorselessly played out. The language of sports is related to the language of war, struggle, and conquest.

Tanya Doody examines the iconography of the Neolithic through touch, gesture and time, engaging in new strategies for activating ceramic objects.

The ascent, the hold and the conclusion. The three segments together will describe the environmental atmosphere of their artistic proposition and the colour of the size of their imagination.

Through personalized objects and the Canadian landscape, Jake Klein-Waller is attempting to find his own afterlife.

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.

A film performance that blends high-resolution video and hand manipulated 16mm projections. Makino confronts the tension between the two and incorporates sound and smoke effects.

A voice repeats “1,2,3” uninterruptedly. A collection of three seconds field recordings from different parts of the world abruptly recorded during one year.

Matt Walker transforms the aural landscapes of urban and industrial sites by reintroducing an organic soundscape.

A performance-based installation that centres on the practice of note passing, and invites audiences to witness intimate conversations.

A one-woman task-action comedic tragedy and show-and-tell. Performed gestures are embodied through the use of projected images, cassette recordings, love letters, balloons, milk, soda, and pushpins.

a live intermedia performance that bridges three sites, Perth, Los Angeles, and Calgary, through an exploration of the rivers that run through the heart of each city.

In a network-centric techno-society shaped by privatized surveillance and ubiquitous computing, how do we, as individual human beings, define ourselves?

The fourth iteration of the Screening of Performance Art in the Natural Environment (SPANE) features a diverse mix of performance-based videos.

Audiences bring their own engagement with other cultures, the exchange is an exploration into the deconstruction of colonial constructed identities of Pacific and Maori people.

More information about this project coming soon.

Art Is All Over! (If You Want It), brings forth questions of whether art is at last a part of daily life, or whether art can be ended everywhere.

Coral Short recreates the finery of the flâneur with a roving street intervention. This mysterious group resists the dreary world within each slow, fanciful step they take.

As the Everyday Goalie, Lloyd dons an old-fashioned Team Canada jersey and classic street-hockey gear, making save after save against unseen adversaries in emblematic Canadian locations.

A durational performance, driving towards physical exhaustion over several hours, ULTIMATE WORKOUT puts forward a regime of existential fitness for the twenty-first century.

Through performative live action, visual media and songs Kurapel explores themes of vulnerability in society supported in a Mapuche ritual of a healing process.

Now in its seventh edition, M:ST celebrates innovative and critically engaged performative art in the southern Alberta region.

Using the concept of a love letter, the artist developed what he calls the performative haiku: an approach combining love and performance art.

In SLEEPER we travel to a nearly distant future in which all communication takes place through synaesthetic connections between images and sound.

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.

La Fête Sauvage ponders on humanity’s failure to grasp the distinction between animals as agents of nature and animals as symbols of culture. Rumours of human’s relation with animals will be exchanged

Be what you want is an ongoing search for ways to share stories, who’s unstable plot development attempts to produce opportunities for exchange & reflection between individuals.

The emotional content of the songs performed can be interpreted as artificial or as authentic, but regardless of the interpretation, the reading is rendered as absurd and difficult through repetition.

The inside of a bronze casting of the artist’s head will be hand polished to a mirror finish. The laborious process is a negotiation of narcissism and spirituality.

Attempting to stop the course of nature, yet the instantaneous, fierce and hurling force of time just slips through my fingers.

Writing emerges between two events: when someone, through walking, imagines themselves as the perfect companion for a stranger, and then what happens when that stranger touches back.

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.

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.

This publication explores the life and times of the performance persona Buffalo Boy, from his very first appearance in 2004 to his first death in 2008 at the “Battle of Little Big Horny” and beyond.

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.

M:ST, together with EMMEDIA, LIDS, FUSE Magazine and Frosst Books celebrates the 1,000,051 birthday of Art!

M:ST, in collaboration with The New Gallery, is pleased to welcome Johanna Householder as Researcher in Residence at the TNG John Snow House.

M:ST is pleased to offer a 3-day intensive performance workshop with Richard Martel (Quebec City), open to performers and artists of all backgrounds.

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.‍

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”.

This panel is dedicated to the memory of Jasmine Valentina.

If one has an aversion to making objects, then what does one make? Does one therefore make (or do) performance? Is performance an object?

Engagement in everyday performative actions speaking to and about the current political, military, social, and economic issues in ‘costume’ mimicking the men’s power suit and military uniform.

M:ST presents the work by artist participants in the M:ST 5.5: Making Way workshop series.

An investigation into the relationship between body / city. This research is guided by questions about the corporality that are built to live in the city and its public spaces.

David Frankovich will be using camping equipment to transform their body in an exploration of gender wearing a flannel shirt, hiking boots, a tent, sleeping bag, rope, and other assorted camping gear.

M:ST presents the work by artist participants in the M:ST 5.5: Making Way workshop series.

A mass performance art project to demonstrate a commitment to reduced highway driving speed, and with it, reduced fuel consumption and pollution.

The archivist invites people to bring in their own ‘artifact’ and leave it for three days for the archivist’s scrutiny. The archivist will create a brief history/description of each object.

M:ST 6's Performance art workshop, hosted by Pauline Cummins.

Imagined as a series of tableaux which will show off a power play, competition clashes and sports tournaments, Vile Fights is a metaphor of power struggles associated with political issues.

By dancing the space as if it were a duplex where walls barely separate existence, emotion, longing, remembering, and motion, how much do we consciously or subconsciously affect each other?

Experience M.E.D.I.U.M. and explore commodity spiritualism through divination, witchery, and magic.

The viewer is configured as an accomplice to the performance event, a ritual in which the tenuous mantle (or blindfold) of power is borrowed, trafficked, and stolen.

This work is a performance that moves amongst demonstration, documentation, and fiction, adopting chance-based systems that devolve structure to audience influence

The project explores futility, failure, and success through what is lost and gained in making and re-making, interpretation, misinterpretation and translation.

The performance is a personal history, based on the concept of ‘Home’, Apisuk's background and their relationship with home.

Randy Gledhill offers three short vignettes re-creating three memories for each trip they have taken to Calgary.

This performance is an attempt for Amy Malbeuf to reconcile their relationship with their native language(s), in an attempt to find, and reveal, their lost self.

Panel discussion moderated by David Plouffe.

W.O.R.K.S. was an international performance art festival and publishing collective based in Calgary from 1972 –5. For M:ST 6, the listed artists re-perform their works.

Zorbar establishes a balance of machines and music, objects and sound. The works have an ephemeral quality as many last just as long as the side of a record, or sometimes just the length of a song.

Babcock’s install/action engages a tactile juxtaposition to explore the borderlands between apparent opposites — between comfort and agitation, attraction and abhorrence, danger and sanctuary.

The action of constantly painting white rice to black is a metaphor of the hourglass. Sand in an hourglass cannot flow without rotation, just as power cannot shift without struggle.

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.

For M:ST 6, the invited local, national and international performative artists take the definition of performative art in wildly different directions.

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.

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.

Burden is an interactive performance installation that explores intimacy through sensory deprivation, the ingesting of secrets and the sharing of weight.

Burns explores what makes up identity, how identity changes and evolves, and how her own identity influences that of her fictional ‘other.’

A label and a concert series occurring in monthly instalments. This collective promotes and performs concerts of improvised music and a first-time collaboration with a flamenco dancer.

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.

Collaborators Crocker and Kelly will create a real-time drawn-on-film animation with accompanying soundtrack in front of a live audience.

Reading excerpts from the Indian Act, Brass’ performance reveals a structure designed to wound those that attempt to cross it. Through the power of performance that structure is confounded.

Istvan Kantor, returns to the Neoist memorial he established at a tree during M:ST 4. The tree is a landmark and tribute to the immortal spirit of dead artists, scientists and revolutionaries.

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.

Francophone artists dressed as seasoned adventurers travel across Calgary, stopping at high-traffic public areas in the downtown core. They will have a green screen set up and film their adventure.

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.

Bin 15 is an interactive installation and audio performance work recording percussive sounds and natural reverberations within a modified grain bin.

Inspired by Olympic-type competitions where participant’s skills, speed and gameness are publicly put to test with the goal of destroying the competition and achieving an “ultimate” victory.

This project explores the subculture of the reclamation of craft, strategy games and public gaming and the public’s relationship to these things.

Lambstein is a performance of a human in a lamb suit lying motionless on a silver table to provoke questions of cloning and the boundaries of the monstrous and the ‘natural’.

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.

An effort to depict the professional artist in satire to “working life”. Green knits a three-piece business suit for Statz who’ll conclude the work with an excursion through Calgary’s downtown core.

A performative lecture investigating the life and activities of philosopher Diogenes of Sinope (c. 412 BC) as the prototypical performance artist.

A performer echos the movements of Hassam Abdo, a young Palestinian boy stopped at an Israeli army checkpoint with a bomb attached to his body.

A collaborative workshop and mobile sound performance that enables participants to contribute to the acoustic ecology of the city through simple sonic experimentation.

Kelly Jaclynn Andres roams the neighbourhood in a self-sufficient and sustainable mobile lab for communicating with a living, local environment.

In the months of June and July 2009, the Tender Mountain Clan will be actively installing, recording, and mapping street art in the city of Calgary.

SOUNDBIKE is a portable sound piece that use motion-based mini-generators mounted to an ordinary bicycle to broadcast the sound of laughter as the bike is peddled through the urban environment.

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.

TRUCK presents a new residency program: Temporary Resident: Artists for Innovative Contemporary Culture - TR:AFICC. These residencies provide a space for artistic exploration and public engagement.

A long-term multi-disciplinary art project that takes Foster through various parts of the Canadian landscape. Eryn Foster creates, maps, and archives new and existing Canadian pilgrimage routes.

Liss Platt “performs” the projection of a short film by continuously pedaling a custom-built bicycle to power a 16mm film projector.

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.

This walking-based performance uses radio receivers and a laptop to transmit and remix sounds from the urban environment, passed from the artist to the audience members.

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.

The Glenbow Museum becomes the subject, material, and site of The Movement Movement's practice, as a team of 200 runners infiltrates one of Calgary’s best known cultural institutions.

Sporting fishnet stockings, a bison g-string, and a buffalo corset, Adrian Stimson’s alter-ego Buffalo Boy returns to make his final stand.

A catchy art-ernative musical performance that “wryly conveys the artistic condition, soulfully delivers art history education, and from time to time belts out a well-loved standard.”

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.

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.

The New Gallery is pleased to present a major retrospective of the work of David Zack. Curated by the artist’s longtime colleague and collaborator Istvan Kantor.

This workshop will provide students from the Alberta University of the Arts the opportunity to work with renowned multidisciplinary artist Cheryl L’Hirondelle.

L’Hirondelle performs this exploratory process-based work under an adaptable traveling tent where she relates useful information to passersby using her body, voice and graffiti/tagging.

With a professional mascot costume of herself, Baker travels across North America making public appearances as Cindy Baker.

Stephan Schulz walks throughout Calgary wearing a business suit and a hard hat with an 8-foot wood plank attached to its top. On each end, a mini DV video camera is mounted and pointed at the artist.

John Murchie chooses artwork from The Nickle Art Museum’s permanent collection of over 5,000 works of art. the exhibition will begin as an empty, content-less space - new work will be added gradually.

An amorphous project sympathetic to its environment and the body’s ability to sense where the various parts of the body are located in relation to each other.

The UHL is a multifunctional and ever-expanding portable lab and activist centre for urban sustainability, complete with green roof and water collection capabilities.

Silver uses typewriter keys attached to boxing/training gloves to force an imprint upon the gallery wall. Fragments of text from obsolete writing technology become contemporary tools.

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 artists transmit a live broadcast to the audience through special “state-of-the-art” mobile headgear: tinfoil hats outfitted with radio receivers and wireless microphones.

Horvat creates an opportunity for herself to be a star — music makes public a very intimate, raw, and self-conscious performance, confusing the distinctions between spectacle and private ritual.

Citizen Justice patrols the streets of the metropolis known as Calgary, helping citizens in distress. By night, Justice returns to her headquarters where audiences can observe her living space.

Istvan Kantor creates a Neoist memorial and monument at a tree in downtown Calgary. Kantor will inaugurate the tree as a new tribute to dead artists, scientists, and revolutionaries.

Visitors were invited to answer a series of interview questions about their memories, hopes, and fears. The results of these interviews were then used to create customized fragrances for each client.

This panel examined elements of performance and performativity in relation to risk-taking and innovation, novel technologies, and more.

Minerva Cuevas’s performance for the Walter Phillips Gallery will highlight and interrogate the relationships between Banff, The Banff Centre, and its surroundings.

Telephone is a Vancouver and Melbourne based collaborative project in which the “campfire game” serves as a metaphor for the trade and transformation of ideas and sound.

Camille Turner portrays Miss Canadiana, a beauty queen on an international Red White and Beautiful Tour, using her body as a site of social investigation.

The Virtual Bodies workshop is aimed at exploring different strategies for situating the body in performance within technologised spaces.

Mono Logical plays on the tensions between language intended to be communicative and language that isn’t.

The Nihilist Spasm Band is an internationally acclaimed sound and audio group.

Slipping by continues McKeough’s ongoing exploration of the potential of a relationship to the performing object.

Several participants ranging from professional musicians to those with a basic interest in music are invited to be part of an orchestra.

The launch of this very special concert tour will be marked by the release of a new sound craftily sculpted by the members of scum.

A response to the sense that in the present political climate, the public sphere is diminishing so that we increasingly think in terms of individualism or monolithic ideas of collectivity.

Neumark and her daughter will explore the ways that childhood experiences influence our world-view, and how a sense of place is recalled in and through memory.

Hupfield’s performance will involve the installation of a circular earthwork consisting of a ring of rocks and floral earthen design within close proximity to Fort Calgary.

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.

Grand Action is a three-day seminar event that included studio visits, a public Grand Action Panel Discussion, and Community Party and Networking Session.

Employing dramatic re-enactment of spliced dialogue from classic films, Ponton’s performance Seen. Unsaid. veers to the edge of hysteria and back again.

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.

Lookout is intended to be a site-specific forum for dialogue and observation, an opportunity to question and investigate how public space is marked and shaped by different interests and histories.

The simple and irrational notion that an “elastic test” can objectively discern the good moral character of a non-Western foreigner is the premise for The Elastic Test Project.

This performance work utilizes three components: performance, digital imaging, and video animation.

For this project in Calgary, St. Laurent questions how socially acceptable it is for a man to be seen in the arms of another man in public.

In 1999 Liss Platt created the personae ‘Art Jock’ as a way to fuse her two primary identities, as artist and athlete, into one practice.

This panel will focus on the meanings created by the dynamics between artist and audience, strategies artists use to manage conflict, and more.

John Murchie’s, He Searches For — the adventures of the boy known throughout the world as Big Boy — is a tragic comedy.

The Face of Everything is a graphic performance set in the mid-seventies that tells the story of a young man whose life experiences loosely parallel those of Scott Thorson, Liberace’s boyfriend.

JB < = > JB is a new performance investigating notions of identity, creativity, pedagogy and community.

Armed with a portable FM transmitter and a list of questions, Robyn Moody conducted interviews with pedestrians along Stephen Avenue Mall.

Flat and immense, filled with secrets and incongruities, urban roofs are viewed as virgin territories or evolving landscapes that are open to experimentation and exploration.

Chad Van Gaalen hopes to imbue the piano with vitality and freshness by presenting a modern upright he has gutted and reconstructed according to his own idiosyncratic vision and whims.

The primary objective of M:ST 2 is to program original, diverse, enter­taining, and thought-provoking performative works.

If you’ve never experienced performative art first-hand, you’re in for a full month’s worth of exceptional opportunities.

CRYBABY presents a sculptural and performative evocation of grief, loss and tragic experience. Activated by durational performances throughout the course of the exhibition.

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.

This publication provides a background to the artists and projects in the M:ST 4 Alter-Egos, Doppelgangers, and Split Personalities Series.

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

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.

Kelly Jaclynn Andres presents the workshops: Sucker for a Syphon, Closet Gardener, Guilt-Free Geek, and Very Seedy Neighborhood.

Intersite Visual Arts Festival actively engages an unsuspecting public and advocates for contemporary art practices outside of the traditional gallery setting.

ISSAY! magazine is a free, digitally accessible arts magazine that exists at the intersection between mediums and localities. We prioritize the works of marginalized creatives and offer this publication as a space where communities have agency to tell their stories. Our mission is to spark interdisciplinary connection through written work and contemporary art forms. ISSAY! publishes non-fiction, creative fiction, poetry, visual, digital, and performance art from contributors around the world.