Performances

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

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.

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.

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

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.

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