L’Hirondelle’s work as an artist and musician has garnered her many awards, and has been written about in numerous journals and anthologies. She was one of the first Aboriginal artists from Canada to be invited to present work at DAK’ART Lab, as part of the 6th Edition of the Dakar Biennale for Contemporary African Art, Dakar, Senegal. In both 2005 and 2006, L’Hirondelle was the recipient of the imagineNATIVE New Media Award for her online net.art projects. She received the 2006 Award for Best Female Traditional Cultural Roots Album and the 2007 Best Group Award from the Canadian Aboriginal Music Awards, for Fusion of Two Worlds, the first CD from her Aboriginal Women’s ensemble, M’Girl. For more about L’Hirondelle’s work, see: www.ndnnrkey.net, www.myspace.com/cheryllhirondelle, www.myspace.com/mgirlmusic
Jessica Thompson is a new media artist whose practice encompasses sound, performance and mobile technologies. Her projects enable audience members to create user-defined spaces and situations within urban environments. Her projects have been shown in exhibitions and festivals such as New Territories, (ARCO 2005, Madrid) MACO, (Mexico City) dp003, (Dundee, Scotland) ISEA 2006, (San Jose, CA) the 2006 Conflux Festival, (New York), Kunsthallen Brænderigården (Denmark) and InterAccess Artist Run Centre (Toronto). Her project, SOUNDBIKE, was curated into Art Projects at Art Basel Miami Beach by Canadian curator, Natalie Kovacs, in 2005 and recently she was one of five international artists invited to participate in Reinventing the Wheel, a residency held at *.artlabs in Sibiu, Romania. For more about Thompson’s work, see: www.jessicathompson.ca
Formed in 1979 by Kim Kozzi and Dai Skuse, FASTWÜRMS is the trademark and joint authorship of these Toronto/Creemore-based multidisciplinary artists whose artwork melds high and popular cultures, bent identity politics, social exchange and a Witch positive DIY cinematic sensibility. FASTWÜRMS has exhibited and created public commissions and installations, performance, video and film projects, across Canada and in the United States, Europe, Korea, and Japan.
Recent exhibitions include ‘Anacowda-happy to feed the world’, for Rococo Tattoo at the Power Plant; ‘Superstition’ at Gallery TPW; ‘Red of Tooth and Kaw‘ at the Mendel Art Gallery, Saskatoon; ‘BLOOD & SWASH 3’ at Parlour Projects, Brooklyn, N.Y., and the 27th Bienal de São Paulo; and ‘Donky@Ninja@Witch’ at the Art Gallery of York University, North York, the Contemporary Art Gallery, Vancouver, and Plug In ICA, Winnipeg. They will be performing ‘Krummi Krunkar: Tarot + Tattoo’ in Reykjavik this October as part of the SEQUENCES Festival.
FASTWÜRMS’ cultural politics are complex and strategically subversive, their critical aesthetics relational and inclusive with a bent towards working class, craft collaborations, and queer alliance.
Jeanne Randolph is one of Canada’s foremost cultural theorists, having published the influential Psychoanalysis and Synchronized Swimming (1991), Symbolization and its Discontents (1997), and Why Stoics Box (2003). Her most recent book, Ethics of Luxury (2007) looks at how agencies of imagination can help us to act morally and ethically while participating in cultures of abundance, opulence and consumerism. A practicing psychiatrist, Randolph is also known as a performance artist whose extemporaneous soliloquies (on topics varying from cat curating to boxing to Barbie dolls to Wittgenstein) have been performed in galleries and universities across Canada as well as in England, Australia, and Spain. For Jeanne Randolph’s commentary on (in) visible cities, visit: http://invisiblecitiesperformance.blogspot.com
Nhan Duc Nguyen was born in Qui Nhon, Vietnam in 1967 and immigrated to Vancouver, Canada in 1976. His paintings have been exhibited across Canada. The big painting, Temple of My Familiar, a 32 metre, irregularly shaped artwork was shown in Belfast, Ireland. In 1997 two thousand paper boats evolved to an installation entitled Joss Paper Boats at the Roundhouse in memory of those who died of HIV/AIDS. Recent projects include core sample from the mountain of fruits and flowers, an installation at Banff Centre during the Intra-nation Residency Program in 2004, and, heyseeds, an altar erected at the Glenbow Museum in 2005 for the Alberta Centennial. Nhan is currently archiving Chicken Bank Images, the work of the late Sally Peanut, aka Warren Knechtel. Other recent projects include “Dream of a Fisher’s Catamite”, a self-published zine based on Japanese wood block prints and Calling for Ba Ba… (Mrs. Ba), a series of altars installed in various pho (beef noodle) restaurants in San Jose as a part of ISEA2006 and ZeroOne San Jose. For more about Nhan’s work, see:
nhanducnguyen.ca, and www.onedge.tv/html/06_baba.html
Experimental, passionate, and irreverent, Shawna Dempsey and Lorri Millan are two of Canada’s best known performance artists. Collaborators since 1989, this Winnipeg-based duo were catapulted into the national spotlight in their 20s with the controversial, now world-renowned performance piece, We’re Talking Vulva. Since then, this acclaimed duo has toured extensively throughout North America, Europe, Australia, and Japan, their film and video works being screened in venues as far-ranging as women's centres in Sri Lanka to the Museum of Modern Art in New York City. They have also created installations (Archaeology and You for the Royal Ontario Museum), published books (Lesbian National Parks & Services Field Guide to North America, Pedlar Press), and curated exhibitions (recently as Adjunct Curators at The Winnipeg Art Gallery). They have been acclaimed as “one of the high-points of contemporary Canadian artistic production.” (Border Crossings) For more about the work of Dempsey and Millan, see: http://www.fingerinthedyke.ca
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