BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//CJSW Radio - ECPv6.13.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://cjsw.com
X-WR-CALDESC:Events for CJSW Radio
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Edmonton
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20260308T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20261101T080000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260220T100000
DTEND;TZID=America/Edmonton:20260410T170000
DTSTAMP:20260403T220415
CREATED:20260210T191337Z
LAST-MODIFIED:20260219T221631Z
UID:105226-1771581600-1775840400@cjsw.com
SUMMARY:Ashes! Ashes! by Margaret Joba-Woodruff
DESCRIPTION:Ashes! Ashes! by Margaret Joba-Woodruff\nDATES:\nFebruary 20\, 2026 to April 10\, 2026\nLOCATION:\nA/P MAIN GALLERY & STUDIO\n460 42 Avenue SE\nMohkinstsis/Calgary\, AB T2G 1YG\nOPEN HOURS/ADMISSION:\nWednesdays 10am – 8pm; Thursdays – Saturdays 10am – 5pm \nAdmission is FREE and all are welcome \nEVENTS:\nOpening Reception (artist in attendance) \nDate: Friday\, February 20\, 2026\nTime: 7pm – 9pm.\nLocation: In the A/P Main Gallery \nArtist Printing Demonstration\nDate: Saturday\, February 21\, 2026\nTime: 1pm – 2pm\nLocation: In the A/P Studio
URL:https://cjsw.com/event/ashes-ashes-by-margaret-joba-woodruff/
LOCATION:Alberta Printmakers Gallery\, 460 42 Ave SE\, Calgary\, Canada
CATEGORIES:All Ages,Art,Staff Picks
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260220T100000
DTEND;TZID=America/Edmonton:20260410T170000
DTSTAMP:20260403T220415
CREATED:20260224T192154Z
LAST-MODIFIED:20260224T192211Z
UID:105611-1771581600-1775840400@cjsw.com
SUMMARY:Gallery Exhibition: Ashes! Ashes! by Margaret Joba-Woodruff
DESCRIPTION:EXHIBITION DETAILS: \nEXHIBITION TITLE AND ARTIST: \nAshes! Ashes! \nDATES: \nFebruary 20 – April 10\, 2026 \nLOCATION:  \nAlberta Printmakers Main Space Gallery \n460 42 Avenue SE \nMohkinstsis/Calgary\, AB \nABOUT THE EXHIBITION:  \n“Most prints are contact relics in this sense\, inasmuch as they are essentially stains on one surface that attest to damage done to another surface.” \n– Jennifer L. Roberts\, Contact: Art and the Pull of Print \nSoot on the inside of a fireplace. Drops of candle wax on a dining table. A felt blanket draped over the armrest of a chair. Ashes! Ashes! is an exhibition grounded in the materials of charcoal\, beeswax\, paper and wool combined with printed gestures of cutting\, redrawing\, and wiping away. As I reflect on the 14 houses that I have moved in and out of over the last decade\, I turn to drawing as both an archival and speculative practice. The works exhibited here trace both real memories and imagined scenarios of these homes and the 25 people I shared them with\, manipulating the images through techniques of monotype\, collagraph\, and mokulito to reveal themes of comfort\, deterioration\, and repair. For myself and many of those closest to me\, our paths through the smog of urban housing precarity have been lined with neglectful landlords\, deteriorating architecture\, personal conflicts\, unpaid debts\, and threatening property managers. By sinking its teeth into moments in these spaces and the relationships made and lost in them\, Ashes! Ashes! wonders — with uncertainty\, grief\, and sometimes hope— what is left behind\, what do we take with us\, and where do we go from here? \nABOUT THE ARTIST: \nMargaret Joba-Woodruff is a visual artist whose practice employs an interdisciplinary approach to printmaking to consider the intersections of land\, body\, family\, memory\, and labour. After completing a BFA in Visual Art at the University of British Columbia in 2020\, she became a worker-owner of the Vancouver Artist Labour Union Cooperative before relocating to St John’s\, Ktaqmkuk (Newfoundland) to spend a year in residence as the ‘22-’23 Don Wright Scholar at St Michael’s Printshop. Her work has been supported by the Canada Council for the Arts and Arts NL\, and has been exhibited across Canada\, in the UK\, and Taiwan.  \nBorn in Montréal and raised on the island of Martha’s Vineyard\, Joba-Woodruff is once again living in Vancouver\, BC as a guest on the homelands of the xʷməθkʷəy̓əm (Musqueam)\, Sḵwx̱wú7mesh (Squamish)\, and səlilwətaɬ (Tsleil-Waututh) Nations after two meaningful years of living and working in Ktaqmkuk. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nA/P COMMUNICATIONS AND CONTACT INFO\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nInstagram: @abprintmakers  \nFacebook: @AlbertaPrintmakers \nWebsite: https://albertaprintmakers.com/event/noticeme/
URL:https://cjsw.com/event/gallery-exhibition-ashes-ashes-by-margaret-joba-woodruff/
LOCATION:Alberta Printmakers Gallery\, 460 42 Ave SE\, Calgary\, Canada
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260314T073000
DTEND;TZID=America/Edmonton:20260415T000000
DTSTAMP:20260403T220415
CREATED:20260210T190703Z
LAST-MODIFIED:20260312T174545Z
UID:105217-1773473400-1776211200@cjsw.com
SUMMARY:Ben Sures\, Suzie Ungerleider\, Matt Patershuk live at the National Music Centre
DESCRIPTION:Ben Sures\nSuzie Ungerleider\nMatt Patershuk\nSong & Stories In The Round Radios\, Rayguns and Little White Lies\nView All Concerts\n\n\n\n\n\nNational Music Centre \n\n\n850 4 St SE\nCalgary\, Canada\n\n\n\n\n\n\n\n\n\nTickets and details on our website: https://www.borderlineculture.com/\n\n\nTickets: $30 advance\, $35 at the door\nAll Ages\n\n\n\n\n\n\n\n\nSat 14 Mar. Calgary\, AB\, Canada\n\n\n\n\n\n7:30 PM MDT
URL:https://cjsw.com/event/105217/
LOCATION:Studio Bell\, 850 4 St. SE\, Calgary\, Canada
CATEGORIES:Folk,Live Music,Singer-songwriter,Staff Picks
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260327T120000
DTEND;TZID=America/Edmonton:20260816T190000
DTSTAMP:20260403T220415
CREATED:20260303T194856Z
LAST-MODIFIED:20260303T194856Z
UID:105810-1774612800-1786906800@cjsw.com
SUMMARY:Erdem Taşdelen Wounded in Three Acts
DESCRIPTION:Erdem Taşdelen\nWounded in Three Acts\nMarch 27—August 16\, 2026\nSetting up the stage with melodramatic flair\, Wounded in Three Acts marks a new chapter in Erdem Taşdelen’s artistic practice\, and his first return to Calgary since his 2019 exhibition at The Bows. Dramaturgic and narrative strategies ground Taşdelen’s work within the history of humanity’s examination of its own nature and the pursuit of catharsis through shared enactment. Using diverse media to articulate captivating fictions that never stray far from truth\, his projects graze veracity with a shrewdness that urges our attention toward contemporary sociopolitical realities. \nWounded in Three Acts weaves together elements of four recent bodies of work\, presenting an audio installation\, a film\, graphic prints\, and a live performance. Taşdelen’s artistic approach borrows from the languages of theatre\, contemporary fiction and collective action to engage with notions of power\, solidarity and resistance\, as well as human behaviour\, aspirations and limitations. Unmade Films (2022) is a series of posters for imaginary motion pictures never made. Under the guise of visual mimicry\, the series investigates cinematic tropes and invites viewers to imagine their own versions of the stories these films may tell. \nAn exercise in dramaturgy and dystopian reflection\, Taşdelen’s audio installation The Characters (2018-2021) – partly recorded in Calgary in collaboration with EMMEDIA –follows the self-indulgent and mordantly humorous narratives of a set of stock characters. With their defining traits taken from a text by ancient Greek philosopher and naturalist Theophrastus\, these fictional personas are recognizable archetypes. At Contemporary Calgary\, Taşdelen presents a condensed version of the project featuring ten idiosyncratic monologues\, portraying the less palatable aspects of humankind and generating a strangely familiar\, attention-grabbing clamour that holds an unflattering mirror to our contemporary society. \nFrictions (2024) is a moving image work that comprises twelve first-person narratives\, each reflecting on the psychological toll of living alongside strangers in an era marked by polarization\, technologically-mediated hostility\, and uncertainty about the future. Inspired by the artist’s own dreams involving social discomfort and anxiety\, the film’s narratives unfold against the backdrop of hazy\, dreamlike visual sequences\, punctuated with interludes of ambient soundscapes that reinforce a sense of unease. These small yet charged moments of friction expose deeper societal ruptures: the erosion of empathy\, the projection of personal insecurity onto others\, and the difficulty of meaningful social connection in a world saturated by suspicion and self-preservation. \nPunctuating the exhibition run at varying intervals\, A Long Dramatic Pause (2025-26) is Taşdelen’s first live performance work\, which premiered at Studio Voltaire in London\, UK this past fall. The narrative employs the lexicon of photography and theatre to explore strategies of resistance against ultranationalism and far-right politics. Twelve theatrical vignettes describe a photographic image never shown but brought to life through re-enactment and visual analysis by a solo performer. As the performer alternates between observing and embodying an antifascist figure in the photograph\, the narrative gradually implicates the audience\, shifting their focus towards their own agency and collective presence. For this iteration\, Taşdelen collaborated with performer Cindy Ansah to develop a unique\, site-specific version of A Long Dramatic Pause\, guided by a written script and a set of corresponding graphic scores that also feature in Taşdelen’s exhibition. \nCollectively\, the works in Wounded in Three Acts examine the ways in which we negotiate living alongside strangers whose histories\, beliefs and worldviews may be vastly different from our own. Examining culturally learned behaviours and drawing from unique historical accounts\, Taşdelen approaches these questions across different formats\, looking at narrative itself as a constructive device through which we make sense of our experiences and feelings\, both for ourselves and for others. His works do not attempt to instruct or persuade; instead\, they build situations in which we all must reckon with our positions and forms of complicity or solidarity. \nWounded in Three Acts is generously supported through the Ontario Arts Council Exhibition Assistance Program. \nCurated by Mona Filip.
URL:https://cjsw.com/event/erdem-tasdelen-wounded-in-three-acts/
LOCATION:Contemporary Calgary\, 701 11 St SW\, Calgary\, Canada
CATEGORIES:Art,Non-Music Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260327T120000
DTEND;TZID=America/Edmonton:20260816T190000
DTSTAMP:20260403T220415
CREATED:20260303T195029Z
LAST-MODIFIED:20260303T195029Z
UID:105814-1774612800-1786906800@cjsw.com
SUMMARY:Richard Ibghy & Marilou Lemmens Stacking Crates to Reach a Banana
DESCRIPTION:Richard Ibghy & Marilou Lemmens\nStacking Crates to Reach a Banana\nMarch 27—August 16\, 2026\nHow are our bodies measured and valued?\nHow do we perform within systems that observe\, record\, and assign meaning to behaviour? \nStacking Crates to Reach a Banana by Quebec-based artist duo Richard Ibghy and Marilou Lemmens brings together works that examine the body—human and nonhuman—as a site of measurement\, performance\, and value. Their practice draws on the visual language of modern science—diagrams\, charts\, graphs\, and schematics that translate lived experience and bodily labour into data\, units\, and archetypes. Across the exhibition\, embodied movements are rendered into abstract models within systems that quantify and compare behaviour\, even as the artists’ reworking of these forms unsettles claims of human exceptionalism. \n The two-channel video piece Taming Chance (2012) sets the tone for the exhibition\, combining a sense of playfulness with serious inquiry. The artist-performers attempt to bring order out of chaos while they deliberately court risk through the manipulation of raw materials. The thirty architectural recreations that feature in the series Anthology of Performance Pieces for Animals (2018- present)\, cast animals as active performers within the framework of laboratory-based cognitive experiments done to study them. In another room is the series\, Each Number Equals One Inhalation and One Exhalation (2016–present)\, that includes graphical representations of diagrammatic studies that illustrate human productivity and labour\, drawn from disciplines ranging from work science\, scientific management\, economics and psychology. Punctuating these small\, abstract sculptures are five videos from Is there anything left to be done at all? (2014)\, subtly evoking the presence of a tangible body\, but through explorations of non-productive action. Staged during a residency at Trinity Square Video in Toronto that is dedicated to art production\, Ibghy and Lemmens invited four artists to workshop the generative potential of improvisations and creative outflow\, probing what forms of action or desire remain once goal\, effort\, and reward are uncoupled. Brought together in direct dialogue for the first time\, the sculptures and videos form a pictorial architecture in themselves\, paralleling the models they reference. In so doing\, the artists intentionally orchestrate the viewing experience to disrupt how meaning is derived from patterns. \nFurther\, by working with models of non-productivity and by granting material and animal bodies agency on the same plane as human bodies\, the duo reveals the limits and flaws of these systems. The handmade sculptures\, built from simple materials such as bamboo sticks and acetate sheets\, emphasize the provisional nature of all regimes of epistemological control. \nIn making visible how instruction operates as a pattern that scripts action\, the exhibition traces the ethical stakes of such systems: the hierarchies they embed\, the behaviours they normalize\, and the ways bodies are instrumentalized as resources to be optimized. Together\, the works offer a critical and timely reflection on processes of reduction\, interrogating how systems of knowledge abstract bodies into data\, variables\, and units of labour\, while opening a space to consider bodies as irreducible to the metrics used to measure and manage them. \nCurated by Kanika Anand.
URL:https://cjsw.com/event/richard-ibghy-marilou-lemmens-stacking-crates-to-reach-a-banana/
LOCATION:Contemporary Calgary\, 701 11 St SW\, Calgary\, Canada
CATEGORIES:Art,Non-Music Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260401T150000
DTEND;TZID=America/Edmonton:20260401T175900
DTSTAMP:20260403T220415
CREATED:20260324T190333Z
LAST-MODIFIED:20260326T190743Z
UID:106415-1775055600-1775066340@cjsw.com
SUMMARY:K-Man & The 45s\, Astrocaster\, and TCOSS
DESCRIPTION:Wednesday\, April 1st \n9:00PM show \nNo cover! \n18+
URL:https://cjsw.com/event/k-man-the-45s-astrocaster-and-tcoss/
LOCATION:The Ship & Anchor\, 534 17 Ave SW\, Calgary\, Canada
CATEGORIES:18+,Alternative Rock,Indie,Indie Rock,Live Music,Punk,Punk Rock,Rock,Ska,Staff Picks
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260401T190000
DTEND;TZID=America/Edmonton:20260401T210000
DTSTAMP:20260403T220415
CREATED:20260324T190806Z
LAST-MODIFIED:20260326T190743Z
UID:106420-1775070000-1775077200@cjsw.com
SUMMARY:Analogue Revolution: How Feminist Media Changed the World
DESCRIPTION:A League of Their Own Presents: Analogue Revolution: How Feminist Media Changed the World (2023) \n \n“Before there was #MeToo\, there was Toronto’s Diva: A Quarterly Journal of South Asian Women\, Montreal’s Groupe Intervention Vidéo and Dykes on Mykes Radio Show\, and the women-led Studio D of the National Film Board of Canada. \n \nThe list extends into the hundreds. All Canadian\, all feminist\, and all trailblazing media of the late 60s to mid-90s.”\n \n-Image et Nation Film Festival Catalogue\n \nThis feature-length documentary traces the rise and fall of analogue feminist communications that preceded the MeToo era. From Halifax to Vancouver\, feminist storytellers of the 1970s to 1990s took hold of cutting-edge media technology to document everything from racism in the women’s movement\, to how to insert a diaphragm. \n \nThe film includes rare archival footage\, like African American feminist poet Audre Lorde’s speech at the Third International Feminist Book Fair (Montreal 1988) and pro-choice demonstrations in the 1980’s\, leading to the film’s\nclimax: draconian cutbacks to women’s and lesbian organizations across Canada\, following the massacre of women at École Polytechnique in Montreal\, 1989. Cutbacks\, racism\, and moral panics then decimated an intricate\, sophisticated\, and world-changing feminist media movement. \n \nThe film concludes with a resurgence and a сall to action: young BIPOC feminists using analogue strategies to create new feminist digital networks.\n \nGenre: Documentary\n \nDirector: Marusya Bociurkiw\nStars: Linda Abrahams\, Leela Acharya\, Zanana Akande    \nRunning time: 1 hr 34 min \nRating: 14A (Nudity)  \n \n*Featuring a Q&A with the director Marusya Bociurkiw in attendance!*\n \n~ READ BEFORE ARRIVING – –  – Debit\, credit\, and tap only for payment. No cash accepted.
URL:https://cjsw.com/event/analogue-revolution-how-feminist-media-changed-the-world/
LOCATION:Globe Cinema\, 617 8 Ave SW\, Calgary\, Canada
CATEGORIES:Film,Non-Music Events,Staff Picks
END:VEVENT
END:VCALENDAR