BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//CJSW Radio - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:CJSW Radio
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:20250309T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20251102T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20260308T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20261101T080000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0700
TZOFFSETTO:-0600
TZNAME:MDT
DTSTART:20270314T090000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0600
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20271107T080000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260327T120000
DTEND;TZID=America/Edmonton:20260816T190000
DTSTAMP:20260509T131238
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:20260509T131238
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;VALUE=DATE:20260506
DTEND;VALUE=DATE:20260817
DTSTAMP:20260509T131238
CREATED:20260505T184359Z
LAST-MODIFIED:20260505T184359Z
UID:107400-1778104800-1786917599@cjsw.com
SUMMARY:Haig Aivazian: You May Own the Lanterns\, but We Have the Light
DESCRIPTION:Exhibit: Haig Aivazian’s You May Own the Lanterns\, but We Have the Light \nContamporary Calgary: #701 11th Street SW\, Calgary\, AB\, T2P 2C4 \nMay 7—August 16\, 2026 \nWho has the power to control light? In what ways can darkness be weaponized? \nYou May Own the Lanterns\, but We Have the Light (2022-ongoing) brings together three episodes of a cartoon mini-series by Haig Aivazian\, building on his ongoing examination of the public administration of light and darkness as a policing tool. \nDrawing on the history of public lighting\, the work considers artificial light not just as a means for illuminating the streets at night\, but as a mechanism of governance\, where visibility underpins surveillance\, authority\, and the staging and enforcement of social order in public space. \nMost civilizations have long understood the night as a realm of mystery. It belongs to creatures we have been trained to fear: gargoyles\, vampires\, and werewolves\, lurking through the shadows. They inhabit the darkness\, only to be banished by daylight – exposed\, vilified\, and cast as dangerous. But the night is also when we dream. Reality loosens its grip and other worlds begin to take shape. In dreams\, regimes can falter\, hierarchies dissolve\, and new orders come into being – if only for a moment\, before the day returns. \nYou May Own the Lanterns\, but We Have the Light is composed of fragments of found cartoons and animations from a wide range of sources\, all meticulously redrawn\, stitched together\, and reanimated in collaboration with a team of animators in Beirut\, with varying degrees of alteration to the original material. In this work\, the night becomes fertile ground for upheaval and resistance\, a space that allows for refuge and revolution\, where efforts to take it over and colonize it are met with acts of subversive escapism and defiance. \nThe exhibition looks at both the street and the nightclub as sites of disruption\, drawing parallels between dancing and protest as forms of communal resistance. But it also traces the moment when these gestures begin to fail – when dance\, gathering\, and dreaming are no longer sufficient to hold the weight of opposition. This moment demands that we consider the necessity of other modes of cultural production\, ones that are capable of fighting – and ultimately undoing – the conditions that allow an oppressive world order to persist. \nHere\, we are faced with a threshold: prevailing systems are about to collapse\, and new ones have yet to take shape. How can we reclaim power in the night?
URL:https://cjsw.com/event/haig-aivazian-you-may-own-the-lanterns-but-we-have-the-light/
LOCATION:Contemporary Calgary\, 701 11 St SW\, Calgary\, Canada
CATEGORIES:Art,Non-Music Events
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260603
DTEND;VALUE=DATE:20261109
DTSTAMP:20260509T131238
CREATED:20260505T185253Z
LAST-MODIFIED:20260505T185253Z
UID:107402-1780524000-1794171599@cjsw.com
SUMMARY:Adelita Husni Bey: Agency
DESCRIPTION:Exhibit: Adelita Husni Bey’s Agency \nJune 4—November 8\, 2026 \nContemporary Calgary: #701 11th Street SW\, Calgary\, AB\, T2P 2C4 \n2014\, Rome\, Italy. \nThirty-five students at Manara High School took part in a workshop modelled on a group exercise\, derived from a 1970s UK critical civic studies curriculum method. Led by Italian-Libyan artist Adelita Husni Bey\, the students were divided into five constituencies – politicians\, activists\, bankers\, journalists\, and workers – and asked to engage with pressing issues in contemporary Italian politics\, including unemployment\, snap elections\, and natural disasters. \nPresented more than a decade after its completion\, Husni Bey’s Agency (2014) is a documentation of this workshop\, reflecting on the nature of power; the ways in which it manifests and operates; and how it may (or may not) be effectively used. Both disquieting and astute\, the work resonates as urgently today as it did at the moment of its making\, 12 years ago.
URL:https://cjsw.com/event/adelita-husni-bey-agency/
LOCATION:Contemporary Calgary\, 701 11 St SW\, Calgary\, Canada
CATEGORIES:Art,Non-Music Events
END:VEVENT
END:VCALENDAR