Bill Colman with Phil Strong

bill coleman
Monday, March 11, 2019 - 11:15am to 12:15pm

Contemporary dance master Bill Coleman will use his time at OCAD to perform  improvisations with Tap Shoes and found objects in order to explore the creation of a visual sound score to accompany the story telling of author Lee Maracle for an upcoming performance.

Venue & Address: 
The Great Hall
bill coleman

Bill Colman with Lee Maracle

bill coleman
Tuesday, March 5, 2019 - 3:30pm to 4:00pm

Contemporary dance master Bill Coleman will use his time at OCAD to perform  improvisations with Tap Shoes and found objects in order to explore the creation of a visual sound score to accompany the story telling of author Lee Maracle for an upcoming performance.

Venue & Address: 
The Great Hall
bill coleman

Tree temporality: multi-species research on time, territory and public art practice

Saturday, November 25, 2017 - 1:00pm to 5:00pm

Tree Temporality: multi-species research on time, territory and public art practice

Presented by Onsite Gallery

Curated by Ala Roushan and Maiko Tanaka
In collaboration with Patricio Davila, Ali Qadeer and Shaheer Tarar

With support from Public Visualization Lab

Featuring performances and talks by Tsēma Igharas, Natasha Myers with Ayelen Liberona and Zoe Todd; with contributions from Natalie Jeremijenko and FRAUD (Fran Gallardo & Audrey Samson)

View one aspect of the Tree Temporality project, its digital platform, here.


Public event:

Saturday, November 25, 2017
1 to 5 p.m.

OCAD University’s Great Hall
100 McCaul St., Second Floor


Tree Temporality is a speculative project exploring more-than-human considerations of public art in our natural and urban environments, practicing methodologies that unlearn colonial, academic and scientific approaches to research. Through the tree and other intelligent entities, we hope to acknowledge existing sentient relations and agencies, from soil and skin, to technology and synthetic-life, to animals and organisms, to law and territory. 

The project has been initiated through a series of internal gatherings led by a group of artists that presented their perspective on this topic and its critical role in their practice, addressing the research questions: If we reflect on the tree’s relation to time and territory, might it perform as precedent in how we regard resilience, permanence, ephemerality, legality and land within public art practice? How does thinking through time of a tree address other temporalities that may exist?

The content and connections that emerged from these sessions have shaped the performative public event through which recommendations for a more-than-human public art practice will unfold.

Collectively we will continue to reflect on the boundaries between the artificial and the organic implied by shifts in technology, impacting connectivity, perception and more-than-human interactions.


Join us for our public event on Saturday, November 25th from 1 to 5 p.m, to experience and participate in the following happenings:

  • Generative projection, animating multi-species characters through live-sensors
  • Live publishing of recommendations, producing responsive prints 
  • Performative artist contributions by Tsēma Igharas, Natasha Myers and Zoe Todd (between 1 and 4 p.m.)
  • Panel discussion with the artists and curators (4 p.m.)

Order of presentations:

  • Zoe Todd
  • Natasha Myers
  • FRAUD (Fran Gallardo & Audrey Samson)
  • Tsēma Igharas
  • Panel Discussion


Audiences are welcome to come and go as they please during the public event.


Onsite Gallery gratefully acknowledges the Ontario Arts Council for their support through the Culturally Diverse Curatorial Project program.


Image credit: Patricio Davila

Venue & Address: 
OCAD U's Great Hall (100 McCaul St., Second Floor)
416-977-6000 x456
Tree temporality

Pam Patterson

My practice is performative and engages with/in diverse locations of/in culture. It is a practice that honours the self, the other(s) and the knowledge that is co-created. It is a practice that engages the self as a whole, a conversation among multiples -- diverse perspectives, experiences, modes of thinking and expressing. My study is in flux, in motion, as a place of multiple, interdisciplinary arts practices.

Johanna Householder

Johanna Householder has been making performances and other artwork in Canada since the late 70s. She was a member of the notorious satirical feminist performance ensemble The Clichettes, who performed across Canada and the US under variable circumstances throughout the 1980s. While The Clichettes practiced their own brand of pop culture detournment, Householder has maintained a unique performance practice, often collaborating with other artists. She is a founder of the 7a*11d International Festival of Performance Art which will hold its 13th biennial festival in Toronto in October 2020.

Johanna Householder, Faculty of Art, presents: Residuals

A photo of Johanna Houesholder speaking with a video image behind her
Wednesday, November 2, 2016 - 11:00pm

Wednesday, November 2, 7 pm
Signy Eaton Gallery
Free with Gallery admission


plural noun

1. quantities remaining after other things have been subtracted or allowed for.

2. the differences between actual and theoretical.

3. royalties paid to a performer, writer, etc., for a repeat of a play, tv show, etc.

This program features three performances by the pioneering and influential Canadian performance artist Johanna Householder, including two recent works and a new adaptation of a work originally performed in 1978.

8-Legged Dancing (1978 - 2016)

1978 text by Brenda Nielson, danced by Johanna Householder

2016 text read by Carmen Householder-Pedari, danced by Bee Pallomina

An adaptation of a 1978 dance improvisation and quasi-Maoist polemic that captures a moment when dance artists recognized that the moving body itself has political implications. The term “8-legged” refers to an essay form that bureaucrats in pre-revolutionary China were required to write, indicating an elaborate formal structure that only those with an elite education would be able to execute.

Verbatim II: Badiou/Cobain (2007 - 2008)

This diptych on mastery works with found materials: an excerpt from a lecture (The Subject of Art, given by Alain Badiou at Deitch Projects, NY, 2005), and a song found online in 2008. Featuring Christina Zeidler and Allyson Mitchell

About the Artist

Johanna Householder has been working at the intersection of popular and unpopular culture in performance, dance, video and intermedia art since the late 1970s. As a member of the notorious feminist performance ensemble The Clichettes in the 80s, she helped re-establish lip sync as a viable medium for cultural critique. She has recently performed at Performancear o Mourir in Chihuahua, Mexico; at undisclosed territory in Java; M:ST in Calgary; and Art Nomade in Chicoutimi, QC. She is a founder of the 7a*11d International Festival of Performance Art. With Tanya Mars, she co-edited Caught in the Act: an anthology of performance art by Canadian women (2004), and More Caught in the Act (2016), and with Selma Odom contributed to Renegade Bodies: Canadian Dance in the 1970s (2012). She teaches at OCAD University.

Venue & Address: 
Art Gallery of Ontario Signy Eaton Gallery 317 Dundas Street West Toronto, Ontario
1-877-225-4246 or 416-979-6648
Free with Gallery admission

In-Between algorithms (Life/Death)2

Thursday, September 29, 2016 - 11:00pm to Friday, September 30, 2016 - 3:00am

Inspired by the law of conservation of energy that states that energy cannot be created or destroyed but only transformed, we will use modes of multi-disciplinary performance, which has at its heart the idea of transformation. We can think of various types of performance - artistic, scientific, daily-life, queer, and transitions between life and death - as a mode of operation that counters conventional ideas of fixed states in the material, spiritual and energy-driven universe in which we live, perform, transform. As artists and performers, we see this from a metaphorical and artistic perspective, taking our cues from current thought experiments in quantum mechanics and quantum computing where terms like superposition and entanglement play a vital role in understanding performing operations on data. We might call this creative approach a form of imaginative mathematics/physics, which has fascinated performing artist-scientists across cultures since pre-historic times. We are intrigued by the potential of scientific contributions and provocations offered by mathematicians, physicists, engineers, and computer scientists.

In this context we are also interested in indigenous, modern, post-modern and pre-modern concepts of performed energy matter, including but not limited to the Chinese idea of Qi, and their impact on current practices of critical making and thinking beyond disciplinary boundaries. 

Venue & Address: 
This is a multilocation event that will start at the Fields Institute (222 College Street) and will end at the Lobby of the Robert Gill Theatre, Centre for Drama, Theatre and Performance Studies (Koffler Student Service building, 214 College Street) Locations: • The Fields Institute for Research in Mathematical Sciences • Court yard at the Fields Institute • Hallways of Bahen Centre, • Staircase in the Coffer Student Services Building • Lobby of the Robert Gill Theatre
In-Between algorithms  (Life/Death)2   Energizing matter/Materializing energy.

La Pocha Nostra

Saturday, November 8, 2008 - 1:00am

An interactive performance by La Pocha Nostra: Guillermo Gómez-Peña Violeta, Luna Roberto Sifuentes (U.S.-Mexico); with Faculty of Liberal Studies Instructor Jessica Wyman, Mark Rush, Gale Allen, Ulysses Castellanos and performance students from York University (Canada).

Since the early 1990s, Mexican performance artist and writer Guillermo Gómez-Peña and his colleagues Violeta Luna and Roberto Sifuentes from the San Francisco-based performance troupe La Pocha Nostra have been exploring the way museums represent cultural Otherness by experimenting with the colonial format of the "living diorama." They have created interactive "living museums" that parody various colonial practices of representation including the ethnographic tableau vivant, the Indian Trading Post, the border curio shop, the porn window display and their contemporary equivalents. These performance/installations function both as a bizarre set design for contemporary enactment of cultural pathologies, and as a ceremonial space for people to reflect upon their attitudes toward other cultures. Recent museum interventions by La Pocha Nostra include the Tate Modern, the Corcoran Gallery of Art, LACMA and the Guggenheim.

As part of their ongoing Mapa/Corpo series, Divino Corpo continues to examine the brown body as a site for radical spirituality, memory, penance, activism, stylized anger and corporeal reinvention. Divino Corpo was premiered at the National Review of Live Arts in Glasgow earlier this year. Posing as living saints and madonnas of unpopular causes (border crossers, disease, the rights of undocumented migrants, sex workers, prisoners, gang bangers, and the displaced invisible Others), the artists create a performative temple where the sacred and the profane intertwine with provocative contemporary issues. They invite audience members to engage in ritualized interactivity and embrace a new form of radical faith - the faith in art as a personal and political transformative force. In the process, the intimate human body becomes the transformative site against a backdrop of global despair and war.

Gómez-Peña, Luna and Sifuentes will be in residency in Toronto from November 2nd to November 8th. This latest presentation of Divino Corpo will take place at the Museum of Contemporary Canadian Art on Friday November 7th and will feature several Toronto-based performance artists working together with La Pocha Nostra.

All MOCCA programs and activities are supported by Toronto Culture, the Ontario Arts Council, BMO Financial Group, individual memberships and private donations.

Venue & Address: 
Museum of Contemporary Canadian Art 952 Queen Street West, Toronto, Ontario

7a*11d International Festival of Performance Art

Thursday, October 23, 2008 - 4:00am to Sunday, November 2, 2008 - 5:00am

7a*11d is pleased to present the seventh International Festival of Performance Art from October 23 to November 2. Daily and evening performance art events take place at XPACE Cultural Centre and Toronto Free Gallery; with special events taking place at The Gladstone Hotel and the Fleishman Gallery at WonderWorks.

7a*11d is proud to announce our forthcoming 7th International Festival, a culmination of 11 years of working together as an artist-run collective. In order to celebrate this accomplishment, the 2008 7a*11d festival is nothing less than an international survey of global live art - progressive and provocative new performance works by over 30 local, national and international performance artists. The festival hosts residencies, performance art events, panel discussions, artists' talks, video/performance screenings, and workshops in 11 jam-packed days.

Artists participating in this year's festival include: Tomomi Adachi (Japan), Gustavo Alvarez (Mexico), Warren Arcand (BC), Francis Arguin (QC), Annette Arlander (Finland), Marilyn Arsem (USA), Sylvette Babin (QC), Natasha Bailey & Danielle Williams (Toronto), John G. Boehme (BC), Nenad Bogdanovic (Serbia), Ulysses Castellanos (Toronto), Simla Civelek (Toronto), BBB Johannes Deimling (Germany), Chaw Ei Thein (Burma), Angelika Fojtuch (Poland), Nicola Frangione (Italy), OCAD alumni Randy Gagne & Stacey Sproule (Toronto), Sini Haapalinna (Finland), Alejandra Herrera (Chile/USA), Mahan Javadi (Toronto), József R. Juhász (Slovakia), Essi Kausalainen (Finland), Risa Kusumoto (Toronto), Norbert Klassen (Switzerland), Will Kwan (Toronto), Glenn Lewis (BC), Jason Lim (Singapore), Pia Lindy (Finland), Joost Nieuwenburg (Netherlands), Robin Poitras (SK), Martin Renteria (Mexico), Don Simmons (Toronto), Tonik Wojtyra (Toronto) and Sakiko Yamaoka (Japan).

Venue & Address: 
XPACE Cultural Centre and more 58 Ossington Avenue, Toronto, Ontario

Penance & Devotion

Penance & Devotion
Tuesday, October 7, 2008 - 4:00am to Saturday, November 1, 2008 - 4:00am

How Do You Cope With Environmental Guilt?
Would You Crawl Along The Street With A Field On Your Back In Penance?

In November 2007, OCAD alumnus Gareth Bate crawled along Toronto's Queen Street West from Soho Street to Spadina Avenue with a field of grass on his back. It was painful and tiring. This bizarre act of self-punishment and humiliation for the guilt of environmental destruction has been captured in the performance video Penance. The exhibition also features Bate's large-scale paintings. His Lament series deals with a sense of personal sorrow, loss and hope in relation to the destruction of the natural world.

Curated by Faculty of Art Professor Colette Laliberté.

Gareth Bate graduated from the Ontario College of Art & Design in 2007. He is the winner of the 401 Richmond Career-Launcher Prize, a 500 square foot studio given to one OCAD BFA graduate every year. He has won several awards for painting and art writing, and received an Ontario Arts Council Grant. He has shown at a number of Toronto galleries including Loop, Bau-Xi, Gallery 44, Gladstone Hotel and exhibited in Nuit Blanche.

The artist would like to thank guest curator Colette Laliberté for all guidance and support. Glendon Gallery would like to thank its media partners: L'Express & Le Métropolitain newspapers, Radio-Canada TV & radio CJBC 860 AM, Première Chaîne and Clic Toronto. Special thanks go out to the Advising Committee: Marc Audette, Nadine Bariteau, Omid Fekri, Anna Husdon and Colette Laliberté.

Venue & Address: 
Glendon Gallery, Glendon College, York University 2275 Bayview Ave., Toronto, Ontario