ItemI have weight: Rejane Cantoni and Leonardo Crescenti’s Tunnel(2018) Vergara-Vargas, ErandyIn their installation Tunnel (2010), Brazilian artists Rejane Cantoni and Leonardo Crescenti invite people to walk through a six-meter long passageway that moves and requires people to adjust their balance to compensate for that motion. Spectators can interact individually or collectively; in both cases, the experience of the piece varies from one individual to another, because the weight and particular forms of body comportment of each subject imbue its motion with unique qualities. In every case, the embodied encounter with Tunnel produces metallic sounds that can be delicate, chaotic, or harsh, depending on people’s interactions. Questions of embodiment and movement lie at the heart of Cantoni and Crescenti’s work. Since 2007, the artists have produced a series of human-scale structures that adapt and distort themselves in response to people’s movement and weight. As an extension of this research, they developed Tunnel, which was driven by one central idea: to create a passageway that would move differently when different kinds of bodies walked on it—light and heavy, small and big. Cantoni and Crescenti took two years to accomplish the precision required by the piece to enable different qualities of movement. So why this rationale behind this piece? When I walked through Tunnel and saw other people interacting with it, it became clear to me that the simple logic of the apparatus—a movable passageway—drove attention towards my body by challenging my sense of balance. ItemCondolady(2022) Belliveau, ElisabethElisabeth Belliveau spent her first two years in Amiskwaciwâskahikan/Edmonton social distancing in a 680-square foot condo. Fueled by increased espresso consumption, food delivery, and twenty-year-old Cindy Crawford workout videos, Belliveau attends endless online meetings and teaches so many virtual art classes that they all start to blend together. But even in pandemic times, life goes on, and Belliveau soon finds herself navigating much bigger challenges – like pregnancy and tenure. ItemBeak Disorder: a sound and sculpture installation(2018) Sharpe, LeslieThis paper discusses Leslie Sharpe's sound and sculpture installation project "Beak Disorder," exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States. "Beak Disorder" is a project that references an unexplained condition documented in birds in the Northwest of Canada and Alaska called "avian keratin disorder" where the bird's beak becomes distorted and elongated. The work includes a series of 3D printed distorted beaks as well as a sound piece and web component. ItemLimonade(2015) Belliveau, ElisabethStop-motion animation, 4:53 min. Materials: found objects, flowers, plasticine. Limonade is the first animation in a trilogy inspired by the writing of author Clarice Lispector. The trilogy explores themes of still life and momento mori. In Limonade, materials perform in relation to figures and portrait busts that emerge, collapse and bridge. Plasticine clouds move across a paper sky and the leaning towers collapse. Sound: Graham Van Pelt. https://vimeo.com/130259258 ItemIzanami(2017) Belliveau, Elisabeth; Nishihara, NaoIzanami is a new stop-motion animation inspired from my research of Japanese traditions of still-life and vanitas. I have used the shape of the narrative from the Kojiki origin myth of Izanami and Izanagi to choreograph the movement of the animated objects. Izanami and Izanagi are deities that created the eight islands of Japan. The sound is created by Yokohama-based artist Nao Nishihara. This project was made possible thanks to a residency at Tokyo Wonder Site in Japan and the Conseil des Arts et des Lettres de Quebec. Animation: Elisabeth Belliveau, sound: Nao Nishihara. Preview can be viewed here: https://vimeo.com/223478387 ItemOur red scarf(1997) Mallon, DarciInstallation: four layers of mylar braced with steel were suspended five feet from the wall with three theatre lamps mounted on a ceiling track that aimed light onto the wall. That light reflected to backlight the large drawing, and at the same time, directly lit the small drawing on the wall. ItemDementia(1995) Mallon, DarciThe title of the exhibition, ENGRAMS, refers to traces of neural synapses considered evidence of memory formation. The titles and gestures of each of the three inked fingerprint drawing installations represents an American Sign Language concept for a state of memory: Eidetic (visual memory), Fovea (to memorize), Dementia, (to forget). Mylar, lights, ink, and steel, 16 feet x14 feet. ItemOur red scarf(1997) Mallon, DarciThe artwork behind the large, suspended panel is a small drawing of the artist’s sister, made when they were children. Installation: four layers of mylar braced with steel were suspended five feet from the wall with three theatre lamps mounted on a ceiling track that aimed light onto the wall. That light reflected to backlight the large drawing, and at the same time, directly lit the small drawing on the wall. ItemEngrams(1995) Mallon, DarciThe title of the exhibition, ENGRAMS, refers to traces of neural synapses considered evidence of memory formation. The titles and gestures of each of the three inked fingerprint drawing installations represents an American Sign Language concept for a state of memory: Eidetic (visual memory), Fovea (to memorize), Dementia, (to forget). Mylar, lights, ink, and steel. Fovea: collection of the Art Gallery of Alberta. Eidetic: collection of the Alberta Foundation for the Arts.