Performances & Installations

2019 Socorro! Bloody Mess!: Under (De)construction: A low-tech immersive (un)reality home building and decorating game. With Denise Valenzuela Rogers, Encuentro, Mexico City, Mexico.

2017-2018  Stitch-by-Stitch: TRC Calls to Action Sewing Circle, Learning and Mobilization Network, Children’s Services & Neighbourhood Development Division, City of Hamilton (Dec. 2018); Artfest 2018, Crescent Fort Rouge United Church, Winnipeg, MB (April 2018); Millennial Library, Winnipeg, MB (September 2017); UNsettling Canada 150 Sewing Circle. Queen’s Park, Toronto, ON (July 2017); New Directions, Winnipeg, MB (April 2017); Artfest, Crescent Fort Rouge United Church, Winnipeg, MB (May 2017); Tallest Poppy, Winnipeg, MB (March 2017); greenhouse artlab, University of Winnipeg, Winnipeg, MB (March 2017); ArtsJunktion, ArtHive, Winnipeg, MB (February 2017).

2016  Unbecoming Nationalisms/Nacionalismos Impropios, eX-céntrico, Santiago, Chile.

2016  Return Atacama, with CONSTELACIONES, eX-céntrico, Calama, Chile.

2016  Echoes: North, North… with CONSTELACIONES, eX-céntrico, Santiago, Chile.

2016  Re-Manifestations: An anarchivist (re)mapping of place, with Kimberley McLeod, Performing Cartography. Graduate Program in Theatre and Performance Studies, York University, Toronto, ON (April 2016).

2015  #Surveilling/Surveillance, Washington Square, New York City.

#SurveillingSurveillanceensemble performance intervention. Washington Square, NY (2015).

2015  Flag of Tears: Lament for the Stains of a Nation, Canadian Classics Reimagined, Factory Theatre, Toronto;  Hard Twist 10: Memory, Gladstone Hotel, Toronto; You’re Not Here, Daniel’s Spectrum, Toronto.

2015  Unsettling Canada Day Embroidery Circle Picnic, Queen’s Park, Toronto.

2014  Shot at Dawn, Queen’s Park, Toronto.

2014  Remanifestations: Embodying Routes of Contemporary Protest, with Kimberley McLeod, Encuentro, Montréal.

2014  State the Nature of Your Emergency, with Kimberley McLeod, Canadian Association of Theatre Research Conference, Brock University.

2014  Unravel: A Meditation on the Warp and Weft of Militarism, Cross Sections, Toronto.

2013  Shot at Dawn, WIAprojects: Babble/Babel, Queen’s Park, Toronto.

2013  Unravel: A Meditation on the Warp and Weft of Militarism, WIAprojects: Babble/Babel, Toronto; Walnut Contemporary Gallery, Toronto.

2013  Haunting the Past’s Present, PSi 19, Stanford University.

2013  On Love and War, with Cassie Scott, Litanies for our Survival, York University, Toronto; MARKIT! Videofag, Toronto.

2012  Unravel: A Meditation on the Warp and Weft of Militarism, PSi 18, Armley Mills, Leeds, UK; F.O.O.T.: Theatre and Learning, University of Toronto.

2011  k[NO]w Places, with Life and Limb, Rhubarb Festival, Toronto.

2011  Unravel: A Meditation on the Warp and Weft of Militarism, Visualeyez Performance Art Festival, Edmonton.

July 1 2010 through July 1, 2011  Impact Afghanistan War, A year-long counter-memorial performed daily throughout Canada, the U.S. and Europe.

 

 

 

 

2 thoughts on “Performances & Installations

  1. Hi,
    I came by chance to this page, but am pleased to know that you are thinking for the Afghan people.
    Please provide me more information about the purpose and objectives of the blog.
    Regards,
    Nasser

    1. Hi Nasser,

      Thanks for you comment and question. My intention with the project and blog is to bring attention (mine and that of witnesses) to the many deaths in Afghanistan that go largely unrecognized here in Canada. For a long time I have been troubled by the idea that as a nation we are engaged in war, yet as citizens, for the most part, we go on with business as usual. The war, and the suffering of those who are experiencing it first hand seems to only make its way to our collective consciousness when there is a Canadian military casualty. Falling 100 times a day in public space is my effort to recognize and the many deaths that occur daily in Afghanistan, either as a direct result of the war, or as a consequence of the conditions produced by the war (large scale displacement, lack of access to housing and adequate food, shelter and medical care).

      My primary objective, or hope, has been that the project will inspire reflection and that the process of reflection might lead people to some kind of action. As my year’s commitment to falling daily is fast coming to a close, I am pondering ways to work with the materials generated by the project in some kind of fundraising capacity to support projects of empowerment for Afghani women and girls.

      I welcome your thoughts and feedback.

      Best regards,

      Helene

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