Entwined

December 5, 2025—March 15, 2026

Ring Gallery
Carrie Allison, Sara Angelucci, Alana Bartol, Katherine Boyer, DaveandJenn, Kuh Del Rosario, Jennifer Murphy, Latifa Pelletier-Ahmed, Sandra Sawatzky, Adrian Stimson, tīná gúyáńí, Alberta Rose W. / Ingniq, Xiaojing Yan

Dome
Sabrina Ratté

Bow View Hall
Qavavau Manumie, Emily Jan

Atrium
Sara Angelucci, Alana Bartol, Ari Bayuaji, Anna Binta Diallo, Tyler Los-Jones

Unfolding over several spaces of Contemporary Calgary’s iconic building, Entwined brings together works by nineteen artists and collectives from the Prairies and beyond to consider our relationship as humans with the land and all forms of life. Using both natural and manufactured materials and working across different visual media, the artists in this exhibition reflect on urgent issues affecting our ecosystem. They offer converging perspectives on the interdependency of all species, engaging traditional knowledge, mythological beliefs, futuristic imagination, and scientific exploration to articulate artistic strategies that encourage a deeper, empathetic understanding of our connected world. 

Notions of ecological resilience interlaced with Indigenous worldviews permeate the works of artists like Carrie Allison who addresses deforestation by beading tree rings in memory of those cut to make way for urban development, and Katherine Boyer who focuses on active quarry pits and their impact upon the surrounding ecosystem. Adrian Stimson creates a baby bumblebee regalia to celebrate both ancestral traditions and nature’s reliance on the hardworking bee. The collective tīná gúyáńí protests ongoing settler colonialism and honors connection to the land after forced removal from their home, while Alberta Rose W. / Ingniq considers land relations within the natural landscape and the built environment. Qavavau Manumie’s sensitive drawings reference Inuit legends to highlight the interspecies dependencies that sustain contemporary life.

The links between environmental concerns, technologies of image production, and the shaping of collective imaginary underlie Sara Angelucci and Anna Binta Diallo’s works that examine and interpret historical or vernacular sources. Tyler Los-Jones’ images confound preconceived Western assumptions of nature as landscape, exposing the role photography plays in the production and the fulfillment of romantic, anthropocentric expectations. Jennifer Murphy uses found materials assembled into sculptural collages to underline the interconnectedness of our world, revealing wonder, chance, care, strength and evolution.

Engaging directly with the materiality of the natural world, Xiaojing Yan highlights the profound bonds we share with the world around us, celebrating the intricate, cyclical nature of life and the ever-present potential for rebirth and transformation. Kuh Del Rosario’s practice is rooted in an intuitive dialogue with everyday materials and organic debris through attuned alchemical processes, cultivating a sensitivity toward evolving ecosystems. Emily Jan crafts hyper-realistic installations of handmade flora and fauna, integrating found objects to compose surreal dioramas that merge science and mythology. Ari Bayuaji recovers plastic materials washed ashore on Indonesian beaches, coaxing them into intricate weavings that transform polluting waste into delicate artworks. Alana Bartol examines resource extraction and concepts of remediation, creating objects, videos and installations that blend research with ritual, stark realities with legends of enchantment, and contemplation with sensorial experience. Herbalist and botanist Latifa Pelletier-Ahmed integrates art with education, providing workshops and tours that seek to reconnect people to nature. In addition, her collaboration with Alana Bartol invites reseeding and recovery of ravaged local flora.

Several artists explore visual narratives in digital or traditional forms, including Sabrina Ratté, who uses 3D animation and video synthesis to investigate the boundaries between material and virtual realms, folklore and scientific knowledge. The duo DaveandJenn interlace social and natural histories with subjective and fantastical landscapes in layered multi-media installations, while Sandra Sawatzky creates a monumental, embroidered tapestry, an ode to the biodiversity of Alberta, evoking the cosmic origins of all creation in stardust. 

Intent on drawing attention to the consequences of human actions on the land, these artists passionately advocate for a reconsideration of prevalent anthropocentric outlooks to prioritize the ecosystem’s survival. As development and industry increasingly encroach on the natural environment and gifts of the land are insatiably exploited as resources, a renewed understanding of kinship becomes vital to rebalance excess with responsibility, self-interest with reciprocity, and individual survival with a drive for a common future. 

Curated by Mona Filip.

Upcoming Programs

Program Archive

Nelly-Eve Rajotte
Trees communicate with each other at 220 hertz

December 5, 2025—April 19, 2026

In her first Calgary exhibition, Montreal-based artist Nelly-Eve Rajotte presents the large-scale multi-media installation, Trees communicate with each other at 220 hertz (2024). Combining moving image, generative sound, and technological devices that listen through a modular synthesizer connected to a live tree, this immersive, sensory work brings nature, technology and the romantic imagination in dialogue to consider the deeper connections within our ecosystem.

Forests are the lungs of the earth. Trees are sanctuaries, they are our relatives, our teachers, our allies. Poetic or trite statements about the beauty and importance of forests abound, yet human attitudes toward their preservation and care remain fickle. Dark fantasies about the mysteries to be discovered deep in the woods, adventures that provide formative experiences and steel a hero’s resolve, the solace to be found in the trees’ majestic fold, all populate our collective imaginary since childhood, obscuring humbler truths and setting humanity apart from nature.

Exploring both emotional and physical terrains, Rajotte’s installation draws audiences into a space of profound contemplation and communion. While the panoramic vista she creates, inspired by the boreal forest, evokes the sublime landscape tradition of painters like Caspar David Friedrich and J.M.W. Turner, here the viewer is not confronted but embraced. Inviting an intimate encounter between the self and the vastness of the external world, the work opens a path to receptivity and empathy. 

Oscillating in and out of visibility, Rajotte’s spectral cinematic space requires the viewer to actively participate, moving between observation and immersion. Through LiDAR scanning, she digitally archives endangered sites, building a three-dimensional memory that considers non-human modes of capturing the landscape. Addressing climate change and the disappearance of species, the work urges reflection on the fragility of the living world and on new forms of technological memory. A trail of breadcrumbs leads us to the understanding that the forest was always home.

Curated by Mona Filip.

Nelly-Eve Rajotte. The trees talk to each other at 220 Hertz, 2024. 3-channel video installation, 4K, colour, generative sound, 25 min, modular synthesizer, electrodes, and tree.

Credits:
VFX artist / Software developer: Codrin-Mihail Tablan Negrei
3D laser expertise – iSCAN 3D: Richard Lapointe

Upcoming Programs

Program Archive

About the Artist

Nelly-Eve Rajotte
(she/her)

Nelly-Eve Rajotte is a professor at the UQAM School of Design, where she leads the Moving Image and Sound Design axis. A visual and media artist, she structures her practice around moving images, sound, immersion, and the notion of experience, through performance and installation. Her research-creation explores non-human ways of perceiving and imaging the landscape using LiDAR, biosensors, artificial intelligence, and robotics as well as the sensitive relationships between technology, body, and environment. Her works, recognized for their immersive and monumental dimension, question the conditions of reception and propose new forms of perceptual otherness. Presented in Quebec at institutions such as the Musée d’art contemporain de Montréal (MACM), the Musée d’art de Joliette (MAJ), Fonderie Darling, Occurrence, Clark, Optica, and Circa, they have also circulated in numerous international festivals and events, including MUTEK, the International Festival of Films on Art, Transmediale, the International Short Film Festival of Berlin, Lab30, ISEA, and the KIKK Festival (Belgium). Rajotte’s work will be exhibited at Emerson Contemporary (Boston) in 2026, and is part of several public collections, including that of Hydro-Québec.

Tyler Los-Jones
Water’s brief surfaces - Roundleaf Orchid

December 5, 2025—April 26, 2026

Informed by the land where he lives, near the Rocky Mountains of Alberta, Tyler Los-Jones’s work complicates inherited assumptions by bringing forth the unnatural aspects of the Western conception of nature. At the same time, he highlights the historical role photography plays in the production and fulfillment of our expectations for the environment.

The Bow River has been a central figure for Los-Jones's family, as they have been living in its proximity for the past several years. Contemporary Calgary’s location in the river's vicinity provided a point of connection for this project, generating two intimate views – one from the Rockies, near the headwaters of the Bow, and another near the artist’s current home in the city. 

Here, on the building’s facade, one of these images offers passers-by a moment of respite and enjoyment. Based on an original photograph taken by Los-Jones in 2021 when the artist lived in Banff, this work features Roundleaf Orchids (Galearis rotundifolia) growing alongside a small offshoot of the Bow River in the Rockies. Expanding on recent series, Los-Jones explores the significant energy plants devote to producing exquisite flowers, especially within challenging mountain ecosystems. Present in astonishing numbers at this site, the orchids were displaying their incredible aesthetic expression developed over millennia as an adaptive way to elicit multi-species engagement and mutual benefit.

Water’s brief surfaces - Roundleaf Orchid is the counterpart of an indoor work created by Los-Jones for Contemporary Calgary’s current group exhibition, Entwined. These two works were conceived site-specifically, to inhabit opposite sides of the same gallery wall, interior and exterior. They are both composed using the same pattern, flipped horizontally to mirror each other. The pattern comprises two threads looping together from edge-to-edge in a gesture that echoes the artist’s relationship to the sites and their own interconnection.

Curated by Mona Filip. Supported by The City of Calgary’s Downtown In Motion Grant Program.

About the Artist

Tyler-Los Jones
(he/him)

Tyler Los-Jones  (he/him) produces objects and images from his home near the Rocky Mountains of Alberta. His work aims to complicate inherited assumptions of environments and highlight unnatural aspects of the Western conception of nature. Los-Jones is fascinated by the role that photography plays in shaping and fulfilling expectations for environments. Since graduating from the Alberta College of Art and Design (now Alberta University of the Arts) in 2007, Los-Jones’ photographic and sculptural work has been exhibited extensively across Canada and in the US. He has been commissioned to produce multiple large-scale public artworks, including A panorama protects its views for the Art Gallery of Alberta (Edmonton) and To Keep the Promise at the Calgary Airport Marriott In-Terminal Hotel. His most recent public artwork, Knit by roots and wings, was installed in Kelowna, BC, in September 2024.

About the Curator

Mona Filip
(she/her)

Mona Filip is the Chief Curator at Contemporary Calgary. With an idea-driven and dialogue-focused approach, Filip collaborates with artists to produce experiential installations that transform the familiar white cube, meaningfully respond to unconventional environments, and engage the public on sensorial, emotional and intellectual levels. Originally from Bucharest, Romania, she received her BFA from the Corcoran School of Art, Washington, DC, and her MFA from SUNY at Buffalo. Filip’s curatorial experience spans more than forty exhibitions and site-specific projects, collaborations with guest curators, a broad range of public programs, and innovative educational initiatives. Over two decades, Filip developed critical visual art programs supporting the production of new works, introducing national and international artists to Toronto with first local exhibitions, and positioning both gallery spaces and urban sites as forums to generate critical, cross-cultural discussions on global concerns.

This small parcel of earth

With works by Christina Battle and Nour Ouayda

Referencing an essay by Lydia Davis, titled “Cohabiting with beautiful weeds,” This small parcel of earth is a two-part screening program that looks at gardens as spaces that are both domestic and tender, but also unrestrained and untamable. Bringing together works by Christina Battle and Nour Ouayda, the program reflects on the garden as a site of care and sustenance, but also of disruption and unruliness, revealing the limits of human control.

In Christina Battle’s seeds are meant to disperse (2022), the garden emerges as a distillation of an intimate and durational practice of care. Through the slow, deliberate act of gardening, Battle reflects on the labour of tending: an act that sustains us both physically and emotionally, connecting personal rituals of nurture with larger ecological and collective rhythms. Referencing various seed vaults throughout the world, the artist looks at seeds not just at the first step of gardening, but as vessels of memory and possibility – carriers of both the traces of past lives and the potential for new ones.

Nour Ouayda’s The Secret Garden (2023) tells the story of a plant invasion that takes over an unnamed city, with plants erupting unexpectedly throughout the streets, unapologetically claiming space. Far from being a domestic agent, the garden here becomes an insurgent: a living force that resists ownership and control. Ouayda’s work reflects on the garden as a site of unrest and upheaval – of unpredictable, even disobedient growth that unsettles the boundaries between the natural world and the built environment.

Together, these works reimagine the garden as a site of both refuge and revolt, where acts of care and gestures of resistance coexist. They invite us to consider how cultivation – whether of plants or relationships – can also be an act of renewal.

Curated by Muriel N. Kahwagi.

This small parcel of earth is programmed in conjunction with Entwined, curated by Mona Filip.

Program Dates

Christina Battle
seeds are meant to disperse (2022)

December 6—31, 2025
Heather Edwards Theatre | 12-4 PM daily

seeds are meant to disperse is an ongoing project by Christina Battle that reflects on seeds as living archives, carrying both the memories of the earth and the possibilities of future growth. Since 2015, the artist has grown, saved, and shared seeds, often offering them as a gift. In so doing, she seeks to foster alternative systems of exchange and encourage others to envision a world that follows a different path from the one it is currently on.

Through seeds and their dissemination, seeds are meant to disperse (2022) reflects on political and ecological collapse through larger-scale gestures, as well as smaller, more intimate ones. Here, the artist looks at seed vaults as a means to preserve life in the face of catastrophe, both environmental and otherwise, while also considering gardening as a nurturing practice that connects us to the earth that we inhabit.

Battle references several seed vaults in this work. One of them, also called the Doomsday vault, is in Norway, and another is in Syria. In 2017, the former risked flooding as a result of permafrost melt, and the latter was destroyed during civil war, eventually getting re-established in Lebanon. These seed vaults, engineered to be death- and destruction-proof, are faintly reminiscent of Noah’s ark; but unlike the flood that ravages Noah’s world, the catastrophes that the seed vaults of today are subjected to and meant to withstand are entirely man-made.

Moving away from these sterile storage vaults, Battle invites us back into her home, sharing memories of her grandmother’s garden, though she acknowledges the fallibility of her own memory and the fact that she may not remember much. The artist, too, grows various things in her own home.

Gardening is a labour of care, but it is also a labour of time. Seeds take time to grow, to harvest, to prepare, and to share; even so, not all seeds will produce. Still, they carry the potential for life, and it is arguably that potential that we hold on to the most. The artist reminds us that “gardening slows everything down.” And it is precisely the time that we spend caring for these seeds and the fruit they may eventually bear that makes them valuable.

seeds are meant to disperse (2022) is being screened as part of This small parcel of earth, a two-part program curated by Muriel N. Kahwagi.

Access to this screening is included with admission. This program is presented in conjunction with Entwined, curated by Mona Filip.

The second work in this series is Nour Ouayda’s The Secret Garden (2023), on view from February 17-March 15, 2026, Wednesday to Sunday, 12-4 PM.

About the artist

Christina Battle (she/her)

Christina Battle is an artist, curator, and writer based in amiskwacîwâskahikan (Edmonton), within the Aspen Parkland: the transition zone where prairie and forest meet. Her practice focuses on thinking deeply about the concept of disaster: its complexity and the intricacies entwined within it. She looks to disaster as a series of intersecting processes, including social, environmental, cultural, political, and economic, which are implicated not only in how disaster is caused but also in how it manifests, is responded to, and overcome. Battle’s practice prioritizes collaboration, experimentation, and failure; she has exhibited internationally in festivals and galleries as both artist and curator. Battle co-publishes and edits COI, a new online publication bridging the relationship between art and culture from the perspective of the Canadian Prairies.

Nour Ouayda
The Secret Garden (2023)

February 18—March 15, 2026
Heather Edwards Theatre | 12-4 PM daily

The Secret Garden (2023) opens with a simple yet uncanny premise. One morning, strange and unfamiliar plants erupt across an unnamed city, turning streets and squares into an entangled labyrinth. Through the voices of Camelia and Nahla – two unseen protagonists who uncover a notebook chronicling this invasion – Nour Ouayda constructs a narrative that wavers between the documentary and the speculative.

Shot on 16mm film, The Secret Garden is punctuated with close-ups of foliage and flowers that function as more than mere botanical studies; they are meditations on the elements of life we often neglect, and over which we have no control. Each shot lingers long enough to reveal grainy textures and muted movements, mirroring the nature of growth, whether it is welcome or parasitic. Across its eight chapters, the film layers these visual fragments with a lyrical voiceover that sometimes feels like pillowtalk, weaving together fragments of a tale that feels cautionary, grounded, and dreamlike all at once.

Beneath its quiet surface, The Secret Garden reflects on the transformations that colour and contour the world we inhabit. The eruption of new life becomes both a symptom of society’s existing ailments and a sign of things to come: a reminder of the chaos and destruction it may cause, but also of the possibility of regeneration. By destabilizing all of these different layers, Ouayda invites viewers to reimagine the city as a living, breathing organism and to consider the potential upside of this plant invasion. Her secret garden is not so much an escape from reality as much as an invitation to reimagine what this reality can – or perhaps should – be, amid the cracks and fractures of the present that we occupy.

The Secret Garden (2023) is being screened as part of This small parcel of earth, a two-part program curated by Muriel N. Kahwagi.

Access to this screening is included with admission. This program is presented in conjunction with Entwined, curated by Mona Filip.

The first work in this series is Christina Battle’s seeds are meant to disperse (2022), on view from December 6-31, 2025, Wednesday to Sunday, 12-4 PM.

About the artist

Nour Ouayda (she/her)

Nour Ouayda is a filmmaker and film programmer. Her films experiment with various forms of fiction making in cinema. She is a member of The Camelia Committee with Carine Doumit and Mira Adoumier, and part of the editorial committee of the Montreal-based online film journal Hors Champ. From 2018 to 2023, she was the partnerships coordinator then deputy director at Metropolis Cinema Association in Beirut, where she managed and developed the Cinematheque Beirut project. She also teaches film programming in Beirut.

February 6—March 5, 2026

Held annually in February, the Exposure Photography Festival is a month-long celebration of photography across Alberta.

We champion powerful contemporary work, create space for emerging voices, and invite everyone to explore the many ways images can tell stories through juried open-call competitions, curated exhibitions, and a diverse array of partner programming. This year’s festival will feature the work of over 250 artists, presented in over 30 venues across Alberta.

Join us on Thursday, February 5th, at Contemporary Calgary as we open our core exhibitions: the North West Showcase, International Open Call, 2025 Exposure Emerging Photographer of the Year, Lana Collins’ All My Sisters, Here, Together, curated by Jasmine Piper and Beth Kane, and NEXTDOOR – a cross-border collaboration between Strata Editions and Exposure, generously funded by Calgary Arts Development.

Lana Collins: All My Sisters

Lana Collins’ All My Sisters is a love letter to sisterhood in all its forms: the chosen, the inherited, the accidental, and the fleeting. It honours the bonds that grow between friends, collaborators, strangers, and everyone who quietly participates in communal care.

The North West Showcase

The North West Showcase places a spotlight on emerging photographic talent across Alberta, BC, Saskatchewan, Manitoba, Yukon, and the Northwest Territories. Juried by Rachel Wine, the exhibition features: April Neuhaus, Brandon Leung, Brody McQueen, Carey Shaw, Elisha Lozares, Jonathan Van Elslander, Kathryn Audet, Madison Chow, Melika Forouzan, Melissa Naef, Michael de Haan, and Sarah Neumann.

The International Open Call

The International Open Call celebrates diverse points of view from around the world. Juried by Mariama Attah, 12 artists remind us of photography’s capacity to close the gap between self and others. Featuring: Anton Bou, Atsushi Momoi, Briar Pine, Elaheh Abdolahabadi, Epiphany Knedler, Grace Yan, Liam Mackenzie, Nicolas Bernal, Ronald Tilleman, Sarah Fuller, Swen Bernitz, and Tianhu Yuan.

NEXTDOOR

NEXTDOOR, co-curated by Emma Palm and Will Warasila, is a group exhibition that investigates the evolving relationships between Canada and the United States. The exhibition brings together five American photographers and five Canadian photographers, whose photographs reflect on cross-border connections, shared landscapes, and cultural contrasts. Exhibiting artists include: Alec Soth, Bill McDowell, Eve Tagny, Isobel Okoro, Justine Kurland, Kelli Connell, Michel Huneault, Robert Lyons, Seth Cardinal Dodginghorse, and Vikky Alexander.

Here, Together 

Here, Together, curated by Jasmine Piper and Beth Kane, brings together twelve artists who share life on Treaty 7 territory. Through diverse identities and lived experiences, these artists explore how they belong, find home, and make relationships with this place. However, these questions are answered, we all have one thing in common; where we are. 

The exhibition features six public art presentations, including one outside Contemporary Calgary. The artwork is presented across Mohkinstsis and Treaty 7 in spaces where it can live and breathe on the land where it was created. Through encounters with other people’s stories — some familiar, some new — these installations inspire empathy and care for those around us, while sharing perspectives on what it means to be here, together.

Drop-in Art Making

Febraury 2026
Saturdays | 1-5 PM

Embrace creativity and exploration in our Saturday Drop-in Art Making program. This program is offered most Saturdays from 1-5 PM throughout the year. Materials and light instruction are provided, along with rotating themes and activities.

Our programs encourage children, youth, and families to connect with modern and contemporary art through enjoyable and interactive creative experiences.

These are drop-in sessions running from 1 PM to 5 PM. Come anytime — no registration is required.

*If you have questions about this workshop, please reach out to Vanessa Lamb, TD Education Program Assistant  at vanessa@contemporarycalgary.com 

FEBRUARY SCHEDULE

• Feb 7: Join us to make pipe-cleaner sculptures

• Feb 14: Join us to make paper window decorations for the Chinese New Year

• Feb 21: Join us to make collograph cards

• Feb 28: Join us to make transparent bugs

*In addition to the above activities, there will be both a collage and drawing station available for creative free time during each session.

By checking in with us at front desk to participate in this session, you agree to:

1. Follow Contemporary Calgary staff instructions.

2. Treat all staff, participants, and other visitors with respect.

3. Behave in a safe and prudent manner.

Participants who do not comply with these rules may be temporarily or permanently suspended from the program.

About our Education Facilitators

Vanessa Lamb
(she/her)

TD Education Program Coordinator

Vanessa Lamb graduated from the University of Calgary with a Bachelor’s degree in Art History and a minor in Museum and Heritage Studies. She has a deep passion for art, especially the conversations and change it can spark, leading her to have a people-centred approach in her work, and an unending curiosity to learn more. In her career, Vanessa has experience in arts administration, visitor experience, and both designing and implementing public programs, art workshops and elementary school programs. Her curiosity is visible in her own creative practice where she explores different mediums, subject matters and new techniques. Vanessa’s work often explores themes of memory, grief, and identity. When not working, she can be found embroidering, painting or exploring nature.

Riddhi Patel
(she/her)

TD Education Facilitator

Riddhi Patel has training in both visual and performing arts, holding a Master of Fine Arts (Painting) from the University of Alberta, a Bachelor of Fine Arts (Painting) from Maharaja Sayajirao University of Baroda, India, and a diploma in Kathak Dance. She also works with the Alberta Network of Immigrant Women, where she manages creative projects, and has taught undergraduate drawing at the University of Alberta. Her artistic research explores movement through drawing and investigates ways to bring together her dance and drawing practices. Currently, she is committed to promoting art-making in community settings with people of all ages. In her leisure time, Riddhi enjoys baking pies and capturing fleeting moments around the city.

Vicky Xingyu Gu
(she/her)

TD Education Facilitator

Vicky Xingyu Gu is a Chinese animator who holds a BFA in Animation from the Massachusetts College of Art and Design and an MFA in Digital Arts & Animation from the University of Southern California. During her studies, she explored narrative, documentary, and experimental forms of animation. Her works draw inspiration from cultural conflicts, emotional struggles, and societal issues, while experimenting with both digital and traditional media to create layered, hybrid, and provocative forms of storytelling. Since relocating to Calgary, she has become an active participant in the local arts community. She has been teaching various forms of animation with Quickdraw Animation Society and enjoys guiding participants of all ages through creative practices such as drawing, collage, mixed media, and visual storytelling. In her free time, she enjoys cooking and baking, watching animated movies, and playing horror games.

Supported by

Nour Ouayda
The Secret Garden (2023)

February 18—March 15, 2026
Heather Edwards Theatre | 12-4 PM daily

The Secret Garden (2023) opens with a simple yet uncanny premise. One morning, strange and unfamiliar plants erupt across an unnamed city, turning streets and squares into an entangled labyrinth. Through the voices of Camelia and Nahla – two unseen protagonists who uncover a notebook chronicling this invasion – Nour Ouayda constructs a narrative that wavers between the documentary and the speculative.

Shot on 16mm film, The Secret Garden is punctuated with close-ups of foliage and flowers that function as more than mere botanical studies; they are meditations on the elements of life we often neglect, and over which we have no control. Each shot lingers long enough to reveal grainy textures and muted movements, mirroring the nature of growth, whether it is welcome or parasitic. Across its eight chapters, the film layers these visual fragments with a lyrical voiceover that sometimes feels like pillowtalk, weaving together fragments of a tale that feels cautionary, grounded, and dreamlike all at once.

Beneath its quiet surface, The Secret Garden reflects on the transformations that colour and contour the world we inhabit. The eruption of new life becomes both a symptom of society’s existing ailments and a sign of things to come: a reminder of the chaos and destruction it may cause, but also of the possibility of regeneration. By destabilizing all of these different layers, Ouayda invites viewers to reimagine the city as a living, breathing organism and to consider the potential upside of this plant invasion. Her secret garden is not so much an escape from reality as much as an invitation to reimagine what this reality can – or perhaps should – be, amid the cracks and fractures of the present that we occupy.

The Secret Garden (2023) is being screened as part of This small parcel of earth, a two-part program curated by Muriel N. Kahwagi.

Access to this screening is included with admission. This program is presented in conjunction with Entwined, curated by Mona Filip.

The first work in this series is Christina Battle’s seeds are meant to disperse (2022), on view from December 6-31, 2025, Wednesday to Sunday, 12-4 PM.

About the artist

Nour Ouayda (she/her)

Nour Ouayda is a filmmaker and film programmer. Her films experiment with various forms of fiction making in cinema. She is a member of The Camelia Committee with Carine Doumit and Mira Adoumier, and part of the editorial committee of the Montreal-based online film journal Hors Champ. From 2018 to 2023, she was the partnerships coordinator then deputy director at Metropolis Cinema Association in Beirut, where she managed and developed the Cinematheque Beirut project. She also teaches film programming in Beirut.

This small parcel of earth

With works by Christina Battle and Nour Ouayda

Referencing an essay by Lydia Davis, titled “Cohabiting with beautiful weeds,” This small parcel of earth is a two-part screening program that looks at gardens as spaces that are both domestic and tender, but also unrestrained and untamable. Bringing together works by Christina Battle and Nour Ouayda, the program reflects on the garden as a site of care and sustenance, but also of disruption and unruliness, revealing the limits of human control.

In Christina Battle’s seeds are meant to disperse (2022), the garden emerges as a distillation of an intimate and durational practice of care. Through the slow, deliberate act of gardening, Battle reflects on the labor of tending: an act that sustains us both physically and emotionally, connecting personal rituals of nurture with larger ecological and collective rhythms. Referencing various seed vaults throughout the world, the artist looks at seeds not just at the first step of gardening, but as vessels of memory and possibility – carriers of both the traces of past lives and the potential for new ones.

Nour Ouayda’s The Secret Garden (2023) tells the story of a plant invasion that takes over an unnamed city, with plants erupting unexpectedly throughout the streets, unapologetically claiming space. Far from being a domestic agent, the garden here becomes an insurgent: a living force that resists ownership and control. Ouayda’s work reflects on the garden as a site of unrest and upheaval – of unpredictable, even disobedient growth that unsettles the boundaries between the natural world and the built environment.

Together, these works reimagine the garden as a site of both refuge and revolt, where acts of care and gestures of resistance coexist. They invite us to consider how cultivation – whether of plants or relationships – can also be an act of renewal.

Curated by Muriel N. Kahwagi.

This small parcel of earth is programmed in conjunction with Entwined, curated by Mona Filip.

Contemporary Kids: Your Story in Layers

March 1 + 8

1-2:30 PM or 3-4:30 PM
Workshop

Join us for a paper landscape workshop inspired by a selection of narrative-inspired artworks from our group exhibition Entwined! Kids will learn how to bring their stories to life by creating a layered artwork with paper cutouts, while exploring composition, depth and storytelling.

What to expect: The session begins with a 25-minute guided tour of selected works from Entwined, followed by a hands-on art-making activity.

Our Free onsite Contemporary Kids programs invite children to learn about modern and contemporary art through unique and engaging art activities. 

For children ages 5-12. Maximum group of 30 children, with one guardian per child. 

Questions? Please visit our FAQ page.

Contemporary Calgary Educational Programs are often photographed. This photography includes the participants, parents or guardians and their creations. If you wish not to be photographed, please let Contemporary Calgary education staff know upon arrival, and they will assist you.

The same workshop is offered in four sessions for your convenience: two sessions on March 1 and two sessions on March 8. Choose one session that suits your schedule best.

Sunday, March 1
1:00-2:30 PM

Sunday, March 1
3:00-4:30 PM

Sunday, March 8
1:00-2:30 PM

Sunday, March 8
3:00-4:30 PM

About our Education Facilitators

Riddhi Patel
(she/her)

TD Education Facilitator

Riddhi Patel has training in both visual and performing arts, holding a Master of Fine Arts (Painting) from the University of Alberta, a Bachelor of Fine Arts (Painting) from Maharaja Sayajirao University of Baroda, India, and a diploma in Kathak Dance. She also works with the Alberta Network of Immigrant Women, where she manages creative projects, and has taught undergraduate drawing at the University of Alberta. Her artistic research explores movement through drawing and investigates ways to bring together her dance and drawing practices. Currently, she is committed to promoting art-making in community settings with people of all ages. In her leisure time, Riddhi enjoys baking pies and capturing fleeting moments around the city.

Vicky Xingyu Gu
(she/her)

TD Education Facilitator

Vicky Xingyu Gu is a Chinese animator who holds a BFA in Animation from the Massachusetts College of Art and Design and an MFA in Digital Arts & Animation from the University of Southern California. During her studies, she explored narrative, documentary, and experimental forms of animation. Her works draw inspiration from cultural conflicts, emotional struggles, and societal issues, while experimenting with both digital and traditional media to create layered, hybrid, and provocative forms of storytelling. Since relocating to Calgary, she has become an active participant in the local arts community. She has been teaching various forms of animation with Quickdraw Animation Society and enjoys guiding participants of all ages through creative practices such as drawing, collage, mixed media, and visual storytelling. In her free time, she enjoys cooking and baking, watching animated movies, and playing horror games.

Shaghayegh (Poppy) Ghasemi
(she/her)

Education Facilitator

Shaghayegh (Poppy) Ghasemi is a PhD candidate at the University of Calgary, with research focusing on children. She holds a bachelor's degree in Museum Studies and a master's in Anthropology. Awards from both the University of Manitoba and the University of Calgary have supported her research on child neglect. Poppy has over six years of hands-on experience working with children and youth in museums and schools across Iran, Turkey, and Canada. Before joining Contemporary Calgary, she was a program educator at the Manitoba Children's Museum. She is passionate about activating children's critical and creative thinking through programs delivered in English, French, Farsi, and Turkish. In her leisure time, she enjoys cooking and playing chess.

Dandan Gu
(she/her)

Education Facilitator

Dandan Gu graduated from the Alberta University of the Arts with a Bachelor's degree in Visual Communication Design. Prior to that, she obtained her first bachelor's degree in Marketing from the University of Shanghai for Science and Technology, China. Dandan has worked as a graphic designer for various companies and creative projects. Currently, she passionately serves as an educational assistant for art-making programs within the community, sharing her creative expertise with young learners. In her free time, Dandan enjoys practicing ink art, Chinese calligraphy, and illustrating cats and people around her.

Supported by

Supported by

Open Studio for 55+

March 2026
Wednesdays | 1:00-4:00 PM

Join Contemporary Calgary at our drop-in Open Studio for 55+ on Wednesdays in March.

During this informal art-making drop-in session, participants are invited to bring their own projects along with any art and craft materials they are currently using. This time can be used not only for creating but also for connecting with other artists, fostering collaboration and inspiration.

For adults age 55+.

FREE and no registration is required; simply check in with a gallery attendant at the front desk by signing your name each time on the sign-in sheet.

*If you have questions about this workshop, please reach out to Vanessa Lamb, Education Program Assistant, at vanessa@contemporarycalgary.com

MARCH SCHEDULE:

• March 4, 2026

• March 11, 2026

• March 18, 2026

• March 25, 2026

This month, we are offering materials and guidance on exploring watercolour pencils as a medium on March 25 from 1:30-2:30 pm.

By checking in with us at front desk to participate in this session, you agree to:

1. Follow Contemporary Calgary staff instructions.

2. Treat all staff, participants, and other visitors with respect.

3. Behave in a safe and prudent manner.

Participants who do not comply with these rules may be temporarily or permanently suspended from the program.

Drop-in Art Making

March 2026
Saturdays | 1-5 PM

Embrace creativity and exploration in our Saturday Drop-in Art Making program. This program is offered most Saturdays from 1-5 PM throughout the year. Materials and light instruction are provided, along with rotating themes and activities.

Our programs encourage children, youth, and families to connect with modern and contemporary art through enjoyable and interactive creative experiences.

These are drop-in sessions running from 1 PM to 5 PM. Come anytime — no registration is required.

*If you have questions about this workshop, please reach out to Vanessa Lamb, TD Education Program Assistant  at vanessa@contemporarycalgary.com 

MARCH SCHEDULE

• Mar 7: Join us to make tessellations

• Mar 14: NO SESSION

• Mar 21: Join us to make paper puppets

• Mar 28: Join us to make mini weavings

*In addition to the above activities, there will be both a collage and drawing station available for creative free time during each session.

By checking in with us at front desk to participate in this session, you agree to:

1. Follow Contemporary Calgary staff instructions.

2. Treat all staff, participants, and other visitors with respect.

3. Behave in a safe and prudent manner.

Participants who do not comply with these rules may be temporarily or permanently suspended from the program.

About our Education Facilitators

Vanessa Lamb
(she/her)

TD Education Program Coordinator

Vanessa Lamb graduated from the University of Calgary with a Bachelor’s degree in Art History and a minor in Museum and Heritage Studies. She has a deep passion for art, especially the conversations and change it can spark, leading her to have a people-centred approach in her work, and an unending curiosity to learn more. In her career, Vanessa has experience in arts administration, visitor experience, and both designing and implementing public programs, art workshops and elementary school programs. Her curiosity is visible in her own creative practice where she explores different mediums, subject matters and new techniques. Vanessa’s work often explores themes of memory, grief, and identity. When not working, she can be found embroidering, painting or exploring nature.

Riddhi Patel
(she/her)

TD Education Facilitator

Riddhi Patel has training in both visual and performing arts, holding a Master of Fine Arts (Painting) from the University of Alberta, a Bachelor of Fine Arts (Painting) from Maharaja Sayajirao University of Baroda, India, and a diploma in Kathak Dance. She also works with the Alberta Network of Immigrant Women, where she manages creative projects, and has taught undergraduate drawing at the University of Alberta. Her artistic research explores movement through drawing and investigates ways to bring together her dance and drawing practices. Currently, she is committed to promoting art-making in community settings with people of all ages. In her leisure time, Riddhi enjoys baking pies and capturing fleeting moments around the city.

Vicky Xingyu Gu
(she/her)

TD Education Facilitator

Vicky Xingyu Gu is a Chinese animator who holds a BFA in Animation from the Massachusetts College of Art and Design and an MFA in Digital Arts & Animation from the University of Southern California. During her studies, she explored narrative, documentary, and experimental forms of animation. Her works draw inspiration from cultural conflicts, emotional struggles, and societal issues, while experimenting with both digital and traditional media to create layered, hybrid, and provocative forms of storytelling. Since relocating to Calgary, she has become an active participant in the local arts community. She has been teaching various forms of animation with Quickdraw Animation Society and enjoys guiding participants of all ages through creative practices such as drawing, collage, mixed media, and visual storytelling. In her free time, she enjoys cooking and baking, watching animated movies, and playing horror games.

Supported by

Erdem Taşdelen
Wounded in Three Acts

March 27—August 16, 2026

Setting 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. 

Wounded 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.

An 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. 

Frictions (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. 

Punctuating 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.

Collectively, 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.

Curated by Mona Filip.

Upcoming Programs

Program Archive

About the Artist

Erdem Taşdelen

Erdem Taşdelen is an artist based in Tkaronto/Toronto, Canada. Through the use of diverse materials and media, he constructs semi-fictional narratives that incorporate unique historical figures, events and texts to implicate contemporary sociopolitical realities. His projects over the past 15 years have explored themes such as life under authoritarian rule; the theatricality and public spectacles of political discourse; migration, displacement and the haunting presence of the past in contemporary contexts; and the possibilities for self-expression and the limits of authorship within culturally learned forms

Taşdelen has exhibited at venues including The Power Plant, Aga Khan Museum and Mercer Union in Toronto; Contemporary Art Gallery, Vancouver; VOX Centre de l'image contemporaine, Montréal; Framer Framed, Amsterdam; Museum für Neue Kunst, Freiburg; and Pera Museum, Istanbul. He has been an artist-in-residence at the Delfina Foundation and Studio Voltaire, London; Hangar, Lisbon; Rupert, Vilnius; and KulturKontakt, Vienna. He was awarded the Joseph S. Stauffer Prize in Visual Arts by the Canada Council in 2016, the Charles Pachter Prize by Hnatyshyn Foundation in 2014, long-listed for the Sobey Art Award in 2019, and selected as a finalist for the Taoyuan International Art Award in 2025.

Richard Ibghy & Marilou Lemmens
Stacking Crates to Reach a Banana

March 27—August 16, 2026

How are our bodies measured and valued? 
How do we perform within systems that observe, record, and assign meaning to behaviour?

Stacking 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. 

 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.

Further, 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. 

In 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.

Curated by Kanika Anand. 

Upcoming Programs

Program Archive

About the Artists

Richard Ibghy & Marilou Lemmens

The Canadian artist duo, Richard Ibghy and Marilou Lemmens, have been working together for over fifteen years. Their practice combines rigorous research with project-specific material exploration to examine issues at the intersection of ecology, economics, epistemology, and history. Their works take various forms, including installations, sculptures, videos, actions, artist's books, and public artworks. 

They use documentary research, archives, and the act of going to see for themselves what is happening to create works that present themselves as historically and culturally situated studies of vocabularies, practices, and forms of thought. Their work then proceeds to conceptual shifts, inventing formal and performative devices that bring these abstract systems to concretion by confronting them with materials and the body. 

Exploring epistemological questions related to quantification, classification, and representation procedures has led them to pay particular attention to the history and power of science and knowledge, including the language of economics, the aesthetics of data visualization, and the design of laboratory experiments. Their recent projects question the relationships humans have with nature and expand the concepts of hospitality, care, and communication between species.

Their work has been featured in solo exhibitions, group exhibitions, and international events, including at Movíl (Argentina); Jane Lombard Gallery (USA); the Ludwig Museum (Hungary); Fiskars Biennale (Finland); OFF-Biennale Budapest (Hungary); Columbus Museum of Art (USA); Musée d’art contemporain de Montréal (Canada); Visningsrommet (Norway); Bienal de Cuenca (Ecuador); Istanbul Biennial (Turkey); Morris and Helen Belkin Art Gallery (Canada); La Biennale de Montréal (Canada); Kunsthalle Mulhouse (France); Henie Onstad Kunstsenter (Norway), and Sharjah Biennial (United Arab Emirates).

They live in Durham-Sud (QC, Canada).

LOOK26 Gala
Off The Path

LOOK26 Gala: Off The Path, presented by MAWER, returns on May 2 for an unforgettable night of revelry. Brought to life by the talented minds of local artist duo DaveandJenn, Off The Path draws on their richly layered practice spanning painting, sculpture and moving image. Their work creates whimsical worlds filled with delight, enchantment and untamed life.

Embrace all things fantastical when you step into the gallery and find yourself transported to an otherworldly forest. Theatrical environments, dynamic lightscapes and layered projections reveal secret clearings and shadowy lairs.

The evening follows LOOK’s signature cadence: the HOLT RENFREW VIP Dinner, a vibrant Cabaret, and the RYAN GREEN After Party. The night features an exquisite dinner by CONCORDE ENTERTAINMENT GROUP, art activations, DJs, live performances, and the LOOK26 Art Auction supported by HEATHER EDWARDS. Tickets are available across all three tiers (18+ only), and each includes a one-year membership to Contemporary Calgary.

Whether you join us for the full night or slip in after dark, LOOK is your opportunity to support Contemporary Calgary and celebrate the magic of art and community. 

We can’t wait to see you off the path.

LOOK26 Gala Ticket Tiers

HOLT RENFREW VIP Dinner – Table: $10,000

Step Off The Path and join us for the HOLT RENFREW VIP Dinner, an intimate, four-course culinary experience for ten by CONCORDE ENTERTAINMENT GROUP, featuring a bespoke menu with beverage pairings inspired by the whimsical, layered artistry of DaveandJenn, designed to transport you deeper into the woods.

Ticketholders receive:

• Up to $7500 charitable tax receipt* 

• Access to HOLT RENFREW VIP Dinner, enjoy an exquisite culinary experience by CONCORDE ENTERTAINMENT GROUP 

• Access to the Cabaret, including world-class performances and entertainment sponsored by COWBOYS MUSIC FESTIVAL 

• Access to the LOOK26 Live Art Auction, supported by HEATHER EDWARDS (paddle registration required for Live Auction) 

• Access to the LOOK26 Silent Art Auction, supported by HEATHER EDWARDS

• Access to the RYAN GREEN After Party, featuring art activations, DJs and live performances

• One-year Contemporary Calgary Membership

*final amount determined post-event based on the value of the experience. 

HOLT RENFREW VIP Dinner – Individual: $1,000

Step Off The Path and join us for the HOLT RENFREW VIP Dinner, an intimate, four-course culinary experience for one by CONCORDE ENTERTAINMENT GROUP, featuring a bespoke menu with beverage pairings inspired by the whimsical, layered artistry of DaveandJenn, designed to transport you deeper into the woods.

Ticketholders receive:

• Up to $750 charitable tax receipt* 

• Access to HOLT RENFREW VIP Dinner, enjoy an exquisite culinary experience by CONCORDE ENTERTAINMENT GROUP 

• Access to the Cabaret, including world-class performances and entertainment sponsored by COWBOYS MUSIC FESTIVAL 

• Access to the LOOK26 Live Art Auction, supported by HEATHER EDWARDS (paddle registration required for Live Auction) 

• Access to the LOOK26 Silent Art Auction, supported by HEATHER EDWARDS

• Access to the RYAN GREEN After Party, featuring art activations, DJs and live performances

• One-year Contemporary Calgary Membership

*final amount determined post-event based on the value of the experience. 

Cabaret: $300

Escape into the Cabaret, an otherworldly experience where theatrical environments meet world-class performances and unexpected spectacle. It’s the heart of the night, vibrant, whimsical, and untamed.

Ticketholders receive:

• Up to $150 charitable tax receipt* 

• Access to the Cabaret, including exclusive performances, entertainment sponsored by COWBOYS MUSICAL FESTIVAL, two drink tickets, and hors d’oeuvres, by CONCORDE ENTERTAINMENT GROUP

• Access to the LOOK26 Live Art Auction, supported by HEATHER EDWARDS (paddle registration required for Live Auction) 

• Access to the LOOK26 Silent Art Auction, supported by HEATHER EDWARDS

• Access to the RYAN GREEN After Party, featuring art activations, DJs and live performances

• One-year Contemporary Calgary Membership

If you are a professional artist in the community and would like to receive a discount code for 50% off your Cabaret ticket, please email donations@contemporarycalgary.com. Note: discounted tickets are not eligible for a tax receipt. 

*final amount determined post-event based on the value of the experience.

RYAN GREEN After Party: $40

As the evening evolves, the energy shifts. The RYAN GREEN  After Party is your invitation to slip into the woods after dark for a late-night celebration. Get lost in the gallery’s untamed lightscapes, art activations, and a dance floor driven by live DJs and performances.

Ticketholders receive:

• Access to the RYAN GREEN After Party, featuring art activations and entertainment sponsored by COWBOYS MUSIC FESTIVAL

• Access to the LOOK26 Silent Art Auction, supported by HEATHER EDWARDS

• One-year Contemporary Calgary Membership