Events

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

Chronotopic Village gathers together the work of Nadia Myre, Kevin Burton, Cheryl L'Hirondelle, Darlene Naponse and Thirza Cuthand, who each in turn invite the audience to engage multiple and diverse chronotopes (times-spaces.) Each artist presents meditations on new and ever-changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces. In this exhibition curated by Wanda Nanibush, the specific locations of each artist are multiple, and how that impacts their artistic engagement with time-spaces is the Chronotopic Village.

Dream Temples is a sculptural project that incorporates the remains of nature and human civilization into cement structures. These hybrid architectonic structures reference sacred temples for the living and the dead, ancient dream temples, and temple forms that mark burial sites. Cement is the much used construction material of our times, having a utilitarian, impersonal, and indeed, even institutional quality. Cement is a monolithic product of a culture which has so greatly emphasized rational triumphs, through its temples of consumption and production.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.

In its eighth year, Kingston’s unique festival of adventurous sound performance TONE DEAF presents a special focus on the eminent American composer of experimental music and sound installations, Alvin Lucier. Since the mid-1960s, Lucier has been a pioneering force in music and sound art, whether working with a brainwave-activated percussion orchestra or traditional chamber ensembles.