1) Residency and Exhibition at BAM (Bridges Art Movement) 115 Third Avenue South, Saskatoon
Books that Make Us Cry is a participatory project that invites the public to submit the title of a book that has made them cry. For the month of October, Alana Moore and Linda Duvall will occupy BAM three days a week, drawing the front covers of the books that have made people cry. The exhibition will consist of drawings hung on the walls and conclude with readings from selected passages submitted to the project and a performance by a Crying Chorus.
We are now open to receiving submissions for the project. Send me a private message with your book title.
NOTE: Book titles will not be associated with your name. However, we will recognize all participants who choose to submit.
2) Exhibition for One
For The Hole I spent 6 hours a day in a 6-foot deep hole on Treaty 6 land in rural Saskatchewan accompanied by one other person each day. Forty-five different people joined me from across Canada, US, Europe, Israel, and the Philippines. I spent 65 nearly continuous days in the hole.
I have developed 2 short videos that expose more complicated and intimate aspects of my personal relationship to this experience and to the land. They reference but move beyond the time in the hole.
I am showing these videos on my laptop to one person at a time, replicating the tone and format of the original project. The act of sharing this visual material with one person at a time combined with the ensuing conversation has become a necessary way to present this work.
Please contact me if you would like to participate.
3) Presentation at InDialogue Conference 2019 in Nottingham, Derby, and Lincoln
InDialogue invites artists and researchers to participate in the interrogation of dialogue across 3 cities in the Midlands, UK. Over the course of 3 days in November, InDialogue-ers will activate the cities of Derby, Lincoln and Nottingham through papers, workshops, performances, happenings, artist-led labs, live music, eat together, dance, debate, create installations and interventions.
This 4th iteration of InDialogue brings together UK and International based artists and researchers to push the boundaries in thinking about the use of DIALOGUE and SITE within PRACTICE, across the disciplines of art and design.
August 2019 - POPLUCK Exhibition in the Pump House at River Landing, Saskatoon, SK
June 2019 - SPACEBODIES 111 Residency at Small Arms Inspection Building and Neilson Park Creative Center, Mississauga, ON
Nov 2018 - Hospitalfield Interdisciplinary Residency, Arbroath, Scotland
Nov 2018 - Social Art Summit, Sheffield, England
August 2018 - Exhibition Woven Together: The Influence of Sherri Smith at Crooked Tree Cultural Center, Petoskey, Michigan
August 2018 - EMMA International Collaboration at Big River, Saskatchewan
August 2018 - Murmur Land Studio Workshop, Saskatchewan
May 2018 - Biophony : Ayatana Artists' Research Program in Gatineau, PQ
May 2018 - The final Open Engagement Conference in New York, NY
In the Hole Residency
In the Hole was a short-term residency located in an earthen hole on Treaty 6 territory in rural Saskatchewan, Canada. Each resident spent 6 hours each day in this hole as a participant in this residency. Residents came for either one or two consecutive days.
This residency coincided with an exhibition at PAVED Arts Saskatoon.
This 6 foot deep hole was dug in 2012 with a 5 foot walkway circling a central mound of earth. This hole has been hollowed out of thick prairie grassland with roots dangling overhead. Since then this space has been subject to ongoing weather events like rain, snow, hail and wind. Various transformations have occurred due to gopher and swallow incursions, and larger animals like deer, foxes, skunks and coyotes that discovered this sheltered space.
A space such as this hole can be approached from the perspective of the Anthropocene and ecology, spirituality and burials, secrecy or revelations, history and agriculture, and metaphor and symbol. This land is especially significant in terms of the history of Saskatchewan since there is no evidence that it has ever been tilled.
The premise of this residency was that new knowledge comes from the concentrated interaction of people with varying knowledge bases and perspectives.
This hole in the ground became a site for conversation, contemplation, reading out loud, making sounds, or being silent. This is also about duration, about spending extended blocks of time surrounded by earth and sky, and one other person
The Remai Modern presented
Saskatoon Symphony 408 20th Street West, Saskatoon
The Unacknowledged is an ongoing, multi-faceted project by Linda Duvall that focuses on deceased individuals whose bodies have gone unclaimed. Due to the person’s situation at the time of death, there is no funeral, no obituary, and no celebration of life. While it can be easy to make assumptions about the circumstances and decisions that lead to this, the reasons are complex and each story is unique. The Unacknowledged allows for the recognition of the lives and deaths of these anonymous men and women, who are a vital part of our families and our communities.
For this presentation of The Unacknowledged, Duvall has been in dialog with different communities and faith groups about how they approach death. These ceremonies, rituals, music, and food customs will be incorporated into a commemoration event featuring diverse participants, each honoring an unclaimed person. While these gestures reflect the background and personal beliefs of the participants, together they reflect on our shared social bonds and the vulnerability and fragility of all lives. By naming the unclaimed in a shared public context, The Unacknowledged recognizes that there are people in our community without family supports, either through estrangement, geographical distance, containment in institutions, and other complicated situations.
For an earlier component of the project, Duvall worked with collaborators from across Canada—including theologians, poets, lawyers, inmates, filmmakers, health care workers, and street involved women—to produce commemorative banners for over 30 unclaimed individuals.
A selection of these were displayed from June 21 - July 3, 2016
"Duvall’s work is as much about sociology and anthropology as it is about art. She takes, however, the role of ‘rebel sociologist’ … her interest is less in scientific methodology than in constructing work that fascinates in its final presentation."
Linda Jansma 'Sanctioned Deception' in catalogue Linda Duvall Enough White Lies 2005
"Linda Duvall engineers temporary relationships between strangers. Her social engagement art works bring people together to share stories across divides of culture, class and region. She uses artifice to encourage authenticity. These initially awkward meetings soon melt barriers to reveal a common humanity. The projects are fuelled by a faith in the healing properties of purposeless dialogue. Success is measured by feelings of quality engagement rather than the achievement of some end. The work is goalless but not guileless. The encounters are not ephemeral; Duvall records some of the sessions, others can be eavesdropped, so we can marvel at the richness of interpersonal discourse."
David Garneau 'Engaging Strangers' in catalogue Linda Duvall Where were the Mothers? 2009