October 12-November 17, 2018
Heather Shillinglaw – Whiskey Scrip

Heather Shillinglaw – Whiskey Scrip

For members + invited guests
Friday, October 19 at 7pm
[ Facebook Event ]

Public event
Saturday, October 20 at 1pm
[ Facebook Event ]

Edmonton-based Métis artist Heather Shillinglaw’s installation retells her family’s oral history of her great-great-grandfather John “Old Man Jack” Norris, who, according to family stories, contracted Indigenous and Métis women to transport whiskey on Red River Carts, disguised as homesteading supplies. Shillinglaw’s beaded and quilted hide map of the Carlton Trail traces these journeys from Fort Garry to Fort Edmonton, entangled with the issuance of Métis scrip and the impacts of this smuggled alcohol.

This project is supported by funding from the Edmonton Arts Council, Alberta Foundation for the Arts, and the Canada Council for the Arts.


Heather Shillinglaw is an Edmonton-based Métis artist whose practice focuses on storytelling, nature and the traditional use of plants and flowers. Shillinglaw holds a BFA from the Alberta College of Art and Design in Calgary and her work has been shown across Alberta and internationally, including a recent solo show Buffalo Girl at the Art Gallery of Grande Prairie featuring three distinct bodies of work. Shillinglaw has described herself as an ‘environmental activist’ and explores her Métis heritage inspired by stories from her grandparents and her mother, using beading, collage and installation.

September 26-29, 2018

B.G-Osborne’s A Thousand Cuts

Saturday, September 29 at 7-10pm
[ Facebook Event ]

A Thousand Cuts is an in-progress found-footage video compilation of cisgender actors playing transgender roles in film and television. The work confronts transgender cinematic tropes and the erasure of transgender people in mainstream media. The clips that are selected for the compilation are, more often than not, from films and television series produced for cisgender audiences. By editing, arranging, and locating visual and thematic similarities between certain clips and dialogue, A Thousand Cuts creates new meaning through a crescendolike composition ranging from humorous to violent- but always inauthentic- representations of trans individuals. The large poster included in the exhibition lists the names of all documented murdered transgender people in the past two years. Last year alone, there were over three hundred documented murders of transgender people world-wide. The poster serves as a reminder to the viewership of the common consequence of transgender expression, especially for trans women of colour.

B.G-Osborne is a Transmedia artist from rural Ontario, currently working in Montreal. Their work focuses on exploring and interrogating the potential of gender-variant embodiment to serve as both a tool for gender deconstruction and revision. They graduated as valedictorian from NSCAD University in 2014 with a BFA in Intermedia. Osborne’s ongoing projects seek to address the complexities of trans representation and violence, mental illness, and family secrets/stories. They place great importance in showcasing their work in artist run centres and non-commercial galleries throughout Canada.

*Text courtesy of The New Gallery

In solidarity with the artist B.G-Osborne and The New Gallery, Latitude 53 is honoured to welcome A Thousand Cuts to the gallery. This follows Calgary's Arts Commons turning off the 3-channel video work being exhibited in The New Gallery's +15 Window. The reasons cited being that the work contained “a lot of swearing and nudity” that had garnered “a lot of complaints from concerned patrons.” Arts Commons asked for the artist to edit out these parts of the work, and if not, the work would need to be turned off.

B.G-Osborne has also written an open letter in response to this censorship:

Dear viewers,

It has been brought to my attention that there have been several complaints against my video work due to “cursing and nudity”. Rather than re-edit and censor my work to comfort certain viewers who are offended by the very banal acts of swearing and non-sexual nudity, I have decided to remove the piece from the space entirely. It is ironic that a video compilation that highlights the far-too-common act of cisgender actors being permitted and feeling entitled to play trans characters in film and television, is too offensive when looked at through a critical/ trans-lens. The entire work is meant to be offensive, but several individuals have chosen to fixate on cursing and one brief scene of nudity. If you are cisgender and you were offended by this work: think about why you were offended. Are you trying to protect your children from what you perceive to be vulgar representations of bodies? Are you comfortable with the violence that is perpetuated against trans people, but offended by five or six swear words (that your children have already heard) and a flaccid penis? If you cannot accept seeing a penis on a woman in a movie (even though the actor is a cisgender woman with a prosthetic)- think about the other types of transphobia you might perpetuate in your daily routines. To me, it seems you are afraid of the questions this video will raise in the minds of your children, or in yourself.

To Arts Commons: I implore you to deal with complaints against challenging art work (especially when the content deals with marginalized communities and bodies) in a more constructive way, rather than shutting down a conversation before it can begin. Trans people are still being murdered at a seriously alarming rate, misrepresentation will continue to happen in mainstream media, we will try to take back our image and tell our own stories, cisgender people will keep being offended, and we will keep fighting.

Deeply disappointed, but not surprised,


[ Initial Statement ]
[ Follow-up Statement ]



August 17-September 29, 2018


Patrick Higgins: On the Green Seesaw

In this new body of work, Patrick Higgins creates images with the weight and presence of lifelike portraits that confuse and confound. Working from collaged found imagery and photographed references, the paintings of On the Green Seesaw crop images and announce themselves as invented fiction with exaggerated colours, contrasting rendering techniques, and altered perspectives.

For members + invited guests
August 17 at 7pm
[ Facebook Event ]

Public event
September 8 at 1pm
[ Facebook Event ]



June 8-July 21, 2018

Typical Space

Vancouver-based artist Sora Park working through an ethnographic study of the dancefloor. Based in her three-year-long research process of Afro-Latin social dancing subcultures, this reimagining of the physical environment of the club—dim lights, 90 degree intersections between the horizontal and vertical, and the invisible but perceptible divisions of social boundaries—resembles an architectural showcase of questions and alternative possibilities.

The Skin Machine

An exhibition coming out of Montreal-based artist Rachel Thomas’s own experiences of skin bearing the marks of psychic pain through self-harm. Thomas’s machine works in collaboration with microbes to repetitively produce cellulose skin. The installation plays with the functioning of identity and the normative social facades Thomas recognizes, realized as draped, fleshy mask-like layers.




Les Transformables (V)

April 13-May 26, 2018

Curated by Eric Mattson Les Transformables (V) takes over all three galleries at Latitude 53 showcase the work of seven Canadian artists. This is only the second time in the centre’s history a show of this size has has been realized.

In its fifth iteration, Les Transformables brings together artists creating performances based in sound, music or noise. Using built contraptions, circuitry, sound conductors and amplitude pulses the artists produce and manipulate various soundscapes.

To introduce the exhibition, the artists are performing over the first two days, transforming the gallery into an immersive collection of soundscapes. For many of the participating artists this is their first time collaborating together.

Artists: Steve Bates (Montréal), Diana Burgoyne (Vancouver), Nikki Forrest (Montréal), Anne-F Jacques (Montréal), Ellen Moffat (Saskatoon), Marc-Alexandre Reinhardt (Montréal), and Alexandre St-Onge (Montréal)

With performances by Edmonton guest artists Raylene Campbell, Gary James Jones, and Mark Templeton

The creation of this work was made possible thanks to the financial support of the Conseil des arts et des lettres du Québec



Figure As Index

February 23 - March 31, 2018

Latitude 53 is pleased to welcome Winnipeg based artist, Luther Konadu. Konadu’s work Figure As Index focuses on the way objective visual documentation ostensibly formulates public perception, particularly that which surrounds collective identities and historic record in relation to the black body. In his work Konadu observes that history has always been told by its victors, making our understanding of the past limited and one sided. Using the tradition and legacy of documentary photography Konadu creates an alternate past to imagine a different future of self—as it relates to a social communal context.

Opening Reception is February 23 7-10pm, free to Latitude members and guests.

Luther Konadu will be giving an artist walk through February 23 at 6pm.

To read the critical essay by Noor Bhangu go here.



February 23 - March 31, 2018

Bear Hat continues the study of her background, especially questioning what is “hers” and the meaning of traditions within her indigenous culture. Posing an oil worker against landscape of Pink Mountain in large scale prints and objects, Bear Hat weaves together both sides of what she understands of the differences between living off the land and living from the land. This exhibition is part of Change for Climate—Art from Change, in conjunction with the 2018 Cities and Climate Change Science Conference, in Edmonton from March 5–7. This free series explores the potential of visual art to inspire climate change awareness.

Opening Reception is March 1st 7-10pm, free to Latitude members and guests.

Read Julie-Ann Mercer's critical essay about this exhibition here


Persistence of Vision

December 8, 2017 - January 20, 2018

Latitude 53 is pleased to welcome back Brandon A. Dalmer and his new work: Persistence of Vision. Inspired by syzygy, cosmic alignments, hoaxes, and Philip K Dicks’s fictional future religious practice of Mercerism, Dalmer’s monolithic octagon houses an immersive installation of audio, video loops, and lighting. Over a 108-minute orbital cycle, viewers can enter the capsule inspired by the pre-film Kaiser-Panorama stereoscopic animations and use the digital controls to experiment on images of asteroids falling endlessly towards virtual earths.

Opening Reception December 8, 7-10pm, free to Latitude members and guests.

The opening reception for this work is generously supported by Barber Ha.

Read Shama Rangwala's critical essay about Persistence of Vision here


The Latitude Invitational

December 8, 2017 - January 20, 2018

Latitude 53 takes a second annual pause from artist-submission driven programming to invite a group of artists from our Edmonton community to exhibit individual works. This year, we invite artists who are trying out new directions in their practices, and navigating different ways of working between their past practices and digital presentation. With: Devon Beggs, Alex Keays, Isabelle Kuzio, Gabriel Esteban Molina, Haley Pukanski & Maria Burkinshaw, Borys Tarasenko, and Daniel Toumine.

2018 Upcoming Exhibitions

To be announced...

> 3 August - 15 September
> 12 October - 17 November
> 7 December - 29 January, 2019

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