Gina Badger is an artist who likes to learn in public so that others will be compelled to learn with her.  She has facilitated performative projects about seed cultivation, herbal gynecology, and food making/sharing, and experimented with pedagogical forms such as the skill-share, the instructional, and the prototype.  Concepts of contagion, transplantation, empathy, occupation and intimacy repeatedly surface throughout her politically engaged art practice.  Gina continues to explore the radical potential of creative pedagogy during her current pursuit of MIT’s Master of Science in Visual Studies.  Badger’s ideas on the artist as “public amateur” and critical examination of the notion of interdisciplinarity have been a particular point of interest and catalyst for our collaboration.

Alexis Bhagat is a writer and sound artist from New York.

Christoph Brunner is a researcher and writer based in Montréal. His interests concern philosophical approaches towards sound and interfaces in performative ecologies. He regards sound, architecture, politics, and philosophy as techniques for thought as intervention.

Rebecca Duclos’ recent curatorial projects include “As much as possible given the time and space alloted” at the Leonard and Bina Ellen Art Gallery, Concordia University; “Magnify” at the ICA, Maine College of Art; and “Voir/Noir” at the Muse d’art de Joliette. Her writing on the Pomme de parterreproject was recently published in Locus Suspectus, and her essay, “Reconnaissance/Méconnaissance: The Situationist International, Janet Cardiff and George Bures Miller” will appear in the forthcoming book, Articulate Objects: Voicing and Listening to Sculpture and Performance. Duclos has also contributed essays and reviews to the Leicester Museum Studies series, The Future of Collecting (1999) and Exploring Science in Museums (1996). Recent catalogue essays for artists Lyne Lapointe and Mary Wong have been published by the SBC Gallery and the Faculty of Fine Art Gallery Concordia University, respectively. Duclos has been the web editor for Reading Montréal and Alphabet City and is a commissioning editor for the Alphabet City/MIT Press series.


  • forays is a collaboration concerned with the production of more forays.
  • A foray throws us into the uncertain territory and struggles of collaboration and autonomous egos.
  • A foray is an incomplete project.  It means to head into the field with experiments and return with results — as partial as those may be.
  • A foray rarely provides final results but instead tends towards opening possibilities.  Confusion is acceptable if not necessary for successful forays.
  • A foray must be compelled by the ethics of copyleft, hacking, larceny, alternative forms of exchange and released within the public domain.
  • Our investigations  have tended towards creating and researching open-ended minor architectures and the modification of everyday infrastructures.

Cynthia Imogen Hammond teaches architectural history in the Department of Art History, Concordia University. Her interdisciplinary doctoral thesis on the role of women in the architectural history of world heritage site, Bath, England (2002), won the Canadian Governor General’s gold medal for excellence. Hammond’s SSHRC-funded postdoctoral research established key figures such as hospital reformer, Florence Nightingale (1820-1910) and housing activist, Catherine Bauer (1905-1964) as central to developments in institutional and modern architecture, showing how thei production was nevertheless embedded within larger questions of nation, colonialism, and gender. Hammond’s 2005 essay, “Reforming Architecture, Defending Empire: Florence Nightingale and the Pavilion Hospital” won the Nineteenth Century Studies Association Emerging Scholar Award for 2007. Hammond’s research continues to engage with questions of urban image, public memory and architectural heritage in diverse sites, such as Pécs, Hungary and Montréal, Canada. Other recurring themes in her writing, teaching and creative work include the relationships between gender and space, the role of ornament in discourse and practice, and the production of urban space through community identification, anonymous interventions and artistic incursions. Presently, Hammond holds a three-year, Emerging Scholar award (FQRSC) for the study of Montreal’s public, modernist buildings and spaces.

Nasrin Himada is a researcher and writer who lives and works in Montréal.

David Paquette is a Ph.D. student in Communication Studies at Concordia University. His research focuses on soundscape studies, research methodology, place theory, as well as senses and culture. David can be reached at www.sharawadji.org

David K. Ross is a visual artist whose photographic works and architecturally-based installation projects approach storage as a form of dynamic repose and image making as an accumulative process. His projects examine the ineffable, psychological, and practical implications of the overlooked and the underused spaces of transition and utility.

Maiko Tanaka is a Toronto-based curator who is especially invested in questions of pedagogy in the arts.  She is currently the Curator in Residence at the Justina B. Barnicke Gallery, where she recently co-produced a show about karaoke called Empty Orchestra.  Over the past few years, Tanaka has curated several participatory events in the form of night schools, temporary libraries, and reading groups which function as contestational additives to institutional forms of education.  Maiko makes a fantastic collaborator because she asks very basic questions that directly affect the stakes of the project.  Her experience with radical pedagogy has inspired me to consider more seriously its role in my own practice, and has acted as the basis for this collaboration.

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