top of page

 

EDUCATION

  • 2023 MFA, Concordia University, Montréal, QC

  • 2007 BFA, Alberta University of the Arts, Calgary, AB

 

SOLO EXHIBITIONS

  • 2023 Sourcery, Concordia MFA Gallery, Montréal, QC [graduating exhibition]

  • 2022 HEX, Galerie Éphémère, Montréal, QC

  • 2020 Cultural Software, FeS2 Contemporary, Cyberspace

  • 2018 At The End of The Day, This Month Only, Toronto, ON

  • 2017 Persistence of Vision, Latitude 53, Edmonton, AB

  • 2017 [1318] NARINA , Katzman Contemporary, Toronto, ON

  • 2013 Crisium, Untitled Art Society, Calgary, AB

  • 2011 Libration, Haight Gallery, Calgary, AB

 

SELECTED GROUP EXHIBITIONS

  • 2024 Ghost Body, The Plumb, Toronto, ON

  • 2024 Blurred Lines, TIAN Contemporain, Montréal, QC

  • 2024 Can’t Touch This, Studio Sixty Six, Ottawa, ON

  • 2023 Art Volt Collection Group Show, Atwater Club, Montréal, QC

  • 2023 DE-CONSTRUCTIONS, Z Art Space, Montréal, QC

  • 2023 2023 Art Volt Collection: Launch Exhibition, Le Livart, Montréal, QC

  • 2022 COME AS YOU REMEMBER, Z Art Space, Montréal, QC

  • 2021 Maureen VI, Montréal, QC

  • 2021 Fresh Paint / New Construction – 17th edition, Art Mûr, Montréal, QC

  • 2021 INFINITE CUBE, Hiber National Gallery, Calgary, AB

  • 2020 Fresh Paint / New Construction – 16th edition, Art Mûr, Montréal, QC

  • 2018 VIDEOMANCY: Alien Autopsy, Ed Video, Guelph, ON

  • 2018 Made in Paint, Golden Artist Colors, New Berlin, NY

  • 2017 DRIVE THRU, Katzman Contemporary, Toronto, ON

  • 2017 - 2018 ReWired: Art x Bissell, University of Toronto, Toronto, ON

  • 2015 Once Removed, Interaccess Gallery, Toronto, ON

  • 2015 Power Ball: Excess, Power Plant Contemporary Art Gallery, Toronto, ON

  • 2014 HOMER’S ODYSSEY, Videofag, Toronto, ON

  • 2013 Garage Montage, The Art Gallery of Calgary, Calgary, AB

  • 2012 539 Days, Haight Gallery, Calgary, AB

  • 2012 The Resistance To Change, Eyelevel Gallery, Halifax, NS

  • 2011 Return to the Dollhouse, Truck Gallery - +15 Window Space, Calgary, AB

  • 2011 Cult of the Contemporary, Xpace Cultural Centre, Toronto, ON

  • 2009 Ghost Hole, White House Studio Project, Toronto, ON

  • 2009 HURRAH!, 809 Gallery, Calgary, AB

​

SELECTED SCREENINGS & FESTIVALS

  • 2024 SPAM New Media Festival, Georgetown Steam Plant, Seattle, WA

  • 2023 Wreck City: An Epilogue for 809 [dir. Ramin Eshraghi-Yasdi],

  • Alberta University of the Arts, Calgary, AB

  • 2017 DRIVE-IN: Film Screening, Katzman Contemporary, Toronto, ON

  • 2016 Drake TV Programme: Spring 2016, The Drake Hotel, Toronto, ON

  • 2015 Wreck City: An Epilogue for 809 [dir. Ramin Eshraghi-Yasdi],

  • Calgary Underground Film Festival, Calgary, AB

  • 2014 Power Ball: Old/New World, Power Plant Contemporary Art Gallery, Toronto, ON

 

SELECTED PROFESSIONAL EXPERIENCE​

  • 2022 - 2023 Grad Reserves Professor, Concordia University, Montréal, QC

  • 2020 - 2022 Teaching Assistant, Concordia University, Montréal, QC

  • 2020 - Current Studio Manager, Casgrain Studios, Montréal, QC

  • 2016 AV Loans and Equipment Class Monitor, OCAD University, Toronto, ON

  • 2015 - 2016 Class Assistant, OCAD University, Toronto, ON

  • 2014 - 2015 Board of Directors, 811 Gallery, Toronto, ON

  • 2013 - Current Preparator/Technician, Freelance, Toronto, ON

  • 2013 Video Editor/Developer, My Virtual Dream, Baycrest Centre, Toronto, ON

  • 2010 - 2012 Board of Directors, The Whitehouse Studio Project, Toronto, ON

  • 2007 - 2008 Vice President, Board of Directors, The New Gallery, Calgary AB

 

ARTIST TALKS & PANEL DISCUSSIONS

  • 2023 Alberta University of the Arts, Calgary, AB

  • 2021 KidsCode Jeunesse, Toronto, ON

  • 2017 Latitude 53, Edmonton, AB

  • 2015 Interaccess Gallery, Toronto, ON

  • 2013 The Art Gallery of Calgary, Calgary, AB

  • 2011 Latitude 53, Edmonton, AB

 

RESIDENCIES

  • 2019 Winter BAiR, The Banff Centre, Banff, AB

  • 2017 Golden Foundation Residency, Golden Artist Colors Inc., New Berlin, NY

  • 2016 The Drake Residency, Drake Devonshire Inn, Wellington, ON

  • 2016 Silence Awareness Existence, Arteles Center, Haukijärvi, Finland 

  • 2015 Studio Residency, Artscape Gibraltar Point, Toronto, ON

 

FAIRS + COLLECTIONS

  • 2025 Plural, de Montigny Contemporary, Montréal, QC

  • 2024 Art Toronto, de Montigny Contemporary, Toronto, ON

  • 2023 SPRING/BREAK, Z Art Space, New York, NY

  • 2023 Art Volt, Concordia University, Montréal, QC

 

CURATORIAL PROJECTS

  • 2018 WRECK CITY: RESIDENCY, Calgary, AB [canada 150]

  • 2015 Once Removed, Interaccess Gallery, Toronto, ON

  • 2015 WRECK CITY Presents: DEMO TAPE, Penguin Car Wash, Calgary, AB

  • 2013 - 2023 The Roundtable Residency, Toronto, On

  • 2013 WRECK CITY: an epilogue for 809, Sunnyside Community, Calgary, AB

  • 2012 809 Residency, Calgary, AB

  • 2007 - 2009 809 Gallery, Calgary, AB

 

HONOURS + AWARDS + GRANTS

  • 2024 Circulation of works outside Québec, Conseil des arts et des lettres du Québec

  • 2023 CUAA Fine Arts Prize, Concordia University

  • 2020 Tom Hopkins Memorial Graduate Award, Concordia University

  • 2017 Canada 150 Grant [Wreck City], Canada Council for the Arts

  • 2015 Project Grant for Organizations [Wreck City], Canada Council for the Arts 

  • 2013 Awesome Foundation Grant, The Awesome Foundation

  • 2012 Calgary 2012 Project Grant, Calgary 2012

  • 2011 OAC Exhibition Assistance Grant, Ontario Arts Council

 

SELECTED PUBLICATIONS, CATALOGUES AND MEDIA

  • 2025 Educating Our Desires, equity-deserving action within artist-led spaces, Review, D. Fraser, E S P A C E

https://espaceartactuel.com/en/educating-our-desires-equity-deserving-action-within-artist-led-spaces/

  • 2024 “Mars on Mars. All in a Day”, Radio Interview, A. Neal, CBC Radio

https://www.cbc.ca/listen/live-radio/1-92-all-in-a-day/clip/16043232

-mars-on-mars-the-creator-play-keep-mars

  • 2022 “Mixed Drinks”, Artist Book, D. Baldwin, MOCA Toronto

  • 2021 “Maureen VI”, Catalog d’exposition, MFASASA

  • 2019 “Dark Matter Vol.III”, Zine, Ed. 150, B. Dalmer, E. Reii, Dark Matter 

  • 2018 “Roundtable Residency: Artist Directory 2013–2018”, Catalogue, B. Dalmer, L. Hudspith,  R. Noone, M. Fox, K. Lawson, eds.

  • 2018 “Dark Matter Vol.II”, Zine, Ed. 150, B. Dalmer, E. Reii, Dark Matter 

  • 2017 “Dark Matter Vol.I”, Zine, Ed. 150, B. Dalmer, E. Reii, Dark Matter  

  • 2015 “Once Removed at Interaccess”, Review, T. Dick, Akimbo

http://akimbo.ca/akimblog/?id=1081

  • 2013 “End of the road for Wreck City”, Article, R. White, CTV Calgary

http://calgary.ctvnews.ca/end-of-the-road-for-wreck-city-1.1259254

  • 2013 “Wreck City art project. The Homestretch”, News Report, D. Dirks, CBC Radio

http://www.cbc.ca/player/Radio/Local+Shows/Alberta/The+Homestretch/ID/2379712022/

  • 2013 “Slideshow: Wreck City Makes Ruins Right”, Article, L. Sandals, Canadian Art

http://www.canadianart.ca/features/2013/04/24/wreck-city/

  • 2013 “Wreck City Calgary: City Block Turned Into Giant Art Installation Ahead of Demolition”, Article,

  • M. Butterfield, Huffington Post

http://www.huffingtonpost.ca/2013/04/27/wreck-city-calgary_n_3170881.html

  • 2011 “Calgary Report: An Artist-Run Alberta”, N. Tousley, Canadian Art.

http://www.canadianart.ca/online/features/2011/03/03/calgary_report/

​

Portrait by Kate Young, 2018

Brandon A. Dalmer

Scan.Hack.Process

 

“To hack is to abstract. To abstract is to produce the plane upon which different things may enter into relation…whether in the technical, culture or scientific realm.*”

 

Brandon Dalmer’s work at first appearance stands up to the criteria of what painting is: it exists on a planar surface, it alludes to three-dimensionality, it shows a mark, a trace of the author of the work, it recognizes its frame. However, there are cyphers left, a key to another layer of meaning, a conceptual framework, invisible collaborations and labour. The works are not what they at first seem, these are not the paintings you are looking for—these manifestations are within a system of change rather than inertia. In a process of collaboration with code-changing and software, a malleability of content is formed, where the artist allows for the work to iterate and abstract, to become something more than the output medium, and in doing so Dalmer himself iterates and abstracts himself as the artist—part of a matrix of production or plane of internal relations and factors that make the works manifest.

 

What then are the “source” codes to Dalmer’s work? I wonder about DIY technologies, OSL and open source codes, instructional videos by bro types on YouTube, garage science projects, SETI, NASA scans and imaging of space. The work alludes to these as origin points, serving as guiding constellations in the stellar cartography of the artist. He scans/translates with these sources, and with democratizing technologies to make otherwise invisible worlds seen, translating the virtual into a set of possibilities—hacking.

 

 I quoted McKenzie Wark’s “Hacker’s Manifesto 2.0.” not as some clever epitaph but as a provocation that is within Dalmer’s work—look outside of the dark mirror of techno-pessimism towards a prism of potential futurities.

 

--Morris Fox

 

*Mckenzie Wark, Hacker’s Manifesto 2.0

TIAN CONTEMPORAIN

link

de Montigny Contemporary

link
bottom of page