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  • 2023 Concordia University, Montreal, QC, MFA

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


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

  • 2022 HEX, Galerie Éphémère, Montreal 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

  • 2011 Too Drunk To Fuck, Latitude 53, Edmonton, AB


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

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

  • 2021 Maureen VI, Concordia University, Cyberspace

  • 2021 Fresh Paint / New Construction - 17th edition, Art Mûr, Montreal, QC

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

  • 2020 Fresh Paint / New Construction – 16th edition, Art Mûr, Montreal, 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 Powerball: Excess, Power Plant Contemporary Art Gallery, Toronto, ON

  • 2014 Homer's Odyssey: A Simpson's Art Show, Videofag, Toronto, ON

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

  • 2012 Ghost Hole IV, Artscape Gibraltar Point, Toronto, ON

  • 2012 Spacestation: Bromantica, 809, Calgary, AB

  • 2012 539 Days, Haight Gallery, Calgary, AB

  • 2011 Return to the Dollhouse, Truck Gallery, Calgary, AB

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

  • 2009 Ghost Hole, The Whitehouse Studio Project, Toronto, ON

  • 2009 Impulse Equation, Switch Contemporary, Toronto, ON

  • 2009 HURRAH!, 809 Gallery, 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


  • 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


  • 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

  • 2017 2011 OAC Exhibition Assistance Grant, Ontario Arts Council

  • 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


  • 2023 Art Volt, Concordia University, Montréal, QC


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


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

  • 2018 WRECK CITY: RESIDENCY, Calgary, AB - Co-Curatorial Director

  • 2016 OCAD University, Toronto, ON - Teaching Assistant

  • 2015 WRECK CITY: DEMO TAPE, Calgary, AB - Co-Curatorial Director

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

  • 2013 - 2018 The Roundtable Residency, Toronto, ON - Co-Founder & Director

  • 2013 WRECK CITY: an epilogue for 809,  Calgary, AB - Co-Curatorial Director

  • 2013 My Virtual Dream, Toronto, ON; Scotiabank: Nuit Blanche - Developer

  • 2007 - 2013 809 Gallery, Calgary, AB - Co-Founder & Co-Curatorial Director

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


Photo by Kate Young

Brandon A. Dalmer



“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

Mid-Career in:

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