Over many years of producing performances for all manner of contexts, occasionally these pieces are not affiliated with a larger series. In festivals, fundraisers, galleries, and public interventions (i.e.: otherwise uninvited), infiltrating collective actions and performative works for the white cube make up another facet of my offerings.
[Feature photo: Christian Richer]
Photo: Julie Pastore
Faded Stamp Tarot Reading
(Oct 2022)
CÉDA, PASSEPORT DARE-DARE 2022, Montreal, QC
Installed at a table (among other artist’s stations) with my stamp collection, I offered the viewer-participant to choose just one, to be printed in their “passport” (at a fundraising event hosted by artist-run centre DARE-DARE in Montreal). In exchange: I get to hear the story of what drew the person to this stamp. 
Photo: VS
A Lot of Sorrow (A Durational Performance of Audience)
(July 2019)
Musée d’art contemporain, Montreal, QC
During the MAC’s rescreening of Ragnar Kjartansson’s 6-hour video, A Lot of Sorrow, I decided to initiate a durational performance-of-audience. Subsequently a small group of about 10 people collectively watched, listened, napped, and snacked enacting a liminal space of micro-observation over the entirety of the program. 
Photo: Jessica Hébert
Unwrapping Victoria
(July 2015)
Various locations, Entre Chien et Loup (Vital Memories Conference), Montreal, QC
An artists’ walking tour reconsidered monumental sites in downtown Montreal. Playing off of two Queen Victoria statues, I linked the financial district (the supposed seat of power) and McGill University (the supposed seat of knowledge/privilege) in a piece that questioned (im)balances of authority, power and hierarchy. 
Photo: Daniel Aubin
How We Stop Traffic
(May 2014)
Rainbow Centre shopping mall, Foire d’art alternative de Sudbury, Sudbury, ON
During the FAAS, I gave a “Collective Creation Workshop.” Happening at a mall in downtown Sudbury, the day of performative exercises resulted in a poetic and spontaneous choreography, blocking the main entranceway to the mall. Done in collaboration with Mercedes Cueto, Collette Jacques, Francine Plante, Elyse Portal. 
Photo: Coman Poon
Relating to Geography
(Aug 2013)
Toronto Island, Artscape Gibraltar Point, Toronto, ON
In collaboration with Johannes Zits, we explored our surroundings as more than passive backdrop. Questioning the limitations imposed by dominant histories and constructs we enacted exchanges between ourselves and the built environment in order to collectively broaden a dialogue about our relationship to “place.” 
Photo: VS
Quite Time at the Intersection Of-
(June 2010)
Festival International Montréal en art, Montreal, QC
Quiet Time was a work about memory, relationships, and fabulation – liberally crossing fact with fiction to produce a kind of photo-album of collected pasts. Nostalgic and eerie, the performance became a portrayal of spontaneous human encounters sitting comfortably at the interval between art and life. 
Photo: Christian Richer
Stuff
(Mar-April 2010)
Tenderpixel Gallery, London, UK
This storefront performance on Cecil Court (a street renown for its antique shops and booksellers), invited visitors to bring an object of importance, which we drew while casually chatting. In collaboration with sound artist Christian Richer, we produced a live, participatory installation of drawings and ambient aural textures.
Photo: VS
When Parts of You Are Still Arriving
(Oct 2009)
Open Source Gallery, Brooklyn, NY
Produced in collaboration with Christian Richer on live sound, examining similar themes to the first “When Parts” performance (see below) and to the “Roadside” series [link to this], the emphasis was again put on trying to recreate a disjointed sense of presence and “self” – while being at home.
Photo: Lisa Graves
When Parts of You Are Still Away
(Mar 2009)
Sala Rossa, Edgy Women Festival, Montreal, QC
Produced as part of the annual “Edgy Challenge,” performers were given an object, a sound, a set of directives, and three weeks to create an original piece. Using the “Roadside Attractions” methodology, I worked with similar themes, putting the emphasis on a disjointed sense of presence and the “self” – while being at home. 
Photo: Guy L’Heureux
Her Shit is My Gold
(Sept 2009)
Bain Saint-Michel, VIVA! Art action Festival, Montreal, QC
Coming out of the BBB Johannas Deimling workshop, the Her in this performance was a composite of several negative tape-loops and poisonous past characters that no longer needed to inhabit this adult body. Her became no longer necessary and finally was expelled in a glorious waterfall of golden sparkles. Her shit is my gold.
Photo: Sylvie Fremiot
Supreme Leg Elixir
(Sept 2008)
Marché au puces-Place de la Joliette, Festival Préavis de désordre urbain, Marseille, France
The festival created duos at random, asking us to swiftly come up with a new performance. In collaboration with Czech artist Jiri Suruvka, we made Supreme Leg Elixir! Brewing a fine new beverage from stomping on scraps of fruits and vegetables scavenged in a local market, our “bio juice” was then auctioned off.
Photo: Rachel Echenberg
Flea Market (Stuff I)
(Sept 2008)
Marché au puces-Place de la République, Festival Infr’Action, Sète, France
Collaborating with Sylvie Cotton, we presented a table of random, personal objects that we drew and re-drew – not offering our objects for sale but interpreting these quotidian, seemingly banal pieces for the market-goers to also reflect upon. Our accumulation of representations drew curious looks and playful conversations.
Photo: courtesy of Visualeyez
Library
(May 2003)
Edmonton Public Library - Latitude 53 Society of Artists, Visualeyez, Edmonton, AB
Inviting people to stand and kiss for an hour in front of Edmonton’s public library (both pre-formed couples and people who agreed to be spontaneously paired up), this infiltrating action was a trial run and lead up to the performance “Drug,” that would be performed in Montreal a few months later.
Photo: Keiko Kamma
Evidence III (Some French Fries With That Mr. President?)
(April 2003)
Gallery Para Globe, Invisible Others Exhibition, Tokyo, Japan
Against the backdrop of the recent renaming in the US of french fries to “freedom fries” (as the US’s response to France’s opposition to the Invasion of Iraq), I confronted the audience with a small army of McDonald’s fries in their signature red boxes that I proceeded to attack with a hammer and several tiny packets of ketchup.
Photo: courtesy of Captain Snooze
Untitled (Captain Snooze)
(April 2003)
Captain Snooze, Melbourne, Australia
What happens when five people go shopping for one bed? A direct lead-up to the performance series (Being) One Thing at a Time, this site-specific intervention bluntly attempted to disrupt quotidian behaviours and expectations within a place of business.
Photo: Kathryn Presner
Untitled (KFC vs. Buffalo)
(Oct 2002)
Sherbrooke and Decarie, Montreal, QC
A tongue-in-cheek site-specific intervention under a Jeans Buffalo ad residing next to a Kentucky Fried Chicken outlet that permanently affronts passersby at this Montreal street corner. Is “acceptable behaviour” in advertising considered acceptable in real life? And does the model in the picture have an itchy vagina that KFC can scratch? 
Photo: courtesy of VS
Untitled (corner of four fountains)
(June 2002)
Corner of Four Fountains, Rome, Italy
An attempt to re-activate the four emptied fountains residing at that site and to become – if only for a brief moment – a human fountain. This unannounced site-specific intervention performance, which explored the body as water/as related to architecture, was done in collaboration with Sylvie Cotton.
Photo: Guy L’Heureux
Today I Ate
(April 2002)
Galerie 303, Today I Ate Exhibition, Montreal, QC
Examining women’s relationship to consumerism, desire, control and restraint, we sat, naked, for almost two hours, wrists bound with measuring tapes, holding pocket-size diet books, attempting to eat from a two-foot rice cake tower placed at our feet. In collaboration with Marta Cooper, Louise Dubreuil, and Christine Lebel.
Victoria Stanton 