I Won’t Do It Alone, 2024-2025.

© Veronica Mockler. Installation view of the exhibition I Won’t Do It Alone, Dazibao, 2024. Photo: Matthieu Brouillard.

For I Won’t Do It Alone, the artist implements a durational structure wherein every hour from 9 to 5, for 5 days, she speaks to the camera for two and a half minutes in what she calls “briefings”. Unscripted and unedited, each briefing was then sent to different participants from past projects, inviting them to respond in a video of their own. The accumulated videos meander through personal, artistic, and social issues including precarity, privilege, authenticity, worth, ethics, form, and many more. Over the course of the diligently executed task, the moniker “briefing” is switched out for “confession,” “testimony,” “address,” and “experiment.” The open-endedness of dialogue as a form, when applied to the artist and her participants in novel solitude, collapses into a kind of void as they stumble into a labyrinth of ideas — or perhaps more accurately, a labyrinth of thinking. They try to identify the strands of meaning that underwrite life and art at large, at times constructing false oppositions and at others finding truth in utter simplicity.

— France Choinière, Curator, Dazibao Contemporary Art

The artist would like to thank the participants: SafiaB, Sa’naa T’Yanna Bishop-Méus, Serena Beaulieu, Tahar Behlouli, Ahmed Benkhalifa, Line Bonneau, Kevin Callahan, Anna Maria Camino, Paul Anthony Clarke, Lucille Garant, Charles-Antoine Gosselin, Amanda Gutierrez, Banafsheh Hassani, Hunnayna Hemed, Susana Hennesey Lavery, Dorothy Hunter, Eugénie Jobin, Leslie Kapo, Modibo Keita, Gabriel Lajournade, Kendra McDonald, Robin Price, Richard Quirion, Florencia Sosa Rey, Troy Tailfeathers, Andrew Woods.

The Extended Environmental Record in Shimoichi, Japan, 2023.

© Extended Environmental Record. Performance documentation of EER, Mind Trail Festival, 2023. Photo: Yuri Nishiyama.

The Extended Environmental Record (EER) upholds and develops difference within working, artistic and scientific forms of knowledge and decenters them from market and institutional authority. EER is a recurring and collective listening practice. It understands the environmental as including the nonhuman and human, alongside their relationships and intersections. The Record shares its content based on the situated needs and dialogical decision-making of its members.

With Taisuke Eida (Forester, Japan), Yoshifumi Mizuguchi (Local resident, Japan), Makiko Mori (Local resident, Japan), Toshihiko Mukai (Farmer, Japan), Mana Nakatsuji (Local resident, Japan), Yuri Nishiyama (Creative team, MIND TRAIL, Japan), Takashi Noguchi (Forester, Japan), Kaori Takano (Local resident, Japan), with Veronica Mockler (Artist, researcher, Canada), and Marcus Maeder (Artist, researcher, Switzerland).

Embassy of Switzerland in Japan
Pro Helvetia Swiss Arts Council
UNESCO Co-Chair on the Prevention of Radicalization and Violent Extremism
Centre for the Study of Learning and Performance, Concordia University, Canada
TreeNet measuring devices - Decentlab AG; NATKON, Roman Zweifel
Sakae Stünzi Foundation
Swiss Federal Institute for Forest, Landscape and Snow Research WSL
Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts ZHdK
Seiichi Saito - Research support and producer of MIND TRAIL, Japan
Masaki Matsubara: Local collaborator, Japan

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The Third Screen, 2023.

© Veronica Mockler. The Third Screen (excerpt), three-channel video installation, 2022.

Within this three-channel video installation, the conventional process of communicating research results, both in art and research, undergoes a subtle ontological rebellion. Viewers find themselves immersed in the experience of research participants - Azzouz, Joanna, Kevin, and Sheida — who are directly included in the interpretation and communication of the final research output. Informed by the tenets of decoloniality, working-class oral history, and popular education, this immersive installation stands not just as a static display but as a manifestation of a dialogic approach for knowledge-making.

Source: Mockler, Veronica. The Third Screen: For a Dialogic and Participatory Oral History. Concordia University, 2022.

Bearing Witness, UnionDocs, NYC USA
Listening Pasts/Listening Futures - Atlantic Centre for the Arts
World Forum for Acoustic Ecology, Florida USA
Acts of Listening Lab
Centre for Oral History and Digital Storytelling

À l’image: Takeover. Series 1 to 8. 2022-2024.

© Veronica Mockler. Making-of documentation of Takeover 1. Photo: Emma-Kate Guimond.

Participatory art series in which, over two years, a group of young Montrealers intervenes and responds to Dazibao’s exhibition programming, collaborating with each other and their mentor, artist Veronica Mockler. Exploring various embodied and digital art practices, the youth develop a critical dialogue around our exhibitions, which among other things manifests online on our website over the course of the series. Conceived and led by Mockler, this work aims to invite the situated perspective of youth on a range of topics related to each exhibition such as futurity, mobility, labor, environmental crisis, anticolonialism, and posthumanism. Secondly, it aims to give youth professional agency in the arts, in the realization, representation and communication of their ideas. 11 young women between the ages of 13 and 21 answered to the invitation posed by À l'image — Takeover thanks to the support and promotion of the project by Black community mobilizers in Montreal’s Little Burgundy neighborhood.

Dazibao Contemporary Art
Canada Council for the Arts
Ville de Montréal - City of Montréal - Gouvernement du Québec - Québec Government
Entente sur le développement culturel de Montréal
Innovative Social Pedagogy - Project Someone
Desta Black Community Network
Tyndale St-Georges Community Cente

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The Address, 2019.

© Veronica Mockler & Sofia Blondin. Performance documentation of L’adresse / The Address. Video documentation: Dominic Morissette.

Satellite citizen performance series on the right to housing. Documentation featuring the artist and political refugee Ismael Kabré during his live address about life as a tenant in an illegal rooming house. The performance brought over 300 Montrealers to wander through a refurbished, gentrified school, moving from room to room to encounter a series of intimate situations that toe the line between witnessing a live public address and listening in on an oral history interview conducted as part of a 360º study of the borough’s housing. Developed collaboratively with participants, The Address treats tenants not as subjects of a study but as ambassadors in a critical municipal forum.

Ethnographie Amplifier 360° Ethnography
McConnell Foundation
Conseil des arts de Montréal - Montréal Arts Council
Premier Prix des Mécènes des arts investi.e.s - Patrons of the Arts First Prize
Engaging Communities National Theatre School of Canada

Hard Listening: An Ethics of Extremity, 2017-2026.

© Veronica Mockler, still from The Burning of Long Kesh (documentary), interview with Gerry Adams, 2022.

An intermedia project spanning California, Québec, and Ireland, this work initially began as an oral history interview with Belfast-based working-class activists Bobby Lavery and Susana Hennessey Lavery. Now including the voices and experiences of 14 Irish Republican prisoners of war, this polyphonic investigation explores the ethics of extremity and representation and encompasses a sound installation (Listening, Performance and Conflict Symposium, 2019), several video installations (Felon’s Club, Belfast; St. Comgalls, Ionad Eileen Howell), and a chapter publication in Bloomsbury’s The Ethics of Extremity: On Seeing, Hearing and Feeling Each Other (2026).

Digital Arts Studios, Belfast
Roddy McCorley Museum
Listening, Performance and Conflict II
Acts of Listening Lab - Centre for Oral History and Digital Storytelling
UNESCO Chair in the Prevention of Radicalization and Violent Extremism
Centre for the Study of Learning and Performance
Intermedia Cyber Arts Department - Concordia University

Canvassers, 2017.

© Veronica Mockler. Installation view of video performance Canvassers, Redd\Flagg Gallery, 2017. Photo: Christophe Barbeau.

Kìzis and Marshal take part in a one-shot storytelling experiment. This exercise in listening within a single, uninterrupted take was created in response to scientific findings that demonstrate that a 10-minute active one-on-one conversation between two strangers can durably reduce longstanding ingrained prejudice.

Source: Broockman, David, and Joshua Kalla. Durably reducing transphobia: A field experiment on door-to-door canvassing, SCIENCE, 8 Apr 2016, Vol 352, Issue 6282, pp. 220-224.

Critical Study of Race and Ethnicity Independent Fellowship, Connecticut College, USA
Arts & Technology Biennial Ammerman Center
Redd\Flagg Gallery, Toronto Canada, curated by Christophe Barbeau
Future Perfect, New London USA, curated by Nadav Assor
Third Space Gallery
Vithèque Distribution and Collection
Vidéographe Montréal

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Found In Translation, 2020-2022.

© Veronica Mockler, documentation of performative exercise as part of Women Walk the Walk workshop at Filipino Heritage Society, 2020. Video documentation: Veronica Mockler.

Women Walk the Walk is a collective founded by Amanda Gutierrez, Joanna Guillaume, Florencia Sosa Rey, and Veronica Mockler.

Listening is at the core of the collective’s methodological and structural investigations, shaping how members collaborate and engage publics in shared reflection before, during, and after each walk or performance. Through public programs and commissions, the collective has developed this practice with Long Hall Art Studios, La Centrale galerie Powerhouse, HTMelles Festival, ATSA at Place des Arts, and the Feminist Spatial Stories symposium at Concordia’s 4th Space, and in community contexts like marche30Poly and collaborations in cultural centres across Montreal. In each context, listening operates as a tool for co-creating space, tuning into situated experience, and sustaining conversations between the collective and those who walk with them.

Scottish Oral History Centre, Glasgow, Scotland
SBC Gallery of Contemporary Art
Feminist Futures Project
Filipino Heritage Society
Centre for Oral History and Digital Storytelling