Veronica Mockler was born in 1991 on unceded indigenous land, today known as Quebec City, in a franco-anglo family of French and Irish lineage. She graduated with Distinction from Concordia University (BFA Studio Arts, 2015) in Tiohtià:ke/Montréal after completing her final year of studies in the Republic of Ireland. Veronica has since returned to Tiohtià:ke/Montréal where she works as a professional artist. At the moment, Veronica is conducting academic research-creation in performance art, public pedagogy, and oral history within Concordia University’s INDI graduate program. Her art practice with individuals, groups, communities, and coalitions deals with public representation and auto-determination, knowledge creation, and social justice mobilization. Her collaborative and socially engaged art, which takes the form of relational performances, public addresses and speeches, video art and interviews, as well as new media dialogic interventions, has been featured in gallery exhibitions, art and film festivals, as well as in conferences and symposia in South America, the US, Canada, the UK, and Europe.
Veronica and her collaborators have been the recipient of awards and grants for work both in Canada and abroad, from arts councils, government entities, academic and artistic institutions, and community initiatives. The artist's dialogic art practice draws from past and present thinking in public pedagogy, oral history, documentary, activism, community development, and art education. Mockler's work has been described as a "call to action" "blending humor with sobering realism" as well as sometimes "leaving you with a haunting question" — La Presse, 2019. The artist co-founded the Visible Art Collective in 2017, a collaboration that highlights the power of Montrealers by creating gatherings for dialogue that are plural, performative, and media-based. In 2019, Veronica also co-founded Womxn Walk the Walk, a sister initiative to Brooklyn's League of Women Walkers. This collective of womxn, composed of community collaborators, artists and researchers, investigates walking and gathering as a way to connect with, and represent, female identity in public space.
Practice as Research
Veronica's research-creation project at Concordia University is entitled Real Face Time as Art: Unscripted Speaking and Listening. It is concerned with the power of face-to-face interaction and what politically transpires when people listen to and talk about personal experiences and points of view with public others. Veronica is looking at how to facilitate such interactions and how — when devised as contemporary dialogic art — these gatherings enact progressive socio-political engagement. Her research is supported by the Acts of Listening Lab (Centre for Oral History and Digital Storytelling) under the primary supervision of Canada's Research Chair (RC) in Oral History Performance Luis C. Sotelo Castro, and the secondary supervisions of Concordia's RC in Socially Engaged Art, and Public Pedagogies Kathleen Vaughan and Canada's RC in Oral History Steven High.
I collaborate with people so that they can, themselves, speak about their reality in specific public settings. I work on projects in and out of the gallery space by collaborating with individuals in the white cube and by summoning different audiences to listen to these same individuals in alternative spaces. I hope that my work can fill part of the gap that technology creates between real human connection and virtual media connectedness. I personally hold any art production socially accountable and thereby dedicate my practice to the deactivation of colonial, neoliberal, and individualistic structures and predispositions. I am a straight, cis, neurotypical, and able-bodied white woman, descendent of Irish immigrants and French settlers. Today, this position comes with many privileges. Every day, I try to work towards better understanding my position and its implication on art-making, labor, and collaboration with other people. The practice of presenting discourse that is not mine is an ethically, politically, and aesthetically complex endeavor — I learn from this complexity every day.
My artistic contributions would not be possible if it weren't for the mobilizing and multifaceted contributions of the people I collaborate with who are not so-called 'artists'. Therefore, any financial (or capitalizable) compensation that stems from our work together is shared between collaborators and me, in an attentive, transparent, and deliberate manner that makes sense with the specifics of each unique collaboration.
For more information on Veronica's art, pedagogy, and activism, as well as her work's press coverage, please click here (CV).
Recent Press Coverage
Inauguration de l'œuvre «Pavillon» de l'artiste Veronica Mockler, ENVOL 91 FM (fr)
Veronica Mockler sur son œuvre à la Maison des artistes visuels, RADIO-CANADA, L’actuel (fr)
L’art au service de la communauté francophone, LA LIBERTÉ (fr)
Une nouvelle œuvre numérique intitulée Pavillon à la Maison des artistes, RADIO-CANADA (fr)
Des nouveaux arrivants et des Franco-Manitobaines s’expriment à travers l’art, CBC ICI MANITOBA (fr)
Trouver son adresse, CHOQ, Nouvelle Société (fr)
L’adresse : les taudis, comme si vous y viviez, LA PRESSE, Arts et Être (fr)
L’adresse: une performance ethnodocu immersive bilingue, RADIO-CANADA INTERNATIONAL (fr)
Interview with Veronica Mockler & Sofia Blondin on The Address, Homerun, CBC MONTREAL RADIO (en)
Guest artist on special edition Makesense, ATELIER CIBL RADIO (fr)
Veronica Mockler about her recent work Les Interprètes, Homerun, CBC MONTREAL RADIO (en)
The ethics of participatory art, CULT MTL (en)
Free, far-out art festival transforms uptown Saint John, CBC SAINT-JOHN (en)
Chronique d'un été by artist Veronica Mockler, WOMEN CINEMA-MAKERS BERLIN, Special Edition (en)
Art and Life with Veronica Mockler, THE THOUGHT-PROVOKERS SERIES, BostonVoyager (en)