Paul Walde’s work is featured in the article “Cold Wave: Circumpolar Artists Matthew Burtner, Paul Walde, Jana Winderen, Terje Isungset, Bear Sonic Witness to Arctic Warming” by Jonathan Bunce in the Spring/Summer 2021 issue of Musicworks Magazine. The issue also includes a CD featuring Requiem for a Glacier: 1st Movement: Introit. You can read more about the issue here.

Requiem for a Glacier is featured in the scholarly article “Glacier, Plaza and Garden: Ecological Collaboration and Didacticism in Three Canadian Landscapes”, by Cynthia Imogen Hammond in the May issue of Sustainability 2021 you can read the essay here.

Requiem for a Glacier is featured in the exhibition Ecologies: A Song for the Earth at the Montreal Museum of Fine Art curated by Iris Amizlev. The exhibition opens on March 16th but Requiem is already on view to the public and will continue until September 12, 2021. Other artists in the exhibition include: Shuvinai Ashoona, Edward Burtynsky, Olafur Eliasson, Lorraine Gilbert, Isabelle Hayeur, Jessica Houston, Giuseppe Penone, Adrian Stimson and Lawrence Paul Yuxweluptun.

A selection of LPs, CDs, video, and artist editions are currently on exhibit and available at Hotam Press Bookshop Gallery for the exhibition Cover Me. The exhibition brings together artists who work with sound and music. For the duration of the exhibition, the gallery will be transformed into a record shop / discotheque / listening space. The show runs from November 21st until January 31st and is located at 218 East 4th Avenue in Vancouver and the hours are: Saturdays 12-5 PM or by appointment.

This is a Transnational Crime Syndicate Masquerading as a Government is a new sound work created for the Embassy Cultural House‘s inaugural virtual group exhibition: Hiding in Plain Sight organized by Ron Benner. The exhibition focuses on the themes in the book “Hiding in Plain Sight” published in 2020 by St. Louis-based journalist Sarah Kendzior.  In her book she describes US President Trump’s administration as “a transnational crime syndicate masquerading as a government.” An audio clip of Kendzior saying her most iconic phrase was used as the basis of the sound composition in which the tone and rhythm of her speech were roughly transcribed and then expanded upon using a piano.
The exhibition launches on October 30th via Zoom, further details can be found here. 

Weeks Feel Like Days, Months Feel Like Years  at the Anchorage Museum has been extended until December 31st. The work will be available as both an audio/video installation and on their website.  Weeks Feel Like Days is a generative sound artwork in which performers are invited to interpret a series of 5 text-based scores responding to the COVID-19 pandemic. The scores were composed to be performed by individuals or groups in isolation, and welcomes performers to reflect on their own experiences during the pandemic. You can learn more about the work and participate in the piece by clicking here.

Improvisation XXXIV: Decay Music (detail above left) and Meditation: Canoe Lake 1917 (right) are included in the exhibition Summer Winter Exhibition at the Royal Academy of Arts in London, UK from October 6th until January 3, 2021.  This year’s exhibition was coordinated by artists Jane and Louise Wilson. 

Weeks Feel Like Days, Months Feel Like Years will be on view at the Anchorage Museum in Anchorage, Alaska, from August 6th until October 31st. The work will be available as both an audio/video installation at the Museum when it reopens September 1st and on their website for those who can’t be there in person.  Weeks Feel Like Days is a generative sound artwork in which performers are invited to interpret a series of 5 text-based scores responding to the COVID-19 pandemic. The scores were composed to be performed by individuals or groups in isolation, and welcomes performers to reflect on their own experiences during the pandemic. You can learn more about the work and participate in the piece by clicking here.

The Tom Thomson Centennial Swim video installation at Touchstones Nelson Museum of Art and History in Nelson, British Columbia has reopened to the public after being closed due to the COVID 19 pandemic for most of March, April, and May. The exhibition run has been extended until September 20th, 2020. Space in the gallery is limited to 15 people at a time. 

Weeks Feel Like Days, Months Feel Like Years will debut at One Mile Gallery in Kingston New York for the month of June. Due to the COVID 19 pandemic the work will only be available online and there will be no official opening. Weeks Feel Like Days is a generative sound artwork in which performers are invited to interpret a series of 5 text-based scores responding to the COVID-19 pandemic. The scores were composed to be performed by individuals or groups in isolation, and welcomes performers to reflect on their own experiences during the pandemic. You can learn more about the work and participate in the piece by clicking here.

The Tom Thomson Centennial Swim video installation will be debuting at Touchstones Nelson Museum of Art and History in Nelson, British Columbia. The exhibition opens the evening of March 6th from 7:30 until 9:00pm and runs until May 31, 2020. Paul Walde will be delivering an artist talk at 7pm.

Paul Walde will be performing John Cage’s Lecture on Nothing as scored by Cage biographer Kay Larson on October 25th at 7:00PM at the Phillip T Young Recital Hall, University of Victoria. In addition to Walde, the performance features Alex Jang, Cathy Lewis, Peter Hatch, Daniel Brandes, Laura Brandes, Christopher Butterfield, Laura Jane Scoffield Giffen, Nathan Friedman, Tina M Pearson, Paul Walde, Christine Walde, Hollas Longton, Chris Reiche, Emily Morse, Tiess McKenzie, George Tzanetakis

This is part of a weekend of events around the conference: In The Present Moment, exploring the influence of Buddhism in Contemporary Art organized by the Art Gallery of Greater Victoria.

Paul Walde will be in residence this month at The Fondazione Morra – Istituto di Scienze delle Comunicazioni Visive in Naples, Italy, studying the music and event scores of Hermann Nitsch at Museo Nitsch 

John K. Grande’s book Art, Space, Ecology: Two Views, Twenty Interviews is out now with the University of Chicago Press and features the most comprehensive interview on Paul Walde’s large-scale performative works and audio/ video installations to date. Other artists in the collection include Dennis Oppenheim, Jason deCaires Taylor, Buster Simpson, Alan Sonfist, and Pilar Ovalle. 

Requiem for a Glacier is featured in the Montreal Museum of Fine Art’s M Magazine this month .

The Tom Thomson Centennial Swim world premiere is taking place at  Barbara Edwards Contemporary Project Space at 315 King Street, Toronto on January 26th. There are two screenings starting at 5:30 and 6:30 with a reception to follow.

Ecologies of Landscape curated by Mark Cheetham is the first exhibition at Barbara Edwards Contemporary‘s new project space at 315 King Street, Toronto. The exhibition features work by Tacita Dean, Bonnie Devine, Olafur Eliasson, Isabelle Hayeur, Shelly Niro, James Nizam, Reinhard Reitzenstein, Simon Starling, and Paul Walde. Walde will be presenting a new video work derived from the forthcoming video installation Tom Thomson Centennial Swim entitled Meditiation:Canoe Lake 1917. The exhibition opens November 10th from 6 to 9pm and will continue until January 26th, 2019.

On September 14th Paul Walde is debuting a new performative work entitled Of Weather (for Geoff Hendricks). The work was commissioned by the University of Toronto’s Blackwood Gallery as part of the large scale outdoor exhibition Work of WIND AIR LAND SEA curated by the Blackwood’s Director/ Curator Christine Shaw and presented in the Southdown Industrial area in Mississauga Ontario. The exhibition runs from September 14th until the 23rd with the opening from 6pm until 9pm of the 14th. 

Of Weather is the first of a proposed series of performances called Moving Image Works in which large scale stretched photographic prints (in this case of clouds), are animated by teams of handlers. The performers in Of Weather moved thorugh the Southdown Industrial Area over the course of exhibition coming together a prescribed intervals to performa a choreography of image movements. This ballet of images is build upon standard filmaking camera movements and editing techniques including pans, zooms, tilts, wipes, and cuts. When not roaming the exhibition area, the images form a photographic installation in a radio transmission field.