Erdem Taşdelen: Wounded in Three Acts

Erdem Taşdelen Wounded in Three Acts March 27—August 16, 2026 Setting up the stage with melodramatic flair, Wounded in Three Acts marks a new chapter in Erdem Taşdelen’s artistic practice, and his first return to Calgary since his 2019 exhibition at The Bows. Dramaturgic and narrative strategies ground Taşdelen’s work within the history of humanity’s examination of its own nature and the pursuit of catharsis through shared enactment. Using diverse media to articulate captivating fictions that never stray far from truth, his projects graze veracity with a shrewdness that urges our attention toward contemporary sociopolitical realities. Wounded in Three Acts weaves together elements of four recent bodies of work, presenting an audio installation, a film, graphic prints, and a live performance. Taşdelen’s artistic approach borrows from the languages of theatre, contemporary fiction and collective action to engage with notions of power, solidarity and resistance, as well as human behaviour, aspirations and limitations. Unmade Films (2022) is a series of posters for imaginary motion pictures never made. Under the guise of visual mimicry, the series investigates cinematic tropes and invites viewers to imagine their own versions of the stories these films may tell. An exercise in dramaturgy and dystopian reflection, Taşdelen’s audio installation The Characters (2018-2021) – partly recorded in Calgary in collaboration with EMMEDIA –follows the self-indulgent and mordantly humorous narratives of a set of stock characters. With their defining traits taken from a text by ancient Greek philosopher and naturalist Theophrastus, these fictional personas are recognizable archetypes. At Contemporary Calgary, Taşdelen presents a condensed version of the project featuring ten idiosyncratic monologues, portraying the less palatable aspects of humankind and generating a strangely familiar, attention-grabbing clamour that holds an unflattering mirror to our contemporary society. Frictions (2024) is a moving image work that comprises twelve first-person narratives, each reflecting on the psychological toll of living alongside strangers in an era marked by polarization, technologically-mediated hostility, and uncertainty about the future. Inspired by the artist's own dreams involving social discomfort and anxiety, the film’s narratives unfold against the backdrop of hazy, dreamlike visual sequences, punctuated with interludes of ambient soundscapes that reinforce a sense of unease. These small yet charged moments of friction expose deeper societal ruptures: the erosion of empathy, the projection of personal insecurity onto others, and the difficulty of meaningful social connection in a world saturated by suspicion and self-preservation. Punctuating the exhibition run at varying intervals, A Long Dramatic Pause (2025-26) is Taşdelen’s first live performance work, which premiered at Studio Voltaire in London, UK this past fall. The narrative employs the lexicon of photography and theatre to explore strategies of resistance against ultranationalism and far-right politics. Twelve theatrical vignettes describe a photographic image never shown but brought to life through re-enactment and visual analysis by a solo performer. As the performer alternates between observing and embodying an antifascist figure in the photograph, the narrative gradually implicates the audience, shifting their focus towards their own agency and collective presence. For this iteration, Taşdelen collaborated with performer Cindy Ansah to develop a unique, site-specific version of A Long Dramatic Pause, guided by a written script and a set of corresponding graphic scores that also feature in Taşdelen’s exhibition. Collectively, the works in Wounded in Three Acts examine the ways in which we negotiate living alongside strangers whose histories, beliefs and worldviews may be vastly different from our own. Examining culturally learned behaviours and drawing from unique historical accounts, Taşdelen approaches these questions across different formats, looking at narrative itself as a constructive device through which we make sense of our experiences and feelings, both for ourselves and for others. His works do not attempt to instruct or persuade; instead, they build situations in which we all must reckon with our positions and forms of complicity or solidarity. Wounded in Three Acts is generously supported through the Ontario Arts Council Exhibition Assistance Program. Curated by Mona Filip.