Margaret Dragu aka Verb Woman, aka Lady Justice, is a renowned interdisciplinary performance artist living and working in Vancouver. She returns to NSL&G to present material from her ongoing How To Be Old How To Guide series, taking on thoughts and issues to do with aging, culture and society. 3 videos will be screened: Get Devices, Get Rolling and Get Group-y.

Adam Herst is a Toronto-based artist and arts manager, Linux system administrator, and technical writer. He is interested in the tension between ideas, their ownership, and their reproduction, and in exploring the proposition that ideas which are designed for dissemination will be disseminated. When Adam isn't creating art, he helps arts organizations and other non-profits make the most of their investments in technology.

Paul Couillard is a performance artist, curator, and teacher. He has created more than 200 solo and collaborative performance works in 23 countries, often working with his partner Ed Johnson. He was the Performance Art Curator for Fado from its inception in 1993 until 2007, and is a founding co-curator of Toronto's 7a*11d International Festival of Performance Art. He is the editor of Fado’s Canadian Performance Art Legends, a series of books on senior Canadian performance artists, including La Dragu: the Living Art of Margaret Dragu (2002), Ironic to Iconic: the Performance Works of Tanya Mars (2008) and Alain-Martin Richard: Performances, manœuvres et autres hypothèses de disparition / Performances, Manoeuvres and Other Hypotheses for Disappearing (co-edited with French editor Alexandra Liva, co-published with Sagamie édition d'art and Les Causes perdues in©, 2014). Couillard has been a lecturer at McMaster University and the University of Toronto Scarborough, and is a doctoral candidate in the York/Ryerson Joint Graduate Program in Communication and Culture.

Interdisciplinary and performance artist Cindy Baker is passionate about gender culture, queer theory, fat activism and art theory. Baker considers context her primary medium, working with whatever materials are needed to allow her to concentrate on the theoretical, conceptual and ephemeral aspects of her work. She believes that her art exists in its experience, and not in its objects.

Some of Baker’s biggest interests are skewing context and (re)examining societal standards, especially as they relate to language and dissemination of information, and she perceives a need for intervention and collaboration, both within the art world and in the community at large.

Francisco-Fernando Granados is a Toronto-based artist and writer. His practice extends from performance and drawing into a range of media that includes site-specific installation, moving image, text, public and participatory projects. He uses abstraction as a conceptual strategy to challenge perceptions regarding the stability of identity categories.  Born in the midst of the Guatemalan Civil War, his experience of coming to Canada as a refugee informs the aesthetics and politics of his practice. His work develops from the intersection of traditional formal training in painting and printmaking, studies in cultural theory, early activism with newcomer youth communities, and working through artist-run culture.

Leena Raudvee is a Toronto based visual and performance artist.

Her interests have included environmental issues as in the installation, “On the Brink”, at the Rebecca Gallery, social action as in the “Artist Projection Protest Project” and social commentary as in “Sweeping”, a performance meditation on homelessness.

Recently she has been focussing on precariousness and uncertainty through the lens of dis-ability and im-mobility in both performance and drawing.

In her performance practice she performed Teetering on an Edge for Pillory at TMAC in Toronto in 2019 and her performance-based video, making space for the fumble, the fall: drawing a line, was screened in the Photophobia: Contemporary Moving Image Festival presented by Hamilton Artists Inc. and Hamilton Art Gallery in 2020. Her work has been curated by Critical Design Lab to be exhibited in #CripRitual at the Doris McCarthy Gallery in 2022.

Leena Raudvee’s drawings and photos have been exhibited in numerous juried shows including Drawing 2021 at the John B. Aird Gallery, Drawing Unlimited at the Propeller Gallery and In the Picture: Portraits of These Times at Gallery 1313 in Toronto. Her work was part of Unpacking Pandemic Pondering online at OCADU and Gallery 1313 in 2021 and will be included in the Rendezvous with Madness Festival presented by Workman Arts in October, 2021.

Johanna Householder is an American-born, Canadian performance artist. Since the late 1970s Householder has made performance works and videos while writing and editing texts about performance art in Canada. In the 1980s, Householder, Louise Garfield and Janice Hladki were members of the feminist performance ensemble The Clichettes, using lip-synching and humour to critique contemporary culture. The Clichettes are considered "the quintessential Bad Girls of Canadian performance of the 70s" and have been called "dangerously and aggressively funny" by Clive Robertson (artist).

Doyon/Demers is an artistic duo formed in 1987 by Hélène Doyon and Jean-Pierre Demers. Both originally from Saint-Raymond de Portneuf, for several years they alternated between Quebec City and Montreal, where they have now settled. Their studies at the Nova Scotia College of Art and Design and the Banff Centre were decisive in their conception of art. They have been making participative  in situ and in socius works together since that time, such as L’agence d’enfouissement d’œuvres et d’œuvres d’art, an arts business dealing with artworks deemed by their makers to be surplus. Exploring cultural democracy, social aesthetics and augmented reality, Doyon/Demers takes an interdisciplinary approach by which several disciplines, artistic and otherwise, are put to use in carrying out a project. They thus work with multiple means of expression, on the boundary between art and life. For ORANGE they are presenting a sculpted work, plump and fragrant, entitled Prenez et mangez. This installation equates anthropophagy with the symbolic theophagy at work in Christian communion, that well-known ritual in which the priest eats the host, the “body of Christ”, and then distributes it to the deserving faithful.

Berenicci Hershorn is a Toronto based artist who has, in both solo and collaborative works, produced a unique body of site-specific art over a period spanning more than 40 years. The work, informed by research applied tangentially, incorporates performance, video, sculpture and installation. It includes various public art commissions as well as an extensive history of recognition in art venues around the world.