Collective Members

Golboo Amani

Shannon Cochrane

Paul Couillard

Francisco-Fernando Granados

Johanna Householder

Tanya Mars

Bojana Videkanic

Former Collective Members

Gale Allen

Jubal Brown

Churla Burla

Terril-Lee Calder

Annie Onyi Cheung

William Davison

Jess Dobkin

Jim Drobnick

Dave Dyment

Peter Flemming

Heather Haynes

Adam Herst

Sherri Lyn Higgins

Rochelle Holt

Bernice Kaye

Jenny Keith

Will Kwan

Louise Liliefeldt

Stefanie Marshall

Derek Mohamed

Tracy Renée Stafford

Zoë Stonyk


Our collective, initiated in 1997 as 7a*11d and incorporated in 2012 under the name Toronto Performance Art Collective (TPAC), was formed out of an interest in encouraging Toronto’s performance art activity. By August 1997 13 founding artists (representing several loosely organized artist collectives) produced the first 7a*11d International Festival of Performance Art, an event that brought together 60 artists from Canada, the US, and Australia. 1998’s 2nd International Festival of Performance Art was in two parts (in August and October), with over 50 artists from Canada, the US, and Europe. After the 1998 festival, we moved to a biennial programming structure—presenting the festival every 2 years and developing other projects less suited to a festival format (residencies, exchanges, conferences, etc.) in the alternate year. The 1999 project was a residency with acclaimed artist Rachel Rosenthal. The 3rd 7a*11d International Festival of Performance Art took place in October/November 2000, with over 40 artists from Canada, the US, Europe, and Australia. In 2001 we organized ReciproCity/RéciproCité, a series of performances and panels linking Vancouver, Montréal and Toronto. ReciproCity/RéciproCité sought to initiate and extend the discourse around site specific performance art as a vehicle for social commentary. In 2002 we organized the 4th 7a*11d International Festival of Performance Art; in 2004, the 5th, and the 6th in 2006. In 2008, we celebrated our “7-11” anniversary, the 7th festival in 11 years, with 7 Creative Residents and a stellar roster of artists from around the world. We continued with our 8th, 9th, 10th and 11th editions in 2010, 2012, 2014 and 2016 respectively. In 2017 we returned to off-year programing with 7a*md8, a project that considered the impact of lens-based practices on performance (with a variety of events including outdoor screenings of performances for camera, a live-streamed event featuring artists from across Canada as well as the Americas, Europe and Asia, and a series of social media residencies), followed by the 12th biennial festival in 2018. We are currently presenting KinesTHESES, featuring 10 residencies developing projects that privilege audience participants’ tactile-kinesthetic (movement and touch) senses. The next 7a*11d festival is scheduled for October 2020. We are committed to a long-term presence in Toronto, but we are not tied to the idea of repeating the way we have done it. Our concept of what a festival is, and what its format should be evolves to address what we feel are the most pressing needs of the discipline and its audience. Our goals include:

  • fostering the development of a local performance art community
  • gaining increased recognition for the performance art activity that takes place in Toronto and across Canada
  • activating interest in and expand audiences for performance art
  • encouraging the exchange of ideas, information, and strategies in the field of performance art
  • exploring definitions of performance art and facilitating an awareness of and critical discussion about its form and content
  • developing sources for the sponsorship, promotion, and dissemination of performance art
  • documenting work for archival and pedagogical purposes

And about that name...

Apparently some people are flummoxed by our unpronounceable name. Does it have some connection to the convenience store? Where did it come from and what is it supposed to mean? Here’s one version: The numbers 7 and 11 come from the dates of the first festival, August 7 to 11, 1997, while the a and the d refer to the nature of our early programming, which was a complex conglomeration of independently curated thematic programs in multiple locations. While designing the poster, we wondered how the audience would make sense out of our Byzantine programming format. It would be like trying to read a crossword puzzle: 7 across, 11 down, 7a11d! 7a*11d was the final version, though that still leaves the question of the “silent” asterisk. But surely some things should remain a mystery