Artist in Residence

Combining my traditional arts background with my knowledge of computer technology, I have created projects that present a personal critique of popular culture, history and spirituality within the idea and/or use of technology. These multi-media projects develop new variations on opera, dance and art installations. In an age where the pressures of technology challenge historical traditions and habits, my uses of historical and technological resources mediates not only an awareness to a specific moment in time, but provides an opportunity to investigate issues and reexamine our preconceived notions in an engaging environment.

Kenneth Doren is a Canadian media artist whose installations, videos and digital operas have been presented in Germany, Sweden, Finland, Canada and the USA. His musical compositions include the digital operas: Molto Con Brio King Kong, Monarchy, Suite for Birth and Your High Imperial. Kenneth was part of the Alberta Biennial 2000, which included his audio installation Tonight shall be my Calvary. He recently completed a residency at the Southern Alberta Art Gallery in Lethbridge with the digital audio project We Can Barely Remember. He has been invited to the Western Front in Vancouver to develop a new theatrical audio composition.

The Prison Opera, working title, is an audio/musical work intended for a live opera performance incorporating multi-media elements. The piece is based on historical incidents surrounding Mary Queen of Scots during the 16th century. This new opera incorporates recordings from the music of the 16th century, that will be re-worked digitally. Selected results will be scored back for a live rendition to be mixed with some of the digital extracts. For the live performance, the libretto by Jim Ellis will be sung by both trained opera singers and non-trained singers. Some of the singers will be video taped and edited for video projection during the performance. This is a social opera dealing with historic and contemporary views on incarceration and justice. The libretto partly borrows from historical poetry inspired from the events around Mary Queen of Scots, her quest for title recognition, and then ultimately her execution.