In November 2014, Labspace Studio facilitated a Time Capsule Workshop in conjunction with the Memories of the Future exhibition, a curatorial project that invited contemporary artists to respond to the history and development of the Gibson House Museum.

The archive of projects created in response to this socio-historic walking journey is now stored in the City of Toronto's Living History Collection and will be re-opened in 50 years on November 2, 2064. 

W.J. Wilson
Inspired by the mixed urban setting of Labspace Studio’s Time Capsule walking tour, W.J. Wilson created My Future As A Fuzzy Deer – a soundscape of personal recordings spanning almost two decades. Archived on three media storage types from various eras of his life – the audio cassette, the CD and the USB flash drive – ten original songs act as a patchwork representation of the old and new places along route. Written between 1997 and 2014, the music reflects the physical journey he experienced during the workshop. From the historical Gibson House Museum to the modern buildings on Yonge Street, Wilson filters his personal past through a present day lens and packages this snapshot neatly with optimism for a future generation.


Emily DiCarlo
50 Unfinished Projects for the Future (Now Past) 2014-2064 is an artist bucket list that enlists the spirit of ambition in the pursuit of posterity. Created as a personal challenge, Emily DiCarlo gleaned over ten years worth of notebooks to highlight all the project ideas that had never materialized. Functioning as supports for a future body of production, she created fifty gallery wall labels detailing the hypothetical artworks. Though many of the imagined projects carry weighty themes of temporal experience, human will and mortality, DiCarlo’s intention is hopeful. Many of the proposals assert an idealist attitude in terms of scale and feasibility, optimistically assuming the possibility of living another fifty years to see their realization.

Jacqui Arntfield
and ends with the sun falling into the sea is an informal physical record of the incorporeal, transient dream state. Beginning in Ottawa at the end of one year, and ending in Toronto at the beginning of the next, the seven night exercise used the body – fixed in time and space but free of conscious volition – as a tool to capture impressions from a mind temporarily unburdened by the spatial and temporal limitations of the body.