On December 11, FADO will mark 30 years of cultural production by senior Canadian artist Clive Robertson, presenting his new work, THE CONFESSIONAL. This is the latest event in FADO's 12-month durational performance series, TIME TIME TIME.

In The Confessional, Robertson revisits the idea of the "museum display installation", first explored in his 1975 work In Video Traction. The Confessional features a tool-shed scale folk museum attached to a similar-sized museum shipping crate in which the artist is "...temporarily and voluntarily incarcerated."

Visitors are invited to enter the installation to engage in one-on-one, two-way exchanges about art production and the interruptions of everyday life. Each visitor is given a range of choices for talking or listening. Both parties can independently decide on the length and degree of responsiveness that will constitute the interaction.

Robertson describes some of the work's intended resonances:

The performance and its architecture ... recognize an expectation of reflective speech technologies from the church confessional to 'visits with Santa,' from living history performances at heritage sites (including relics of Tom Thompson's shack or Robert Fillou's Tool-Shed) to the chat-rooms of cyberspace. Within the options provided by a dominant cultural rhetoric of interactivity, this performance chooses reciprocity over feedback.