MEDIA, PRESS, AND SCHOLARLY ESSAYS (2010-present)
2024 – Jenny Oyallon-Koloski. “Thinking Diegetically: Spatiotemporal Principles and Mimetic Rhetorical Functions in Videographic Criticism”. Academic Quarter | Akademisk Kvarter, nr. 27 (august) 2024:43-56.
2024 – Barbara Zecchi. “Introduction: On Women, Affirmative Aging, and the Video Essay,” Volume 11, Issue 3, Special Issue: Women and Aging, 2024.
2024 – Toni Pape, “Insomnolence: The Sociability of Sleep at Agora HydroQuébec,” NECSUS 13 (1), Spring 2024: 329-339.
2022 – Alanna Thain, “De spéculaire à spéculative Rencontres intimes @ Uterine Concert Hall de Dayna McLeod.” Pour des histoires audiovisuelles des femmes au Québec: confluences et divergences, edited by Julie Ravary-Pilon and Ersy Contogouris, Presses de l’Université de Montréal, 2022.
2022 – Mél Hogan. “Karaoke, Animal Print and AI: An interview with Dayna McLeod.” heliotropejournal.net, Sep 14, 2022.
2022 – Henriques, Julian, Jauniaux, Eric, Thibaut de Maisieres Aude, and Gélat, Pierre. “Sound Before Birth: Foetal Hearing and the Auditory Environment of the Womb”, Aural Diversity. Drever, John Levack, and Andrew Hugill, editors. Routledge, 2022, pp. 30.
2021 – Cole, Jenn. “Hysterical Strategies in Contemporary Performance.” Hysteria in Performance. McGill-Queen’s Press., 2021, pp. 175-197.
2020 – Fiset, Daniel. “Moving Towards, Moving Between.” Immerse, October 15, 2020.
2020 – Thompson, Marie. Your womb, the perfect classroom: pre-natal sound systems and uterine audiophilia. Feminist Review, 125.
2019 – Meagher, Michelle. “Feminist Ageing: Representations of Age in Feminist Art.” A Companion to Feminist Art. John Wiley & Sons, Inc., 2019.
2019 – Dunlop, Alanna. “Dayna McLeod, Intimate Karaoke, Live at Uterine Concert Hall.” Journal of Curatorial Studies, Vol 8 No 3: 127-130.
2019 – Lawson, Stephen. Emcee Etiquettes: “Experts Weigh In on How to Host the Perfect Cabaret Night.” Canadian Theatre Review, Volume 177, Winter 2019, pp. 67-72.
2018 – Alanna Thain, From Specular to Speculative: Intimate Encounters @ Uterine Concert Hall. Exhibition essay published by FADO Performance Art Centre, Toronto. 2018.
2017 – Tranna Wintour and Thomas Leblanc, Chosen Family, E05: Dayna McLeod and (Im)perfect Femininity, October 2017.
2017 – Michelle Marin. Dayna McLeod. Interviews with Feminist Experimental Filmmakers, FEMEXFILMARCHIVE, 2012.
2017 – Magdalena Olszanowski: “Resistance of The Gaze: Women’s Self-Im/aging.” Postgraduate Journal of Women, Ageing and Media, June 2017, Issue 3.
2016 – Door Marga Van Zundert: “Mozart voor mammies.” Skepter 29.4.
2016 – Ben Rayner: “Uterine Concert Hall: the world’s most intimate concert venue,” The Toronto Star, September 4, 2016.
2016 – Suzannah Weiss: “This Woman Held a Concert Inside Her Uterus,” Glamour, August 13, 2016.
2016 – Leigh Cuen: “Artist Dayna McLeod Turned Her Uterus Into a Concert Hall to Make an Empowering Point,” Connections.Mic, August 11, 2016.
2016 – Katherine Brooks: “Meet The Woman Staging Concerts In Her Vaginal Canal,” Huffington Post, August 10, 2016.
2016 – Leah Sandals: “Montreal Artist Opens a Concert Hall—In Her Uterus,” Canadian Art, July 27, 2016.
2016 – T.L. Cowan: “Cabaret Performance and the Social Politics of Scene-Making,” More Caught in the Act: An Anthology of Performance Art by Canadian Women. Householder, Johanna; Mars, Tanya, eds. Toronto: yyzbooks.
2015 – Meagher, Michelle: “Art, Ageing and the Body.” Routledge Handbook of Cultural Gerontology, edited by Julia Twigg and Wendy Martin, Taylor and Francis, 2015, pp. 90-91.
2014 – Lavoie, Rébecca: “Pratiques artistiques féministes et queers en art vidéo: propositions politiques post?-identitaires,” Recherches féministes, vol. 27, no 2, 2014, p. 171-189.
2014 – RM Vaughn: “Women Who Run (off to the side of) the Wolves,” cmagazine, c123: “Wet” Fall 2014.
2014 – Marie Drouin, Charlotte Iung, Ségolène du Bouëxic de Pinieux: “Trouble dans le Genre et Contestation du Phallocentrisme: La question du genre est-elle phallocentrique?” 09/06/2014
2014 – Marie-Claude G. Olivier: “Se suivre : une volonté artistique et féministe émancipée du mythe pédagogique,” Inter: art actuel, n 116, 2014, p. 60-63.
2013 – Judith Lussier: “Dayna McLeod, artiste cougar,” Urbania, 28 Juin, 2013.
2012 – Carolyn Guertin: “Aberrant Decoding and Atactical Aesthetics,” Digital Prohibition: Piracy and Authorship in New Media Art. New York: Continuum, 2012.
2012 – Abi Slone: “Welcome to the Jungle: Turning 40 was the beginning of a year-long project for Montréal performance artist Dayna McLeod”, The Montréal Gazette, July 26, 2012.
2012 – Anne Golden: “The Extraction/Fusion Apparatus: Dayna McLeod’s engaged mash-up art practice” Canadian Theatre Review, No. 149, Queer Women’s Performance, Winter 2012.
2011 – T.L. Cowan: “Dayna McLeod’s Post-nationalist Beaver and the Cabaret Phenomenology of Putting Out”, TOPIA: Canadian Journal of Cultural Studies, Number 25, Spring 2011.
2010 – Géraldine Gourbe and Charlotte Prévot: “Performativité du gendre = performance²?”, La Performance Entre Archives et Practiques Contemporaines, France, Presses Universitaires de Rennes and Archives de la Critique D’Art, 2010.
2010 – T.L. Cowan: “‘A One-Shot Affair’: Cabaret as Improvised Curation”, Canadian Theatre Review, No. 143, Improvisation, Summer 2010.