9th Edition – May 30&31, 2019
May 30, 2019
Jacqueline Beaumont (Concordia)
Alexandra Bischoff (Concordia)
Gabrielle Desrosiers (Concordia)
Emma Forgues & Sam Bourgault (Concordia)
Ariane Gagné & Sophy Merizzi (UQAM / Concordia)
Léo Gaudreault & Charles Voyer (UQAM / Conservatoire d’art dramatique de Montréal)
Sungjae Lee (The School of the Art Institute of Chicago)
Gabrielle Poulin (École nationale de théâtre du Canada)
avec Victoria Stanton, artiste invitée
May 31, 2019
Panel 1 : Vital Space in Performance
Panel 2 : Social Space in Performance
Allison Kalb, Joséphine Rivard, and Anne-Célia Waddell – General coordination and programming
Michaëlle Morasse – Logistics
Aziza Nassih – Communications
Allen’s Cruz – Graphic design
Laure Bourgault and Renaud Gadoury – Coordination of the round table
Charles Marsolais-Ricard – Technical coordination
Cristel Silva Silva – Translation
Service à la vie étudiante de l’UQAM
Département d’histoire de l’art de l’UQAM
Faculté des arts de l’UQAM
Caisse de la Culture Desjardins
Woflstag Productions Audiovisuelles
Jacqueline Beaumont is a practicing artist in Tiohtià:ke/Montreal, Quebec. The majority of her work is Bioart based, but takes root firmly within fibres/material practices, sculpture and performance. Her work focuses on the connection of the body and the earth, transgender issues, fertility and transhumanism. In today’s political climate, it’s our duty to raise up the voices of those left unheard, including the voices of all living creatures that inhabit the earth and the land itself. She is an active member of the Milieux Institute, in both the Textiles and Materiality and the Speculative Life clusters. Her work has most recently been published in Yaira Magazine, been shown recently at VAV Gallery and has been included in the “Designing the Living” exhibition at Centre Pompidou, in Paris, France. She is currently the artist on Concordia’s team for the International Genetically Engineered Machines Competition (iGEM).
Alexandra Bischoff is an Edmonton-born (Treaty 6 Territory) Canadian performance artist and writer. She holds a BFA in Visual Art from Emily Carr University of Art + Design where she was named the valedictorian of her undergraduate class, and is currently an MFA candidate at Concordia University in the department of Intermedia: Video, Performance, and Electronic Arts.
Bischoff’s practice responds to obscured intimacies—architectural idiosyncrasies, pornographic slippages, relationships with strangers and the like—often focusing through the amorphous lens of womxn’s work. Sexual, emotional, and care-taking labours—legitimized or not, compensated or not—are some of her main concerns. Sifting through archives and performing embodied research are often Bischoff’s catalysts for making. The artist’s performance practice turns every-day, passive actions into awkward yet sensual interactions. She implements humour and absurdity in order to discuss challenging issues.
I was born in 1986. I spent half of my life in Quebec City and the other half on an expedition between the Magdalen Islands and Jerusalem. After studying scenography in Saint-Hyacinthe, Montreal was my base camp until the end of my bachelor degree in studio arts. In both my material and performative practices, I do not aim for finality but rather to research ways of bouncing back. I may eat chips with my mouth open and laugh loudly in public, yet I have preoccupations that create shade from even the most aggressive neon lights. I currently live in Rouyn-Noranda under two large chimneys and I cultivate my plants while awaiting the apocalypse.
Emma Forgues & Sam Bourgault
Sam Bourgault (Montreal) studies Computation Arts at Concordia University (2019) and owns a bachelor in Physics Engineering from Polytechnique Montreal (2015). Her work has been exhibited at Ars Electronica Campus Exhibition (2018), Mutek Festival (2017), Art Matters (2018), and the VAV gallery (2018). She is the recipient of the Campaign for New Millennium Student Contribution Scholarship for two consecutive years (2017, 2018) and the Feynman Award for best student in contemporary physics (2014) among others. She works as a research assistant at the Technoculture, Art, and Game lab for professor Rilla Khaled and at ObxLabs for professor Jason Lewis. She also works as a teacher assistant in Creative Computing I and II for professor Pippin Barr. She participated in LA SERRE live art residency (2018) and will soon be part of the OBORO New Media Grant residency (2019). Finally, with the collective she.PHASE, she performed at Nuit Blanche (2019), LIP (2018), Algorave (2018), and more.
Emma Forgues is a new media artist based in Montreal. She’s an undergraduate student pursuing a BFA in Computation Arts at Concordia University, Montreal. She has showcased her work in multiple galleries and festivals in Montreal including MUTEK (2017), Arts Matters (2018), Eastern Bloc (2018), Livart (2019) and OFFTA (2019) and more. Forgues has been given awards and residencies including the Public Choice Award at Mutek Next Era Competition (2017); a residency at LA SERRE – Vous Etes Ici (2018); and with the collective Somme she received the Oboro New Media Creation Grant Caisse Desjardins. The grant includes a residency and a presentation of their work at the International Marketplace for Digital Art (MIAN) during the 20th edition of the ELEKTRA Festival in June 2019. Her works iO and Mycocene were presented in March 2019 by the artist Alice Jarry at the Behavioral Matter Conference at the Centre Pompidou (Paris, France) as part of The Fabric of the Living exhibition.
Ariane Gagné & Sophy Merizzi
Driven by the desire to reconnect with erratic inertia, Ariane Gagné spends most of her time thinking, talking, dancing, drinking and writing. Through her work she explores various contexts of disinhibition and temporary community. She tries to understand and activate the reflexive and subversive potential of the party as a state and as a space. Fond of sampling, orality, remix and theoretical texts, her practice fools authorship and takes forms of in situ, contagious, parasitic, collaborative and performative micro-interventions.
Sophy Merizzi Marcil is a Montreal-based producer and DJ currently studying interactive media at Concordia University with a concentration in music and audio-visual production. Inspired by alternative sounds, synthpop and techno atmospheres are found in her productions as well as in her mixes. She is also interested in the relational aesthetics of musical spaces and in the feminine identity in the electronic age.
Léo Gaudreault & Charles Voyer
Léo Gaudreault is an interdisciplinary artist whose practice encompasses performing arts, theater, and scenography. After studying design and architecture (from which he graduated in 2013), Léo then turned to a degree in visual arts at UQAM. His solo performances have been staged at several events and festivals (Le Maquis, SOIR, LEGS 2018 – Le Lobe). He is also involved with the autoworkshop collective. In addition to his performance practice, he has been a member of the theater company Le théâtre indépendant since 2017. With the support of the Conservatoire d’art dramatique de Montréal, the company staged the interdisciplinary piece QUARTETT SOLO at the ZH Festival (2018).
Charles Voyer is an actor and stage director who graduated from the Conservatoire d’art dramatique de Montréal’s acting program in 2018. Without turning away from research regarding the stage’s potential creative power, he is developing an alternative approach to writing which would break away from the logistics of consumption of cultural goods. With his own company Le théâtre indépendant, he staged Probablement la Genèse (Montreal Fringe Festival, 2015 – SOIR Festival, 2016); Le Narcissoscope (SOIR Festival, 2017); QUARTETT SOLO, Heiner Müller (ZH Festival, 2018) with the support of the Conservatoire de Montréal; Pouvoir détruire (Vous Êtes Ici, 2018). He also performed in l’Opéra d’or – Geneviève et Matthieu (Actoral Montreal and L’Écart , Centre d’art actuel, 2018). Recently, he has been part of Das Fräulein Kompanie (Brussels) as a stage directing intern in Anne-Cécile Vandalem’s latest work at Schaubühne am Lehniner PLatz (Berlin).
Sungjae Lee is a multidisciplinary artist who probes the relationship between societal fringes and normativity/mainstream in order to expose more visibility of marginalized groups. He received his M.F.A. and B.F.A. in Sculpture from Seoul National University, Korea. He has presented his works globally, including at the Seoul Museum of Art, Art Sonje Center (Korea), Galleri CC, KHM gallery (Sweden), Links Hall, and Zimmerli Art Museum (USA). He is currently living in Chicago, IL and about to complete his master’s degree in Performance Art at The School of the Art Institute of Chicago in May 2019.
Gabrielle Poulin graduated from the National Theater School of Canada in 2017. Since then, she has participated in performance, film, theater, poetry and dance projects. Notable among these, she has recently worked with director Émile Gaudreault for his upcoming film which will be released in July 2019. She has also danced with Frédérick Gravel, Peter Jasko, Manon Oligny and Jocelyne Montpetit. A multidisciplinary artist, she has collaborated with Pénélope&Chloë, a visual art collective, and has performed in various contexts (for Visual OFFTA 2018, a music video and album launch for Laurence-Anne, a benefit for the Institut des Troubles d’apprentissage, and at Espace YASA).
She has also performed in the context of two different creation residencies: for RADICAL, as part of Vous êtes ici / You are here, presented at Théâtre Aux Écuries in September 2017, and at the Vued’enÔ Festival, in August 2018, for her project Cet animal ne veut pas sauter.
Victoria Stanton, invited artist
Victoria Stanton is an interdisciplinary artist and researcher/curator/educator working with live action, human interaction, video, film, photo, drawing, and writing. Exploring within diverse media, while the outward results of her practice manifest in various forms, performance is the invariable core of her research. Her time-based work includes performance for stage and for the camera, infiltrating actions in public spaces, and one-on-one encounters in intimate contexts. Investing a performative presence and consciousness within multiple spaces/times, she continuously underscores the complex aspects of “transaction” and the possibility for transformation. Considered a pioneer of transactional practices in Quebec, Stanton has presented exhibitions, performances, interventions, and films/videos in Canada, the U.S., Europe, Australia, Japan and Mexico.