// TEAM // ÉQUIPE //
ÉQUIPE du // FESTIVAL // TEAM
Roxane Halary -- Outreach Coordinator / Coordonnatrice des communications et relations externes
Fannie Gadouas -- Exhibitions Coordinator / Coordonnatrice des expositions
Naakita Feldman-Kiss -- Administrative Coordinator / Coordonnatrice administrative
Tam Vu -- Graphic Designer / Designer graphique
Conan Lai -- Web Programmer / Programmateur web
Francis Goodship -- Technical Director / Directeur technique
Colin Earp-Lavergne -- Technical Director / Directeur technique
Cédric Laurenty -- Technical Director / Directeur technique
Diana Lazzaro -- Technical Director / Directrice technique
Lilian Glesinger -- Copy Editor / Relectrice
Rae Lavande Pellerin -- Translator / Traductrice
Rojin Shafiei -- Event Photographer/videographer / Photographe/vidéographe d’événements
Laurence Hervieux-Gosselin -- Exhibition Photographer / Photographe d’expositions
Mariana Stabilé -- Volunteer Coordinator / Coordonnatrice des bénévoles
BOARD OF DIRECTORS // Conseil d'administration
// EXHIBITIONS & PHOTO DOCUMENTATION //
EXPOSITIONS & DOCUMENTATION VISUELLE
Opening Party // Speaker Series // Past Events // Concr(ète) // Self & Others // Memento // We, "Other" // I Think You Can Dance, Canada // Tell Me Again // Stories We Tell // The Body: Religious and Sacrilegious // Power Plant // Stay Awhile // Never Again //
ART MATTERS OPENING PARTY / FÊTE de COMMENCEMENT
March 4 mars
In Practice: Community Engagement and Accessibility in the Arts / En pratique: l’engagement communautaire et
accessibilité dans le monde des arts
Wednesday February 17 / Mercredi 17 février
Panelists / Panélistes:
Kama La Mackerel
Moderator / Modérateur:
Resetting the Frequency: Actively Claiming Space within a Music Scene / Ajuster la fréquence: revendiquer l’espace de la scène musicale
Thursday March 3 / Jeudi 3 mars
Panelists / Panélistes:
Moderator / Modérateur:
Critical Trolling / Trolling Critique
Friday March 11 / Vendredi 11 mars
A discussion with / Une discussion comportant:
NUIT BLANCHE x ART MATTERS:
PROMise me you’ll be there / PROMets-moi d’être là
Friday February 27, 2016 / Vendredi 27 février 2016
Mainline Theatre, 3997 Saint-Laurent
Organized by / Organisateurs:
Tim Schauer + Lenny Sharp, (members of the Board of Directors/membres du conseil d’administration)
Music / Musique:
Artists / Artistes:
EMAC x ART MATTERS
Stay On Vacation / Reste en Vacances
Friday September 11, 2015 / Vendredi 11 septembre 2015
Village au Pied-du-Courant, 2100 Notre-Dame E.
Artists / Artistes:
Emma Lee Iversen
Roby Provost Blanchard
Perte de Signal
Vernissage: March 8 mars
Curator / Commissaire: Ashley Zver-Volel
Steimle Essayh Collective
Human environments are concretised abstractions; notions of a constructed identity realised in a built space. Envision CONCR(ÈTE), where urban space is no more than a culmination of human relationships densely packed into concrete landscapes. Artists in this exhibition examine their anthropocentric relationship to their surroundings by exploring, narrating, and documenting the duality of concrete. Their imagery reveals the existence of the so-called ‘now and then’ of human environments while questioning what exactly characterizes human built space.
SELF & OTHERS / SOI & AUTRES
Vernissage: March 10 mars
Curator / Commissaire: Elizabeth Xu + Lucie Swan
Gabrielle Verrette Paquette
Curtis James Doherty
Self & Others serves as an exploration of the inherent possibilities of performative identity. The works deal with various aspects of identity, such as presentation, embodiment, experience, and action. The assumed identities of both the viewer and the gallery space are challenged through an informal interactive approach to the presented pieces. Audiences are encouraged to build upon, self-reflect through, and perform alongside the works.
The title of the show is derived from a book by R.D. Liang, whose work touches upon the concept of the “double bind” which speaks directly to the conflict between the institution and the self.
Vernissage: March 15 mars
Curator / Commissaire: Alexey Lazarev
The exhibition provides a glimpse of how memory connects people, places, and events on personal, social, and political levels. The five artists featured in the show not only employ different media, but apply distinct approaches to reveal the theme’s multi-faceted nature. Installation, embroidery, painting, photo, and moving image: all seek to explain the view of contemporary artists on the role of memory in relation to our self, our friends, our lovers, our homeland, and even the people we may not know. The presence of those connections is manifested through mementos— reminders that bring memory from a state of invisibility and ephemerality into the realm of the tangible.
WE, “OTHER” / 'NOUS, "AUTRE"
Galerie POPOP Gallery
Vernissage: March 12 mars
Curator / Commissaire: Miles Petrella
Brent Morley Smith
Using aspects of late-eighteenth and nineteenthcentury aesthetics as a departure point, We, “Other” intends to reframe these eras and their ideological lineage within a contemporary art context. This exhibition displays an array of media to convey the different sensibilities put forth throughout the Late Baroque/Rococo period and the Victorian era. Together, these works deconstruct notions of taste, craft, materialism, identity, accumulation, and fetishism. Identity through dress/objects, material excess, and immersion through new media are also explored, prompting the viewer to question their concept of decadence.
The included works seek to arouse the viewer while subverting universal truths surrounding beauty, knowledge, objects, sexuality, and the universal subjects which construct these very notions. The exhibition aims to achieve a sense of opulence, theatricality, and emotive presence by means of overloading audiences’ sensorial and spatial experience.
We, “Other” offers a space to open the discourse surrounding the rise of the constructs built by the Enlightenment period as they have trickled down to the present day. A space for, in Michel Foucault’s words, “We ‘Other Victorians’”
I THINK YOU CAN DANCE, CANADA / CANADA, JE PENSE QUE TU PEUX DANSER
GHAM & DAFE Gallery
March 22 mars
Curators / Commissaires: Lucas Regazzi + Garrett Lockhart
To articulate what it means to be Canadian is a difficult task. Representations of Canadian nationalism are largely ascribed through means of mass communications, often peppered with tired tropes that never made much sense to begin with. How many Molson advertisements will we see before realizing that a redefinition of Canada’s identity is long overdue? Of course Canada is more enigmatic than usually represented, as it is contested by the apparitional others of US dominance, First Nations claims, Quebec separatism, and “foreign” immigration(1), among countless other intersections. There is an absurdity in attempting to grapple with the notion of a singular ‘national’ identity in Canada, with a population so sparse and flat as a pancake atop the American border. Perhaps our first step to reconciling with our relationship to Canada might be to embrace its parts as a whole, while remaining absolutely certain that it is more than the sum of those parts.
TELL ME AGAIN / DIS-MOI ENCORE
Vernissage: March 17 mars
Curator / Commissaire: Emma Lightstone
How do we negotiate the spaces between the documentary and the fictive? Between document and affect? How do you trace the lines of a feeling; through sites, around objects, by way of the documents left over? What delimits the spaces between confession, narration, obfuscation? The space between plot points: the things you have filled in and left out. Are there resistant possibilities in (these) ambivalent spaces? What subjects are produced (and for whom)? What feeling are produced (and for whom)? Who’s stories have you told? Have you re-worked photos, borrowed text, built an object that asks: “How does this feel? How do I tell you?” How do you tell a story?
STORIES WE TELL / LES HISTOIRES QU’ON RACONTE
Vernissage: March 18 mars
Curator / Commissaire: Sarah Riley Mathewson
Claude Labrèche Lemay
Rae Lavande Pellerin
Why do we like to look at other people’s family photos? Perhaps when we are confronted with seemingly universal familial experiences, the underlying sense of normalcy accompanying such images is comforting. Maybe we are delighted to see, in an uncanny fashion, the same peculiarities that we have always intuited in our own family replicated into the snapshots of others. This exhibition explores revisitation as a method of interacting with the knowledge and memories tied to the home. Our perception of family life is constructed through our childhood and our ancestors’ remembered realities. Unfortunately, the mnemonic and didactic processes used in building our concept of the familial unit is flawed. Our memories are coloured and augmented by nostalgia, romanticization, and dramatization. Teaching what family means and what constitutes it is idiomatic and often folkloric.
THE BODY: RELIGIOUS AND SACRILEGIOUS / LE CORPS: RELIGIEUX ET SACRILÈGE
Z Art Space
Vernissage: March 24 mars
Curators / Commissaires: Daniel Saenz
Étienne Camille Charbonneau
Bodies. We seldom stop to really think about our bodies. In the 1980s, anthropologist Terence Turner coined the term ‘social skin’ to refer to the way social categories had become inscribed onto the physical body. The latter can also be seen as a stage where religious and cultural dramas are enacted. For example, religions tend to enforce rules for disciplining the physical body as a means of controlling society as a whole. Surveillance and discipline are seen as appropriate prescriptions to making unruly, queer, aging, and or sexual bodies manageable and docile. However, the power or authority required to achieve this is neither stable nor fixed. Rather, it is being constantly negotiated. The four artists in this exhibition examine ways in which power can be counter-inscribed in and through the body. By showcasing queer, aging, and sexual bodies, they are rejecting the idea that our physical selves ought to be static, clean, and closed. This exhibition brings the body to the fore because to ignore it would be to disregard its centrality to religious or secular experiences. In the context of the Art Matters Festival, we witness here the grotesque dimension of decaying, sexual, queer, tangible bodies not as sites of abjection but as bodies that matter.
POWER PLANT / CENTRALE ÉLECTRIQUE
march 12 mars
Curator / Commissaire: Geneviève Lebleu + Bianca Hlywa
The Ghost Taco
Thomas L. Archambault
Riohv & PULSUM
It is presumed that we first banged rocks together to make things. The stone was then attached to a stick to facilitate the denting, shaping, and the making of other things. As time passed, the succeeding tools became more intricate and complex. With them came a gradual refining of material and an expansion in their use. What resulted were large, all-encompassing, complex machines, banging and tapping in sustained rhythm. The widespread desire for technology and its commodification has spurred this evolution. Such fetishization of products has led to a desire to harness them back onto our selves. The machine, along with its sustained rhythm, are effectively internalized and our identity is consequently fed to the bigger beast: the Power Plant. Its might is such that it feeds and energizes us all.
STAY AWHILE / RESTE UN MOMENT
Perte de Signal
March 19 mars
Curators / Commissaires: Olivia Rose Mansveld
Stefanie Smylie Crea
Nidificate: verb: to build a nest.
This installation explores the nesting behaviours performed by humans and the material evidence left behind. If cutlery is arranged at a right angle or if a bed is left unmade, what does this reveal about the neuroses of the arranger and what implications will ripple into the life of the sleeper? Viewers are invited to witness human nidification behaviours by peering into an apartment. Pill boxes, a curtain, the contents of a fridge, a lamp; all evidence of shared human desire to appropriate living spaces. This particular collection of works seeks to inject intrigue and return importance to inanimate objects that would normally be relegated to the mundane, the everyday, or the leftovers of habit. It is an artist’s exploration into the curious quest of constructing one’s own private living space.
NEVER AGAIN / PLUS JAMAIS
March 26 mars
Curators / Commissaires: Burcu Emeç + Michael Martini
Madeline Smart & Kathleen McKeown
o b r a a n a i s
Julie Tremblay, John Shukin, Anne Moncion, Emile
Archambault G., Marie-Pier Larose
Megan Ennenberg, Alisha Billias, Jade Legault
Katia Arcarese, Lauren Kleiderman, Cassie Wright,
Kevin Francois Andres Teixeira, Tyseka Castor
Natalia Kalicki and Samuel Cousin
Never Again arranges works that refer to touchstones of theatricality and performativity in a labyrinthine fashion, providing audiences the opportunity to explore a maze-like structure. Inspired by post-dramatic theatre sub-genres and video games, viewers are invited to participate in the construction of a narrative through the subjective navigation of the space at hand, which at times makes playful reference to the notion of inaccessibility within theatre. Pieces promote the interdisciplinary nature of the art form for the theatre-makers who stray from traditional and conventional forms, and for the non-theatre artists who touch on the discipline’s constituents. In this sense, Never Again showcases pieces that highlight performativity and foster interaction between the crowd and artworks. Encouraging individual agency repositions spectators during performances which thrive on collective participation. Pieces are situated in the bustling, coming-and-going atmosphere which accompanies such a public event. The event is also the context in which Never Again chooses to celebrate the ephemerality of performance. Exhibited artists experienced the workshopping process favoured by theatre-makers, in which the event is collectively brainstormed and developed, with the “curators” acting as artistic directors.