Catégorie : encounter

  • dark room (2011)

    Photos : Toni Hafkenscheid

    Dark Room
    Tactile sound installation
    2011

    A dark room designed for blackness, tactile sound, the bones, muscles and nerve network in the body. It’s a way to get in contact with inner & outer space, death and the sensuous. The room is an installation where people interact with spatial cues and intimacy while lying down on an elevated platform. This work is concerned with direct and swift transduction of the sound program to different sensorial zones of the body, mechanical transmission without airborne audio transmission. A sound massage from the chthonic.

    Included in SPLICE group exhibition

    SPLICE: At the Intersection of Art and Medicine presents a scientific gaze at the human body by showcasing traditional anatomical art, complemented and challenged by contemporary artworks. A large-scale public showing of anatomical images by Maria Wishart, Eila Hopper-Ross, Nancy Joy, Dorothy Foster Chubb, Elizabeth Blackstock and Margaret Drummond, selected from the extensive collection of Biomedical Communications, University of Toronto Mississauga and the Division of Anatomy, Faculty of Medicine, is included in the show. These artists utilized their traditional knowledge of art and science to achieve a balance between realistic rendering and an artistic vision of the human body. Lately, contemporary artists have been initiating a fresh discourse by experimenting with a wide range of representations. Today the body is frequently politicized and digitized in order to manipulate, dissect and provoke. Through the work of these artists SPLICE: At the Intersection of Art and Medicine addresses how understanding the complexity of the human anatomy requires both a scientific approach and aesthetic interpretation.
    – Nina Czegledy, Curator

    Pratt Manhattan Gallery
    New York
    Sept 20-Nov 19
    2013

    Blackwood Galleries
    Toronto
    October 24 – December 1
    2012

  • Futur au présent (2012)

    photographie sur vinyle transparent
    2 x 4 pieds x 30 pieds
    2012

    Deux territoires – le centre de commerce mondial de Montréal et le lieu d’enfouissement de déchets (LET) de Lachenaie (Qc) – sont associés. Une pellicule photographique diaphane est ajoutée à un espace architectural de passage et par la même occasion  relie les aspects visibles et invisibles du déchet en amenant les opérations du LET en plein centre-ville. L’écologie est agencée à l’économie. Le projet les inscrit dans le réel par l’action d’un découpage visuel intégré à l’architecture vitrée, visible le jour et la nuit, de l’intérieur comme de l’extérieur.
    Leur enchâssement dans ce lieu de passage de la rue vers le métro et vice versa montre que LET n’est plus un enfouissement souterrain, mais un étagement en hauteur, car les collines de stratification d’immondices peuvent atteindre jusqu’à 40 mètres de hauteur à présent.

    Crédits
    BFI-Lachenaie. Art Souterrain, Aurélie Parent, Laurent Lamarche, Point Impression Numérique, Annie Conceicao-Rivet, Catherine Lescarbeau, Mathilde Liacre

    Place de la Cité Internationale
    Métro Square-Victoria
    Montréal
    Rue du Square-Victoria
    entre Viger et St-Antoine
    25 février – 11 mars 2012
    Dans le cadre de l’évènement Art Souterrain
    Avec l’appui financier de PAFARC-UQAM

    Photos Gisèle Trudel

    Process


  • Forces et milieux (2011)

    Installation performative

    Le rapport à la composition de l’image vidéo en direct se poursuit dans ce nouveau projet sur les opérations du lieu d’enfouissement technique de déchets situé à Lachenaie, Québec. Seront tracées « des manières d’être dans des rapports entre le visible et l’invisible » (Rancière) par une fragmentation visuelle éphémère qui réfléchit aux stratifications entre objets déchus, actions humaines et milieux physiques.

    Le dessin réagence des plans dans un espace avec écrans multiples, systèmes lumineux varichrome et varilite, et une variété de dispositifs de son immersif. Le stylet, la tablette graphique et le son activent la relation avec les milieux qui informent l’opération de transformation du déchet.

    Crédits
    Collaborateurs : Jim Bell, Nancy Bussières, Philippe-Aubert Gauthier.
    Appui à la production : Catherine Béliveau, Natalie Lafortune, Laurent Lamarche, Keith McMullen, Martin Pelletier, Jacques Perron.
    Appui à la recherche : Gabriel L. Savage
    Accueil: Geneviève Godin, Geneviève Trudel, Catherine Lescarbeau
    Soutien technique : Hexagram-UQAM

    vendredi 28 octobre et samedi 29 octobre 2011 : 16h à 20h
    Performances aux demi-heures
    Agora Hydro-Québec du Coeur des Sciences de l’UQAM
    175, avenue du Président-Kennedy
(Métro Place-des-Arts)
    Entrée libre

    Présentée dans le cadre de la série d’événements Marqueurs de subduction organisée par le Grupmuv en octobre et novembre 2011 à Montréal

    Stéphane Claude remercie le Conseil des arts du Canada et le Conseil des arts et des lettres du Québec.
 Gisèle Trudel remercie le FQRSC, le Programme d’aide financière à la recherche-création de l’UQAM et BFI-Lachenaie.

    Photos : Catherine Béliveau et Gisèle Trudel.

  • l’espace du milieu (2011)

    Permutational installation and night projection

    L’espace du milieu explores the reflexive emanations of the middle zone which supports life, between earth and sky. The middle (or centre or interval) operates multiples changes with what surrounds it.
    There also accumulates greenhouse gases, ionospheric manipulations of the weather, chemical and bacterial aerosols. The work is experiential, inflecting the vibrational activity of middle spaces, which include and exceed humans.

    Credits and thank you
    Jim Bell, Nancy Bussières, Philippe-Aubert Gauthier, Florian Grond, Laurent Lamarche, Simon Rolland, Daniel Courville, Natalie Lafortune, Catherine Lamontagne-Drolet, Keith McMullen, Christian Miron and Martin Pelletier.
    With the support of Hexagram-UQAM, Grupmuv and OBORO.

    Presented at the Darling Foundry
    Montreal
    In situ project in 3 parts
    February 16 – April 10, 2011
    Part 1 : production residency in the small gallery, February 16 to March 9.
    Part 2 : multiprojection at night on the transluscent windows on Prince Street.
    February 26 to March 5, 6pm to midnight.
    Launched during Nuit Blanche, February 26, 5pm to 5am.
    Part 3 : installation in the small gallery, March 11 to April 10.
    Opening March 10.
    Artist talk April 7.

    Project produced with the financial assistance of the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, the Programme d’aide financière à la recherche-création de l’UQAM (PAFARC) and the Fonds de recherche québécois société et culture (FQRSC).

    Photos : Guy L’Heureux, Jacques Perron et Gisèle Trudel

  • interfacing (2010)

    programme lumineux chromatique varié
    Visible 7 jours sur 7, de 19h00 à 05h00
    juillet – 31 octobre 2010

    La lumière passe très lentement de la couleur rouge à bleu, pendant une durée de 10 heures.

    Andrew Forster, commissaire
    L’endroit indiqué
    230, rue Marie-Anne est (au coin de la rue Laval)

    Merci à Atelier Big City Architectes et Hexagram-UQAM.
    Assistant de production : Simon Rolland.

  • these machines have the ability to self-organize (2009)

    Documentary, 12 min, color, stereo
    Original English version with French subtitles

    This documentary is a small sampling about the life work of biologist Dr. John Todd (recipient of the 2008 Buckminster Fuller Challenge Award) and the ecoactivist writer Nancy Jack Todd.

    It is part of the process-oriented cycle of microevents entitled
    light sweet cold dark crude LSCDC (2006-ongoing) that includes  immersive sound, moving image, drawing and light that is informed by the transformations of waste water in various states of composition, decomposition and recomposition.

    Credits
    Documentary segment, interviews with Nancy Jack Todd and John Todd
    Jacques Perron _interview camera (video, photo)
    Stéphane Claude_interview sound
    Gisèle Trudel _interview, editing
    Catherine Béliveau _English transcription
    Jacques Perron _French translation

    Presented in
    Berlin, Germany (2009)
    Montreal (2009 and 2010)
    Govett-Brewster Gallery, New Plymouth, New Zealand (2011)
    EcoBio Festival, Prague, Czech Republic (2011)

    Produced with the financial assistance of the Canada Council for the Arts, Media Arts 
and PAFARC-UQAM (Programme d’aide financière à la recherche et à la création de l’Université du Québec à Montréal).

  • tongues of living flame (2003)

    Audio program with live voice
    Musée d’art contemporain, Montréal
    nov 19 2003
    Commissioned in the context of Projet Bulbes par Artificiel.
    MIDI-synchronized matrix of 8×8 oversized light bulbs

    We would like to thank: Sophie Bellissent for her insight, Pascal Dufaux for La machination sonore, M/S sound recording by Ælab during his exhibition Des mesures dévastées, presented at La Maison de la culture du plateau Mont-Royal, Nikola Tesla for his words (adapted from My inventions,The Electrical Experimenter magazine, 1919), Louise Ismert for her warmth and support, and Artificiel for their superb impulsion apparatus.

  • la chambre d’essais (2002)

    A project by Atelier insitu architects

    in collaboration with
    Ælab, sound design
    Axel Morgenthaler, light design

    Presentation venue
    Canadian Centre for Architecture, April/Sept 2002

    Photo: Michel Legendre

  • s8p antennas, transmission (1998-2005)

    three versions
    performative audiovisual essay, multichannel audio and video, approx 45 minutes

    s8p antennas, transmission is a multi-channel performative essay integrating a central interpretative audiovisual component (20mn) which deals with the metaphorical interpretation of antenna principles and transmission. This piece engages a physiological response to the root subject of the project, the electromagnetic medium.

    s8p originates from the Sparks series. It is a mix of documentary facts within a larger experimental genre with shifting perspectives which include interviews, autobiographical texts, animations, archival sources, metaphorical interpretations and original sound design.

    Interviews with
    Jeffrey Stanley (screenwriter, New York),
    Velimir Abramovic (philosopher, Belgrade, Serbia)
    and Andrew Michrowski (director of PACE _Planetary Association for Clean Energy, Ottawa).

    Presentation venues
    Expanded media, HBK Braunschweig (Germany) 1998
    Elektra (Canada) 1999
    V2 (Holland)
 2000
    Mutek (Canada)
 2001
    Tesla-Berlin (Germany)
 2005

    Shot on location in New York, the Nikola Tesla Museum (Belgrade), Museum of Science and Technology (Belgrade) and Institut de recherche d’Hydro-Québec (Varennes, Qc).

    Produced with the financial assistance of Le Conseil des arts et des lettres du Québec and The Canada Council for the Arts.

    Double screen configuration.


    At Expanded media, Braunschweig, Germany, 1998.


    At Elektra, Usine C, 1999.

  • sparks (1998-2005)

    Experimental documentary, color, NTSC, stereo
    total running time: approx 39 minutes
    Distributed by VTAPE

    Photo cover : Ælab at Institut de recherche d’Hydro-Québec (Varennes, Qc). Photo : Sophie Bellissent.

    Sparks is a modular video series comprised of 5 video capsules which finds its inspiration in the life of visionary inventor Nikola Tesla (1856-1943).

    Sparks mixes documentary facts within a larger experimental genre with shifting perspectives which include interviews, autobiographical texts, animations, archival sources, metaphorical interpretations and original sound design.

    Interviews with Jeffrey Stanley (screenwriter, New York), Velimir Abramovic (philosopher, Belgrade, Serbia) and Andrew Michrowski (director of PACE _Planetary Association for Clean Energy, Ottawa).

    The 5 capsules can be seen independently, in clusters of two or three, or all together, and can be interspersed within a thematic video programme.
    s1 Tesla and his time (1999, 7 min), an overview of his life work and prodigious personality.
    s3 Colorado Springs (2005, 6 min), the wireless transmission of electricity/energy.
    s5 Niagara Falls (2005, 5 min), the war of the currents (AC vs. DC), and Edison’s rivalry with Tesla.
    s8 Wardenclyffe (1999, 10 min), his laboratory in Long Island, N.Y. where in 1901 he tried to establish the basis for his ‘World Broadcasting System”.
    s11 Tesla and the future (2005, 8 min), the legacy of the inventor and a reflection on the perception of time.

    Shot on location in New York, the Nikola Tesla Museum (Belgrade), Museum of Science and Technology (Belgrade) and Institut de recherche d’Hydro-Québec (Varennes, Qc).

    Produced with the financial assistance of Le Conseil des arts et des lettres du Québec and The Canada Council for the Arts.

    Also part of the group exhibition Resonance. The Electromagnetic Bodies Project.
Curated by Nina Czegledy and Louise Provencher
    European tour: July 2005_September 2006
    OBORO (Canada)
    ZKM (Germany)
    Conde Duque Medialab (Spain)
    TENT _V2 (Holland)
    Ludwig Museum (Hungary)
    Maison européenne de la photographie (France)

    Presentation venues
:
    tesla-berlin, Germany, May and November 2005, Carsten Seiffarth, artistic co-director
    www.mobilegaze.com, no. 1, 2000
    Voices in my Head,Video Pool, Winnipeg, Feb 00, curated by Nicole Gingras
    PassArt, Rouyn-Noranda, March 00, curated by Monique Langlois
    Taste of Landscapes, Videomedjia, Novi Sad, Dec 99, curated by N.Czegledy

    Image composition  : Gisèle Trudel