À nos prothèses is a collective project that questions relations of intimacy, conviviality, dispossession and (in)accessibility to our ‘ordinary’ prostheses. Prostheses are physical, digital, urban or sensory extensions that allow us to complete, extend and adjust our being to ourselves and our being together. Prostheses can be material (hearing aids, canes, glasses, dental prostheses, etc.), digital or urban (access ramps). This project is concerned with ordinary prostheses and claims solidary approaches in the sense of Donna Haraway (Cyborg Manifesto), Crip solidarities (Mia Mingus, Leah Lakshmi Piepzna-Samarasinha), CRIP Art and feminist, queer, Crip and Cyborg interconnections (Alison Kafe, Mallory Kay Nelson, Ashley Shew, Bethany Stevens.).

Wandering Star is an apocalyptic work that references world-ending asteroids.

The Waves in Eflat & F (A Conversation with my Mother)

A drawing of a keyboard in the sand is slowly erased by the incoming tide. This is one of a series of videos inspired by Virginia Woolf’s novel The Waves, which she lovingly called her play poem. With the camera, Trask plays with the sand and the tide.

Percussion is an animated video of great intensity through its images and its short duration. It begins gently and, gradually, a narrative tension builds to lead to the unveiling. A scroll of drawings interspersed with three archival documents, important figures in the history of art. We gradually slide from seduction to motherhood and violence. We end, finally, with a feminist poetic text against misogyny, female violence and patriarchy.

touché·e coulé·e

Go through the definitions of the verb “to touch” in the French Larousse dictionary.
Adding the missing pieces of feminist and lesbian stories.
touch v.t. To bring one’s hand or fingers into contact with something…
to touch v.t. ind.: To put one’s hand on something.
to be touched v. passive: To be moved.
to touch v.pr.: To be in contact or very close to each other.

Lost Idyll shows a woman transporting a cumbersome scaffolding through various spacious landscapes and an autumnal forest. Ephemeral structures composing our urban landscape, the scaffolding characterizes the spectacle of everyday life and is a common figure of our collective imaginary. While this woman performs this Sisyphean movement, an ambiguity stands out between the object, suggesting a fixity and this perpetual passage. It recalls an everyday systematization that opposes itself to what is at the most transitory and indefinitely unfinished.

Gaudreau has worked internationally, notably in a close relationship with the Flemish cultural scene. The Théâtre de la Ville de Paris coproduced and presented her work over seven years. She collaborated with the Venice Biennale and has exhibited at the Architectural Association School of Architecture, London (AA).

Herman remix, hommage – Found footage mix of Herman Slobbe (1966) by filmmaker Johan Van der Keuken (1938-2001). Seeing through sound for the visually impaired.

A Study On Vulnerability explores the subject of vulnerability and transparency by way of speech impediments (stuttering) and the mechanics of speech – breath, muscle tension, rhythm, and effort. It is an investigation of what happens in the head and body when speech is no longer natural. Driven by self-reflection through personal experience and physical/emotional states, the intention is for the work to transcend the personal into the universal search for vulnerability. This project is part of a multi-layered, performance-based study on vulnerability.

À nos prothèses is a collective project that questions relations of intimacy, conviviality, dispossession and (in)accessibility to our ‘ordinary’ prostheses. Prostheses are physical, digital, urban or sensory extensions that allow us to complete, extend and adjust our being to ourselves and our being together. Prostheses can be material (hearing aids, canes, glasses, dental prostheses, etc.), digital or urban (access ramps). This project is concerned with ordinary prostheses and claims solidary approaches in the sense of Donna Haraway (Cyborg Manifesto), Crip solidarities (Mia Mingus, Leah Lakshmi Piepzna-Samarasinha), CRIP Art and feminist, queer, Crip and Cyborg interconnections (Alison Kafe, Mallory Kay Nelson, Ashley Shew, Bethany Stevens.).

À nos prothèses is a collective project that questions relations of intimacy, conviviality, dispossession and (in)accessibility to our ‘ordinary’ prostheses. Prostheses are physical, digital, urban or sensory extensions that allow us to complete, extend and adjust our being to ourselves and our being together. Prostheses can be material (hearing aids, canes, glasses, dental prostheses, etc.), digital or urban (access ramps). This project is concerned with ordinary prostheses and claims solidary approaches in the sense of Donna Haraway (Cyborg Manifesto), Crip solidarities (Mia Mingus, Leah Lakshmi Piepzna-Samarasinha), CRIP Art and feminist, queer, Crip and Cyborg interconnections (Alison Kafe, Mallory Kay Nelson, Ashley Shew, Bethany Stevens.).

À nos prothèses is a collective project that questions relations of intimacy, conviviality, dispossession and (in)accessibility to our ‘ordinary’ prostheses. Prostheses are physical, digital, urban or sensory extensions that allow us to complete, extend and adjust our being to ourselves and our being together. Prostheses can be material (hearing aids, canes, glasses, dental prostheses, etc.), digital or urban (access ramps). This project is concerned with ordinary prostheses and claims solidary approaches in the sense of Donna Haraway (Cyborg Manifesto), Crip solidarities (Mia Mingus, Leah Lakshmi Piepzna-Samarasinha), CRIP Art and feminist, queer, Crip and Cyborg interconnections (Alison Kafe, Mallory Kay Nelson, Ashley Shew, Bethany Stevens.).

À nos prothèses is a collective project that questions relations of intimacy, conviviality, dispossession and (in)accessibility to our ‘ordinary’ prostheses. Prostheses are physical, digital, urban or sensory extensions that allow us to complete, extend and adjust our being to ourselves and our being together. Prostheses can be material (hearing aids, canes, glasses, dental prostheses, etc.), digital or urban (access ramps). This project is concerned with ordinary prostheses and claims solidary approaches in the sense of Donna Haraway (Cyborg Manifesto), Crip solidarities (Mia Mingus, Leah Lakshmi Piepzna-Samarasinha), CRIP Art and feminist, queer, Crip and Cyborg interconnections (Alison Kafe, Mallory Kay Nelson, Ashley Shew, Bethany Stevens.).

À nos prothèses is a collective project that questions relations of intimacy, conviviality, dispossession and (in)accessibility to our ‘ordinary’ prostheses. Prostheses are physical, digital, urban or sensory extensions that allow us to complete, extend and adjust our being to ourselves and our being together. Prostheses can be material (hearing aids, canes, glasses, dental prostheses, etc.), digital or urban (access ramps). This project is concerned with ordinary prostheses and claims solidary approaches in the sense of Donna Haraway (Cyborg Manifesto), Crip solidarities (Mia Mingus, Leah Lakshmi Piepzna-Samarasinha), CRIP Art and feminist, queer, Crip and Cyborg interconnections (Alison Kafe, Mallory Kay Nelson, Ashley Shew, Bethany Stevens.).

This visual project collects fragments and memories of a popular Southern Chinese dish—Steamed Flour Rice Pork. Having a diversity of variations and adaptations, Steamed Flour Rice Pork always has a place wherever a Southerner goes, whether during family reunions or friend gatherings. The process of making Steamed Flour Rice Pork follows the migrant’s travel, evolving to different versions of cooking, as well as different tastes of home. Each family has its recipe and tradition for making this dish. Now, you can also find many kinds of brands that pre-packaged spices and powder to make this delicious cuisine easily. The traveling of these spices carries not only a sense of familiarity and reassurance but also access to the quotidian joy of sharing food.

Title: 2000 bonnes raisons de marcher
Author: Petunia Alves (1959, Brasil/Québec) and Ryofa Chung (Québec, 1969).
Year: 1998
Duration: 18’
Type : Documentary

Exploring super-performance and failure, Lomami’s practice is anchored in performance art, informed by principles of Afrofuturism and crip time, and revolves around the displacement of work and the design of possible collective futures. They also work with poetry and photography, and create technological installations (video, sound, coding, sensors) based on their performances. They build a form of super-archive that doesn’t fix the moment of the performances in processed documents, but instead takes the shape of installations that explore super-performativity as an opportunity to feel someone and something that is not there anymore. Their work has been presented in Belgium, Sweden, New York and Canada, and their texts have been featured in French, Québécois and African books and journals.

Lomami holds a bachelor’s degree (2011) and a master’s degree (2014) in Business Engineering from the University of Namur, Belgium and a Graduate Diploma in Communication Studies from Concordia University (2022), Canada. They are currently pursuing the MFA program in Studio Arts – Intermedia at Concordia University for which they received the SSHRC and the FRQSC research scholarships, the Dave McGary Memorial Award in Fine Arts, the Concordia Fine Arts Scholarship, and the Desjardins Foundation Scholarship. However, their performance and intervention practices are separated from their academic education. They are a co-founder of Harambec – Reviving the Black Feminist Collective, DC – Art indisciplinaire (a crip artist-run center), and CHEFF – Fédération des jeunes LGBTQIA+.

aksanti 33 is a three-part series that refers to the end of long-standing family presences, personal events, and medical habits that had major importance in the artist’s life. aksanti 33 (part 2) is a 33-hour durational and participative performance that took place over 3 days at the FOFA Gallery in March 2023. It welcomed up to 30 visitors with who Lomami shared an intimate space for several hours and the non-addictive opioid-based medication that they took for the last time after 12 years of treatment until its production stopped. The project deals with pain, grief, and medicine through the activities of visitation, rest, and sharing of care. Participants were invited to feel and explore the work of time and medication on bodies, stories, and relationships. They simultaneously hold and archive the space together and practiced the act of welcoming and letting go again and again.

aksanti (part 2.02) is the second part of the archive of the performance. This interactive multimedia installation plays with the shrinkage of time and memories and how it changes our perception of social relationships by rendering the 33-hour experience into a 33-minute audiovisual immersion. As the viewers explore the room, they are immersed in audiovisual noise activated by the movement of people in the room and the archive. The noise functions as the signifier of content and void and as the announcer of arrival and departure. The behaviour of the noise guides the visitors to a state of rest. When their bodies finally rest, the noise dissipates to uncover a combination of soothing music, bits of recorded dialogues, and a visual abstraction and granulation of time and gesture.

Title: 2000 bonnes raisons de marcher
Author: Petunia Alves (1959, Brasil/Québec) and Ryofa Chung (Québec, 1969).
Year: 1998
Duration: 18’
Type : Documentary

Title : Janet sees herself
Author : marshalore (1946, États-Unis / Québec)
Year : 1977
Duration : 13’ 14’’
Type : video performance

Title : Ruelle en perspective
Author : marshalore (1946, États-Unis / Québec)
Year : 1977
Duration : 11’ 10”
Type : video performance

Title : Oublier Author : Manon Labrecque (Québec, 1965-2023)
Year : 1994
Duration : 4’ 24’’
Type : Performance vidéo

Title : Vice, vertu et vice-versa
Author : Manon Labrecque (Québec, 1965-2023)
Year : 1993
Duration : 10’ 47’’
Type : video performance

Title : Parc d’amusement
Author : Manon Labrecque (Québec, 1965-2023)
Year : 1992
Duration : 11’ 30’’
Type : video performance

Laura believes in the power that art holds in society, and as such, she consistently pursues the uplift of subversive narratives while nurturing and empowering her communities through art.

Ya Vengo serves as a short introductory installation to Laura’s latest project, No Me Demoro, a VR simulation that encapsulates the experience of growing up in a Latin American household in the 2000s. No Me Demoro was developed during the artist’s residency at Ada-X, as part of the “Digital Skills for Youth” program coordinated by the Independent Media Arts Alliance (IMAA) and funded by the Government of Canada. The project is accessible via Allo Ada, a virtual space for discovering, animating and meeting artists created by Ada X with the support of the Canada Council for the Arts.

Archive Reindex Archive presents photographs and captions from National Geographic magazine from 1945 to 1959, filterable by year and country. It was conceived by Ivetta Sunyoung Kang and has been developed in collaboration with artist and web developer Kii Kang. It is formed as an interactive and participatory website inviting visitors to annotate the archives, whose photographic elements are glitched by an inversed saliency mapping. Saliency mapping deliberately reassembles the perception of internalized movements of general viewers’ eyes that lie on input images at first. It unearths archived remnants of the aftermath of WWII, the “expeditious” human movements of global colonization and imperialism, war and wealth propagation and discrepancies between capitals and raw resources for national expansions. The project strives to collect contemporary annotations that correct, question, and confront uncomfortable gazes in the magazine to bring a collective means of slow, gentle recuperation of those gazed at and othered.

The Beholder is a hybrid camera / human persona;
a human with a camera instead of eyes.
They witness movement and hold that image in their body.
Their mind captures these echoes, but strains to recall them. “Do not make me remember,” they plead. They only want to see, and follow their sight.

When the lights are off, they remember their body. The tips of their fingers buzz with potential, their toes shift along the ground with excitement. Their lens forgets to seek the light.

They know that they once had a purpose; that they are a part of the story the way that a book’s pages are part of the story. They are the one that cups the insect in their hands and reaches over to let you peer at it. But with no insect around, they become the insect, the subject of their own film. They are at once beholder and beheld.

Inspired by the artist’s interest in the triangulation between sound, scent and the subconscious mind, Something that has been forgotten invites the public to embark on a hypnotic experience and sink deep into the earth, embracing a sense of non-separation and unearthing memories of past or future connections and trajectories.

Merging, Collecting, Dissecting is a video work that explores the concept of the reversed gaze. Using the binocular viewfinder, thought to be a colonial tool, the images interplay between footage that was shot in Istanbul, Turkey and in Tripoli, Lebanon — the former being a place where colonisation emerged and the latter a place where colonisation was practised. By juxtaposing the images with excerpts from history lessons from school textbooks which are used in Lebanon, the work aims at revisiting the history of colonisation by the Ottoman Empire in present time and how it is interpreted in contemporary educational knowledge.

Vettivelu is currently pursuing their MFA in Sculpture at Concordia University with the support of the Dale & Nick Tedeschi Studio Arts Fellowship. They have previously worked as the Visual Art Manager for Workman Arts, the Managing Director of Artspace TMU, and the Director of Programming at Whippersnapper Gallery. Vettivelu has exhibited in Trinity Square Video (Toronto), the Art Gallery of Ontario, the British Film Institute, Eastern Edge (St. John’s Nfld), The Academy of Arts in Prague, the Canadian Gay & Lesbian Archives Gallery (Toronto), the Center for Contemporary Art Glasgow, Nuit Blanche Toronto, and more. Their work is included in multiple private and public collections, including a public installation in St. Michael’s Hospital’s St. Michael’s Hospital’s St. Jamestown Health Center. Vettivelu has been invited to speak at Cornell University, University of Toronto, York University, University of British Columbia, the Canadian Parliamentary Standing Committee of Finance and Industry (INDU), alongside multiple grassroots community platforms.

Prayers for a Word (or a lack that builds the world) connects the material history of the spice trade with the psychic impact of European missionary work, exploring how frameworks of redemption and salvation have been used to ensure enthusiastic labour and unfettered access to resources. In this work, Vettivelu continues their investigation into how the language we use to understand ourselves is informed by the material conditions that surround us by connecting the artist studio, the installation, and a shrine dedicated to martyrdom.

The installation was first housed in the Visual Art Centre of Clarington for its history as a decommissioned factory. The building was constructed in 1805 for the processing of grits and barley. In 1976, the city of Bowmanville repurposed the building to become a site of cultural production. In collaboration with Nicolas Fleming and Andreas Buchwaldt, the gallery’s architecture is refigured into a factory that continually produces and destroys something that is simultaneously material and immaterial, public yet deeply private.

Snack Witch Joni Cheung

CLG is an artist group exploring the complexities of identity in a world where the movement of people, products, money, and ideologies has become fluid. The collective comes together to collaborate on projects that speak to common research interests around transnationalism, migration, and diasporas. These projects use the artists’ personal experiences as individuals who are marginalized by language, gender, and race to define and share the range of aggressions (micro and macro) their communities live with from day-to-day.

Our Souls Will Never Collide is a durational performance consisting of two bodies carrying out repetitive endurance movements that inherently challenge the subconscious on the temporalities of permanence. This performance piece is rooted in Dela Peña’s experience of losing her singularity amongst the plurality of her identity and the trauma it gradually engraved on her. Our Souls Will Never Collide explores how one’s experience can either leave a trace on another person or become an ephemeral endpoint – subsequently noting how overwhelming interpersonal experiences affect mental resilience and awareness of the physical body.

Kang obtained an MFA from Concordia University in Canada. They have presented/will present internationally, including at Nuit Blanche Toronto (2024), Centre Clark (2023), the Smithsonian Hirshhorn Museum and Sculpture Garden (2022), and ArtScience Museum (2022), among others. They have participated in AiR programs such as at the AGO X RBC Artist-in-Residence at the Art Gallery of Ontario (2022) in Canada and ZK/U (2023) in Germany, among others. Kang has published two self-publication projects, Absent Seats (2019) and Tenderhands #1-100 (2022). Kang has published Tenderhands Volume 1 #1-100 Korean version with a South Korea-based press, Leftie Press in 2024. www.ivettakang.com

Archive Reindex Archive presents photographs and captions from National Geographic magazine from 1945 to 1959, filterable by year and country. It was conceived by Ivetta Sunyoung Kang and has been developed in collaboration with artist and web developer Kii Kang. It is formed as an interactive and participatory website inviting visitors to annotate the archives, whose photographic elements are glitched by an inversed saliency mapping. Saliency mapping deliberately reassembles the perception of internalized movements of general viewers’ eyes that lie on input images at first. It unearths archived remnants of the aftermath of WWII, the “expeditious” human movements of global colonization and imperialism, war and wealth propagation and discrepancies between capitals and raw resources for national expansions. he project strives to collect contemporary annotations that correct, question, and confront uncomfortable gazes in the magazine to bring a collective means of slow, gentle recuperation of those gazed at and othered.

Lullaby dwells on Icelandic mythic sensibilities while bringing forth a conversation about infanticide. Pratique historique, les berceuses étaient chantées aux nourrissons sur le point d’être relâchés dans les éléments. Masked characters, Trú, a raven that used to be a man, his friend Vilborg, and a narration chorus tell the story of one lullaby event. Throughout the piece, an improvisational cohort supported by visual and audio multiplexes incorporates 3D print art and original music with projections made in Virtual Reality (VR), to expound on Lullaby.

Descendants is a 50-minute hypnotic interactive sound art piece in which you are the hero. An original concept by Dani Tardif, a queer and non-binary multidisciplinary artist, the piece projects the audience into the rural North Shore region of Québec in the year 2203. Using speculative fiction, the work aims to create cultural models of intentional LGBTQIA2S+ communities outside the metropolis. magie_basse (Julien Simard) composes the soundtrack.

This journey through time aims to explore how our queer and trans descendants will adapt their bodies to survive the challenges imposed by climate change. With a queer, transfeminist and intersectional perspective, the audience discovers body modification, “shapeshifting“, a technology invented by our descendants to adapt and survive their environment. The public somatically imagines the modification of its cellular organization to integrate an adaptive characteristic of a plant or animal.

Collaborators

Sound research and recordings Julia Dyck
Preliminary research in collaboration with the EarthBound collective
Sound composition and mixing Julien Simard, aka magie_basse
Illustration by Dylan Lafond
Thanks to participants in the exploration labs and the collective worldbuilding workshop

Special thanks to the Conseil des arts de Montréal, the OBORO studio production assistance program and the residencies at Atelier de la 8e île.

fishbirdflight

flying fishes
swimming birds
trajectory
under over water
diving
descending
ascending
gliding
swimming like in flight

The video starts with a poem and continues with a body in movement, a repetitive motion, a close-up of a performative corporeal action. fishbirdflight is an audiovisual exploration of the interplay between video and sonic elements, providing space for the perception of modifications that arise through mutual influence.

parts of a closed world – Isn’t the title already a dilemma? How can you expose parts of a closed world without eliminating its closed nature? It’s muddy – not only out there in nature along the brown river and the green but also inside of us humans. We are like mud, a mix of solids and liquids, and a suspension of perception interacting with the cognitive and nervous system and all the things in between. I’ve always been attracted to mud, to its peculiar nature and state. In this video it’s my working material and content-carrier. The video shows the free fall of information processing without a filter. Unconsciously, the brain is made to predict situations and selecting continuously to avoid a sensory overload. What if not? Muddy views, troubled water, the particles need to sink to make the mud solid or the water clear.

As part of the PhD dissertation Simultaneous Natures,artist-researcher Allison Peacock created dance-based works corresponding to her research on three local Montréal gardens: the Japanese Garden at Espace pour la vie, West Montréal’s municipal gardens vis-à-vis the work of their head gardener, and the Home Depot parking lot at 100 rue Beaubien O. As part of an interdisciplinary approach to understanding the function and characteristics of these unique gardens, live and video-based choreography became critical to reimagining and highlighting elements of the history, spatial characteristics, and the labour that is vital for their maintenance. The three works offer a dance triptych that can hint to the diverse and divergent qualities that are part of the ways that nature co-exists with the citizenry of Montréal.

CHEUNG LEE GLOBAL is an artist collective consisting of Joni Cheung (Snack Witch) and Ahreum Lee. Joni Cheung is a Canadian-born Hong Kong-Chinese queer, anglophone woman based in Montréal since 2019. Ahreum Lee is a Korean-born artist living in Montréal since 2016.

CLG is an artist group exploring the complexities of identity in a world where the movement of people, products, money, and ideologies has become fluid. The collective comes together to collaborate on projects that speak to common research interests around transnationalism, migration, and diasporas. These projects use the artists’ personal experiences as individuals who are marginalized by language, gender, and race to define and share the range of aggressions (micro and macro) their communities live with from day-to-day.