Aube + Tout est dit, il ne reste rien
DECEMBER 6. 7. 8 | 7:30PM
DECEMBER 9 | 4PM
Katia-Marie Germain
Aube
Choreographer and perfromer : Katia-Marie Germain
Performers : Hélène Messier, Julie Tymchuk, Élise Bergeron, Marie-Pier Bazinet
Music : Gabriel Ledoux
Light designer : Sylvie Nobert
Creation residencies : Compagnie Marie Chouinard, Centre de création O’Vertigo, Pigeons International, Studio Nyata Nyata
Geneviève C. Ferron
Tout est dit, il ne reste rien
The piece Tout est dit, il ne reste rien is a triptych for five performers based on the experience of authenticity, the attempt at revealing the intimacy of the performing body. The conflict of the performer’s body state being pushed to the extremes of excitement, and his will (doomed in advance) to repress and calm things down through control of form. For this project, choreographer Geneviève C. Ferron will be collaborating with media artist Alexandre Castonguay.
Choreographer : Geneviève C. Ferron
Performers : Ariane Boulet, Sarah Dell’Ava, Joannie Douville, Maude Lapointe, Gabrielle Surprenant-Lacasse
Rehearsal manager : Marie-Ève Archambault
Artistic advisor : Alexandre Castonguay
Sound designer : Emmanuel Alberola
Light designer : Hugo Dalphond
Geneviève C. Ferron
Having studied visual arts and contemporary dance, Genevieve C. Ferron is now a choreographer, teacher and mediator. Themes of intimacy and the artistic conscience intrinsic to the artist’s body are at the heart of her research, as well as a constant calling into question of our perception of the female body and the ambiguity of modern identity. Since 2010, her work has been presented at Studio 303 (Festival Edgy Women, Le Projet Webcam Project), at the Festival Quartier Danse (Ballet de Ruelles) and at Festival Grado Cero, Bogota (solo des lumières, Le Cerf). Furthermore, she has collaborated as choreographer on two art films, So certain I was, I was a horse (Émilie Serri, FNC, RVCQ) and Tu sais (Guillaume Marin and Maxyme G. Delisle).
Alexandre Castonguay
The artworks of Alexandre Castonguay use outdated technologies and freeware. His interactive installations and photography have been presented in many exhibitions throughout Canada as well as New York, Beijing, Madrid, Berlin and Graz. Some of his work can be found in the collections of the Banque d’oeuvres d’art du Conseil des arts du Canada, the Los Angeles County Museum of Art, the Musée des beaux-arts de Montréal, the Musée d’art contemporain de Montréal, the Musée canadien de la photographie contemporaine, the Musée national des beaux-arts du Québec as well as other private collections. He is among the artists presented at the Pierre-François Ouellette art contemporain de Montréal gallery and is a founding member of the Artengine medialab. He teaches visual and media art at UQAM and has studied at the University of Ottawa (B.A.V. 1991 et B.A. 1993) and Concordia University, Montreal (M.F.A. 2004).
At the start, there is the wish to transpose onto the performer’s bodies a raw form of my own interior landscapes, these animal-friends, monsters and alter egos that inhabit my body and mind, my emptiness and my fullness. With this matrix in place, the aim for controlling and perfecting is developed. The search for perfection in details, the quality of the sound of an inspiration, the displaying of each finger on a hand, the position of the pupil in the eye and the degree of tension in the ocular muscle. These rigid forms are imposed and juxtaposed onto a body state of fragmented geography, giving an impression of instability that is at once moving and frightening. The I becomes the Other; it is transformed, broken, dispersed, emptied, and exultant.
