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© Camouflage, Yuka Sato, 2017

dv_vd : Recollections

PROGRAMMING

March 27, 2025 at 7 pm
Dazibao
5455 avenue de Gaspé espace 109, Montréal, QC H2T 3B3

Free entry!



This program of six short films explores the capacity of memory, not only to preserve fragments of the past but also to reconstruct and reimagine them. Through the simple act of remembering, memory has the ability to transform what we consider true or real, revealing new perspectives that invite us to rethink – and often heal – our intimate and collective relationships.

The selected works in Recollections embrace this imaginative quality of memory, which can be unsettling yet always fertile, deeply rooted in reality. Here, traces of the past unfold in chimeric ways, exposing the dynamic and ever-evolving relationship between the places, bodies, and stories we inhabit—and that, in turn, inhabit us.

Curators : Mathilde Fauteux and Siam Obregon

 

PROGRAMME (61 m 14 s)

  • Disparitions, Camille Pueyo, 2022, 3 min 23 s
  • Camouflage, Yuka Sato, 2017, 7 min
  • Traces, Chantal Partamian, 2023, 8 min 45 s
  • Three parables, OK Pedersen, 2020, 9 min 21 s
  • Serie-fleuve, Marik Boudreau, 1986, 8 min 10 s
  • vert 910, Andrée Préfontaine, 1999, 6 min
  • Comet families, Laïla Mestari, 2021, 7 min 24 s
  • dickinsonia. les archives sensibles, Charline Dally et Gabrielle Harnois Blouin, 2023, 11 min 11 s
dv_vd_signature_2021
Logo Dazibao

© Charlotte Clermont, Plants Are Like People, 2018

Technical Support Program

Call for submissions

Deadline : March 1st, 2022



CALL FOR SUBMISSIONS

Deadline : March 1st, 2021

* New: 4 calls for submissions per year

Program description

The Technical Support Program is intended to support artists interested in experimentation and in pushing the boundaries of the moving image in all its forms.
This support can be used in the production phase of the project or in the post-production phase.

A total of 4 calls for submissions per year will be made, for which the following are the deadlines;

  • March 1st (for projects that will start between April and June)
  • June 1st (for projects that will start between July and September)
  • September 1st (for projects that will start between October and December)
  • December 1st (for projects that will start between January and March)

Please note that 2 projects per call for submissions will be selected.

Artists selected under this program have free access to:

  • Our editing suites, sound booth and digitizing equipment for a maximum of two weeks. These two weeks can be contiguous or spread over 3 months.
  • Free access to available equipment belonging to Vidéographe.
  • Two meetings with Vidéographe’s team to discuss the project and its circulation potential: one meeting at the start of the project in order to specify the needs and a second meeting at the end of the project.
  • The possibility of organizing a private screening at Vidéographe.

It is not necessary to be a member of Vidéographe to apply; however, should your proposal be accepted, we will ask that you become a member. Once you have signed the agreement, you will have three months to take advantage of the benefits that this program has to offer. Regular membership fees are $50 + tx per year and student membership fees are $25 + tx per year.

We are looking to support independent experimental or documentary works that stand apart for their currency and endeavour to renew the artistic language. We will accept proposals for single-channel video, installation, Web-based work, and all other forms of moving image. We consider all genres—video art, experimental work, fiction, documentary or essay form, animation, dance video, and videoclip. Please note that all works must be independent and non-commercial. Projects of a conventional nature, such as classic short narrative film or television documentary will not be considered.

Once your project is finished, you may submit it for active distribution by Vidéographe. Please note however that acceptance into the Technical Support Program does not guarantee that your work will be distributed.

Required

  • Candidates must possess full editorial and creative control of the project.
  • Projects must be independent and non-commercial.
  • Projects that have received support through this program may not be re-submitted.
  • Student projects are not admissible.
  • We encourage traditionally under-represented artists to submit a project. Vidéographe is driven by the conviction that multiple points of views are necessary to enrich society and the discipline we work in.

Selection process

Works will be chosen by a selection committee made up of Vidéographe staff and members.

Projects that are retained will be subject to a contractual agreement between the artist and Vidéographe. Schedules, revised budgets, and requirements regarding equipment, rooms, and technical support will be planned and clearly laid out, as will the terms and conditions relative to each party.

Application file:

  • Contact information and website if applicable
  • Project description (500 words)
  • Schedule; (Overall project timeline and detailed timeline for support for creation).
  • Technical needs; (Please consult our website for more details on our editing suites and equipment).
  • Resume.
  • Supporting documentation (current or past projects);
  • Maximum 10 minutes of video footage. Please send a link to your video(s). Do not forget to include the password if applicable; and/or maximum 15 images (max: 1024 px wide, 72 dpi); sketches, plans, and mock-ups may also be submitted in PDF format.

Submission of your file

Applications will be accepted by email only. An acknowledgment of receipt will be sent. Please write TECHNICAL SUPPORT PROGRAM in the subject heading of your email and send your file to info@videographe.org. Please send your file as a SINGLE PDF document (including links to videos). Files found in the text section of the email will not be taken into account.

Please allow three weeks for a response. Vidéographe chooses eight projects per year.

© Hoa, Tram Anh Nguyen, 2022

Vtape x Vidéographe 

Programming

March 6th, 2025 at 7 pm
Vtape, Bachir/Yerex Presentation Space
Addresse: 401 Richmond St W Suite 452, Toronto, ON M5V 3A8

Free



Vidéographe and Vtape, in partnership with Le Labo, join forces to celebrate the richness and diversity of video art practices in the Montreal and Toronto scenes. This program brings together nine works from their respective collections, created by thirteen emerging artists. Through this joint initiative, Vidéographe and Vtape aim to highlight and continue their longstanding collaboration.

 

PROGRAM (70 min)

  • Ko pyhare, para siempre, Fiorella Boucher, Laura Criollo-Carrillo, 2022, 5 min
  • Am I Human?, Gladys Lou, 2022, 1 min 37 s
  • Hommage à Rose Drummond, Antoine Amnotte-Dupuis, 2023, 12 min 23 s
  • Horse in Motion, Lillian Ross-Millard, 2022, 10 min 17 s
  • En attendant Lolo, Jules Ronfard, 2022, 8 min
  • The Propagation of Uncertainty, Emily DiCarlo, 2020, 5 min 50 s
  • Mindscapes, Valeryia Naboikina; Malte Leander, 2023, 8 min 40 s
  • Kauaʻi ʻōʻō, Samy Benammar, 2023, 3 min 48 s
  • Hoa, Tram Anh Nguyen, 2022, 14 min 24 s

 

SYNOPSES

 

Ko pyhare, para siempre, Fiorella Boucher, Laura Criollo-Carrillo, 2022, 5 min

Child of two worlds that do not speak to each other, a girl speaks to her mother and her grandmother. She travels through the dilated space of origins, impostures and wounds.

 

Am I Human?, Gladys Lou, 2022, 1 min 37 s

Am I Human? is a post-human exploration of data, artificial intelligence, and surveillance using video and sound. The glitch on screen disrupts communication and reflects my questioning of the challenges of being human within normative cultural standards.

 

Hommage à Rose Drummond, Antoine Amnotte-Dupuis, 2023, 12 min 23 s

Composer Jean Derome and his ensemble pay vibrant tribute to the prominent Quebec land art artist Rose Drummond through a collection of whimsical, ready-made songs brought to life by reassembled 16mm family archives and altered filmed performances.

 

Horse in Motion, Lillian Ross-Millard, 2022, 10 min 17 s

A figure walks through a digitally saturated landscape on a quest to find her grief, using old phone photos and videos as landmarks to help her navigate. This piece explores an amnesiac experience of loss, inspired by the artist’s fragmented experience of grief and melancholia during and around the pandemic.

 

En attendant Lolo, Jules Ronfard, 2022, 8 min 

On a country road, a couple gone for a ride on a scooter find themselves immobilized after running out of gas. While waiting for their friend Lolo, a philosophical discussion ensues.

 

The Propagation of Uncertainty, Emily DiCarlo, 2020, 5 min 50 s

Emily DiCarlo’s three-channel video installation, The Propagation of Uncertainty, explores the friction between what she terms “the infrastructure of time and the intimacy of duration.” The work focuses on time frequency standards and how our accelerated, networked world relies on the foundation of Coordinated Universal Time (UTC). While airports, stock markets, and telecommunications operate through precise temporal orchestration, UTC reigns as an authoritatively omnipresent force that, in reality, is far from absolute.

 

Mindscapes, Valeryia Naboikina; Malte Leander, 2023, 8 min 40 s

The notion of escapism refers to the tendency of individuals to retreat from the customary challenges of life into the comforting, yet deceptive, embrace of fantasy. Through a multidimensional exploration, this film maps a journey that encompasses the transformative phases of departure, immersion, and return.

 

Kauaʻi ʻōʻō, Samy Benammar, 2023, 3 min 48 s

In 2000, the International Union for Conservation of Nature declared the Oʻō of Kauai officially extinct. All that remains of this endemic bird from the eponymous Hawaiian island is a recording of its song by ornithologist David Boynton. Between the territories and the treetops, the artist is still hoping to find a trace of the extinct birds.

 

Hoa, Tram Anh Nguyen, 2022, 14 min 24 s

In Vietnamese, “hoa” means flower. It is also the first name of the filmmaker’s bà nội (paternal grandmother). Before developing memory disorders, his grandmother, Tuyết Hoa, wrote an autobiographical book about her life and its events. The book, translated from Vietnamese, is titled Memories of Tuyết Hoa and subtitled When My Country is Peaceful: Memoirs of a Saigon Female Student. She now reads this book every day in her home in Hanoi.

 

PARTNERS 

 

Vtape 

Incorporated as a non-profit organization in 1983, Vtape is one of Canada’s leading media arts distributors. Its distribution catalog includes more than 6,700 independent artworks by about 1,500 Canadian and international artists, spanning the years from 1969 to the present. In addition, Vtape provides public access to a large collection of research materials on video art and artists, and runs a restoration and digitization service for artists, museums, galleries, arts organizations, and other clients.

 

Vidéographe 

Established in 1971 in Montréal, Vidéographe is an artist-run center dedicated to the research and the dissemination of moving image practices. This includes experimentation in video art, animation, digital arts, documentary, essay, fiction and dance video.

 

Le Labo

Le Labo Centre for Francophone Media Arts of Toronto has the special responsibility to help connect the artistic and the francophone communities of Toronto. Central to Le Labo’s mandate is to support creation, production and innovation in the Media Arts Sector in addition to fostering artistic collaboration and providing exhibition opportunities. In addition to providing access to a media production studio space with professional state-of-the-art technology, the Labo’s annual programming includes residencies, exhibitions, installations, workshops, conferences and artist talks.