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abstract drawing in color. Black, brown and white pencil lines.

© Théodore Ushev , Joda

VG @ Vientianale International Film Festival

Programmation

March 11-13, 2016
Vientiane, Lao People's Democratic Republic



Vientiane, Lao People’s Democratic Republic
Curator: Fabrizio Gilardino

When it comes to animation, and specifically animation shorts, Canada is one of the countries that has always been at the forefront of creativity and experimentation. The National Film Board of Canada (N.F.B), whose employees have included Academy Award-winner Norman McLaren — very probably one the world’s most visionary animators and a pioneer of new, exciting animation techniques — has consistently supported Canadian animators from its inception in 1939 to these days.

It’s no wonder then that Canada has produced such wonderful animators such as Frédéric Back, Patrick Bouchard, Michèle Cournoyer, Pierre Hébert, Diane Obomsawin, Théodore Ushev or Steven Woloshen: a few of them are featured in this programme.

The Vientianale International Film Festival  will offer a small selection of recent movies by Canadian animators distributed by Vidéographe.

From the social and political engagement of Théodore Ushev — his movie Joda is part of “Freedom for Jafar Panahi”, a Canadian animation shorts films series by eight different animators who are actively seeking the release of Panahi— to the astonishing abstract visual poetry of Alexandre Roy and Pierre Hébert, and even the peculiar and fascinating story-telling of Mathieu Girard, Vidéographe’s catalogue is a trove of little gems from today’s best animators.

Fabrizio Gilardino is an Italian-born Canadian visual/graphic artist and independent curator who divides his time between Montreal and South-East Asia. He’s the founder and co-director of AWAS!, Kuala Lumpur’s animation week, and has worked over his years in South-East Asia with KLEX (Kuala Lumpur Experimental Film, Music and Video Festival), Kelab Seni Filem Malaysia, Findars Art Space (Kuala Lumpur), Bangkok’s independent art centres Speedy Grandma and Bridge Art Space, the German-Cambodian Cultural Centre Meta House in Phnom Penh, and the Vientianale International Film Festival in Vientiane, Laos.

PROGRAM
The oldest stone, Mathieu Girard, 2014, 10 min 05 sec
Tiger, Alexandre Roy, 2013, 2 min 56 sec
You Look Like Me, Pierre Hébert and René Lussier, 2014, 5 min 52 sec
Joda, Théodore Ushev, 2012, 3 min 45 sec

© 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.

Recipient of the 2025 REW/FF Residency: Ylenia Olibet

Curatorial Residency for Emerging Curators and Programmers – Vithèque

2025



We are delighted to announce that Ylenia Olibet has been selected as the recipient of our 2025 REW/FF residency.

Ylenia Olibet is a researcher and educator who has been based in Montréal since 2016. She is currently a postdoctoral fellow at McGill University. Her work explores how audiovisual archives can inspire social movements, with a focus on transnational and decolonial perspectives, as well as feminist and queer approaches to film culture in Francophone contexts.

Ylenia holds a PhD in Film Studies from Concordia University. In August 2023, she defended her dissertation titled “Feminist Film Culture in 21st-Century Québec: A Transnational Perspective.” Her doctoral and postdoctoral research has been supported by the Fonds de Recherche du Québec. Her writings have been published in Feminist Media Studies, Feminist Media Histories, Mai: Journal of Feminist Visual Culture, European Journal of Women’s Studies, and several edited volumes.

During her curatorial residency at Vidéographe, Ylenia will develop a reflection on the city of Montréal. How does Vidéographe’s collection document the city’s urban transformations? Her project aims to examine the social construction of space through material issues—such as gentrification or the environmental crisis—while considering the urban landscape as a lens for thinking about resistance beyond fixed territorial and identity frameworks.