X letter representing a close icon
Fuzzy color picture.

© Ivetta Kang et Gabriel Dharmoo, Sega, 2017

Multiformes

Screening

October 19, 2017, 7pm
at Hôtel Pasteur, Rennes
Biennale VIDEOPROJECT (France)



Curators: Audrey Brouxel, Guillaume Vallée
Artistes: Sophie Bouloux, Charles-André Coderre, Clint Enns, Rob Feulner, Mike Hoolboom, Ivetta Kang & Gabriel Dharmoo, Katherine Liberovskaya, Yuka Sato


Multiform
examines the representation of the image through the media materiality and the creative process of the artist. The multiple media used to create the films and videos of this program demonstrate a variety of devices directly related to the material and conceptual reappropriation of the image by the artist. Through the use of found footage, self-portrait, homage, or travel diary, the works unveil their mechanism, their organicity, their process and their own representation.

This program will be screened at Hôtel Pasteur in Rennes (France) as part of the video art biennale VIDEOPROJECT.


PROGRAM:

Clint Enns, All My Life (after Baillie), 3 min 20 s, 2014
Digital animation scroll based on a glitched panorama created from Bruce Baillie’s All My Life (1966) and animated on super 8 (with Katie Houde).

Rob Feulner, Puerto Rico Tautology (14 dubs high), 6 min 58 s, 2016
Puerto Rico Tautology (14 dubs high) was recorded in 2015 and completed in early 2016. Found footage of Puerto Rican families celebrate in the street as the Fania All-Stars perform in the background. The clip, recorded on VHS, is dubbed to another VHS tape and played again. The image and sound gradually decay with each dub, until the image breaks completely.

Mike Hoolboom, Colour my world, 3 min, 2017
Three-part colour inquiry. Questions adapted from Frederick Douglass to Jericho Brown bring the hurt. The images have been soaked in water until everything recognizable has been stripped away, leaving behind a wash of colours, a bacterial flow.

Katherine Liberovskaya, Tilting At Windmills, 9 min, 2015
Faced with a sky lit by the setting sun, wind moves relentlessly. Static shot but unstable picture: different layers overlap and focus never stops moving while the indefinable soundtrack varies, hardly changes.

Sophie Bouloux, NARAKA, 6 min 41 s, 2015
The worlds Naraka are hells where beings are brought to be reborn for a finite duration, according to their karma. Living in fear and anguish, they endure different physical sufferings. The worlds Naraka are situated on differents stories under the continent Jambudvipa.

Ivetta Kang et Gabriel Dharmoo, Sega, 4 min 31 s, 2017
Sega is video based on the traditional Korean song, The Bird Song by Kim Sohee. The video is a formal and poetic exploration inspired by inspired by deep layers of how a bird shapes and bird songs.

Yuka Sato, In the room, 7 min, 2014
A film shot from a Single 8 camera. A woman, symbolized by a dark and hidden room.

Charles-André Coderre, Granular Film – Beirut, 6 min 11 s, 2016

Reminiscence of a trip in Beirut. The sea. the palm trees, the buildings melt when eyelids began to close. The artist’s memories now have a separate life of their own.

© 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.

© Nathalie Bujold

Monograph : Work – Nathalie Bujold

PUBLICATION

2024



Publication of OUVRAGE/ WORK 

This monograph, the result of a long period of study delving into Nathalie Bujold’s body of work over more than thirty years, brings together her most emblematic works. The authors whose essays appear here have closely followed her explorations or consider her artistic approach in a spirit of discovery and adventure. Their gaze, both probing and playful, is reflected in their relevant, enthusiastic writings about Bujold’s multidisciplinary and multimedia practice, now focused particularly on video production. The questions they raise cut across disciplines, prompting us to re-examine certain specific aspects of the foundations of her oeuvre. In turn, Dominique Sirois-Rouleau, Nathalie Bachand, Sylvain Campeau, and Édouard Monnet write about works with content related to the concepts of the object, the motif, the image, time, and movement intrinsic to the making of Bujold’s “books.” Taking us through time and including the artist’s incorporation of new technological tools, this nonlinear, often light-hearted overview encourages us to browse and constantly piques our curiosity about the forms of a vision constantly renewed by movement and the fragmentation of the object. (excerpt of the preface of Sonia Pelletier)

 

Artist: Nathalie Bujold
Texts of: Nathalie Bachand, Sylvain Campeau, Édouard Monnet, Sonia Pelletier, Dominique Sirois-Rouleau
Graphic Design: bureau60a, Vidéographe
Edited by: Sonia Pelletier

Publishing: Vidéographe
Parution: May 30 2024

ISBN: 978-2-922302- 10-3 (printed), 200 p.
ISBN: 978-2-922302-11-0 (digital – PDF)

PRICE: $49.00 + tax and shipping

► For purchase, please contact Mathilde Fauteux: distribution@videographe.org

 

BIOGRAPHY

Nathalie Bujold is a multidisciplinary artist, living and working in Montréal. In 1985,  she was one of the founders of the artist-run centre l’Œil de Poisson in Québec City. She obtained an undergraduate degree from Université Laval in 1992, where she won the René-Richard Award. In 2008, she was awarded the Artistic Creation Award from the Conseils des Arts et des lettres du Québec. 2016 she received her master’s degree in Studio and Media Arts from UQAM. Her one-channel videos are distributed by Vidéographe and she is represented by ELLEPHANT gallery.