X letter representing a close icon
photo couleur, portrait d'un homme

©Avi Mograbi, Août (avant l'explosion), Les Films d'Ici, 2002

« AUTOFILMAGE(S) »
Organisé par Marion Froger, Viva Paci et Lucie Szechter

Journée d'étude

Friday May 4, 2018
University of Montréal

Free



As part of its research residency and curatorial program, Vidéographe welcomes researcher and artist Lucie Szechter for a project based on our collection. In Son propre visage en partage, she explores the issues raised by the face in the practice of self-filming.

Following on from this work, and in partnership with UdeM’s Vice-Deanat à la recherche et à la création, UdeM’s Department of Art History and Film Studies, Le labdoc (Le laboratoire de recherche sur les pratiques audiovisuelles documentaires) and Vidéographe, a study day will be held at UdeM.

“This study day will explore the issues surrounding self-filming today in documentary cinema, art video, fiction cinema and the hybrid zones at the frontier between these three filmic registers. We understand “self-filming” in the broadest sense, since self-filming occurs when the filmmaker is present on screen in his or her own film.

We’ll be looking at how the practice of self-filming questions the “documentary pact” (assuring the viewer that it is indeed the real world that is shown in the film) and the “autobiographical pact” (affirming in the text that the identities of author, narrator and character coincide). Some works attempt to thwart these implicit pacts, while others seek to affirm them. We’ll explore the various cinematic devices used to achieve these ends.

We will also explore the tension between intimacy, vulnerability and critical intent in certain uses of self-filming. What point of view should we adopt as filmer-filmer? What form of address to the viewer and engagement does the filmer’s presence on screen imply? This meeting will also allow us to continue the debate initiated by Rosalind Krauss in 1976 on the question of narcissism in self-staging. What is the situation today, with the emergence and expansion of new technical means for filming oneself on a daily basis?

Finally, we will reflect on the political actions involved in the practice of self-filming. Can the practice of self-filming subvert the procedures of control and identification to which we are subjected, while ensuring visibility in the public space? By way of example, we’ll be looking at the implications of certain self-filming techniques, including the use of masks and make-up.

Marion Froger, Viva Paci and Lucie Szechter
Organizers and members of the event’s scientific committee

Guest researchers :
– Olivier Asselin, professor, Université de Montréal – Canada
– André Habib, Professor, Université de Montréal – Canada
– Alice Michaud-Lapointe, doctoral student, Université de Montréal – Canada
– Mathilde Roman, professor at the École Supérieure d’Arts Plastiques de la ville de Monaco
and art critic – France
– Joëlle Rouleau, professor, Université de Montréal – Canada
– Claire Savoie, professor, Université du Québec à Montréal – Canada
– Rui Silveira, doctoral student in research-creation at Université du Québec à Montréal, labdoc – UQAM – Canada

 

With contributions from :
– Marion Froger, Associate Professor, Director of the magazine Intermédialités at the Université
de Montréal – Canada
– Viva Paci, Professor, Université du Québec à Montréal, labdoc – UQAM – Canada
– Lucie Szechter, filmmaker and doctoral student in research-creation at Erg (École de recherche graphique)
and Université de Liège, mandat Fresh (F.R.S – F.N.R.S) – France/Belgium

Program description

 

Course of the day
. 9 h 45 – 10 h : Welcoming remarks
– Sébastien Sauvé, Vice-Dean of Research and Creation, Université de Montréal – (to be confirmed)
– Silvestra Mariniello, Department of Art History and Film Studies, UdeM
– Julie Tremble, Vidéographe
– Viva Paci, Labdoc – UQAM
. 10 a.m.: Introduction Lucie Szechter
. 10:10 – 10:50 a.m.: Mathilde Roman – From images of the body to bodies facing images
. 10:50 – 11:30 a.m.: Alice Michaud-Lapointe
– Filmer l’autre en soi : fascination et geste de captation cinéphile chez Mathieu Amalric, Maïwenn
and Xavier Dolan
. 11:30 – 12:10: André Habib
– Self-portrait and other ruins’. Reflections on the cinema of Louise Bourque
. 12 h 10 – 13 h 40 : BREAK
. 1:40 – 2:20 pm: Rui Silveira – The crisis of 2015, “Os olhos do meu amor” .
. 2:20 – 3:00 p.m.: Joëlle Rouleau – Audiovisual representation and mediation .
. 3:00 – 3:40 pm: Claire Savoie – Je me constitue
. 3:40 – 4:00 p.m.: COFFEE BREAK
. 4:00 – 4:40 p.m.: Olivier Asselin
– Le miroir sans tain: narcissisme et surveillance du circuit fermé au réseau
. 4:40pm – 5:20pm: Wrap-up by Marion Froger, Viva Paci and Lucie Szechter,
followed by a group discussion

© Compte à rebours, Nelson Henricks, 2007

PUBLICATION ON VITHÈQUE
Nelson Henricks – Prix Robert Forget 2024

DIGITAL PUBLICATION

Free



Produced as part of the Prix Robert-Forget 2024, this digital publication celebrates Nelson Henricks’ important work and the valuable contribution he has made to the history of video art. It comprises essays by authors admired by Henricks who have followed his career closely, and it also offers the artist’s own unique perspective on his practice.

 

► Click here to access the publication [+]

 

“Nelson Henricks’ work is very unique and emblematic of what contemporary artistic practices have to offer. A way of being in the world that at once unmistakably inscribes itself in the present, while acknowledging what has built it, nourished it, stimulated it, made it, so to speak. By developing this language that is so singular to him, Henricks has made a very significant contribution to the evolution of video art in Canada.  In addition to the extraordinary quality of his work, Henricks has made a generous contribution to his community. A contribution that unfolds in many ways, from supporting the development of young artists’ practice in institutional or non-institutional settings, to enriching the discourse around the works of his peers, to contributing to the influence and balance of Montreal’s visual and media arts ecosystem.”

 

– Excerpt from the presentation text for Nelson Henricks’ nomination for the Prix Robert-Forget 2024.

 

FILM PROGRAM

Discover a film program curated by Nelson Henricks, featuring his reflections on his artistic practice and the influential works that have shaped it. Available for streaming until December 15, 2024.

 

  • Compte à rebours, Nelson Henricks, 2007, 30 min  
  • Static, Nik Forrest, 1995, 7 min
  • Three Waltzes, Monique Moumblow, 1998, 7 min 
  • Rut, Yudi Sewraj, 1998, 2 min 30 s
  • Failure, Nelson Henricks, 2007, 7 min 
  • My Heart the Rock Star, Nik Forrest, 2001, 2 min 
  • My Heart the Interior Decorator, Nelson Henricks, 2006, 1 min 49 s
  • January 15th, Monique Moumblow, 2004, 3 min 34 s
  • 00:00:15;00, Nik Forrest, 2002, 3 min 49 s
  • Having Coffee with No One, Monique Moumblow, 2002, 4 min 30 s

 

Click here to watch [+]

 

 

© 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.