Screening & discussion with Chantal duPont

3 pictures. On the left a bald woman, in the middle a woman's shadow, and on the right, a montage of a woman and man's face

Left : © Chantal duPont, Karma ; Center : © Madelon Hooykaas, schaduw + veer ; Right : © Mario Côté, Tableau 20

Screening & discussion with Chantal duPont

Screening and discussion

Wednesday, October 26, 2016

Vidéographe

Blue Card: Nomadic Images

The video artist Chantal duPont, will be our guest for the sixth Videograhe’s “carte blanche”, and will offer us an eloquent evening on her video practice and her artistic collaborations.

A Blue Card for images that traverse oceans. Chantal duPont has put together a selection of her video works and those of two artists who have influenced her practice: Montréal’s Mario Côté and Madelon Hooykaas of Amsterdam, Netherlands.

The artists use images in their artistic process that travel from one work, context, and time period to another. Through their roaming, nomadic images of faces, bodies, or landscapes may take an idea further or take on another meaning altogether. In certain video works, the body’s memory is triggered through the presence of a shadow, a fragmented face, or a simple gesture.

PROGRAMME : (57 min 34 s)
Chantal duPont
– De cœur et de paroles, 1999, Chantal duPont and Élisabeth Wörle, 1min 41 s (extract)
– Head strong, 2000, 4 min (2 extracts)
– Seeing with your fingertips, 2004, 2 min 18 s (2 extracts)
– Karma, 2006, 1 min 30 s
– Faces, 2013 (extract 28 s)
– Cartes et territoires, un parcours, 2015, 7 min 47 s (4 extracts)
– At the Lightest Touch, 2013, 3 min (2 extracts)

Madelon Hooykaas et Chantal duPont in memory of Elsa Stansfield
– Interview with Madelon, 2016, Amsterdam studio, 3 min 23 s
– After Image/After Language, audio and video installation, in situ, Sept. 2006
Parc La Fontaine, Montréal, 15 min, Documentation (extract 3 min 3 s)
– After Image/After Language, audio and video installation, in situ, Sept. 2006 (extract 6 min 11 s)
– Interview with Madelon, 2016, atelier Amsterdam, 1 min 23 s
Haiku, The art of the present moment, 2007, 7 min (extract hiver)

Mario Côté
– Tableau 16, 1992, 4 min 14 s (extract 1 min 58 s)
– Tableau 20, 2009, 15 min (extract 2 min 37 s)
– 5 Tableaux 5 Paysages, 1994, 16 min 18 s (extract 2 min 40 s)
– Tableau 20, 2009, 15 min (extract 5 min 29 s)

Biography
Chantal duPont has taken part in many international video festivals and individual and group exhibitions in Quebec and abroad. She is the winner of the 2005 Bell Canada Award in video art. Her work is internationally recognized and has received awards in several festivals, including events in Belgium, Colombia, France, Portugal and in Montreal, where she won the Prix à la Création artistique from the Conseil des arts et des lettres du Québec for her video Du front tout le tour de la tête.

Since 1996, the content of her video works and installations tackles the themes of family and cultural identity, self-representation, the vulnerability of the body, memory, writing as object and process of creation. She is interested in various narrative forms that can lead the transition between reality and fiction brought by digital. chantal-dupont.ca

@Charlotte Clermont, Plants Are Like People, 2018_soutien_technique_cover_mars2022

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.

Illustration: Lee Lai

Eleven cultural organizations in Montreal affirm or reaffirm their endorsement of PACBI and restate their commitment to the liberation of Palestine.

PRESS RELEASE

In a strong statement of solidarity, eleven cultural organizations in Montreal have officially endorsed the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), highlighting their commitment to the global Boycott, Divestment, and Sanctions (BDS) movement. This collective action underscores the essential role of culture in resisting colonial oppression and supporting the liberation of Palestine. While a ceasefire agreement has been partially reached, this support affirms that the struggle for justice, resistance, and liberation is more important than ever.

The BDS movement, launched in 2004 by Palestinian civil society, calls for sustained and nonviolent pressure to end the Israeli colonial project and the ongoing occupation of Palestinian lands. The demands of the movement are as follows :

End the occupation and colonization of all Palestinian lands and dismantle the apartheid wall
Recognize the full rights of Palestinians to equality, both within the 1948 borders and in the occupied territories
Uphold the right of Palestinian refugees to return to their homes, as enshrined in international law and United Nations Resolution 194.

By supporting PACBI, these organizations reject complicity in the normalization of the Israeli colonial regime. On the contrary, they commit to supporting Palestinian self-determination by promoting artistic practices and cultural collaborations that resist colonial oppression and amplify the voices of liberation.

In October 2023, over 4,000 Canadian artists and cultural workers signed a solidarity letter stating: ”As artists, cultural workers, and academics, we firmly support the Palestinian struggle for freedom and against all forms of racism and colonial violence.” This collective statement underscores the belief that art is inherently political and that artists have a responsibility to stand in solidarity with oppressed communities, including Palestinians. (Hernandez, Cassie. “4,000 Canadian Artists and Cultural Workers Sign Palestine Solidarity Letter.” Hyperallergic, 20 Oct. 2023.)

Montreal, known for its vibrant cultural landscape, has a long history of engagement in global struggles for justice. This collective decision reflects a growing awareness among cultural workers of the importance of international solidarity in the fight against colonialism and apartheid.

This support comes at a critical time, as Palestinians face escalating land theft, systemic violence, and forced displacement under the ongoing Israeli occupation. The decision of these organizations to join PACBI is a long-awaited declaration that culture must align with the values of justice and liberation.

The organizations supporting this initiative are joining a growing global movement of artists, academics, and cultural workers committed to supporting the Palestinian people in their struggle for liberation and self-determination. These organizations hope that more groups will adopt PACBI across Quebec and Canada.

To date, the following organizations have united their efforts to support or reaffirm their commitments to PACBI: Ada X, articule, Atelier La Coulée, Céline Bureau, Centre Clark, Centre des arts actuels SKOL, Dazibao, Metonymy Press, Oboro, PME-ART, and Vidéographe.

About PACBI

The Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) was launched in 2004 as part of the BDS movement. It calls on cultural institutions and individuals to refuse complicity in violations of international law and human rights committed by the colonial regime, emphasizing the transformative power of global solidarity. PACBI is committed to freedom of expression as outlined in the United Nations International Covenant on Civil and Political Rights (ICCPR) and, in principle, rejects boycotts of individuals based on their opinions or identity (such as citizenship, race, gender, or religion).