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résidence LUX

LUX – Creation and Dissemination Residency
Three selected projects

LUX - Creation and Dissemination Residency



Main Film, OBORO, PRIM and Vidéographe are pleased to announce the three selected projects for LUX, the residency dedicated to support the creation and dissemination of original moving image-based artworks by artists from Quebec and Canada. res-lux.art

75 proposals have been analyzed by a jury.
Congratulations to Edith Brunette and François Lemieux (Vases communicants), Kim Kielhofner (All the images) and Roberto Santaguida (Oekistics 1).

The three residency projects will be completed between March 2018 and February 2020. Support for this Vidéographe initiative is provided through the Conseil des arts et des lettres du Québec’s Concertation et innovation program. The artists will have access to technical and logistical support, the combined equipment pools of all four partner organizations, as well as professional promotion and dissemination services.

François Lemieux’s varied art activity melds practice, publishing and research in the form of installations, documents and situations that aim to prompt collective thinking about the notions of value, exhibition, commonality, and the relationship to the norm. A cofounder of the organization Journée sans culture, he co-edits the publication Le Merle, Cahiers sur les mots et les gestes.
Edith Brunette combines artistic practice and theoretical research. Both aspects of her practice reflect on discourses in relation to artworks in the field of the arts, and to what they reveal of the political forces and games at work. As an author and researcher, she regularly publishes texts in journals and art publications. A cofounder of the organization Journée sans culture, she iscurrently enrolled in a PhD program in political sciences at the University of Ottawa.
The project developed by Edith Brunette and Francois Lemieux for the Lux artist-in-residence program testifies to the exigencies and excesses of today’s world, chequered by infrastructure — pipelines, borders, Human Resources, surveillance networks — as well as streaked by movements and displacements that can’t be fully grasped — migrations, dispossession, occupations, exhaustion, explosions, leaks. EdithBrunetteFrançoisLemieux/vimeo

Kim Kielhofner is an artist living in Montréal. She completed a Master’s of Fine Art at Central Saint Martins College of Art and Design in London, UK in 2010 and a Bachelor of Fine Arts degree at Concordia University in 2007. She is known for her videos and drawings that often take the form of books. Her work has been shown in numerous festivals and exhibitions. Recently, she has had solo exhibitions at VOX (Montréal, 2015), Sporobole (Sherbrooke, 2017), LUX (London, 2017) and Dazibao (Montréal, 2017). She won the Hnatyshyn Foundation Charles Patcher Prize (for emerging artists) in 2013 and participated in a residency in Vienna through KulturKontakt Austria in 2017. During her residency, she will expand her interest in layered narratives by developing a video installation exploring simultaneity and simulacrum. kimkielhofner/vimeo

Since completing his studies in Cinema at Concordia University, Roberto Santaguida’s films and videos have been shown at more than 250 festivals around the world. He has been the artist in residency in numerous countries, including the United States, Romania, Germany, Norway and Australia. Roberto is a recipient of the K.M. Hunter Artist Award and a fellowship from Akademie Schloss Solitude in Germany. His project Oekistics 1 is a documentary film installation examining the memories of past places, scarcely visited unless by accident. RobertoSantaguida/vimeo

© 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.

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).