Interviews — Readings on Performance (2019)

Miller, H. (1982). Le sourire au pied de l’échelle. Paris : Buchet Chastel.

Beckett, S. (1952). En attendant Godot. Paris : Les éditions de Minuit.

Kaprow, A. (1996). L’art et la vie confondus. Paris : Centre Georges Pompidou.

Certeau, M. de (1990). L’invention du quotidien I : Arts de faire. Paris : Gallimard.

Calle, S. & Auster, P. (1998). Gotham Handbook New York, mode d’emploi (Livre VII). Paris : Actes Sud.

Goldberg, R. (2001). La performance du futurisme à nos jours. Paris : Thames & Hudson.

Vergine, L. (2000). Body Art and Performance, The Body as Language. Milan : Skira.

Martel, R. (éd.) (1998). Art Action 1958-1998. Québec : Inter.

Householder, J. & Mars, T. (éds.) (2016). More Caught in the Act, an anthology of performance art by Canadian women. Toronto Montréal : Artexte Edition et XXZ Books.

Carlson, M. (1996). Performance a critical introduction. New York / Londres : Routledge.

Heathfield, A. & Hsieh,T. (2009). Out of Now, The Lifeworks of Tehching Hsieh. Cambridge : The MIT Press.

Borggreen, G. & Gade, R. (dirs.). Performing Archives / Archives of performance. Copenhagen : Museum Tusculanum Press.

Bénichou, A. (éd.) (2015). Recréer/Scripter, Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines. Dijon : Les presses du réel.

Sylvette Babin holds a Master of Fine Arts (Open Media) from Concordia University. Her practice of artistic performance has led her to participate in numerous events in Canada and in some twenty cities in Europe, Asia and Latin America. She has been a member of esse magazine’s editorial board for over 20 years and has acted as editor since 2002. She has contributed articles for magazines, catalogues and artists’ books and has curated the events Les Convertibles produced by Culture pour tous (2006), Infraction 08 (Sète, France, 2008), and Il Nostro Gusto (Triennale Orange, Saint-Hyacinthe, 2009). She has taught Art and Urban Theatre at Shawinigan College and Visual and Media Arts at Cégep de Saint-Hyacinthe. Sylvette Babin has sat on several peer committees, including for the Canada Council for the Arts, the Fonds de recherche du Québec – Société et culture and for various art centres, and has taken part in various advisory committees.

Bachelard, G. (1961). La poétique de l’espace. Paris : Presses universitaires de France.

Butler, C., Clark, L. et Oramas, L.P. (2014). Lygia Clark : the abandonment of art, 1948-1988. New York : The Museum of Modern Art.

Chave, A., Haskell, B., Krauss, R. et Martin, A. (1992). Agnes Martin. New York : Whitney Museum of American Art.

De Cointet, G. et Rouart, J. (2014). Guy de Cointet. Paris : Flammarion.

Gauvreau, C. (1977). Œuvres créatrices complètes. Montréal : Parti pris.

Glissant, É. (2009). Philosophie de la relation : poésie et étendue. Paris : Gallimard.

Imhoff, A. et de Toledo, C. (2016). Les potentiels du temps : art et politique. Paris : Manuella éditions.

Ono, Y. (2004). Pamplemousse. Paris : Textuel.

Stanton, V. (2015). Human encounters maps. Québec : Praxis art actuel.

Francys Chenier holds a Bachelor’s degree in Visual and Media Arts (2006-2010) and an interdisciplinary Master’s degree in Art (2012-2015) from l’École d’art de l’Université Laval. His academic background has earned him several awards, including the René-Richard Master’s Scholarship in 2016. In addition to several independent and clandestine projects, his work has been presented as part of events — Viva ! Art action (Montreal, 2015), Les liaisons artistiques, Musée du Bas-Saint-Laurent (Rivière-du-Loup, 2015) — and individual exhibitions in the artists’ centers Caravansérail (Rimouski, 2017) and L’Œil de poisson (Quebec City, 2018). His performances were presented at Dare-Dare (Ars memoriae – Les Nuits de la poésie, Montreal, 2013) and Artexte (Voyage de têtes with Sylvie Cotton, Montreal, 2015). He has completed residency projects, most recently at the Chambre blanche (Quebec City, 2017).

Householder, J. and Mars, T. (eds.). (2016). More Caught in the Act: an anthology of performance art by Canadian women, Montreal and Toronto : Artexte Editions/YYZ Books

The Golden Book (series), FADO Performance Art Centre, 2013–2018 (on-going). Series includes:

— Paterson, A. J. (2013). Dangling That Rope. In C. Gehman (ed.), Film: Rope by Francesco Gagliardi.

— Couillard, P. and Johnson, E. (2014). Duorama #1–120.

— PULSE by Mary Coble (workbook and Morse Code key to accompany artist’s project), MONOMYTHS (series), 2015.

— (2018). x for staying here with us now by Sherri Hay. Interview between FADO and the performing object.

— Thain, A. (2018). From Specular to Speculative: Intimate Encounters @ Uterine Concert Hall. In Intimate Karaoke, Live at Uterine Concert Hall by Dayna McLeod.

Cochrane, S. and Broms, G. (eds.). (2018). 9 Questions, an artist project by Gustaf Broms. Toronto : FADO Performance Art Centre.

Susann, J. (2016). Valley of the Dolls : 50^th Anniversary. New York : Grove Press.

Davies, R. (1978). How to Design a Haunted House. Dans One Half of Robertson Davies. Markham : Penguin Books.

Guinness World Records. (2003). The Guinness Book of World Records 2004. Enfield : Guinness.

Friedman, K., Smith, O. and Sawchyn, L. (eds.). (2002). The Fluxus Performance Workbook. London: Routledge/ Taylor & Francis.

Burrows, J. (2010). The Choreographer’s Handbook. London : Routledge.

Wood, C. (2007). The Mind is a Muscle : Yvonne Rainer. London : Afterall.

Public Recordings. (2017). performance encyclopedia. Ephemeral object from performance series 2013–2017, self-published/performed as part of Australian Theatre Forum.

Shannon Cochrane is a Toronto-based performance artist. Her work has been presented in festivals, theaters and at various events across Canada and the U.S., and in over 18 countries across Europe, Asia, and the UK. Her work seeks to engage reflexively with the audience, strategically with humour and methodically with physical material to present situations and images that deconstruct and look critically at the formal presentation of art action, authorship, and repetition. Cochrane is the Artistic Director of FADO Performance Art Centre. She is also a co-founding member of the Toronto Performance Art Collective (established 1997), and is one of the current curators and organizers of the 7a*11d International Festival of Performance Art produced by the collective every two years in Toronto.

Brecht, G. & Daniels D. (1991). George Brecht Notebooks I-III. Köln: Verlag der Buchhandlung Walther König.

Broms, G. & Cochrane, S., eds. (2018). 9 Questions. Toronto: FADO Performance Art Centre.

Dupuy, J., ed. (1980). Collective Consciousness: Art Performances in the Seventies. New York: Performing Arts Journal Publications.

Hall, P. (2017). Towards an Encyclopedia of Local Knowledge, Excerpts from Chapters I and II, St. John’s: Breakwater Books & ISER Books.

Householder, J. & Mars, T., eds. (2016). More Caught in the Act: An Anthology of Performance Art by Canadian Women. Toronto: YYZ & Montréal: Artexte Éditions.

Pruesse, K. (1999). Accidental Audience: Urban Interventions by Artists. Toronto: Toronto Off\Site Collective.

Schimmel, P., Stiles, K., et al. (1998). Out of actions: Between performance and the object, 1949-1979. Los Angeles & New York: The Museum of Contemporary Art.

Sheets-Johnstone, M. (2011). The Primacy of Movement (Expanded second edition). Amsterdam/Philadelphia: John Benjamins Publishing Company.

Stiles, K. & Selz, P., eds. (1996). Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings.  Berkeley and Los Angeles: University of California Press, Ltd.

Paul Couillard has been working as an artist, curator, and performance art scholar since 1985. He has created more than 200 solo and collaborative performance works in 26 countries, often working with his partner Ed Johnson. Couillard was the Performance Art Curator for Fado Performance Inc. from its inception in 1993 until 2007 and is also a founding co-curator of Toronto’s 7a*11d International Festival of Performance. He is the editor of Fado’s Canadian Performance Art Legends, a series of books on senior Canadian performance artists. His current research is focused on a theoretical recuperation of the notion of presence as intra-active relationality and shared meaningfulness.

Bottiroli, S., Polenta, G. et Delfini, M. (2015). How to build a manifesto for the future of a festival. Italy: Santacangelo Festival Teatro.

Bismarck, B. & Schafaff, J. (eds.). (2012). Cultures of the Curatorial. Berlin: Sternberg Press.

Davida, D., Gabriels, J., Provonost, M. et Hudon, V. (eds.). (2018). Curating Live Arts : Critical perspectives, essays and conversations in theory and practice. New York & London : Berghahn Books.

Ferdman, B. & Sellar, T. (eds.). (2014). “Performance Curation”. Theater, 42(2). New Haven : Yale University Press.

Franko, M. & Lepecki, A. (eds.). (2012). “Dance in the Museum”. Dance Research Journal 46(3).

Malzacher, F. (2017). Empty Stages, Crowded Flats. Performativity as curatorial strategy. Berlin : Alexander Verlag Berlin.

Malzacher, F., Tupavic, T. & Zanki, P. (2010). “Curating Performing Arts”. Frakcija (55).

Sellar, T. (ed.). (2017). “Curating Crisis”. Theater 47(1). New Haven : Yale University Press.

Wookey, S. (2015). Who Cares? Dance in the Gallery and Museum. London: Siobhan Davies Dance.

Dena Davida has practiced contemporary dance for 45 years as a performer, teacher, researcher and curator.  She co-founded, directed and is currently the curator of Montreal’s Tangente dance performance organization. She was also co-founder of the Festival international de nouvelle danse de Montréal. She taught dance improvisation and composition, Laban Movement Analysis, dance aesthetics and anthropology as a lecturer at the Université du Québec à Montréal (UQAM) for over 25 years. Her essays and research articles have been published in numerous magazines and journals. Her recent publications include a chapter on the establishment of university dance programmes in Montreal for Renegade Bodies: Canadian Dance in the 1970s and the international anthology Fields in Motion: Ethnography in the worlds of dance, for which she was editor along with 28 dancer-researchers. In 2014, she initiated a long-term project to develop the theory and practice of performing arts curation through a website, an international symposium, a Master’s level seminar and the publication in 2018 of Curating Live Arts: Critical Perspectives, Essays and Conversations in Theory and Practice.

Davis, Heather (dir.) (2017). Desire Change: Contemporary Feminist Art in Canada. Montréal: McGill-Queen’s University Press / Winnipeg: Mentoring Artists for Women’s Art.

Goldberg, RoseLee (1979). Performance: Live Art 1909 to the Present. New York: H. N. Abrams.

Juno, Andrea et Vivian Vale (dir.) (1991). Angry Women. San Francisco : RE/Search Publications.

Mark, Lisa Gabrielle (dir.) (2007). WACK! Art and the Feminist Revolution. Los Angeles: Museum of Contemporary Art / Cambridge: MIT Press.

Mars, Tanya et Johanna Householder (dir.) (2004). Caught in the Act: An Anthology of Performance Art by Canadian Women. Toronto: YYZ Books.

Mars, Tanya et Johanna Householder (dir.) (2016). More Caught in the Act: An Anthology of Performance Art by Canadian Women. Montréal: ARTEXTE / Toronto: YYZ Books.

Randolph, Jeanne (2009). The Critical Object (Digital Redux). Winnipeg: Platform Centre.

Roth, Moira (dir.) (1983). The Amazing Decade: Women and Performance Art in America 1970-1980. Los Angeles: Astro Artz.

Solnit, Rebecca (2004). Hope in the Dark: Untold Histories, Wild Possibilities. New York: Nation Books.

Wark, Jayne (2006). Radical Gestures: Feminism and Performance Art in North America. Montréal: McGill-Queen’s University Press.

Shawna Dempsey and Lorri Millan are among Canada’s best-known performance artists. They were catapulted into the international spotlight in their 20s with the performance and film We’re Talking Vulva. Since then, their live work and videos have been exhibited in diverse venues as far-ranging as women’s centers in Sri Lanka to the Museum of Modern Art in New York City. This Winnipeg-based duo has created installations (such as Archaeology and You for the Royal Ontario Museum), public art pieces (such as One Gay City, the subject of a Manitoba Human Rights Commission challenge) and books (such as Bedtime Stories for the Edge of the World, Arbeiter Ring Press). To most, however, they are known simply as the Lesbian Rangers of Lesbian National Parks and Services. Their humorous, feminist and provocative work has been acclaimed as “one of the high-points of contemporary Canadian artistic production” (Border Crossings Magazine). 

Belmore, F. (ed.) (2019). Wordless – The Performance Art of Rebecca Belmore. Vancouver: Grunt Gallery.

Bowles, J. (1966). Plain Pleasures. London: Penguin Books.

Bowles, P. (1963). Their Heads Are Green And Their Hands Are Blue: Scene From the Non-Christian World. New York: Eco Press.

Cage, J. (1967). A Year from Monday. Middletown: Wesleyan University Press.

Davis, A., Charkvravorty Spivak, G. and Dhawan, N. (2018). Colonial Repercussions. Dans Symposium III ‘’Planetary Utopias – Hope, Desire, Imaginaries in a Post-Colonial World’’. Berlin : Akademie der Künste, Récupéré de https://www.youtube.com/watch?v=cc-nGN07gnk&feature=youtu.be

Gurley Brown, H. (1962). Sex and the Single Girl. New York: Bernard Geis Associates.

Lotringer, S. (éd.) (2009). The German Issue, New Edition. Los Angeles: Semiotex(e).

Nesbit, E. (1924). Wet Magic. London: Unwin.

Ping, Q., Pitzen, M. and Werner, C. (eds.) (1998). Half of the Sky: Chinese Women Artists. Bonn: Frauenmuseum.

Singh, V. (2004). Ritual in Contemporary Performance. Vancouver: Western Front.

Stein, G. (1989). Lifting Belly. Berkeley: Counterpoint press.

Steinem, G. and al. (eds.) (1972-2019) Ms Magazine, I(1) to XXIX(4).

Willard, T. (ed.) (2008). Access All Areas: Conversations on Engaged Arts. Vancouver: Grunt Gallery.

Margaret Dragu works in video, installation, web/analogue book publication, and performance. Spanning relational, durational, interventionist and community-based practices, her performances have been presented in galleries, museums, theaters, nightclubs, libraries, universities and site-specific venues including parks, botanical gardens, and public parade routes across Canada, the U.S. and Europe. An innovator and pioneer in Canadian art, Dragu was the recipient of the Governor General’s Award for Visual and Media Arts in 2012. Margaret Dragu was born in Regina, Saskatchewan. She lives in East Vancouver, BC where she makes art and continues her 45+ year art practice along with her 45+ year body practice as Personal Trainer/Group Fitness and Yoga Instructor.

Baricco, A. traduit par Françoise Brun. (2000). City. Paris : Éditions Albin Michel.

Gillis, M. (1989). Bloom. Choreography and performance: Margie Gillis; Text: excerpt from James Joyce’s Ulysses, Narration by Siobhan McKenna.

Gillis, M (1990). Variation.  Choreography and performance, Margie Gillis; Music, J.S. Bach (aria and 5^th variation from The Goldberg variations), played by Glenn Gould.    

Guttman, k.g. (2016). It’s like hammering into nothing when I speak it… .Montréal: k.g.Guttman.

Lalonde, C. (2017). La dévoration des fées. Montréal : Le Quartanier.

Nelson, M. (2015). The Argonauts. Minneapolis: Graywolf Press.

Piper, A. (1996). Out of Order, Out of Sight, Volume I, Selected Writings in Meta-Art, 1968-1992 and Volume II, Selected Writings in Art Criticism, 1967-1992. MIT Press: Cambridge, MA.

Rainer, Y. (2006). Feelings are Facts, A life. MIT Press: Cambridge, MA.

Rivière, E. (2013). ob.scène, récit fictif d’une vie de danseur. Pantin : Centre national de la danse.

Vowel, C. (2016). Indigenous Writes, A Guide to First Nations, Métis & Inuit Issues in Canada. Winnipeg: HighWater Press.

Based in Montreal, Marie Claire Forté is driven by the relational, experiential and experimental potential of dance. As both choreographer and dancer, she leads her own projects and works with the likes of Louise Bédard, Aurélie Pédron, Martin Bélanger, and PME-ART. She was a dancer in residence at Agora de la danse from 2017 to 2019. In 2016, the Leonard & Bina Ellen Program in Support of Artistic Production allowed her to undertake the bilingual exhibition and publication – I’d rather something ambiguous. Mais précis à la fois. with close friend Sophie Bélair Clément. From 2004 to 2008, she danced at the now defunct Le Groupe Dance Lab in Ottawa, training daily with Peter Boneham. He remains her great friend and mentor, and they are currently working on a book about his teaching practice. In conjunction with her artistic practice, she translates, writes and teaches dance.

Atwood, Margaret (1989). The Edible Woman. Toronto: McClelland & Stewart, New Canadian Library edition.

Brumberg, Joan Jacobs (1997). The Body Project: An Intimate History of American Girls. New York: Penguin Random House.

Demos, T.J. (2010). Dara Birnbaum. Technology/Transformation: Wonder Woman. Coll. « One Work ». Londres: Afterall Books.

Engelbrecht, Kate (2011). Please Read (if at all possible): The Girl Project. New York: Universe Publishing.

Jones, Amelia (2006). Self/Image: Technology, Representation and the Contemporary Subject. New York: Routledge.

Mizejewski, Linda (1987). Women, Monsters, and The Masochistic Aesthetic in Fosse’s Cabaret. Journal of Film and Video, Spectatorship, Narritivitty and Feminist Revision, 39(4), 5-17.

Paradjanov, Sergei (dir.) (1969). The Color of Pomegranates [DVD]. Yerevan: Armenfilm.

Proulx, Mikhel (dir.) (2016). Queer Codes: Studies in Gender, Sexuality, and the Digital. Montréal : Department of Art History, Concordia University.

Rozas, Ixiar (2014). The Desire to be Affected. Maska: The Performing Arts Journal, 29(161-162), 76-83.

Springgay, Stephanie (dir.) (2012). Diane Borsato [Catalogue]. Toronto: Art Gallery of York University.

Tolle, Eckhart (1999). The Power of Now: A Guide to Spiritual Enlightenment, Vancouver: Namaste Publishing.

Villeneuve, Roland (1969). Le Musée de la Bestialité. Paris : Éditions Azur – C.O.

Circulating within both the visual and live arts communities – as an artist, independent curator, and consultant or freelance project manager/artistic director – Nadège Grebmeier Forget has participated in numerous events, festivals, panels, residencies, and exhibitions in Canada, the USA, and Europe. She is the first performance artist to receive the Prix Pierre-Ayot (2019), awarded by the Ville de Montréal, in partnership with the Contemporary Art Galleries Association (AGAC). Her interdisciplinary practice unfolds via durational, live, live-streamed and private performances, which sometimes result in photography or installation works. Her performances aim to model and hybridize the self to defuse expectations of beauty and explore the effects (and affects) of the concerned gaze on the unfolding identity as it is observed and analyzed by others, including oneself. Seeking to confront desires and ideals (aesthetic, commercial, sexual, etc.) through an empowered and performative manipulation of her own image, she intrinsically questions the labour of making and becoming; including the ways in which performance (of self or art) can be documented, shown, disseminated or exhibited.

Bélair-Clément, S. et Forté, M-C. (2017). I’d rather something ambiguous. Mais précis à la fois. Montréal : Galerie Leonard & Bina Ellen.

Bénichou, A. (2018). Rejouer Danse dans la neige, dans Yann Potin, Paul-Louis Rinuy et Clothilde Roullier (dir.). Archives en acte : Arts plastiques, danse, performance (p. 125-136). Saint-Denis : Presses universitaires de Vincennes.

Boye, S. (2014). Portia is that you?. ALT Theatre Magazine, 1, 16-20.

Francisco-Fernando, G. (2016). Jessica Karuhanga writing on Fransicso-Fernando Granados’ spatial profiling. C Magazine (130), 76-77.

Gaudreau, L. (2007). Document 4  : Un projet chorégraphique. Montréal : Création Danse Lynda Gaudreau.

Govinden, E. (2017). Tim Horton’s Roll-up- Celebrating 150 years of Canada 2017. Entrée de blogue.

Henderson, A. (2015). Practicing Eight Day, dans Forte, M-C. (éd.) 8 days / Project bk. Toronto : Public Recordings Performance Projects, pp.140-173.

McCurdy, E., Mohr-Blakeney, V. et Spooner, C. (2015). No Context Catalog. Toronto : Nomadic Curatorial Collective.

Nicols, E. (2019) Aggressive Snuggling: from the politics of touch to the poetics of touch [Blogue]. Récupéré de https://spiritualjanitorial.wixsite.com/erocanicols/workshop-aggressive-snuggling

Rodriguez, P. (2014). A Practice, performed and conceptualized by Kelly Keenan and Adam Kinner. In Chan, Z. and Zuppiger, K. Secret Life. Québec : Quiet Spell, pp. 80-85.

k.g. Guttman is a Canadian artist, educator, and research candidate in the PhDArts program of Leiden University and the Royal Academy of Art in the Hague, the Netherlands. Her work has received a grant by the Social Sciences and Humanities Research Council of Canada (SSHRC) to conduct artistic research that considers territoriality discourse, choreographic practice, and site-specific interventions. From 2008-2013. k.g. was an Assistant Professor in the Department of Contemporary Dance, Concordia University, Montreal. Her work has been screened, produced and presented nationally and internationally with the help of institutions such as the Palais de Tokyo and Galerie Khiasma in Paris, the Ottawa Art Gallery, Galerie La Centrale and VIVA! Art action in Montreal, the Musée d’Art de Joliette, and TPW Gallery and Blackwood Gallery in Toronto. Her choreographic works were commissioned by the Canada Dance Festival, Dancemakers, Le Groupe Dance Lab, Ottawa, and Sonora University, in Mexico. The performance documentation for her work Elapse I & II was launched at Art Metropole, Toronto and Galerie La Centrale, Montreal, and is part of the National Gallery of Canada’s Library & Archives collection. 

Acker, K. (1984). Blood and Guts in High School. Grove Press.

Austin, J. L. (1975). How to Do Things with Words (2^nd ed.). J.O. Urmson & M. Sbisà (Eds.). Cambridge : Harvard University Press. (Original work published 1962)

Barad, K. (2007). Meeting the Universe Halfway : Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press.

Cage, J. (1961). Silence. Lectures and Writings. Middletown : Wesleyan University Press.

Gladman, R. (2016). Calamities. Wave Books.

Moten, F. (2003). In the Break : The Aesthetics of the Black Radical Tradition. University of Minnesota Press.

Preciado, P.B. (2013) Testo Junkie : Sex, Drugs, and Biopolitics in the Pharmacopornographic Era (B. Benderson, Trans.). The Feminist Press. (Original work published 2008)

Simpson, A. (2014). Mohawk Interruptus : Political Life Across the Borders of Settler States. Duke University Press.

Stephens, N. (Nathanaël). (2018). Je Nathanaël (N. Stephens, Trans.). Nightboat/Book*Hug. (Original work published 2003)

Wren, J. (2007). Families are Formed Through Copulation. Toronto : Pedlar Press.

Adam Kinner (Washington, D.C., 1984) is an artist living and working in Montreal. Having trained in music, he now makes work on the thresholds of performance, sound and visual arts, collaborating with artists from dance and music. Recent projects include Instructions for a performance by Emma Goldman, an exhibition at the Foreman Art Gallery which distills his research on the Haskell Free Library and Opera House, a heritage building that straddles the Canada/U.S. border; an exhibition at Artexte that wove together national and personal performance histories, sound works, and readings; a performance with 8 saxophonists for the Musée d’art contemporain des Laurentides; and a research-performance project for OFFTA in Montreal. He has presented work at the Leonard and Bina Ellen Gallery, SBC Gallery, Galerie de l’UQAM, Musée McCord as well as Usine C, Tangente, Studio 303 and Innovations en Concert. His work has been shown abroad in the UK, USA, France and Belgium. In the summer of 2017, Kinner was a fellow at Vila Sul in Salvador de Bahia, Brazil. He holds degrees from McGill University and Concordia University and is currently completing an MFA at the School of the Art Institute of Chicago.

Agamben, G. (1990). La communauté qui vient : théorie de la singularité quelconque. Paris : Éditions du Seuil.

Austin, J.L. (1970). Quand dire, c’est faire. Paris : Éditions du Seuil.

Derrida, J. et Dufourmantelle, A. (1997). Anne Dufourmantelle invite Jacques Derrida à répondre De l’hospitalité. Paris : Calmann-Lévy.

Dewey, J. (1934). Art as experience. New York : Putnam.

Haraway, D. (2019). Manifeste des espèces compagnes. Montréal : Éditions Flammarion.

Lyotard, J.-F. (1979). La condition postmoderne. Paris : Éditions de Minuit.

Malabou, C. (2017). Métamorphoses de l’intelligence : Que faire de leur cerveau bleu ? Paris : Presses universitaires de France.

Pontbriand, C. (dir.) (1981). Performance textes & documents : actes du colloque Performance et multidisciplinarité : postmodernisme, Montréal, 9, 10, 11 octobre 1980/Performance: texts & documents: proceedings of the conference Multidisciplinary aspects of performance: postmodernism, Montreal, October 9, 10, 11, 1980. Montréal : Parachute.

Pontbriand, C. (éd.) (2014). Perform : How to do things with[out] Words. Berlin : Sternberg Press.

Rainer, Y. (1974). Yvonne Rainer : Work 1961-73. Halifax : Nova Scotia College of Art and Design.

Thoreau, H.D. (2010). Walden. Marseille : Le mot et le reste.

Sylvester, D. (éd.) (1994). Looking at Giacometti. Londres : Chatto & Windus.

Chantal Pontbriand is a contemporary art consultant, curator, and critic whose work is based on the exploration of questions of globalization and artistic heterogeneity. She has curated numerous international contemporary art events: exhibitions, international festivals, and international conferences, mainly in photography, video, performance, dance, and multimedia installation. She was the founder of PARACHUTE contemporary art magazine in 1975 and acted as publisher/editor until 2007, directing 125 issues. After curating several major performance events and festivals, she co-founded the FIND (Festival International de Nouvelle Danse) in Montreal and acted as president and director from 1982 to 2003. She was appointed Head of Exhibition Research and Development at Tate Modern in London in 2010, and then founded PONTBRIAND W.O.R.K.S. [We_Others and Myself_Research_Knowledge_ Systems] in 2012. In 2015-2016, she worked on the development of DEMO-GRAPHICS for the Greater Toronto Area, and she briefly occupied the newly-created position of CEO-Director at the Museum of Contemporary Art Toronto (MOCA). Since 2017, she is developing SPHERE(S), a new type of international art event based in Montreal, and is writing a book titled EXIL(E], migration and aesthetics.

Baehr, Antonia. (2008). Rire / Laugh / Lachen. Aubervilliers: Les Laboratoires d’Aubervilliers. 

Barad, Karen. (2007). Meeting the Universe Halfway. Durham : Duke University Press. 

Delany, Samuel R. ([1988] 2004). The Motion of Light in Water: Sex and Science Fiction Writing in the East Village. Minneapolis: Minnesota University Press.

Deleuze, Gilles et Guattari, Félix. (1980). “28 novembre 1947. Comment se faire un Corps sans Organes,” in Capitalisme et Schizophrénie 2: Mille Plateaux. Paris; Les Éditions de minuit.

Ferreira da Silva, Denise. (2016). “On Difference without Separability,” in Jochen Volz and Júlia Rebouças (Eds.), 32^nd Bienal de São Paulo, Catalogue. São Paulo: Fundação Bienal de São Paulo, pp. 57-65.

Giroux, Dalie. (2019). Parler en Amérique: Oralité, Colonialisme, Territoire. Montréal: Mémoire d’encrier.

Hijikata, Tatsumi and Yamamoto, Moe. (2015). Costume en Face : A Primer of Darkness for Young Boys and Girls. Brooklyn : Ugly Duckling Press.

Klosty, James. (1975). Merce Cunningham. New York: Saturday Review Press.

Beatriz Preciado, Paul. (2008). Testo Junkie: Sexe, drogue et biopolitique. Paris: Grasset.

Sullivan, Françoise. (1977) « Je précise » et « La danse et l’espoir », Danse dans la neige, avec des photographies de Maurice Perron. Montréal.

Noémie Solomon works as a teacher, writer, dramaturge, and curator in the field of contemporary dance and performance. She edited the collections DANSE, an anthology and a catalog published by Presses du réel, 2014 and 2015. Her essays and translations have been published in various journals such as Dance Research Journal, Dance Chronicles, TDR, Movement Research, and Maska; in the critical anthologies Planes of Composition (ed. Joy and Lepecki, Seagull Press) and Perform Repeat Record (ed. Heathfield and Jones, Intellect Press); and art catalogs such as Superbodies (Lido), Move: Choreographing You (Hayward), Judson Now (Danspace), Sharon Lockhart | Noa Eshkol (TBA), and Boris Charmatz (MoMA). She collaborated on a series of dramaturgical and curatorial initiatives in the dance field internationally, including: the redoing of Allan Kaprow’s 18 Happenings in 6 parts, directed by André Lepecki (Haus der Kunst, 2006; PERFORMA 2007); Dance on Time with Gurur Ertem (iDANS, Istanbul, 2009); Self-Methodologies with Sandra Noeth (Tanzquartier, Vienna, 2011); the Photomusée de la danse with Tim Etchells (Festival d’Avignon, 2011); Solos and Solitudes with Jenn Joy (Danspace Project, NYC, 2012-13); and Dancing is talking / Talking is dancing with Jenny Schlenzka (MoMA PS1, NYC, 2014). Car c’est par la fragilité que la révolution œuvre, a dance work co-created with Adam Kinner, premiered in Montreal in May 2016.

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karen elaine spencer est une artiste qui a une pratique en atelier, qui fait des performances, qui agit comme commissaire et qui écrit. Oscillant entre le travail dans la rue, les expositions en galerie et la diffusion via Internet, le travail de spencer interroge les hiérarchies et explore notre façon d’occuper, en tant qu’êtres de passage, le monde dans lequel nous vivons. Depuis l’obtention de sa maîtrise en arts visuels de l’Université du Québec à Montréal en 2001, elle a été artiste en résidence au Symposium international d’art contemporain de Baie-Saint-Paul (2015), au International Studio and Curatorial Program à Brooklyn (2012) et à la Cité Internationale des arts de Paris (2005). Ses expositions récentes incluent enveloping self i smell memory à la Galerie Sans Nom à Moncton, au Nouveau-Brunswick (2018), letters home/lettres à ma mère à la Galerie B-312 à Montréal (2015), Coming to terms à Little Berlin à Philadelphie (2015) et New York Stories au ISCP à Brooklyn (2014). Le travail de spencer fait partie de nombreuses collections au Canada et aux États-Unis, dont celle de la Banque d’art du Conseil des arts du Canada, de la Bibliothèque nationale du Québec, du Musée d’art contemporain de Baie-Saint-Paul, du Richmond Women’s Resource Centre Association, en plus de collections corporatives et privées en France, au Canada et aux États-Unis. spencer s’est méritée le prix Powerhouse de La Centrale Galerie Powerhouse en 2012 et, en 2016, elle fut finaliste pour le 2e prix en art actuel du Musée national des beaux-arts du Québec.

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Jacob, M.J. (2004). “Reciprocal Generosity”. In Purves, T. (ed.), What We Want is Free: Generosity and Exchange in Recent Art. Albany: SUNY Press.

Le Feuvre, L. (ed.) (2010). FAILURE. Cambridge: MIT Press.

Smart, A. (2013). Auto-Pilot: The Art & Science of Doing Nothing. New York: OR Books.

Wren, J. (2018). Authenticity is a Feeling: My Life in PME-ART. Toronto: Book*hug.

Victoria Stanton is an interdisciplinary performance artist and researcher-curator-educator. She has curated performance art programs for artist-run centers in both Montreal and Toronto, has contributed critical writings about interdisciplinary performance practises – in particular the performative as it is revealed in material and time-based works – to a variety of art publications, and is a founding member of the performance art/research collective, TouVA (with Sylvie Tourangeau and Anne Bérubé). Her first book Impure, Reinventing the Word: The Theory, Practice and Oral History of Spoken Word in Montreal (conundrum press, 2001), co-authored with Vincent Tinguely, chronicled a vibrant artistic movement via interviews with over 75 artists. Her second book, The 7th Sense: Practicing Dialogues / Practicing Workshops / Practicing the Daily Performative / Practicing Performance Art (SAGAMIE édition d’art, 2017), co-authored by TouVA, and initially researched during their eight-month residence at Artexte (2008-2009), draws upon a profound exploration of “the performative” in performance art.

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Françoise Sullivan is known as a dancer, choreographer and visual artist. She was one of the founders of the Automatistes group with Paul-Émile Borduas and one of the signatories of the Refus global manifesto (1948). Her work has been the subject of retrospectives at the Musée d’art contemporain de Montréal (2018 and 1981), the Galerie de l’UQAM (2017), the Art Gallery of Ontario (2010), the Montreal Museum of Fine Arts (2003), and the Musée national des beaux-arts du Québec (1993). She has also taken part in several group exhibitions in Canada, Europe and the United States, including On Line: Drawing Through the Twentieth Century at the Museum of Modern Art in New York (2010), The Automatiste Revolution: Montreal 1941-1960 at the Varley Art Gallery, Unionville, Ontario (2010) and at the Albright-Knox Art Gallery in Buffalo. She has received several distinctions and awards, including the Paul-Émile Borduas Prize, the Order of Quebec and the Order of Canada, the Governor General’s Award and the Gershon Iskowitz Prize. She is represented by Galerie Simon Blais in Montreal.

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Borduas, Paul-Émile, Claude Gauvreau, Bruno Cormier, Françoise Sullivan et Fernard Leduc (1948). Refus global. Montréal : Mithra-Mythe.

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Graduate of Studio Arts at Concordia University (2000), and pursuing her doctoral degree in the program Études et pratiques des arts (UQAM), Julie Andrée T. works with performance and installation, situating the body and the space at the very center of her practice. She showed her performances in Europe and Canada, and she had solo exhibitions at Le lieu (Quebec), A Space (Toronto), Articule (Montreal), and Trace (Cardiff). Her practice explores the loss of identity, among other themes, straying from the codes of performance to underscore the graphic dimension of the work. It was with Not Waterproof / L’érosion d’un corps erroné and Rouge, presented at the Festival TransAmériques in 2009, that she found the theatrical vehicle she had been looking for: an installation-performance stemming from a perfect amalgam of graphic materials (body, painting, accessories, costumes, lights…) and sound elements. Regarded as an object, the body is often severely tested.

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Active in performance art since 1978, Sylvie Tourangeau is interested in deploying performative consciousness through small actions that intensify the quality of “presence”, while embodying links with the audience. Performance, relational art, circumstantial rituals and explorative workshops form the basis of her practice and involvement in the arts.

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Founded in the spring of 2007, the TouVA collective (Sylvie Tourangeau, Victoria Stanton and Anne Bérubé) is a Montreal-based study group on different modes of performativity. The performance art trio has been researching the practice of performance through multiple frameworks and approaches: performances, conferences, blogs, experimental laboratories, dynamic exchanges with artists, and coaching in varied contexts.  Their activities have included participations to the M:ST festival in Calgary (2016); performances for the 30th anniversary of EXPRESSION centre d’exposition in Saint-Hyacinthe (2016), for the  Musée du Bas-Saint-Laurent (2015), for the Darling Foundry in Montreal (2013), and for Fait Maison in Gatineau (2009); collective workshops at M:ST (2012, 2016, 2017); performative lectures at VIVA! Art action in Montreal (2009), at the 7a*11d Festival of Performance Art in Toronto (2010), and again at M:ST (2014); and numerous performances or research and creation residencies, notably at Le 4330 and at Artexte in Montreal (2011, 2008-09). In 2017, they published The 7th Sense, a book comprising essays, a glossary, as well as contributions by 30 contemporary performance artists.