{"id":1820,"date":"2025-01-10T14:54:34","date_gmt":"2025-01-10T19:54:34","guid":{"rendered":"https:\/\/biblio-performance.uqam.ca\/?page_id=1820"},"modified":"2026-07-15T21:54:00","modified_gmt":"2026-07-16T01:54:00","slug":"2019-interviews","status":"publish","type":"page","link":"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/","title":{"rendered":"Interviews \u2014\u00a0<em>Readings on Performance<\/em> (2019)"},"content":{"rendered":"\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 id=\"h-a-series-of-recordings-compiled-on-the-occasion-of-the-symposium-discourse-in-motion-at-artexte-montreal\" class=\"wp-block-heading\">A series of recordings compiled on the occasion of the symposium\u00a0<em>Discourse in Motion<\/em>\u00a0at Artexte, Montreal<\/h3>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\" id=\"h-une-serie-d-enregistrements-compilee-dans-le-cadre-du-lancement-de-la-publication-du-projet-une-bibliographie-annotee-en-temps-reel-a-artexte-montreal\"><em><strong>Readings on Performance<\/strong><\/em> (2015\u20132019) is a series dedicated to artists and writers who discuss their choice of influential readings on performance art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this second series of video clips from 2019, several artists discuss their selection of documents for the symposium<em> <strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-symposium\/\">Discourse in Motion<\/a><\/strong><\/em>, which is the final event of the research project <em>An Annotated Bibliography in Real Time<\/em>.\u00a0Held on November 29\u201330, 2019, the symposium was also the occasion of the launch of the publication <em><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/publication\/\">An Annotated Bibliography in Real Time: Performance Art in Quebec and Canada<\/a><\/strong><\/em>. The participants included:<\/p>\n\n\n\n<div style=\"height:35px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\">\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#babin\">Sylvette Babin<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#chenier\">Francys Chenier<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#cochrane\">Shannon Cochrane&nbsp;<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#couillard\">Paul Couillard<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#davida\">Dena Davida<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#dempsey-millan\"><strong>Shawna Dempsey &amp; Lori Millan<\/strong><\/a><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#dragu\">Margaret Dragu<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#forte\">Marie-Claire Fort\u00e9<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/2019-entretiens\/#grebmeier\">Nad\u00e8ge Grebmeier Forget<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#guttman\">k. g. guttman<\/a><\/strong><\/li>\n<\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\">\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#kinner\">Adam Kinner<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#pontbriand\">Chantal Pontbriand<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#solomon\">No\u00e9mie Solomon<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#spencer\">karen elaine spencer<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#stanton\">Victoria Stanton<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#sullivan\">Fran\u00e7oise Sullivan<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#t\">Julie Andr\u00e9e T.<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#tourangeau\">Sylvie Tourangeau<\/a><\/strong><\/li>\n\n\n\n<li><\/li>\n\n\n\n<li><strong><a href=\"https:\/\/biblio-performance.uqam.ca\/en\/2019-interviews\/#touva\">TouVa<\/a><\/strong><\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"babin\" class=\"wp-block-heading\">Sylvette Babin<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_BabinSylvette_FR-1024x539.png\" alt=\"\" class=\"wp-image-1727\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_BabinSylvette_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_BabinSylvette_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_BabinSylvette_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_BabinSylvette_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Sylvette Babin, filmed in Montreal, 2019. Video screenshot.&nbsp;<br><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93415\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM.<\/a> (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18200\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-18200\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Miller, H. (1982). <em>Le sourire au pied de l\u2019\u00e9chelle<\/em>. Paris : Buchet Chastel.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Beckett, S. (1952). <em>En attendant Godot<\/em>. Paris : Les \u00e9ditions de Minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kaprow, A. (1996). <em>L\u2019art et la vie confondus<\/em>. Paris : Centre Georges Pompidou.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Certeau, M. de (1990). <em>L\u2019invention du quotidien I : Arts de faire<\/em>. Paris : Gallimard.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Calle, S. &amp; Auster, P. (1998). <em>Gotham Handbook New York, mode d\u2019emploi (Livre VII)<\/em>. Paris : Actes Sud.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Goldberg, R. (2001). <em>La performance du futurisme \u00e0 nos jours<\/em>. Paris : Thames &amp; Hudson.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vergine, L. (2000). <em>Body Art and Performance, The Body as Language<\/em>. Milan : Skira.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Martel, R. (\u00e9d.) (1998). <em>Art Action 1958-1998<\/em>. Qu\u00e9bec : Inter.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Householder, J. &amp; Mars, T. (\u00e9ds.) (2016). <em>More Caught in the Act, an anthology of performance art by Canadian women<\/em>. Toronto Montr\u00e9al : Artexte Edition et XXZ Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Carlson, M. (1996). <em>Performance a critical introduction<\/em>. New York \/ Londres : Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Heathfield, A. &amp; Hsieh,T. (2009). <em>Out of Now, The Lifeworks of Tehching Hsieh<\/em>. Cambridge : The MIT Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Borggreen, G. &amp; Gade, R. (dirs.). <em>Performing Archives \/ Archives of performance<\/em>. Copenhagen : Museum Tusculanum Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">B\u00e9nichou, A. (\u00e9d.) (2015). <em>Recr\u00e9er\/Scripter, M\u00e9moires et transmissions des \u0153uvres performatives et chor\u00e9graphiques contemporaines<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18201\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Sylvette Babin Biography<\/h3><div id=\"ac-18201\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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 <em>esse <\/em>magazine\u2019s editorial board for over 20 years and has acted as editor since 2002. She has contributed articles for magazines, catalogues and artists\u2019 books and has curated the events <em>Les Convertibles<\/em> produced by Culture pour tous (2006), <em>Infraction 08<\/em> (S\u00e8te, France, 2008), and <em>Il Nostro Gusto<\/em> (Triennale Orange, Saint-Hyacinthe, 2009). She has taught Art and Urban Theatre at Shawinigan College and Visual and Media Arts at C\u00e9gep de Saint-Hyacinthe. Sylvette Babin has sat on several peer committees, including for the Canada Council for the Arts, the Fonds de recherche du Qu\u00e9bec \u2013 Soci\u00e9t\u00e9 et culture and for various art centres, and has taken part in various advisory committees.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"chenier\" class=\"wp-block-heading\">Francys Chenier<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ChenierFrancys_FR-1024x539.png\" alt=\"\" class=\"wp-image-1729\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ChenierFrancys_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ChenierFrancys_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ChenierFrancys_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ChenierFrancys_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Franys Chenier, filmed in Montreal, 2019. Video screenshot.&nbsp;<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93420\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18202\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-18202\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Bachelard, G. (1961).<em> La po\u00e9tique de l\u2019espace<\/em>. Paris : Presses universitaires de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Butler, C., Clark, L. et Oramas, L.P. (2014). <em>Lygia Clark : the abandonment of art, 1948-1988<\/em>. New York : The Museum of Modern Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Chave, A., Haskell, B., Krauss, R. et Martin, A. (1992).<em> Agnes Martin<\/em>. New York : Whitney Museum of American Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">De Cointet, G. et Rouart, J. (2014). <em>Guy de Cointet<\/em>. Paris : Flammarion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gauvreau, C. (1977). <em>\u0152uvres cr\u00e9atrices compl\u00e8tes<\/em>. Montr\u00e9al : Parti pris.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Glissant, \u00c9. (2009). <em>Philosophie de la relation : po\u00e9sie et \u00e9tendue<\/em>. Paris : Gallimard.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Imhoff, A. et de Toledo, C. (2016). <em>Les potentiels du temps : art et politique<\/em>. Paris : Manuella \u00e9ditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ono, Y. (2004). <em>Pamplemousse<\/em>. Paris : Textuel.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stanton, V. (2015). <em>Human encounters maps<\/em>. Qu\u00e9bec : Praxis art actuel.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18203\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Francys Chenier Biography<\/h3><div id=\"ac-18203\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Francys Chenier holds a Bachelor\u2019s degree in Visual and Media Arts (2006-2010) and an interdisciplinary Master\u2019s degree in Art (2012-2015) from l\u2019\u00c9cole d\u2019art de l\u2019Universit\u00e9 Laval. His academic background has earned him several awards, including the Ren\u00e9-Richard Master\u2019s Scholarship in 2016. In addition to several independent and clandestine projects, his work has been presented as part of events \u2014 <em>Viva ! Art action<\/em> (Montreal, 2015), <em>Les liaisons artistiques<\/em>, Mus\u00e9e du Bas-Saint-Laurent (Rivi\u00e8re-du-Loup, 2015) \u2014 and individual exhibitions in the artists\u2019 centers Caravans\u00e9rail (Rimouski, 2017) and L\u2019\u0152il de poisson (Quebec City, 2018). His performances were presented at Dare-Dare (<em>Ars memoriae \u2013 Les Nuits de la po\u00e9sie<\/em>, Montreal, 2013) and Artexte (<em>Voyage de t\u00eates<\/em> with Sylvie Cotton, Montreal, 2015). He has completed residency projects, most recently at the Chambre blanche (Quebec City, 2017).<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"cochrane\" class=\"wp-block-heading\">Shannon Cochrane<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CochraneShannon_FR-1024x539.png\" alt=\"\" class=\"wp-image-1731\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CochraneShannon_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CochraneShannon_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CochraneShannon_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CochraneShannon_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Shannon Cochrane, filmed in Toronto, 2019. Video screenshot.\u00a0<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93413\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM.<\/a> (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18204\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-18204\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Householder, J. and Mars, T. (eds.). (2016). <em>More Caught in the Act: an anthology of performance art by Canadian women<\/em>, Montreal and Toronto : Artexte Editions\/YYZ Books<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The Golden Book<\/em> (series), FADO Performance Art Centre, 2013\u20132018 (on-going). Series includes:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014 Paterson, A. J. (2013). Dangling That Rope. In C. Gehman (ed.), <em>Film: Rope by<\/em> <em>Francesco Gagliardi<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014 Couillard, P. and Johnson, E. (2014). <em>Duorama #1\u2013120.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u2014<\/em> <em>PULSE by Mary Coble<\/em> (workbook and Morse Code key to accompany artist\u2019s project), MONOMYTHS (series), 2015.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014 (2018). <em>x for staying here with us now by Sherri Hay<\/em>. Interview between FADO and the performing object.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014 Thain, A. (2018). From Specular to Speculative: Intimate Encounters @ Uterine Concert Hall. In <em>Intimate Karaoke, Live at Uterine Concert Hall<\/em> by Dayna McLeod.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cochrane, S. and Broms, G. (eds.). (2018). <em>9 Questions, an artist project by Gustaf Broms<\/em>. Toronto : FADO Performance Art Centre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Susann, J. (2016). <em>Valley of the Dolls : 50<\/em><em><sup>th<\/sup><\/em><em> Anniversary<\/em>. New York : Grove Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Davies, R. (1978). How to Design a Haunted House. Dans <em>One Half of Robertson Davies<\/em>. Markham : Penguin Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Guinness World Records. (2003).<em> The Guinness Book of World Records 2004<\/em>. Enfield : Guinness.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Friedman, K., Smith, O. and Sawchyn, L. (eds.). (2002).<em> The Fluxus Performance Workbook<\/em>. London: Routledge\/ Taylor &amp; Francis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Burrows, J. (2010). <em>The Choreographer\u2019s Handbook<\/em>. London : Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wood, C. (2007). <em>The Mind is a Muscle : Yvonne Rainer<\/em>. London : Afterall.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Public Recordings. (2017).<em> performance encyclopedia<\/em>. Ephemeral object from performance series 2013\u20132017, self-published\/performed as part of Australian Theatre Forum.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18205\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Shannon Cochrane Biography<\/h3><div id=\"ac-18205\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"couillard\" class=\"wp-block-heading\">Paul Couillard<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CouillardPaul_FR-1024x539.png\" alt=\"\" class=\"wp-image-1733\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CouillardPaul_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CouillardPaul_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CouillardPaul_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_CouillardPaul_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Paul Couillard, filmed in Toronto, 2019. Video screenshot.\u00a0<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93414\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18206\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-18206\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Brecht, G. &amp; Daniels D. (1991). <em>George Brecht Notebooks I-III<\/em>. K\u00f6ln: Verlag der Buchhandlung Walther K\u00f6nig.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Broms, G. &amp; Cochrane, S., eds. (2018). <em>9 Questions<\/em>. Toronto: FADO Performance Art Centre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dupuy, J., ed. (1980). <em>Collective Consciousness: Art Performances in the Seventies<\/em>. New York: Performing Arts Journal Publications.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hall, P. (2017). <em>Towards an Encyclopedia of Local Knowledge<\/em>, Excerpts from Chapters I and II, St. John&#8217;s: Breakwater Books &amp; ISER Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Householder, J. &amp; Mars, T., eds. (2016). <em>More Caught in the Act: An Anthology of Performance Art by Canadian Women<\/em>. Toronto: YYZ &amp; Montr\u00e9al: Artexte \u00c9ditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pruesse, K. (1999). <em>Accidental Audience: Urban Interventions by Artists<\/em>. Toronto: Toronto Off\\Site Collective.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schimmel, P., Stiles, K., et al. (1998). <em>Out of actions: Between performance and the object, 1949-1979<\/em>. Los Angeles &amp; New York: The Museum of Contemporary Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sheets-Johnstone, M. (2011). T<em>he Primacy of Movement<\/em> (Expanded second edition). Amsterdam\/Philadelphia: John Benjamins Publishing Company.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stiles, K. &amp; Selz, P., eds. (1996). <em>Theories and Documents of Contemporary Art: A Sourcebook of Artists&#8217; Writings<\/em>.&nbsp; Berkeley and Los Angeles: University of California Press, Ltd.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18207\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Paul Couillard Biography<\/h3><div id=\"ac-18207\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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\u2019s 7a*11d International Festival of Performance. He is the editor of Fado\u2019s 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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"davida\" class=\"wp-block-heading\">Dena Davida<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DavidaDena_FR-1024x539.png\" alt=\"\" class=\"wp-image-1735\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DavidaDena_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DavidaDena_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DavidaDena_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DavidaDena_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Dena Davida, filmed in Montreal, 2019. Video screenshot.&nbsp;<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93409\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18208\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-18208\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Bottiroli, S., Polenta, G. et Delfini, M. (2015). <em>How to build a manifesto for the future of a festival. <\/em>Italy: Santacangelo Festival Teatro.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bismarck, B. &amp; Schafaff, J. (eds.). (2012). <em>Cultures of the Curatorial. <\/em>Berlin: Sternberg Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Davida, D., Gabriels, J., Provonost, M. et Hudon, V. (eds.). (2018). <em>Curating Live Arts : Critical perspectives, essays and conversations in theory and practice. <\/em>New York &amp; London : Berghahn Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ferdman, B. &amp; Sellar, T. (eds.). (2014). \u201cPerformance Curation\u201d. <em>Theater, 42<\/em>(2). New Haven : Yale University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Franko, M. &amp; Lepecki, A. (eds.). (2012). \u201cDance in the Museum\u201d. <em>Dance Research Journal 46<\/em>(3).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Malzacher, F. (2017). <em>Empty Stages, Crowded Flats. Performativity as curatorial strategy. <\/em>Berlin : Alexander Verlag Berlin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Malzacher, F., Tupavic, T. &amp; Zanki, P. (2010). \u201cCurating Performing Arts\u201d. <em>Frakcija<\/em> (55).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sellar, T. (ed.). (2017). \u201cCurating Crisis\u201d. <em>Theater 47<\/em>(1). New Haven : Yale University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wookey, S. (2015). <em>Who Cares? Dance in the Gallery and Museum. <\/em>London: Siobhan Davies Dance.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-18209\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Dena Davida Biography<\/h3><div id=\"ac-18209\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Dena Davida has practiced contemporary dance for 45 years as a performer, teacher, researcher and curator.&nbsp; She co-founded, directed and is currently the curator of Montreal\u2019s <em>Tangente<\/em> dance performance organization. She was also co-founder of the <em>Festival international de nouvelle danse de Montr\u00e9al<\/em>. She taught dance improvisation and composition, Laban Movement Analysis, dance aesthetics and anthropology as a lecturer at the Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al (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 <em>Renegade Bodies: Canadian Dance in the 1970s<\/em> and the international anthology <em>Fields in Motion: Ethnography in the worlds of dance<\/em>, 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\u2019s level seminar and the publication in 2018 of <em>Curating Live Arts: Critical Perspectives, Essays and Conversations in Theory and Practice<\/em>.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"dempsey-millan\" class=\"wp-block-heading\">Shawna Dempsey &amp; Lori Millan<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DempseyShawna-MillanLorri_FR-1024x539.png\" alt=\"\" class=\"wp-image-1737\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DempseyShawna-MillanLorri_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DempseyShawna-MillanLorri_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DempseyShawna-MillanLorri_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DempseyShawna-MillanLorri_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Shawna Dempsey &amp; Lori Millan, filmed in Winnipeg, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93411\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182010\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182010\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Davis, Heather (dir.) (2017). <em>Desire Change: Contemporary Feminist Art in Canada<\/em>. Montr\u00e9al: McGill-Queen\u2019s University Press \/ Winnipeg: Mentoring Artists for Women\u2019s Art.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Goldberg, RoseLee (1979). <em>Performance: Live Art 1909 to the Present<\/em>. New York: H. N. Abrams.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Juno, Andrea et Vivian Vale (dir.) (1991). <em>Angry Women<\/em>. San Francisco : RE\/Search Publications.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mark, Lisa Gabrielle (dir.) (2007). <em>WACK! Art and the Feminist Revolution<\/em>. Los Angeles: Museum of Contemporary Art \/ Cambridge: MIT Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mars, Tanya et Johanna Householder (dir.) (2004). <em>Caught in the Act: An Anthology of Performance Art by Canadian Women<\/em>. Toronto: YYZ Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mars, Tanya et Johanna Householder (dir.) (2016). <em>More Caught in the Act: An Anthology of Performance Art by Canadian Women<\/em>. Montr\u00e9al: ARTEXTE \/ Toronto: YYZ Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Randolph, Jeanne (2009). <em>The Critical Object (Digital Redux)<\/em>. Winnipeg: Platform Centre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Roth, Moira (dir.) (1983). <em>The Amazing Decade: Women and Performance Art in America 1970-1980<\/em>. Los Angeles: Astro Artz.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Solnit, Rebecca (2004). <em>Hope in the Dark: Untold Histories, Wild Possibilities<\/em>. New York: Nation Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wark, Jayne (2006). <em>Radical Gestures: Feminism and Performance Art in North America<\/em>. Montr\u00e9al: McGill-Queen\u2019s University Press.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182011\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Shawna Dempsey &amp; Lori Millan Biography<\/h3><div id=\"ac-182011\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Shawna Dempsey and Lorri Millan are among Canada\u2019s best-known performance artists. They were catapulted into the international spotlight in their 20s with the performance and film <em>We\u2019re Talking Vulva<\/em>. Since then, their live work and videos have been exhibited in diverse venues as far-ranging as women\u2019s centers in Sri Lanka to the Museum of Modern Art in New York City. This Winnipeg-based duo has created installations (such as <em>Archaeology and You<\/em> for the Royal Ontario Museum), public art pieces (such as <em>One Gay City<\/em>, the subject of a Manitoba Human Rights Commission challenge) and books (such as <em>Bedtime Stories for the Edge of the World<\/em>, Arbeiter Ring Press). To most, however, they are known simply as the Lesbian Rangers of <em>Lesbian National Parks and Services<\/em>. Their humorous, feminist and provocative work has been acclaimed as \u201cone of the high-points of contemporary Canadian artistic production\u201d (Border Crossings Magazine).&nbsp;<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"dragu\" class=\"wp-block-heading\">Margaret Dragu<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DraguMargaret_FR-1024x539.png\" alt=\"\" class=\"wp-image-1739\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DraguMargaret_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DraguMargaret_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DraguMargaret_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_DraguMargaret_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Margaret Dragu, filmed in Vancouver, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93417\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182012\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182012\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Belmore, F. (ed.) (2019). <em>Wordless \u2013 The Performance Art of Rebecca Belmore<\/em>. Vancouver: Grunt Gallery.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bowles, J. (1966). <em>Plain Pleasures<\/em>. London: Penguin Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bowles, P. (1963). <em>Their Heads Are Green And Their Hands Are Blue: Scene From the Non-Christian World<\/em>. New York: Eco Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cage, J. (1967). <em>A Year from Monday<\/em>. Middletown: Wesleyan University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Davis, A., Charkvravorty Spivak, G. and Dhawan, N. (2018). Colonial Repercussions. Dans <em>Symposium III \u2018\u2019Planetary Utopias \u2013 Hope, Desire, Imaginaries in a Post-Colonial World\u2019<\/em>\u2019. Berlin : Akademie der K\u00fcnste, R\u00e9cup\u00e9r\u00e9 de https:\/\/www.youtube.com\/watch?v=cc-nGN07gnk&amp;feature=youtu.be<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gurley Brown, H. (1962).<em> Sex and the Single Gir<\/em>l. New York: Bernard Geis Associates.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lotringer, S. (\u00e9d.) (2009). <em>The German Issue<\/em>, New Edition. Los Angeles: Semiotex(e).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nesbit, E. (1924). <em>Wet Magic<\/em>. London: Unwin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ping, Q., Pitzen, M. and Werner, C. (eds.) (1998). <em>Half of the Sky: Chinese Women Artists<\/em>. Bonn: Frauenmuseum.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Singh, V. (2004). <em>Ritual in Contemporary Performance<\/em>. Vancouver: Western Front.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stein, G. (1989). <em>Lifting Belly<\/em>. Berkeley: Counterpoint press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Steinem, G. and al. (eds.) (1972-2019) <em>Ms Magazine, I<\/em>(1) to <em>XXIX<\/em>(4).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Willard, T. (ed.) (2008). <em>Access All Areas: Conversations on Engaged Arts<\/em>. Vancouver: Grunt Gallery.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182013\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Margaret Dragu Biography<\/h3><div id=\"ac-182013\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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\u2019s 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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"forte\" class=\"wp-block-heading\">Marie-Claire Fort\u00e9<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ForteMarie-Claire_FR-1024x539.png\" alt=\"\" class=\"wp-image-1741\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ForteMarie-Claire_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ForteMarie-Claire_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ForteMarie-Claire_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_ForteMarie-Claire_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Marie-Claire Fort\u00e9, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93412\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182014\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182014\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Baricco, A. traduit par Fran\u00e7oise Brun. (2000). <em>City<\/em>. Paris : \u00c9ditions Albin Michel.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gillis, M. (1989). <em>Bloom<\/em>. Choreography and performance: Margie Gillis; Text: excerpt from James Joyce&#8217;s Ulysses, Narration by Siobhan McKenna.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gillis, M (1990). <em>Variation<\/em>.&nbsp; Choreography and performance, Margie Gillis; Music, J.S. Bach (aria and 5<sup>th<\/sup> variation from The Goldberg variations), played by Glenn Gould.&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Guttman, k.g. (2016). <em>It\u2019s like hammering into nothing when I speak it\u2026<\/em> .Montr\u00e9al: k.g.Guttman.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lalonde, C. (2017). <em>La d\u00e9voration des f\u00e9es<\/em>. Montr\u00e9al : Le Quartanier.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nelson, M. (2015). <em>The Argonauts<\/em>. Minneapolis: Graywolf Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Piper, A. (1996). <em>Out of Order, Out of Sight, Volume I, Selected Writings in Meta-Art, 1968-1992<\/em> and <em>Volume II, Selected Writings in Art Criticism, 1967-1992<\/em>. MIT Press: Cambridge, MA.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rainer, Y. (2006). <em>Feelings are Facts, A life<\/em>. MIT Press: Cambridge, MA.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rivi\u00e8re, E. (2013). <em>ob.sc\u00e8ne, r\u00e9cit fictif d\u2019une vie de danseur<\/em>. Pantin : Centre national de la danse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vowel, C. (2016). <em>Indigenous Writes, A Guide to First Nations, M\u00e9tis &amp; Inuit Issues in Canada<\/em>. Winnipeg: HighWater Press.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182015\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Marie-Claire Fort\u00e9 Biography<\/h3><div id=\"ac-182015\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Based in Montreal, Marie Claire Fort\u00e9 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 B\u00e9dard, Aur\u00e9lie P\u00e9dron, Martin B\u00e9langer, and PME-ART. She was a dancer in residence at Agora de la danse from 2017 to 2019. In 2016, the Leonard &amp; Bina Ellen Program in Support of Artistic Production allowed her to undertake the bilingual exhibition and publication \u2013 <em>I\u2019d rather something ambiguous. Mais pr\u00e9cis \u00e0 la fois.<\/em> with close friend Sophie B\u00e9lair Cl\u00e9ment. 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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"grebmeier\" class=\"wp-block-heading\">Nad\u00e8ge Grebmeier Forget<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GrebmeierForgetNadege_FR-1024x539.png\" alt=\"\" class=\"wp-image-1743\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GrebmeierForgetNadege_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GrebmeierForgetNadege_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GrebmeierForgetNadege_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GrebmeierForgetNadege_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Nad\u00e8ge Grebmeier Forget, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93423\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182016\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182016\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Atwood, Margaret (1989). <em>The Edible Woman<\/em>. Toronto: McClelland &amp; Stewart, New Canadian Library edition.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Brumberg, Joan Jacobs (1997). The Body Project: An Intimate History of American Girls. New York: Penguin Random House.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Demos, T.J. (2010). Dara Birnbaum. Technology\/Transformation: Wonder Woman. Coll. \u00ab One Work \u00bb. Londres: Afterall Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Engelbrecht, Kate (2011). Please Read (if at all possible): The Girl Project. New York: Universe Publishing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jones, Amelia (2006). Self\/Image: Technology, Representation and the Contemporary Subject. New York: Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mizejewski, Linda (1987). Women, Monsters, and The Masochistic Aesthetic in Fosse&#8217;s Cabaret. Journal of Film and Video, Spectatorship, Narritivitty and Feminist Revision, 39(4), 5-17.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Paradjanov, Sergei (dir.) (1969). The Color of Pomegranates [DVD]. Yerevan: Armenfilm.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Proulx, Mikhel (dir.) (2016). Queer Codes: Studies in Gender, Sexuality, and the Digital. Montr\u00e9al : Department of Art History, Concordia University.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rozas, Ixiar (2014). The Desire to be Affected. Maska: The Performing Arts Journal, 29(161-162), 76-83.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Springgay, Stephanie (dir.) (2012). <em>Diane Borsato<\/em> [Catalogue]. Toronto: Art Gallery of York University.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tolle, Eckhart (1999). <em>The Power of Now: A Guide to Spiritual Enlightenment<\/em>, Vancouver: Namaste Publishing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Villeneuve, Roland (1969). <em>Le Mus\u00e9e de la Bestialit\u00e9<\/em>. Paris : \u00c9ditions Azur &#8211; C.O.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182017\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Nad\u00e8ge Grebmeier Forget Biography<\/h3><div id=\"ac-182017\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Circulating within both the visual and live arts communities \u2013 as an artist, independent curator, and consultant or freelance project manager\/artistic director \u2013 Nad\u00e8ge 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 Montr\u00e9al, 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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"guttman\" class=\"wp-block-heading\">k. g. guttman<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GuttmanKG_FR-1024x539.png\" alt=\"\" class=\"wp-image-1745\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GuttmanKG_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GuttmanKG_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GuttmanKG_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_GuttmanKG_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with k. g. guttman, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93410\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182018\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182018\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">B\u00e9lair-Cl\u00e9ment, S. et Fort\u00e9, M-C. (2017). <em>I\u2019d rather something ambiguous. Mais pr\u00e9cis \u00e0 la fois<\/em>. Montr\u00e9al : Galerie Leonard &amp; Bina Ellen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">B\u00e9nichou, A. (2018). Rejouer Danse dans la neige, dans Yann Potin, Paul-Louis Rinuy et Clothilde Roullier (dir.). <em>Archives en acte : Arts plastiques, danse, performance <\/em>(p. 125-136). Saint-Denis : Presses universitaires de Vincennes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Boye, S. (2014). Portia is that you?. <em>ALT Theatre Magazine, 1<\/em>, 16-20.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Francisco-Fernando, G. (2016). Jessica Karuhanga writing on Fransicso-Fernando Granados\u2019 spatial profiling. <em>C Magazine<\/em> (130), 76-77.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gaudreau, L. (2007). <em>Document 4&nbsp; : Un projet chor\u00e9graphique<\/em>. Montr\u00e9al : Cr\u00e9ation Danse Lynda Gaudreau.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Govinden, E. (2017). <em>Tim Horton\u2019s Roll-up- Celebrating 150 years of Canada 2017.<\/em> Entr\u00e9e de blogue.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Henderson, A. (2015). Practicing Eight Day, dans Forte, M-C. (\u00e9d.) <em>8 days \/ Project bk<\/em>. Toronto : Public Recordings Performance Projects, pp.140-173.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">McCurdy, E., Mohr-Blakeney, V. et Spooner, C. (2015). <em>No Context Catalog<\/em>. Toronto : Nomadic Curatorial Collective.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nicols, E. (2019) <em>Aggressive Snuggling: from the politics of touch to the poetics of touch <\/em>[Blogue]. R\u00e9cup\u00e9r\u00e9 de https:\/\/spiritualjanitorial.wixsite.com\/erocanicols\/workshop-aggressive-snuggling<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rodriguez, P. (2014). A Practice, performed and conceptualized by Kelly Keenan and Adam Kinner. In Chan, Z. and Zuppiger, K. <em>Secret Life<\/em>. Qu\u00e9bec : Quiet Spell, pp. 80-85.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182019\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">k. g. guttman Biography<\/h3><div id=\"ac-182019\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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 Mus\u00e9e d\u2019Art 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 &amp; II was launched at Art Metropole, Toronto and Galerie La Centrale, Montreal, and is part of the National Gallery of Canada\u2019s Library &amp; Archives collection.&nbsp;<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"kinner\" class=\"wp-block-heading\">Adam Kinner<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_KinnerAdam_FR-1024x539.png\" alt=\"\" class=\"wp-image-1747\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_KinnerAdam_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_KinnerAdam_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_KinnerAdam_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_KinnerAdam_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Adam Kinner, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93416\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182020\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182020\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Acker, K. (1984). <em>Blood and Guts in High School<\/em>. Grove Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Austin, J. L. (1975). <em>How to Do Things with Words<\/em> (2<sup>nd<\/sup> ed.). J.O. Urmson &amp; M. Sbis\u00e0 (Eds.). Cambridge : Harvard University Press. (Original work published 1962)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Barad, K. (2007). <em>Meeting the Universe Halfway : Quantum Physics and the Entanglement of Matter and Meaning<\/em>. Duke University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cage, J. (1961). <em>Silence. Lectures and Writings<\/em>. Middletown : Wesleyan University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gladman, R. (2016). Calamities. Wave Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moten, F. (2003). <em>In the Break : The Aesthetics of the Black Radical Tradition<\/em>. University of Minnesota Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Preciado, P.B. (2013) <em>Testo Junkie : Sex, Drugs, and Biopolitics in the Pharmacopornographic Era <\/em>(B. Benderson, Trans.). The Feminist Press. (Original work published 2008)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Simpson, A. (2014). <em>Mohawk Interruptus : Political Life Across the Borders of Settler States<\/em>. Duke University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stephens, N. (Nathana\u00ebl). (2018). <em>Je Nathana\u00ebl<\/em> (N. Stephens, Trans.). Nightboat\/Book*Hug. (Original work published 2003)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wren, J. (2007). <em>Families are Formed Through Copulation<\/em>. Toronto : Pedlar Press.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182021\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Adam Kinner Biography<\/h3><div id=\"ac-182021\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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 <em>Instructions for a performance by Emma Goldman<\/em>, 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 Mus\u00e9e d\u2019art 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\u2019UQAM, Mus\u00e9e 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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"pontbriand\" class=\"wp-block-heading\">Chantal Pontbriand<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_PontbriandChantal_FR-1024x539.png\" alt=\"\" class=\"wp-image-1749\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_PontbriandChantal_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_PontbriandChantal_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_PontbriandChantal_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_PontbriandChantal_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Chantal Pontbriand, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93424\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM.<\/a> (In French)<a href=\"https:\/\/median.uqam.ca\/items\/show\/93424\"><br><\/a><\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182022\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182022\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Agamben, G. (1990). <em>La communaut\u00e9 qui vient : th\u00e9orie de la singularit\u00e9 quelconque<\/em>. Paris : \u00c9ditions du Seuil.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Austin, J.L. (1970). <em>Quand dire, c\u2019est faire<\/em>. Paris : \u00c9ditions du Seuil.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Derrida, J. et Dufourmantelle, A. (1997). <em>Anne Dufourmantelle invite Jacques Derrida \u00e0 r\u00e9pondre De l\u2019hospitalit\u00e9<\/em>. Paris : Calmann-L\u00e9vy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dewey, J. (1934). <em>Art as experience<\/em>. New York : Putnam.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Haraway, D. (2019). <em>Manifeste des esp\u00e8ces compagnes<\/em>. Montr\u00e9al : \u00c9ditions Flammarion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lyotard, J.-F. (1979). <em>La condition postmoderne<\/em>. Paris : \u00c9ditions de Minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Malabou, C. (2017). <em>M\u00e9tamorphoses de l\u2019intelligence : Que faire de leur cerveau bleu ?<\/em> Paris : Presses universitaires de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pontbriand, C. (dir.) (1981). <em>Performance textes &amp; documents : actes du colloque Performance et multidisciplinarit\u00e9 : postmodernisme, Montr\u00e9al, 9, 10, 11 octobre 1980\/Performance: texts &amp; documents: proceedings of the conference Multidisciplinary aspects of performance: postmodernism, Montreal, October 9, 10, 11, 1980<\/em>. Montr\u00e9al : Parachute.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pontbriand, C. (\u00e9d.) (2014). <em>Perform : How to do things with[out] Words<\/em>. Berlin : Sternberg Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rainer, Y. (1974). <em>Yvonne Rainer : Work 1961-73<\/em>. Halifax : Nova Scotia College of Art and Design.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thoreau, H.D. (2010). <em>Walden<\/em>. Marseille : Le mot et le reste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sylvester, D. (\u00e9d.) (1994). <em>Looking at Giacometti<\/em>. Londres : Chatto &amp; Windus.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182023\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Chantal Pontbriand Biography<\/h3><div id=\"ac-182023\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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 <em>EXIL(E], migration and aesthetics<\/em>.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"solomon\" class=\"wp-block-heading\">No\u00e9mie Solomon<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SolomonNoemie_FR-1024x539.png\" alt=\"\" class=\"wp-image-1751\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SolomonNoemie_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SolomonNoemie_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SolomonNoemie_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SolomonNoemie_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with No\u00e9mie Solomon, filmed in London, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93422\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM.<\/a> (In French)<a href=\"https:\/\/median.uqam.ca\/items\/show\/93422\" target=\"_blank\" rel=\"noreferrer noopener\"><br><\/a><\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182024\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182024\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Baehr, Antonia. (2008). <em>Rire \/ Laugh \/ Lachen<\/em>. Aubervilliers: Les Laboratoires d\u2019Aubervilliers.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Barad, Karen. (2007). <em>Meeting the Universe Halfway<\/em>. Durham : Duke University Press.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Delany, Samuel R. ([1988] 2004). <em>The Motion of Light in Water: Sex and Science Fiction Writing in the East Village<\/em>. Minneapolis: Minnesota University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Deleuze, Gilles et Guattari, F\u00e9lix. (1980). \u201c28 novembre 1947. Comment se faire un Corps sans Organes,\u201d in Capitalisme et Schizophr\u00e9nie 2: Mille Plateaux. Paris; Les \u00c9ditions de minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ferreira da Silva, Denise. (2016). \u201cOn Difference without Separability,\u201d in Jochen Volz and J\u00falia Rebou\u00e7as (Eds.), <em>32<\/em><em><sup>nd<\/sup><\/em><em> Bienal de S\u00e3o Paulo, Catalogue<\/em>. S\u00e3o Paulo: Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo, pp. 57-65.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Giroux, Dalie. (2019). <em>Parler en Am\u00e9rique: Oralit\u00e9, Colonialisme, Territoire<\/em>. Montr\u00e9al: M\u00e9moire d\u2019encrier.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hijikata, Tatsumi and Yamamoto, Moe. (2015). <em>Costume en Face : A Primer of Darkness for Young Boys and Girls<\/em>. Brooklyn : Ugly Duckling Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Klosty, James. (1975). <em>Merce Cunningham<\/em>. New York: Saturday Review Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Beatriz Preciado, Paul. (2008). <em>Testo Junkie: Sexe, drogue et biopolitique<\/em>. Paris: Grasset.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sullivan, Fran\u00e7oise. (1977) \u00ab Je pr\u00e9cise \u00bb et \u00ab La danse et l\u2019espoir \u00bb, Danse dans la neige, avec des photographies de Maurice Perron. Montr\u00e9al.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182025\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">No\u00e9mie Solomon Biography<\/h3><div id=\"ac-182025\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">No\u00e9mie Solomon works as a teacher, writer, dramaturge, and curator in the field of contemporary dance and performance. She edited the collections <em>DANSE, an anthology and a catalog<\/em> published by Presses du r\u00e9el, 2014 and 2015. Her essays and translations have been published in various journals such as <em>Dance Research Journal<\/em>, <em>Dance Chronicles<\/em>, <em>TDR<\/em>, <em>Movement Research<\/em>, and <em>Maska<\/em>; in the critical anthologies <em>Planes of Composition<\/em> (ed. Joy and Lepecki, Seagull Press) and <em>Perform Repeat Record<\/em> (ed. Heathfield and Jones, Intellect Press); and art catalogs such as <em>Superbodies<\/em> (Lido), <em>Move: Choreographing You<\/em> (Hayward), <em>Judson Now<\/em> (Danspace), <em>Sharon Lockhart | Noa Eshkol<\/em> (TBA), and <em>Boris Charmatz<\/em> (MoMA). She collaborated on a series of dramaturgical and curatorial initiatives in the dance field internationally, including: the redoing of Allan Kaprow\u2019s <em>18 Happenings in 6 parts<\/em>, directed by Andr\u00e9 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 Photomus\u00e9e de la danse with Tim Etchells (Festival d\u2019Avignon, 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). <em>Car c\u2019est par la fragilit\u00e9 que la r\u00e9volution \u0153uvre<\/em>, a dance work co-created with Adam Kinner, premiered in Montreal in May 2016.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"spencer\" class=\"wp-block-heading\">karen elaine spencer<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SpencerKarenElaine_FR-1024x539.png\" alt=\"\" class=\"wp-image-1753\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SpencerKarenElaine_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SpencerKarenElaine_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SpencerKarenElaine_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SpencerKarenElaine_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with karen elaine spencer, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93425\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182026\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182026\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Brecht, Bertolt et Willett, John (\u00e9d.) (1992) [1957]. <em>Brecht on Theater: The Development of an Aesthetic<\/em>. New York: Hill and Wang.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Derrida, Jacques et Taylor, Mark C. (\u00e9d.) (1996) [1992].<em> The Gift of Death<\/em>. Chicago: University of Chicago Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Duras, Marguerite, Bogaert, Sophie et Corpet, Olivier (\u00e9ds.) (2006). <em>Cahiers de la guerre et autres textes<\/em>. Paris : P.O.L. \u00c9diteurs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Harman, Whess (2018-2019). <em>Speed of Survivance<\/em>. s.l.: Whess Harman.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Heidegger, Martin (2010) [1953]. <em>Being and Time<\/em>. New York: State University of New York.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Irigaray, Luce (1984). <em>\u00c9thique de la diff\u00e9rence sexuelle<\/em>. Paris : Les \u00e9ditions de minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kristeva, Julia (1984). <em>Powers of Horror: An Essay on Abjection<\/em>. New York: Columbia University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lefebvre, Henri (1991) [1974].<em> The Production of Space<\/em>. Cambridge: Basil Blackwell, inc.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Marx, Karl et Engels, Friedrich (\u00e9d.) (1909) [1867]. <em>Capital: A Critique of Political Economy. Volume I: The Process of Capitalist Production<\/em>. Chicago: Charles H. Kerr &amp; Company.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nietzsche, Friedrich et Smith, Douglas (trad.) (1999) [1887]. <em>On the Genealogy of Morals<\/em>. Oxford: Oxford University Press.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182027\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">karen elaine spencer Biography<\/h3><div id=\"ac-182027\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">karen elaine spencer est une artiste qui a une pratique en atelier, qui fait des performances, qui agit comme commissaire et qui \u00e9crit. Oscillant entre le travail dans la rue, les expositions en galerie et la diffusion via Internet, le travail de spencer interroge les hi\u00e9rarchies et explore notre fa\u00e7on d\u2019occuper, en tant qu\u2019\u00eatres de passage, le monde dans lequel nous vivons. Depuis l\u2019obtention de sa ma\u00eetrise en arts visuels de l\u2019Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al en 2001, elle a \u00e9t\u00e9 artiste en r\u00e9sidence au Symposium international d\u2019art contemporain de Baie-Saint-Paul (2015), au International Studio and Curatorial Program \u00e0 Brooklyn (2012) et \u00e0 la Cit\u00e9 Internationale des arts de Paris (2005). Ses expositions r\u00e9centes incluent<em> enveloping self i smell memory<\/em> \u00e0 la Galerie Sans Nom \u00e0 Moncton, au Nouveau-Brunswick (2018), <em>letters home\/lettres \u00e0 ma m\u00e8re<\/em> \u00e0 la Galerie B-312 \u00e0 Montr\u00e9al (2015), <em>Coming to terms<\/em> \u00e0 Little Berlin \u00e0 Philadelphie (2015) et <em>New York Stories<\/em> au ISCP \u00e0 Brooklyn (2014). Le travail de spencer fait partie de nombreuses collections au Canada et aux \u00c9tats-Unis, dont celle de la Banque d\u2019art du Conseil des arts du Canada, de la Biblioth\u00e8que nationale du Qu\u00e9bec, du Mus\u00e9e d\u2019art contemporain de Baie-Saint-Paul, du Richmond Women\u2019s Resource Centre Association, en plus de collections corporatives et priv\u00e9es en France, au Canada et aux \u00c9tats-Unis. spencer s\u2019est m\u00e9rit\u00e9e le prix Powerhouse de La Centrale Galerie Powerhouse en 2012 et, en 2016, elle fut finaliste pour le 2e prix en art actuel du Mus\u00e9e national des beaux-arts du Qu\u00e9bec.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"stanton\" class=\"wp-block-heading\">Victoria Stanton<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_StantonVictoria_FR-1024x539.png\" alt=\"\" class=\"wp-image-1755\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_StantonVictoria_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_StantonVictoria_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_StantonVictoria_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_StantonVictoria_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Victoria Stanton, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93419\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182028\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182028\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Berger, J. (1980). Field. In Berger, J., <em>About Looking<\/em>. New York: Pantheon Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bogart, A. (ed.) (2001). <em>A Director Prepares: Seven Essays on Art and Theatre<\/em>. New York: Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cressel, T. (2004). <em>PLACE: A Short Introduction<\/em>. Hoboken: Blackwell Publishing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ehm, B. and L\u00f6fgren, O. (2010). <em>The Secret World of Doing Nothing<\/em>. Berkeley: University of California Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Harvie, J. (2009). <em>Theatre and the City<\/em>. London: Red Globe Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jackson, J.B. (1996). <em>A Sense of Place, a Sense of Time<\/em>. New Haven and London: Yale University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jacob, M.J. (2004). \u201cReciprocal Generosity\u201d. In Purves, T. (ed.), <em>What We Want is Free: Generosity and Exchange in Recent Art<\/em>. Albany: SUNY Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le Feuvre, L. (ed.) (2010). <em>FAILURE<\/em>. Cambridge: MIT Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Smart, A. (2013). <em>Auto-Pilot: The Art &amp; Science of Doing Nothing<\/em>. New York: OR Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wren, J. (2018). <em>Authenticity is a Feeling: My Life in PME-ART<\/em>. Toronto: Book*hug.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182029\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Victoria Stanton Biography<\/h3><div id=\"ac-182029\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">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 \u2013 in particular the performative as it is revealed in material and time-based works \u2013 to a variety of art publications, and is a founding member of the performance art\/research collective, TouVA (with Sylvie Tourangeau and Anne B\u00e9rub\u00e9). Her first book Impure, <em>Reinventing the Word: The Theory, Practice and Oral History of Spoken Word in Montreal<\/em> (conundrum press, 2001), co-authored with Vincent Tinguely, chronicled a vibrant artistic movement via interviews with over 75 artists. Her second book, <em>The 7th Sense: Practicing Dialogues \/ Practicing Workshops \/ Practicing the Daily Performative \/ Practicing Performance Art<\/em> (SAGAMIE \u00e9dition d\u2019art, 2017), co-authored by TouVA, and initially researched during their eight-month residence at Artexte (2008-2009), draws upon a profound exploration of \u201cthe performative\u201d in performance art.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"sullivan\" class=\"wp-block-heading\">Fran\u00e7oise Sullivan<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SullivanFrancaise_FR-1024x539.png\" alt=\"\" class=\"wp-image-1757\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SullivanFrancaise_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SullivanFrancaise_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SullivanFrancaise_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_SullivanFrancaise_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Fran\u00e7oise Sullivan, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93408\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In English)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182030\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182030\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Alloway, Laurence. \u201cThe Arts and the Mass Media\u201d (1958), dans Harrison, Charles et Paul Wood, <em>Art in Theory 1900 &#8211; 2000: An Anthology of Changing Ideas<\/em>, Oxford ; Malden : Blackwell Publishing, 2003 (1992), p. 700-703.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Borduas, Paul-\u00c9mile. <em>Refus global<\/em>, Montr\u00e9al : Mithra-Mythe, 1948, 112 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Breton, Andr\u00e9. <em>Manifeste du surr\u00e9alisme<\/em>, Paris : \u00c9ditions du Sagittaire, 1924, 190 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Butler, Cornelia H. et Catherine de Zegher, <em>On Line: Drawing Through the Twentieth Century<\/em>, New York : Museum of Modern Art, 2010, 216 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Debord, Guy. <em>La Soci\u00e9t\u00e9 du spectacle<\/em>, Paris : Gallimard, 1992 (1967), 184 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ellenwood, R. &amp; Billard, J.A. (2014). <em>\u00c9gr\u00e9gore : Une histoire du mouvement automatiste de Montr\u00e9al,<\/em> \u00c9dition revue et augment\u00e9e &amp; \u00c9ditions du Passage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ertem, Gurur et Sandra Noeth. <em>Bodies of Evidence. Ethics, Aesthetics, and Politics of Movement<\/em>, Vienne : Passagen Verlag, 2018, 280 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Foster, Hal. \u201cRE: POST\u201d, dans <em>PARACHUTE<\/em>, n\u00b026, printemps 1982, p. 11-15.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kaprow, Alan. \u201cAssemblages, Environments and Happenings\u201d (1959-1965), dans Harrison, Charles et Paul Wood, <em>Art in Theory 1900 &#8211; 2000: An Anthology of Changing Ideas<\/em>, Oxford ; Malden : Blackwell Publishing, 2003 (1992), p. 703-709.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lyotard, Jean-Fran\u00e7ois. \u201cIntroduction to The Postmodern Condition\u201d (1979), dans Harrison, Charles et Paul Wood, <em>Art in Theory 1900 &#8211; 2000: An Anthology of Changing Ideas<\/em>, Oxford ; Malden : Blackwell Publishing, 2003 (1992), p. 998-1000.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mabille, Pierre. <em>Egr\u00e9gores : ou La vie des civilisations<\/em>, Paris : Le Sagittaire, 1977 (1938), 234 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rosenberg, Harold. \u201cThe Fall of Paris\u201d (1940), dans Harrison, Charles et Paul Wood, <em>Art in Theory 1900 &#8211; 2000: An Anthology of Changing Ideas<\/em>, Oxford ; Malden : Blackwell Publishing, 2003 (1992), p. 541-545.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rosenberg, Harold. \u201cThe American Action Painters\u201d (1952), dans Harrison, Charles et Paul Wood, <em>Art in Theory 1900 &#8211; 2000: An Anthology of Changing Ideas<\/em>, Oxford ; Malden : Blackwell Publishing, 2003 (1992), p. 581-584.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182031\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Fran\u00e7oise Sullivan Biography<\/h3><div id=\"ac-182031\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Fran\u00e7oise Sullivan is known as a dancer, choreographer and visual artist. She was one of the founders of the Automatistes group with Paul-\u00c9mile Borduas and one of the signatories of the <em>Refus global<\/em> manifesto (1948). Her work has been the subject of retrospectives at the Mus\u00e9e d\u2019art contemporain de Montr\u00e9al (2018 and 1981), the Galerie de l\u2019UQAM (2017), the Art Gallery of Ontario (2010), the Montreal Museum of Fine Arts (2003), and the Mus\u00e9e national des beaux-arts du Qu\u00e9bec (1993). She has also taken part in several group exhibitions in Canada, Europe and the United States, including <em>On Line: Drawing Through the Twentieth Century<\/em> at the Museum of Modern Art in New York (2010), <em>The Automatiste Revolution: Montreal 1941-1960<\/em> 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-\u00c9mile Borduas Prize, the Order of Quebec and the Order of Canada, the Governor General\u2019s Award and the Gershon Iskowitz Prize. She is represented by Galerie Simon Blais in Montreal.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"t\" class=\"wp-block-heading\">Julie Andr\u00e9e T. <\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"541\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TJulieAndree_FR-1024x541.jpg\" alt=\"\" class=\"wp-image-1759\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TJulieAndree_FR-1024x541.jpg 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TJulieAndree_FR-300x158.jpg 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TJulieAndree_FR-768x406.jpg 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TJulieAndree_FR.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Julie Andr\u00e9e T., filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182032\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182032\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Bataille, George (1967)[1928]. <em>Histoire de l\u2019\u0153il<\/em>. Paris : J.-J. Pauvert.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Besse, Jean-Marc (2009). <em>Le Go\u00fbt du monde. Exercices de paysage<\/em>. Arles : Actes Sud.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Borduas, Paul-\u00c9mile, Claude Gauvreau, Bruno Cormier, Fran\u00e7oise Sullivan et Fernard Leduc (1948). <em>Refus global<\/em>. Montr\u00e9al : Mithra-Mythe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Burke, Edmund (1973). <em>Recherche philosophique sur l\u2019origine de nos id\u00e9es du sublime et du beau<\/em>. Paris : J. Vrin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cauquelin, Anne (2000). <em>L\u2019invention du paysage<\/em>. Paris : Presses universitaires de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Danan, Joseph (2017). <em>Qu\u2019est-ce que la dramaturgie?<\/em> Arles : Actes Sud.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Delmotte, Benjamin (2010). <em>Esth\u00e9tique de l\u2019angoisse : le memento mori comme th\u00e8me esth\u00e9tique<\/em>. Paris; Presses universitaires de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Goody, Jack (1979). <em>La raison graphique : la domestication de la pens\u00e9e sauvage<\/em>. Paris : Les \u00c9ditions de Minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jakob, Michael (2008).<em> Le paysage<\/em>. Gollion : Infolio \u00c9ditions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Welchman, John C. (dir.) (2008). <em>The Aesthetics of Risk<\/em>. Dijon: Les Presses du R\u00e9el.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182033\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Julie Andr\u00e9e T. Biography<\/h3><div id=\"ac-182033\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Graduate of Studio Arts at Concordia University (2000), and pursuing her doctoral degree in the program \u00c9tudes et pratiques des arts (UQAM), Julie Andr\u00e9e 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 <em>Not Waterproof \/ L\u2019\u00e9rosion d\u2019un corps erron\u00e9<\/em> and <em>Rouge<\/em>, presented at the Festival TransAm\u00e9riques 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\u2026) and sound elements. Regarded as an object, the body is often severely tested.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"tourangeau\" class=\"wp-block-heading\">Sylvie Tourangeau<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TourangeauSylvie_FR-1024x539.png\" alt=\"\" class=\"wp-image-1761\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TourangeauSylvie_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TourangeauSylvie_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TourangeauSylvie_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_TourangeauSylvie_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with Sylvie Tourangeau, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93418\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM<\/a>. (In French)<\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182034\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182034\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Anderson, L. (prod.) (1981). O Superman [vinyle]. New York : The Lobby.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bertrand, P. (dir.) (2004). <em>L\u2019intelligence du corps<\/em>. Montr\u00e9al : \u00c9ditions Liber.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Boulb\u00e8s, C. (dir.) (2014). <em>Femmes Attitudes performatives aux lisi\u00e8res de la performance et de la danse<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Castaneda, C. (1998). <em>Le voyage d\u00e9finitif<\/em>. Monaco : \u00c9ditions du Rocher.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Collet, M. et L\u00e9tourneau, A.\u00c9. (dirs) (2019). <em>Art performance, man\u0153uvre, coefficients de visibilit\u00e9<\/em>. Dijon : Les presses du r\u00e9el.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Giannachi, G., Kaye, N. et Shanks, M. (dirs.) (2012). <em>Archeologies of Presence art, performance and the persistence of being<\/em>. New York : Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le collectif TouVA (2017). <em>Le 7<sup>e<\/sup> Sens<\/em>. Alma : \u00c9ditions d\u2019art Sagamie\/Calgary : M:ST.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Paill\u00e9, L. (2004). <em>Livre-livre. La d\u00e9marche cr\u00e9ation<\/em>. Trois-Rivi\u00e8res : \u00c9ditions d\u2019art Le Sabord.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pontbriand, C. (dir.) (1981). <em>Performance: Text(e)s &amp; Documents. Actes du colloque Performance et multidisciplinarit\u00e9 : postmodernisme. Montr\u00e9al, 9-11 octobre 1980<\/em>. Montr\u00e9al : Parachute.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Richard, A.-M. (2014). <em>Performances, man\u0153uvres et autres hypoth\u00e8ses de disparition<\/em>. Alma : \u00c9ditions d&#8217;art Sagamie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schechner, R. (1988). <em>Performance Theory<\/em>. New York: Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Torrens, V. (dir.) (2014). How to Teach Performance Art: University Courses and Workshop Syllabus. Parker (Colorado) : Outskirts Press\/Valentin Torres.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tourangeau, S. (2005). <em>15 minutes d\u2019humanit\u00e9<\/em>. Gatineau : AX\u00c9N\u00c9O7.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vadori-Gauthier, N. (dir.) (2018). <em>Danser, r\u00e9sister une minute de danse par jour<\/em>. Paris : \u00c9ditions Textuel.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182035\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Sylvie Tourangeau Biography<\/h3><div id=\"ac-182035\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Active in performance art since 1978, Sylvie Tourangeau is interested in deploying performative consciousness through small actions that intensify the quality of \u201cpresence\u201d, 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.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<h2 id=\"touva\" class=\"wp-block-heading\">TouVa<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"539\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_Toutva_FR-1024x539.png\" alt=\"\" class=\"wp-image-1763\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_Toutva_FR-1024x539.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_Toutva_FR-300x158.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_Toutva_FR-768x404.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/07\/UBCETR_Entretiens2019_Toutva_FR.png 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Interview with TouVa, filmed in Montreal, 2019. Video screenshot.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/median.uqam.ca\/items\/show\/93421\" target=\"_blank\" rel=\"noreferrer noopener\">Watch the interview on M\u00c9DIAN: Banque d&#8217;objets num\u00e9riques de l&#8217;UQAM.<\/a> (In French)<a href=\"https:\/\/median.uqam.ca\/items\/show\/93421\" target=\"_blank\" rel=\"noreferrer noopener\"><br><\/a><\/p>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182036\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">Selection of documents discussed<\/h3><div id=\"ac-182036\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Artaud, A. (1985). <em>Le th\u00e9\u00e2tre et son double<\/em>. Paris : Gallimard.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bachelard, G. (1961). <em>La po\u00e9tique de l\u2019espace<\/em>. Paris : Presses universitaires de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Barber, B. (2007). <em>Performance [Performance] and Performers<\/em>. Toronto : YYZ Books.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bourriaud, N. (2001). <em>Esth\u00e9tique relationnelle<\/em>. Dijon : Presses du r\u00e9el.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Carlson, M. (1996). <em>Performance : A Critical Introduction<\/em>. London : Routledge.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ching, J. (1947). <em>Performer and Audience<\/em>. London : Hall The Publisher.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Comit\u00e9 Invisible (2014). <em>\u00c0 nos amis<\/em>. Montr\u00e9al : La fabrique.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Deleuze, G. et Guattari, F. (1980). <em>Capitalisme et schizophr\u00e9nie<\/em>. Paris : \u00c9ditions de minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dewey, J. (2005). <em>L\u2019art comme exp\u00e9rience<\/em>. Paris : Gallimard.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Formis, B. (2010). <em>Esth\u00e9tique de la vie ordinaire<\/em>. Paris : Presses universitaire de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Glouberman, M. et Heti, S. (2011). <em>The Chairs Are Where the People Go<\/em>. New York : Farrar, Straus and Giroux.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Goffman, E. (1973). <em>La mise en sc\u00e8ne de la vie quotidienne<\/em>. Paris : \u00c9ditions de Minuit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Grosz, E. (2001). <em>Architecture from the Outside : Essays on Virtual and Real Space<\/em>. Cambridge : MIT Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hoffmann, J. &amp; Jonas, J. (2005). <em>Art Works : Perform<\/em>. London : Thames &amp; Hudson.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hoffmann, J. &amp; Jonas, J. (2006). <em>Action<\/em>. London : Thames &amp; Hudson.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kaprow, A. (2003). <em>Essays on the Blurring of Art and Life<\/em>. Berkeley : University of California Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lemoine, S. et Ouardi, S. (2010). <em>Artivisme : art, action politique et r\u00e9sistance culturelle<\/em>. Paris : Alternatives.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ridout, N.P. (2006). <em>Stage Fright, Animals and Other Theatrical Problems<\/em>. Cambridge : Cambridge University Press.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Souriau, E. (2009). <em>Les diff\u00e9rents modes d\u2019existence<\/em>. Paris : Presses universitaires de France.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stengers, I. (2007). <em>La sorcellerie capitaliste<\/em>. Paris : La D\u00e9couverte.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Swidzinski, J. (2005). <em>L\u2019art et son contexte : au fait, qu\u2019est-ce que l\u2019art ?<\/em> Dijon : Les Presses du r\u00e9el.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Watts, A.W. (1999). <em>The Way of Zen<\/em>. New York : Random House.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-pb-accordion-item c-accordion__item js-accordion-item no-js\" data-initially-open=\"false\" data-click-to-close=\"true\" data-auto-close=\"true\" data-scroll=\"false\" data-scroll-offset=\"0\"><h3 id=\"at-182037\" class=\"c-accordion__title js-accordion-controller\" role=\"button\">TouVa Biography<\/h3><div id=\"ac-182037\" class=\"c-accordion__content\">\n<p class=\"wp-block-paragraph\">Founded in the spring of 2007, the TouVA collective (Sylvie Tourangeau, Victoria Stanton and Anne B\u00e9rub\u00e9) 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.&nbsp; Their activities have included participations to the M:ST festival in Calgary (2016); performances for the 30th anniversary of EXPRESSION centre d\u2019exposition in Saint-Hyacinthe (2016), for the&nbsp; Mus\u00e9e 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 <em>The 7th Sense<\/em>, a book comprising essays, a glossary, as well as contributions by 30 contemporary performance artists.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"256\" src=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/06\/UBCETR_Footer_Logos-1024x256.png\" alt=\"\" class=\"wp-image-1043\" srcset=\"https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/06\/UBCETR_Footer_Logos-1024x256.png 1024w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/06\/UBCETR_Footer_Logos-300x75.png 300w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/06\/UBCETR_Footer_Logos-768x192.png 768w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/06\/UBCETR_Footer_Logos-1536x384.png 1536w, https:\/\/biblio-performance.uqam.ca\/wp-content\/uploads\/sites\/150\/2026\/06\/UBCETR_Footer_Logos.png 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A series of recordings compiled on the occasion of the symposium\u00a0Discourse in Motion\u00a0at Artexte, Montreal Readings on Performance (2015\u20132019) is a series dedicated to artists and writers who discuss their choice of influential readings on performance art. In this second series of video clips from 2019, several artists discuss their selection of documents for the [&hellip;]<\/p>\n","protected":false},"author":658,"featured_media":558,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"class_list":["post-1820","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.4 (Yoast SEO v28.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Interviews \u2014\u00a0Readings on Performance (2019) | Une bibliographie comment\u00e9e en temps r\u00e9el | UQAM<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interviews \u2014\u00a0Readings on Performance (2019)\" \/>\n<meta property=\"og:description\" content=\"A series of recordings compiled on the occasion of the symposium\u00a0Discourse in Motion\u00a0at Artexte, Montreal Readings on Performance (2015\u20132019) is a series dedicated to artists and writers who discuss their choice of influential readings on performance art. 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