• John G. Boehme
    Weaned in the wind and sea of La Jolla, California, John G. Boehme is a product of boarding schools and graduating high school from the Army and Navy Academy. Trans-disciplinary in nature, his recent work often employs performance, video, audio, and objects simultaneously. It draws from his observations of Western society’s less considered compulsions: the performance of gender (specifically masculinity), the valorization of labour, the pursuit of leisure, and the marshalling of amity. Over the past twenty-five years, John has exhibited extensively both nationally and internationally, including in Europe, Singapore, China, Australia, Chile, Argentina, Mexico, and the United States. He is the recipient of grants from numerous institutions, including the British Columbia Arts Council, Inter Arts and Visual Arts Offices of the Canada Council for the Arts, the Tenot Foundation Grant, France, and the Department of Foreign Affairs and International Trade. John is currently teaching ceramics, sculpture, and performance art in the Visual Arts Department at Victoria’s Camosun College. The artist would like to thank the Canada Council for the Arts for its support.
    LIVE Biennale
  • Ianna Book
    Ianna Book is a multidisciplinary trans artist living and working in Montréal, QC, Canada. She studied Fine Arts at Cegep du Vieux-Montréal (1997-2000) and Visual and Media Arts at Université du Quebec à Montréal (2001-2005), and has worked as a graphic designer and editorial illustrator. Her aesthetic research critiques the norms of the human landscape and the conservative status quo as a means of opening up space for new cultural elements. By rearranging our surroundings and various aspects of the spectacle, Book pushes spectators to question their own conditioning and to remember they are social actors capable of progress. Book is the curator of Trans Time, an international group exhibition of works by transgender artists presented in Montréal (2014) and Paris (2016). She also presented a solo exhibition at Leslie & Lohman Museum of Gay and Lesbian Art, New York in the spring of 2016.
    La Centrale
    Resilience (#1)
    Ianna Book
  • kimura byol-nathalie lemoine
    Free electron
    kimura byol-nathalie lemoine is a conceptual multimedia feminist artist who explores themes of identities (diaspora, ethnicity, colorism, post-colonialism, immigration, gender), and expressing them in calligraphy, paintings, digital images, poems, videos and photography. Zir work has been exhibited, screened, published, and supported nationally and internationally. As a curator, ze has developed projects that give voice and visibility to minorities; as an activist, ze is working on ACA (adoptees cultural archives), a website that documents the historical archives of adoptees in the media and in the arts. kimura lemoine is the recipient of the 2014-2015 Mentorship Program grant from Montréal Arts Intercultural, the 2015 Vivacité Grant from Montréal Arts Council, and the 2016 PowerHouse Prize from La Centrale Galerie.
    Back Me
    Print on photo paper
    [caption id="attachment_190" align="alignnone" width="1772"] kimura byol-nathalie lemoine, Back Me, 2006. Print on photo paper.[/caption]
  • Sarah Chouinard-Poirier
    Sarah Chouinard-Poirier is a multidisciplinary artist working closely with cultural and community-based initiatives in Montréal. She elaborates her performances by arranging presence, gesture, speech and object to compose an image as sensitive as it is radical, creating her own feminist and resistant mythology. Her recent solo work focuses on spoken action and the body’s marking of space, as well as the narrative quality of actions and images. She is also interested in relational practices, care ethics, and the re-appropriation of narratives by people and communities.
    BREAK !
    Francis O’shaughnessy
  • Roberto de la Torre
    Based in Mexico City, Roberto de la Torre’s work is frequently developed and produced in the public space using temporary elements. His actions produce ephemeral sculptures, installations, architecture, and sensory experiences that respond to a site and propose collaborative moments that often engage a large number of participants. By letting the visible traits of objects, their effects, and their possible relations intervene, his actions reveal an awareness of the formal and spatial conditions of the specific locations where his work takes place. De la Torre studied visual arts at “La Esmeralda” national school in Mexico City, where he is currently a professor. Throughout his career, he has received multiple grants and has participated in numerous art festivals, both at home and abroad. His work has been shown in 17 countries, mostly in North America, South America, Europe and Asia.
    A CIELO ABIERTO / búsqueda, muerte, y resurrección
    Henry Chan
  • Adriana Disman
    Adriana Disman is a performance art maker, thinker, and organizer born in Toronto in 1989. Since 2010, she has presented in numerous festivals and galleries across Canada, the United States, Europe, and India. Her practice searches for minor modes of resistance as she seeks liberation—an interdependent and as yet un-imagined state—through refusing to adhere to the logics of power. Often of long duration, her work is minimal, poetic, and intense. She often works with self-wounding as a way of invoking bodily autonomy. Her experiences of being a Czech-Iraqi queer woman and a settler on this land inflect her work. Disman founded and currently runs the Research Centre for Performance Art out of her apartment in Montréal. She also ran LINK & PIN Performance Art Series, RATS9 Gallery, and The School of Making Thinking, as well as directing the 2016 Morni Hill Performance Biennale in northern India. Her writing on performance art, which has been published in both academic and arts contexts, can be found on her website.
    Centre d'art et de diffusion CLARK
    Untitled Flight I (Paris)
    Stefan Brion
  • Andreja Dugandžić
    Bosnia and Herzegovina
    Andreja Dugandžić lives in Sarajevo, where she works at the intersection of performance, poetry, sound, and community intervention. Exploring the mundane and daily domestic life, she is concerned with the wider socio–cultural and gendered dimensions of food, cooking, household labour and its economics. The domestic sphere, a microcosm of the greater female experience, is therefore both the location and the subject of her work. Andreja has performed and exhibited throughout the former Yugoslavia and Europe, and collaborated with many feminist artists and curators. From 2007 to 2009, she was a member of the legendary feminist band STARKE, and in 2013 became part of Black Water and Her Daughter. Her poetry is published in various literary magazines and online portals. Andreja works at the Association for Culture and Art CRVENA as a co-manager of the Online Archive of the antifascist struggle of women from Bosnia, Herzegovina, and Yugoslavia.
    VIVA! and La Centrale
    Cabbage moon
    Andreja Dugandžić
  • keyon gaskin
    keyon gaskin prefers not to contextualize their performances with their credentials. Performance title: this is my performance this is for you you are a community you are my material this is a prison leave when you want...
    Studio 303
    Farrington Starnes
  • Steve Giasson
    Steve Giasson is a conceptual artist that uses a wide variety of forms and media to transgress artistic genres, and question their limits. Romantic notions of authenticity and originality are undermined within his practice, which borrows freely from both the everyday and art history—between homage and affront—in an effort to demystify the creative process and the figure of the artist. With over 20 publications to his credit, Giasson is pursuing a PhD in Études et pratiques des arts at UQAM. His work has been exhibited in Canada, the United States, Mexico, and Europe.
    Performance invisible No. 53 (Dire toute la vérité et rien que la vérité (pour une journée entière ou pour le reste de ses jours)
    Martin Vinette
  • Nadia Granados
    Nadia Granados is a Columbian multimedia artist whose work utilizes space, objects, movement, and the body. She engages with video, music, pornography, magic, installation, performance, and improvisation. She often embodies tropes found in the world of mass media to recontextualize this content from a perspective that emphasizes feminist concerns, the fight against globalization, and the illumination of state terrorism. Nadia deploys her work in public spaces such as the streets and the Internet, as well as more traditional venues such as theaters and galleries. In all of her work, she uses her body to detonate, opening up new pathways of action and shifting consciences. Her work has been presented in Canada, Venezuela, Spain, Argentina, Chile, Costa Rica, Nicaragua, Guatemala, Germany, Slovenia, Chile, the United States, Ecuador, Argentina, Peru, Portugal, Mexico, Korea, Brazil, and Colombia. Performance title: COLOMBIANIZACIÓN
    I am my dream and your fiction
    Nadia Granados (self portrait)
  • Johanna Householder
    Johanna Householder has been making performance, dance, video and intermedia art since the late 1970s. Working at the intersection of popular and unpopular culture, she shapes plundered source material in order to talk back to mass forms. Householder practices her own brand of cultural détournement, very often in collaboration with other artists. She has most recently performed at Swan Lake in Victoria, BC for the Art Gallery of Greater Victoria; reset a 1978 solo for Toronto Dance Theatre; and presented Residuals, an evening of her work at the Art Gallery of Ontario. Active in international performance, her most beloved festival experiences have been Performancear o Morir in Norogachi, Mexico; Live in Gothenberg, Sweden; La Bas in Helsinki, Finland; and undisclosed territory in Java, Indonesia. Householder is one of the founders of the 7a*11d International Festival of Performance Art and teaches performance art and integrated media at OCAD University, where she is a Professor and Chair of Cross-Disciplinary Art Practices.
    Untitled (LEGS, TOO)
    Henry Chan
  • Ursula Johnson
    Mi’kmaw Territory (Nova Scotia)
    Ursula Johnson is a performance and installation artist of Mi’kmaw First Nation ancestry. Her performances are often place-based and employ cooperative didactic intervention. Through the medium of durational and endurance performance art she enters into laborious tasks or circumstances that create repetitive strain on her body and mind while creating tension with the viewer. She is one of the five shortlisted artists for the 2017 Sobey Art Award. In the Mi’kmaw language, WEN PEKISINK? is a phrase that questions the arrival of an unexpected visitor. At VIVA!, Ursula invites viewers to participate in a performance structured in five parts: The Exchange, The Preparation, The Arrival, The Visit or The Verification of the Story, and The Departure. At the end of one of the VIVA! dinners, participants will be handed suits while Ursula silently and slowly begins an endurance performance marking travel, visitation, and consumption. Performance title: WEN PEKISINK?
    Kim Anderson
  • Mathieu Lacroix
    Mathieu Lacroix lives and works in Montréal. He has an undergraduate degree in Visual Arts from the Université du Québec à Montréal. Within his practice, the theatre of the everyday is on the one hand, emphasized, and on the other, perverted by the construction of a poetic unreal. His work has been recently shown at the Musée des beaux-arts de Sherbrooke, CIRCA Art Actuel, and the Maison de la culture Côte-des-Neiges in Montréal. He has also exhibited in the Musée des beaux-arts de Mont-Saint-Hilaire’s drawing biennale (2015), the Musée d’art contemporain des Laurentides (2014-2013), Galerie Tzara in Québec City (2012), and the Centre d’exposition du Vieux Presbytère de St-Bruno-de-Montarville (2009).
    Particules d’un récepteur cueilleur (en action)
    Gabriel Fortin
  • Catherine Lavoie-Marcus
    Catherine Lavoie-Marcus is constantly self-improvising, sometimes within incompatible disciplines. 2009 marks her first attempt at building a career from her passion for movement and words. Whether in Montréal or abroad, she has since gained and lost confidence at regular intervals, while always being well surrounded. She changes direction with each attempt to answer the question, “Is it worth it?” The answer often leans towards the side of liberation: to move, to poeticize, to reorganize, to live a second life.
    Les danses à venir
    2015, created with Michel F. Côté
    Catherine Lavoie-Marcus
  • Hélène Lefebvre
    Based in Ottawa, Hélène Lefebvre’s practice is an inquiry into identity and alterity, all the while weaving links between art, culture, and society. The body in movement and sensorial active listening (epicentre of performance action) are a sustained interest since Les Moissons in 2009. Recently, her work has taken the form of performance, installation and video. Her practice in corporeality takes inspiration from studies in ballet, contemporary dance, and authentic movement, a form in which improvisation is central. Her research seeks to enrich and amplify the performative attitude, as well as to understand the nature of the bodily movements that make up her actions, which are often rooted in duration. In her artistic explorations, the body acts as a sensorial prism that allows it to be inhabited by its surroundings, and its movements in time and space follows “chiasmatique” functioning, which orders/governs the entire sensorial system.
    La Centrale
    Una poétia necesaria
    Robert Cross
  • Didier Morelli
    Born and raised in Quebec, Didier Morelli is currently based in New York. Combining practice and research through actions and analysis, he focuses on the relationship between performance and the regular flow of the built and natural environment. Exploring the potential for gesture and corporeal engagement to engender new spatial-subjectivities, he develops actions that trouble economies of movement dictating the circulation and behavior of bodies in particular contexts. Morelli has performed at the Performance Arcade in Wellington, New Zealand (2013); 7a*11d International Festival of Performance Art in Toronto (2014); the Mary & Leigh Block Museum of Art at Northwestern University in Chicago (2016); and most recently at the Buenos Aires Performance Biennale in Argentina (2017). A PhD Candidate in Performance Studies at Northwestern University, Chicago, Morelli’s research investigates the relationship between the artist’s body and the infrastructure of the city in Los Angeles and New York City between 1970 and 1985.
    Centre d'art et de diffusion CLARK
    Erase Everything Geoff Hendricks (1964)
    Courtesy Block Museum of Art, Copyright Sean Su Photography
  • François Morelli
    François Morelli vit et travaille à Montréal. En 1983 il obtient un MFA de l’université Rutgers à New Brusnwick au New Jersey. Il est chargé de cours de 1982 à 1990 à New York, et dès son retour au Québec en 1991 il enseigne à l’université du Québec à Trois-Rivières. Il est professeur à l’Université Concordia depuis 1996. En 1993, il reçoit le prix d'Excellence de la Biennale de dessin et d'estampe d'Alma et, en 2007, le Prix Louis Comtois de la Ville de Montréal. Il poursuit une démarche polyvalente marquée par un questionnement soutenu quant au statut de l'objet à l'intérieur des processus de création et de la perception de l'œuvre. Il s'intéresse aux notions de passage, de circulation et de transformation. Il réalise ses premières performances dont earth walk en 1974. Depuis, ses actions interrogent la mobilité et les limites du corps à travers les espaces publics/privés. Performance title: Tidal Walk/ Marche fluviale
    Marche fluviale / Tidal Walk
    François Morelli
  • JP Mot
    Quebec /USA
    Born in Montréal, JP Mot (short for Jean-Pierre Mot) is a Cambodian artist currently in exile at the house of Hermit & Tent in New York. "I am a saintly sinner who could not cast away the first rock without losing a part of my first name. My surname, in the Ugaritic language, is the God of Death of the land of Canaan and ruler of Hmry. As an omen, shades of darkness surround me much like a nameless crow.” In his performance, Mot will explore the rules of engagement as a petty gangster. He doesn’t believe in the old warrior way in which the promise of glory awaits those who “train hard” in order to “fight easy.” Un-subservient to morality, ethics, and sportsmanship, he believes that only fools oppressed by the system will believe in those instituted fairy tales related to hard work and retirement plans. An entitled hedonist at his core, JP Mot “trains easy” and “fights sleazy.” Performance title: Train easy, fight sleazy
    Verticale — centre d’artistes
    gym selfie
    JP Mot (self portrait)
  • Sandrine Schaefer
    Sandrine Schaefer’s practice offers opportunities to gather, and proposes ways to share time not accessible elsewhere in life. Site-sensitive in approach, her work often presents durational performances that tend towards material sparseness and draw attention to what is already available in a site. Her work breaks conventional viewing behaviors by de-privileging sight as the primary sense of engagement, rewarding the curious, and using extended duration and repetition to cultivate spaces for return. Sandrine is an independent curator, co-founder of The Present Tense Live Art Initiative and Archive, and a member of the experimental artist group Mobius. With these collectives, as well as independently, Sandrine has exhibited hundreds of artists from around the world who utilize live action in their work. Her writing on contemporary art has been included in multiple international publications, and she teaches time-based approaches at universities throughout Massachusetts. Performance title: Pace Investigations No. 7
    Pace Investigations No. 4
    Daniel DeLuca
  • Adrian Stimson
    Siksika Territory (Alberta)
    Adrian Stimson is a member of the Siksika (Blackfoot) Nation in southern Alberta. He is an interdisciplinary artist, curator, and educator with a BFA (With Distinction) from the Alberta College of Art & Design, and an MFA from the University of Saskatchewan. His work includes painting, installation, photography, sculpture, and performance. In addition to showing extensively in Canada, Stimson is a regular participant at Burning Man and was featured in the 2007 summer issue of Canadian Art: “Buffalo Boy at Burning Man,” and the 2009 spring issue of FUSE magazine: “Buffalo Boy Then and Now.” Adrian was awarded the Blackfoot Visual Arts Award in 2009, the Queen Elizabeth II Golden Jubilee Medal in 2003, and the Alberta Centennial Medal in 2005 for his human rights and diversity activism in various communities. Performance title: Le 150e s’essouffle : La petite mort // 150 BLOWS!
    150 Blows
    Jennifer Garrett
  • Mégane Voghell
    Living and working in Montréal, Mégane Voghell is trained in image manipulation and visual arts. Her artistic practice considers and reconstructs the mythologies behind contemporary imagery within a context of attention economics, self-design, and the magic in interconnectedness. She has participated in diverse artistic enterprises (Academy of Art Video Art, Interfold Magazine) and was co-curator of Sans feu ni lieu; Sans foi ni loi (Studio XX & Width : 700px, 2014). Her artwork has been presented at various screenings and exhibitions including harbinger (Eastern Bloc, 2015), Field Tasting (Eastern Bloc, 2015), and at FME in Rouyn-Noranda (Centre l’Écart, 2015). Voghell has also been featured in solo exhibitions at Le Lobe in Chicoutimi (2016) and more recently at the festival Mirage in Lyon (2017).
    how to remove a lady from its flesh
    Digital artwork
  • Sonja Zlatanova
    Macedonia /Quebec
    Born in Macedonia, ex-Yugoslavia, Sonja Zlatanova lived in Switzerland, France, and Germany before settling in Montréal in 2012. Following 15 years of self-taught practice in painting and sculpture, she obtained a master’s degree in visual arts and photography from the École nationale supérieure d’Arts de Paris-Cergy. Zlatanova’s artistic practice explores the emotional states, the physical presence, and the rebellion and resilience expressed by individuals - particularly women - who are confronted with social dis-order. Within her formal and conceptual explorations, the body, flesh, sensuality, and distortion are central themes. For a number of years, Zlatanova has been creating performative culinary installations that question individuals’ interactions around food in society. In her performances, she explores gestures that address identity-alterity, as well as the notion of loss and territory as it relates to women’s bodies. Her work has been presented in solo and collective exhibitions in Europe, ex-Yugoslavia, and Istanbul.
    Sonja Zlatanova
  • Isil Sol Vil x Marina Barsy Janer
    Spain & Puerto Rico
    Marina Barsy Janer (1988, Puerto Rico) and Isil Sol Vil (1982, Catalonia) are performance artists, curators and researchers. They direct the EMPREMTA international festival of performance and work as organizers at the cultural centre MATERIC.ORG. Adopting a philosophy of Subversive L0ve and eXtreme Care, they began their joint work in 2015. Their shared artistic practice takes corporeal mimesis to the eXtreme. They explore alternative sensitivities that challenge imposed historical chronologies while suppressing the male/female dichotomy. Their pieces express the need to establish a single connection and a body rhythm composed of pure listening. Their point of union—a vanishing point—is a constant pulsation where the plural presence of the body, the destruction of personal borders, and the decolonization of the mind-body are used as acts of rebellion and subversion. Their work has been presented in galleries, museums, universities, symposia, festivals, and urban spaces in Catalonia, Spain, Cyprus, United Kingdom, Germany, Greece, Colombia, Argentina, and Peru.
    Carlus Camps