FILE 2015

We are very happy that our FLOW: BIG WATERS video program will to screened during FILE 2015!

FILE SAO PAULO 2015 – PROGRAM
FILE São Paulo 2015
the new e-motion
From June 16th to August 16th

FILE 2015 – Electronic Language International Festival takes place this year from June 16th to August 16th at Centro Cultural FIESP – Ruth Cardoso. In its 16th edition, the festival occupies the Art Gallery of SESI-SP, the Digital Art Gallery (the facade of the FIESP building) with the FILE LED SHOW, and the Mezzanine Floor, where a series of workshops takes place. The festival exhibits the interactive installation “Solar Pink”, by the North American group Assocreation, in the sidewalks of Avenida Paulista, and the installation “Arart” in the subway stations Trianon-Masp and Consolação. Created by Japanese artists Takeshi Mukai, Kei Shiratori and Younghyo Bak, this work creates dynamics in iconic art history paintings using an app for mobile devices.

The FILE 2015 exhibition, that takes place at the Art Gallery of SESI-SP, gathers artistic proposals in several forms such as interactive installations, games for multiple platforms, animations, video art, GIFs, WebGLs, web art and electronic sounds.

The festival also exhibits a projection subtitled in Portuguese of the award-winning movie “Shirley – Visions of Reality”, directed by Austrian filmmaker Gustav Deutsch, a contemporary cult cinema icon. Never shown before in Brazil, the film is based on 13 paintings by American painter Edward Hopper.

The participation in all activities of FILE 2015 is free

MEDIA ART
1 Anne Pasanen & Geo Panagiotidou-Kalevala Book Visualisation-Finland
2 Anni Garza Lau – A Pragmatic Digital Art Manifesto-Mexico
3 Basic Bruegel: Valerie LeBlanc & Daniel H Dugas-Flow: Big Waters–Canada
4 BiarritZZZ-Possawsubawater-Brazil
5 Chang Liu-Wild Growth-United States
6 Daniel Peixoto Ferreira-Join Us-Brazil
7 Daniel Peixoto Ferreira-Learn-Brazil
8 David Clark-The End: Death in Seven Colours– Canada
9 Duda-Ecos #1-Brazil
10 ENRIQUE FRANCO LIZARAZO – D-sonus: aplicativo para criação audiovisual em dispositivos móveis – Brazil
11 Ewa Doroszenko & Jacek Doroszenko – Soundreaming – Poland
12 Hidenori Watanave Laboratory, Tokyo Metropolitan University, The Asahi Shimbun Company & Tokyo Metropolitan Archives – The Tokyo Olympic Archive 1964-2020 – Japan
13 Iono Allen – Butchery – France
14 IP Yuk-Yiu – Clouds Fall – Hong Kong
15 Jason Edward Lewis – Vital to the General Public Welfare (The PoEMM Cycle) – Canada
16 Jason Nelson – The Required Field – Australia
17 Jean-Michel Rolland – Biosphere – France
18 Jean-Michel Rolland – The Endless Journey – France
19 Jenny Lin – Replay: A Memory Game – Canada
20 Jody Zellen – Time Jitters – United States
21 jtwine – UltraHyperDrone – United States
22 Justin Lincoln – The Stroboscope – United States
23 Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Tableau Sisyphéen (Sisyphean Picture) – France
24 Livia Mateiaș – Strings – Romania
25 Luigia Cardarelli – Landscape – Italy
26 Luigia Cardarelli – The Unspoken Words – Italy
27 Luigia Cardarelli – Imagined Time – Italy
28 Luis Hernandez-Galván – This place you see is about to be no more… – Singapure
29 Michael Takeo Magruder – Data_Plex (Babel) – United Kingdom
30 Paganmuzak – Rotational Chaos – Italy
31 Rachel Simone Weil, Torley & Nathalie Lawhead – Monkey Fortunetell – United States
32 reVoltaire – kinema ikon: serial / season one – Romania
33 Roberto Stelzer – Poesia 3D – Brazil
34 Ryota Matsumoto – the High Overdrive and Its Undefinable Consequence – Japan
35 Ryota Matsumoto – the Indistinct Notion of an Object Trajectory – Japan
36 Ryota Matsumoto – Voided by the False Vows of Time – Japan
37 Second Front: Patrick Lichty, LiZ Solo, Bibbe Hansen, Yael Gilks, Doug Jarvis & Scott Kildall – Red Dog For Freddie Herko – United States
38 Will Luers – Phantom Agents – United States

Text(e) Image Beat opening! (2015)

Le vernissage de Text(e) Image Beat aura lieu le 20 mars 2015 à la Galerie Sans Nom!
The opening of Text(e) Image Beat will be held on March 20 at the Galerie Sans Nom!

With: Heid E. Erdrich, Hannah Black, Matt Mullins, Martha Cooley, John D. Scott, Tom Konyves, Swoon (AKA Marc Neys), Michel Félix Lemieux, Kevin Barrington, Maryse Arseneault, Fernando Lazzari and Matthew Hayes.

GSN

website: Text(e) Image Beat 

Poster.

La version française sera bientôt disponible

Curators’ Commentary
Valerie LeBlanc and Daniel H. Dugas

Video poetry is a genre that is increasingly drawing the attention of both audiences and creators. We have come a long way since moving pictures with sound required a vast and expensive array of infrastructure and personnel. We are also in a time when the visual vocabulary and knowledge of signifiers is more familiar to wider audiences. This should not come as too great a surprise when we think that what is considered to be the first documented photograph was made close to 200 years ago[1] and that moving picture techniques pioneered in the early 20th century resulted in the first feature film with sound,The Jazz Singer in1927. While photography, moving pictures, and recorded sound / music were first thought to hold value for documentary applications only, the use of these tools are constantly transforming our concepts of art. Through time-based media, ideas move into the thought process; visceral effects are imprinted.

Creators are now presenting their texts visually and / or performing their poems. Many have realized that messages can be effectively conveyed using the multimodal character of video poetry. Similarly to advertisements created for marketing campaigns, these works are characteristically short, less than 5 minutes in duration. Some festivals are asking for works as short as one minute, the duration of some TV ads. The videos in this program have been chosen for their content as well as for the techniques that each creator uses to portray the meaning and aesthetic sense of the content.

The call for Text(e) / Image / Beat did not specify particular themes. Through the necessity of paring down the choices and assembling a flow of works that complemented and gave space to each other, we became aware of recurrent elements. In spite of the fact that the videos originate from many distinct locations, ideas of awaiting / finding miracles and mysteries of living, are frequent. Each work exhibits innovation and imagination, calling upon a wide range of skills to layer meaning. Slam poetry, rants, softly spoken words, hand written notes, and remixes are all used to articulate.

In Pre-Occupied, texts over images; multi-layering stereotypical references from popular culture and memes relating to current and past events carry Heid E. Erdrich’s words like a fast moving river. References to the first American Thanksgiving, Alcatraz, Wounded Knee, Indigenous activists; key words and statements are thrown; fonts are visually woven with voice intonation to deliver meaning. The video opens with an excerpt from Langston Hughes’ The Negro Speaks of Rivers: ‘I’ve known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers.’ Erdrich states the title: Pre-Occupied and then begins her powerful litany, ‘River, River, River, I Never, Never, Never etched your spiral icon in limestone …’. Hughes words continue under Erdrich’s. The dynamics of the lead-in continue through to the end. Closing credits are accompanied with an Anishinaabemowin (Ojibwe) translation of John Lennon’s Imagine. Pre-Occupied hits chords of dreams for political and social equality: held, dashed, revisited and restated.

A series of spirals are drawn over the neck in the opening scenes of Hannah Black’s video of the same name. Through calling attention to the limitations of her childhood drawings, Black brings a discussion of identity. With her own body as the starting point, she steers her words toward ‘… an improbable form of mediation between a self and its constituent parts: family, body, race, gender, …’ Essentially, her video addresses the whole world and its concerns as she draws the personal into the political arena.

In Our Bodies, Matt Mullins remixes a sermon by televangelist Oral Roberts, cutting away excess material, repeating words and phrases, using split screens, and setting inserts to emphasize specific gestures. Mullins closes the videopoem with an excerpt from a sinners’ prayer, ‘… I am ready to perform a miracle in your life … expect delivery.’ As Oral Roberts interprets the Bible, Matt Mullins, in turn interprets Oral Roberts.[2]

Martha Cooley’s Dog Sitting in Eastern Passage uses a combination of devices. While handwritten pages from a notebook bring her thoughts to life, the pages are set within sequences of photos to create movement. Thrown by a heartbroken author, a dog fetches sticks along the Atlantic coastline. Through the work we are reminded of that basic miracle of video and film media, the persistence of vision that brings us the illusion of movement.

John D. Scott breathes life into Elizabeth Bishop’s 1965 poem Sandpiper. He interprets that Bishop anthropomorphizes into the bird. While sandpipers are known to flit persistently on beaches, her life as a revered writer of short stories and poetry was also one of searches, observations, of taking many directions. A haunting whistle, a rattle and clicks of the typewriter open the video and continue to underline the spoken word. Scott’s collaboration includes rotoscoped bird images by Anna Bron and Andrew Whyte, stills and slow moving images of water and beach. Particular passages are emphasized and punctuated through movement and voice.

Having coined ‘videopoetry’ in 1978, Tom Konyves is recognized as one of the pioneers of the genre. In his video ow (n) ed, politically charged meanings are layered and set into a crypted triptych that he describes as a postmodern vision of human slavery. Punctuated by jazz notes, Konyves has positioned quotes from American Slavery As It Is: Testimony of a Thousand Witnesses[3] on the left. In the center, a tower of humans is constructed and collapses.[4] Consumer commentaries play on the right. As the video progresses, messages on the left spill over, slipping to the right. Through erasure (dropping regions of the text and remixing), Konyves is implying new meanings.

Well known for remix, collaborations and atmospheric compositions, Marc Neys (aka SWOON) has supplied the concept, editing, and music in the creation of Five Miles (Simple Brushstrokes on a Naked Canvas). Howie Good has contributed the poem. Excerpts from the 1944 American Military documentary Target for Today, speak about possible bombing but no bodies are seen. Throughout the video an ominous voice repeats ‘five miles.’ Instead of increasing or decreasing the distance to the target, we are forced to hover in abstraction. A slow moving, amorphous bubble suddenly appears. As it floats over green grass the text ‘because a feeling has no form’ is spelled out. In the bellicose tone set by the video, this colorful bubble carries a menacing hint of possible outcomes.

Michel Félix Lemieux’s Brûle le bois vert takes us on a train ride at night. A moving spotlight illuminates the view through a square window. Lemieux describes this work as a poetic and confused reflection on exodus. While we are almost deprived of images in the video, the text is loaded with saturated colors. The words contaminate what we are seeing. In a poem that offers glimpses of mental and emotional moods over any coherent flow of thought, an awareness of solitude pervades.

Kevin Barrington’s I Love the Internet is a skillful fast rant by this Dublin based copywriter and blogger. A collaborative project with Irish animation artist and illustrator Bruce Ryder, the poem advances through use of psychedelic colors and a text matte over quick moving images. The video derives from Barrington’s multi-media e-book of the same name. Barrington states, ‘The impulse was to repel a rising wave of establishment antipathy to social media expression that took hold early in 2013 and threatened to silence satire and online political heckling.’

In constructing Retenir son souffle, Maryse Arsenault used French and English to deliver her texts; a speaking and singing voice; images and sound shot in her own environment; and found footage of a weather phenomenon. The voice, which we understand as Maryse, asks for help. It is the voice that we sometimes need to hear when we are hoping for a miracle. The video ends with sounds of whistling and a bell like that of a life buoy. A small bird goes out and returns 3 times; the repetition works like an incantation in the closing of this lullaby.

Montserrat follows Retenir son souffle in the program. These two very different videopoems explore threads of holding up the world through dark times. To relate an excerpt of Jorge Luis Borges’ Amanecer (Break of Day), Fernando Lazzari uses ‘font as character’. Borges’ poem speaks of a world held together by the imagination of those who inhabit the night, until the day returns and others awake to define its shape with their presence. At times, images move rapidly; sometimes they hover to become imprinted as font generation builds monuments to the words.

Slam Poet Sasha Patterson performs her poem Tonight is for the Trees; cinematography and editing is by Matthew Hayes, with music by Lee Rosevere. Patterson walks out of the darkness along a tree-lined road. At first lit by only a flashlight, she is suddenly in full light and continues to address her audience as she walks toward the camera. The effect is simple and effective. Tonight is for the Trees brings reminders of Christopher Dewdney’s August as both poems celebrate summer and life in southern Ontario.[5] Each passage of Dewdney’s list: nature’s creatures and the beauty of geological formations begins with ‘because’.  Patterson repeats ‘ tonight is for …’ before each new item in her long list of dedications. Links between the two works are not literal but meet in sentiment, intention and appreciation for life, nature and the human presence in it all. Patterson’s fresh and confident voice epitomizes hope.

While Pre-Occupied dropped us into the middle of all things worldly and imagined, Tonight is for the Trees brings closing notes to Image / Text(e) / Beat. In the long history of the known and unknown, the visible and the invisible, the spoken and the unspoken, video poetry sets the prompts, the magic of visions hinted by the words, images and sounds. Rhythm set by videopoetry widens the chances of getting messages out. We hope that a tradition of video poetry will come to be established in Moncton. With the number of poets per capita, it seems to be a viable, and maybe inevitable prospect.

[1] The First Photograph, Harry Ransom Center, University of Texas at Austin:http://www.hrc.utexas.edu/exhibitions/permanent/firstphotograph/

Nicéphore Niépce, Wikipedia: http://en.wikipedia.org/wiki/Nicéphore_Niépce

[2] To appreciate the effectiveness of Mullins’ remix, check out The Hand of God, from Oral Roberts Crusade, St. Petersburg, FL (1964) on You Tube:https://www.youtube.com/watch?v=rGi_vRS9zH8

[3] Theodore Dwight Weld, 1803-1895, ‘American Slavery As It Is: Testimony of a Thousand Witnesses’: http://docsouth.unc.edu/neh/weld/summary.html

[4] In 2010, castells of Catalonia were declared by UNESCO to be amongst the Masterpieces of the Oral and Intangible Heritage of Humanity: http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00364

[5] Christopher Dewdney, August, Poetry In Motion (1982), YouTube:https://www.youtube.com/watch?v=CN3AaYp_kyY

Deux artistes acadiens en Floride (2015)

Acadie Nouvelle
25 février 2015

AnthropoScene Schedule (2015)

Exhibition March 4 – 24
CAS Gallery. 1210 Stanford Drive. Coral Gables, FL

Panel Discussion March 4 9am-12pm
Ungar Building 230 C/D. 1365 Memorial Drive

Lunch/Gallery Tour March 4 12:30-1:30 pm
CAS Gallery. 1210 Stanford Drive. Coral Gables, FL

Workshops March 4 2-5 pm
CAS Gallery. 1210 Stanford Drive. Coral Gables, FL

Opening Reception March 4 5:30-7:30 pm
CAS Gallery. 1210 Stanford Drive. Coral Gables, FL

SCHEDULE OF EVENTS
MARCH 4

PANEL DISCUSSION
UNGAR 230 C/D. 1365 MEMORIAL DRIVE. CORAL GABLES. FL
with artists
Daniel Dugas
Felice Grodin
Valerie LeBlanc
Lucinda Linderman
Deborah Mitchell
Skip Snow
Keith Waddington

8:30 am – 9:00 am Registration/Coffee Service
9:00 am – 9:15 am Welcome and plan for day: Gina Maranto and Keith Waddington
9:15-9:45 am Opening remarks: Skip Snow
9:45-10:00 Keith Waddington
10:00-10:30 Valerie LeBlanc and Daniel Dugas
10:30-10:45 Skip Snow
10:45-11:00 Break
11:00-11:30 Deborah Mitchell
11:30-12:00 Discussion with all artists moderated by Felice Grodin and Lucinda Linderman

WORKSHOPS AND EXHIBITION OPENING
CAS GALLERY. 1210 STANFORD DRIVE. CORAL GABLES. FL
with artists
Daniel Dugas
Felice Grodin
Valerie LeBlanc
Lucinda Linderman
Susan Silas
Skip Snow
Keith Waddington

12:30 pm – 1:30 pm Buffet Lunch and Tour
(Tour at 1 p.m.)
2:00 pm – 5:00 pm Concurrent workshop sessions
5:30 pm – 7:30 pm Opening reception: anthropoScene exhibition

anthropoScene is a semester-long exploration of this new era sponsored by the Leonard and Jayne Abess Center for Ecosystem Science & Policy and the College of Arts and Sciences of the University of Miami with participation by Artists in Residence in the Everglades.

Subtropics XXIII (2015)

Very excited to be part of this!

SUBTROPICS XXIII
SUBTROPICS XXIII MARATHON
SAT MAR 7 | 3PM (until it ends)
audiotheque marathon concert
924 lincoln road studio 201, miami beach

SUBTROPICS XXIII MARATHON
featuring AISLINN QUINN + BLACKSHIFTRED | ARMANDO RODRIGUEZ | CHEN-HUI JEN | DAN DICKINSON | DANIEL DUGAS + VALERIE LeBLANC | DAVID BRISKE | EDWARD BOBB + THE INERTIALS | ERIC GOTTLIEB | JACOB SUDOL | JORGE GOMEZ ABRANTE | KERRY WARE | LADONNA SMITH | LAWRENCE MOORE | LIZA SEIGIDO | PAULA MATTHUSEN | RENE BARGE | RANDY NUTT | ROBERT BLATT | and more …
SAT MAR 7 | 3PM (until it ends)

http://subtropics.org/2014/10/02/subtropics-xxiii-marathon/

Space at AUDIOTHEQUE is limited, please RSVP through Facebook

Miami Report – Valerie LeBlanc and Daniel Dugas (2014)

Report from a visit to Miami and the Everglades National Park – Valerie LeBlanc and Daniel Dugas, November 2014

Our visit to South Florida to screen video poetry at the Miami Book Fair International and a visit to the Everglades National Park was short.  Aside from the two days of air travel, we were there for just three days, really full days! To begin, on November 18, we screened several videos and took part in a panel discussion on the transformative effects that the July 2014 AIRIE (Artist In Residence In Everglades) residency had on our work.  While our FLOW: BIG WATERS everglades-based project is ongoing and will eventually include an installation with soundwalks and photographs, we were happy to screen a selection of the video works that we have completed to this date.

The panel discussion was co-moderated by Artist and AIRIE Executive President, Deborah Mitchell and Biologist Skip Snow.  The five AIRIE Artists who presented and took part in the discussion were: Gustavo Matamoros, Reed van Brunschot, Author Anne McCrary Sullivan, and ourselves. After brief introductions by Deborah Mitchell, Miami historian Dr. Paul George opened the conversation with details about the current and recent landmarks that stand and stood close to the Book Fair venue we were sitting within. Downtown Miami is undergoing many physical changes as new buildings replace older structures. Dr. George’s comments brought some of these changes to light. The evening took place at the SWAMP; the pop-up lounge utilized for showcasing social and cultural events during the Miami Book Fair International on the Miami Dade College, Wolfson Campus.

After the AIRIE presentation, Gustavo Matamoros and his partner, Miami-based Graphic Artist Claudia Ariano invited us to drive over to Little Havana’s El Cristo Restaurant to experience Cuban cuisine. The conversations continued in a range of topics that ran from contemporary art through a variety of cultural markers.

During two of our days, we walked around the Wolfson Campus and Miami’s downtown to become somewhat oriented with the city. We found our way over to the Miami Beach Mall for the opening of an umbrella of exhibitions at the ArtCenter of South Florida. The open studios and exhibitions for the 30 Years on the Road show spread out from 924 Lincoln Road, along the block to transform the experience from indoor venues to vitrines for sidewalk viewing. It is an ambitious undertaking that showcases retrospective and contemporary artworks embodying many genres.  Outside of 924 Lincoln, the Listening Gallery, in partnership with Subtropics.org is presenting the collaborative work: Walk-Run. On opposite sides of the entrance doors, Walk-Run features face to face moving images by Charles Recher. Combined with a soundscape by Rene Barge and Gustavo Matamoros, Walk-Run can be experienced differently depending on if you are up-close to it, on the sidewalk in front of the building, or at distance. Turning the corner to view other artworks presented in vitrines also permits variable exposure to the audio as the sound waves bend around the architecture of the cityscape. Owing to the nature of showing so many artists at one time, the opening reception moved along the block with conversations continuing inside in and outside of the studios. Walking this stretch of the Mall with Gustavo, we met and talked with many artists. We also took time to view examples of art deco along the Lincoln Road Mall.

On November 20, the final day of our visit, Deborah Mitchell invited us to drive out to the AIRIE lab to visit November’s resident artist Regina Jestrow.  Regina had generously organized an open studio reception in the lab where she laid out a sampling of the research she carried out during the month. It was a chance to talk informally with Regina, the other artists and scientists who dropped by, and several of the Park Staff that we had the pleasure of working with during July. We saw the beginning stages of Regina’s artworks utilizing imprinted rubbings and look forward to seeing the next stage of this new textile based work.

Back in Miami the same evening, we visited the Locust Project.  Showing in the Main Space is Daniel Arsham’s Welcome to the Future. In the project room,Salvadorian artist Simón Vega’s exhibition Sub-Tropical Social Sculptures is ongoing.We arrived in time for the Art on the Move presentation with Curator Dominic Molon in conversation with Vancouver-based artist Ron Terada. The subject of the discussion was Terada’s Soundtrack for an Exhibition.

Our on-the-ground introduction to the Miami art scene gave us the chance to scratch the surface of this diverse, multicultural city where Spanish is the predominantly spoken second language. Staying in downtown Miami gave us the chance to see the last days of the old Miami Herald Building as it underwent demolition. It will be interesting to go back and see what new masterpiece rises to replace it on Biscayne Bay. If one word could be used to describe the face and evolving culture of Miami, vibrant would fit!

This activity was supported by the New Brunswick Arts Board

And the MBFI / The Swamp

International Film Poetry Festival (2014)

International Film
Poetry Festival 2014
friday 28/11/2014 / starts 20.00

Video artists:

D.H Dugas CAN | M. Dickes USA | D. Wotton FR
M. Piatek POL | J. Solomko UKR | I. Shevchenko UKR
S. Wiegner GER. |
J. Brok & A.Marseille HOL 
T. Bentley UK | Visto Desde el Zaguán IRE
K. Polischuk UKR | MAI ΙT | Κ. Καρβέλη GR
A. Anderfuren HUNG | Γ.Πατεράκης GR | S. San GER
V. LeBlanc CAN | E.Tsymbalyuk UKR | E.Στάμου GR
M. Craven AUSTR | P. Gialis GR | L. Kalyadin RUS
N.Κωστόπουλος GR | M. Mullins USA
T. Granot ISR | Orquesta de Poetas SP
E. Al-Ansari UK | D. Dirgela LTH |V. Giourousis USA
P. Müller GER | M. Lland UK | Bobye FR
K. Sargent UK | D. Fiori & O. Pohankova AUS
I. Andreevski HOL | Θ. Σπυριδάκη GR | G. Pryor USA
Didi SUD | E. Vinogradova UKR | Θ. Πάνου GR
Aγγ. Φραντζής, Ν. Πάστρας GR | S. Brova, P. Lypa RUM
J. D. Scott USA | I. Oravin FNL | S. Samyi GER

programme: http://issuu.com/sissydoutsiou/docs/artists_2014/6?e=0%2F10281417


Performance:

Whitney Sparks (USA) | Iωάννα Λιούτσια


Live Concerts:

AΓΓΕΛΟΣ ΚΥΡΙΟΥ

PAN PAN

KTIΡΙΑ ΤΗ ΝΥΧΤΑ


Μulti Media Poetry Show:

T. Σαγρής | Σ. Δουτσίου | Γ. Ραουζαίος | 
Ο. Μπατάκης | Κ. Ζησάκη

Fr. Avenbach | Στ. Καλογήρου | 
I. Γαϊτανάρου | MattaBee

Πηνελόπη Δ. + TripmakerYoung | 
Δ. Αναλυτής | Xρ. Συριοπούλου

Soundtrack: 
Junior X . War

Visual Art: 
Void Optical Art Laboratory


Produced by
Void Network-Κενο Δίκτυο
http://voidnetwork.blogspot.com/ and
+the Institute [for Experimental Arts]
http://theinstituteinfo.blogspot.com/


Occupied theatre
EMBROS
R.Palimidou 2 Psiri.
athens. greece
FREE ADMISSION / EIΣΟΔΟΣ ΕΛΕΥΘΕΡΗ

The yearly International Film Poetry Festival will be held for third time in Greece on Friday 28/11/2014 2014 in Athens. Approximately 1000 people attended the festival last year.

There will be two different zones of the festival. The first zone will include video poems, visual poems, short film poems and cinematic poetry by artists from all over the world (America, Asia, Europe, Africa). The second zone will include cross-platform collaborations of sound producers and music groups with poets and visual artists in live improvisations.

The International Film Poetry Festival 2014 attempts to create an open public space for the creative expression of all tendencies and streams of contemporary visual poetry.

It is very important to notice that this festival is a part of the counter-culture activities of Void Network and + the Institute [for Experimental Arts] and will be non-sponsored, free entrance, non commercial and non profit event. The festival will cover the costs (2000 posters, 15.000 flyers, high quality technical equipment e.t.c.) from the incomes of the bar of the festival.

All the participating artists and the organizing groups will participate voluntary to the festival.

Void Network started organizing multi media poetry nights in 1990. Void Network and +the Institute [for Experimental Arts] believe that multi media Poetry Nights and Video Poetry shows can vibrate in the heart of Metropolis, bring new audiences in contact with contemporary poetry and open new creative dimensions for this ancient art. To achieve this, we respect the aspirations and the objectives of the artists, create high quality self organized exhibition areas and show rooms, we work with professional technicians and we offer meeting points and fields of expression for artists and people that tend to stand antagonistically to the mainstream culture.

Vidéopoésie GSN (2014)

Text(e) Image Beat

La Galerie Sans Nom organise avec les commissaires Daniel Dugas et Valerie LeBlanc une exposition de vidéos poésie qui sera présentée du 20 mars au 1 mai 2015.

Les œuvres recherchées sont des poèmes sur écran où le texte, l’image et le son s’entremêlent. La durée des vidéos ne doit pas excéder 5 minutes. Les œuvres doivent avoir été réalisées après janvier 2013. Sans sous-titres si la langue originale du film est le français ou l’anglais. Avec des sous-titres en français ou en anglais pour les autres langues. Une courte biographie et un synopsis doivent accompagner chaque soumission. Les vidéos sont acceptées en ligne via DropBox ou Vimeo.

L’inscription est gratuite. Les artistes sélectionnés recevront des droits d’exposition suivant les normes du CARFAC.

Appel de dossier
Date limite: 15 décembre 2014

The Galerie Sans Nom is organizing a screening of videopoetry with the curators Daniel Dugas and Valerie LeBlanc. The exhibition will be presented from March 20 – May 1, 2015.

The work should be screen-based poems where the text, image and sound intermingle. The maximum duration of the work cannot exceed 5 minutes and must have been realized after January 2013. The works must be in either French or English. If the language in the video poem is other than French or English, the artist is required to submit a version that is subtitled in French or English.

All video poems must be received by the December 15 deadline through a file hosting service (Dropbox )or through Vimeo. A short artist bio and synopsis of the video poem must accompany each submission. No entry fee, CARFAC rates will be paid.

Call for submission
Deadline: December 15th, 2014

Glissement (2012)

Glissement (2012) from Daniel H. Dugas on Vimeo.

My uncle Camille was a gifted organist, photographer and a very private man. When he died, his photographs and slides were distributed to family members, but there was little context for the material. I received images of Madrid, Rome and Paris. While most of them had a touristic quality, others were more personal. I noticed that some of the colors were starting to fade away. His past, that no one could explain, was slowly disappearing. Soon there would be nothing left.
I started to superimpose the images. Doubling them up gave hope that memories embedded there would gather new strength.
Camille Melanson (1917-2003) – My uncle, a priest, was granted permission to pursue doctoral studies in Paris by his church, in the early 1960’s. After 4 years, when it was time to finalize his thesis, his congregation decided that they could no longer pay his way. Faced with a demand to return to his small parish in Canada, Camille decided to leave the priesthood and moved to Montréal to rebuild his life. After a few years he bought a small house. He had the chance to purchase the massive organ from the Parc Jarry and installed it in his basement. This organ had been played during the Montréal Expos home games and it became one of the many keyboards that he owned. At the time of his death, the organ was sold with the house, as it was impossible to remove.

2014 La Galerie d’art Louise et Reuben-Cohen, Université de Moncton, NB
2013 International Film Poetry Festival, EMPROS Theatre, Athens, GR
2013 Co-Kisser Festival, Minneapolis College of Art and Design, Minneapolis St-Paul, MN
2013 Filmpoem Festival, Dunbar, SCT

Évanescence (2012)

Évanescence (2012) from Daniel H. Dugas on Vimeo.

Evanescencia (2012) version espagnol from Daniel H. Dugas on Vimeo.

Quelle est cette épouvante, cette épouvantable époque d’évanescence dans laquelle nous vivons ? Tout s’efface rapidement, brusquement. Ce qui s’était posé devant le regard avec tant d’effervescence s’est enfui presque instantanément, a disparu en nous touchant.

2014 La Galerie d’art Louise et Reuben-Cohen, Université de Moncton, NB
2012 IV Festival Internacional de Videopoesía “por la Tierra”, Buenos Aires, AR