REPORTAGE PHOTOS
Toutes les photos sont de Martin Morissette.
CONCERTS
PASCAL GERMAIN-BERARDI
« Basileus »
QUÉBEC
PREMIÈRE MONDIALE
« Un beau mélange entre l’opéra, le métal et les différents ensembles qui, au final, se sont amalgamés en un grand tout cohérent. Les spectateurs en ont eu plein les yeux et les oreilles,
plusieurs appréciant particulièrement la prestation des hurleurs métal et l’intense couleur qu’ils ont apportée. » TOUPIN, Manon. « La Nouvelle Union », 17 mai 2024
« Pascal Germain-Berardi a réussi à créer quelque chose qui ne s’était jamais fait [...]. Tout coulait naturellement et le chant classique se collait au chœur de Growlers avec aisance. Les éléments de métal étaient bien présents à commencer par le texte épique qui reprend les codes du genre. Un peu comme un récit de black métal qui rencontre celui de power métal : épique, mais sombre. Le Chœur des Growlers a prouvé une fois de plus sa pertinence dans le milieu de la musique actuelle avec ses sons gutturaux qui ajoutent une couche de papier sablé à la facture auditive. Les guitares électriques s’échangeaient la balle merveilleusement avec les guitares classiques. [...] Les solistes étaient tous très bons : Charlotte Gagnon qui se lamentait en Ades, Dominic Lorange en Agis rugissant, Anthony Ormsby en étrange et surprenant Sol ainsi que mon coup de cœur de la soirée, l’excellente Sarah Albu en Matriarche qui avait toute la prestance qu’un rôle aussi important demande. Elle avait l’air méchante à souhait. Une œuvre gigantesque qu’on espère voir à nouveau sur les planches. » LABRÈCHE, Louis-Philippe. « Le Canal Auditif », 17 mai 2024
“The impact of fifty artists thrashing the audience with wave after wave of musical drama cannot be overstated, yet Germain-Berardi's compositions allowed for enough space and articulation of all parts to keep any segment from being lost in the tumult. In so large a group, it's difficult to isolate anyone for individual praise, but the members of Sixtrum managed to impress with their frequent explosive punctuation and frantic dashes from instrument to instrument. Sarah Albu as the Matriarch covered the imagined space between traditional opera and guttural metal with a performance that any fan of Xasthur would approve of. By nature of their top central stage placement and sheer stomach churning charm, the Growlers Choir were the foot soldiers who carried the day. [...] As a way to close an imaginary circle for a festival whose origins grew from a willingness to present the Montréal Symphony Orchestra alongside avant-garde iconoclasts like René Lussier — and as a way to hand over the keys to a new generation with a spectacle that's been a few years in the making, — the impact of Basileus is hard to top.” HILL, Eric. « Exclaim! », May 17, 2024
“[...] the sound was huge and had a powerful impact, with singers Sarah Albu as the matriarch and Charlotte Gagnon as daughter standing out for their gripping solos.” BLOCK, Irwin. « Avant Music News », May 18, 2024
« [...] les découvertes musicales au programme, franchement visionnaires : le lien entre chant classique et hurlements métal, entre guitares électriques et classiques (à cordes de nylon), entre les percussions et les instruments à vent. On assistait aux premiers balbutiements de nouvelles formes orchestrales à grand déploiement, encore imparfaites mais prometteuses. Les orchestres symphoniques de l’avenir ne seront pas toujours constitués comme ils le sont aujourd’hui, nous en avions jeudi un exemple annonciateur. Voilà pourquoi Pascal Germain-Berardi doit impérativement poursuivre sa route jusqu’à la confection d’œuvres irréprochables en ce sens. À l’évidence, il a trouvé un bon filon. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“Basileus by Montreal composer Pascal Germain-Berardi exemplified grandiosity both in the size of the ensemble (50+, including a small army of guitars and the Growlers Choir) and in the music itself [...]” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“It was an ambitious creation; one whose development bridged the outgoing and incoming festival direction. With a tone that blurred the line between high art and elbow in the ribs shenanigans, it was a blast in all senses of the world.” HILL, Eric. « Indie Dependence », May 30, 2024
“I loved the way the composer used the Growlers Choir, a chorus of heavy metal singers, to accentuate some of the darker forces of human nature. Since the text was all in French, I didn’t know what the singers were singing about but I still got the drift or vibe from the way the entire set was staged and executed. I thought this was a great way to start the FIMAV fest, being that this was a spectacle and a larger production than anything I’ve caught at Victo previously.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“Particularly exciting was the Growlers Choir of eleven singers who, towering at the back of the stage, acted collectively as the narrator, furthering the plot with growled, screamed and whispered libretto. In the audience, metalheads with gnarly band T-shirts sat next to bespectacled avant-garde music enthusiasts, creating a curious hang. At the end, the audience screamed back, giving a standing ovation.” GEARY, Tristan. « The New York City Jazz Record », June 28, 2024
QUATUOR BOZZINI
« Jürg Frey: String Quartet No. 4 »
QUÉBEC / SUISSE
PREMIÈRE NORD-AMÉRICAINE
“It was deftly delivered with sensitivity and great communication among the four musicians [...]” BLOCK, Irwin. « Avant Music News », May 17, 2024
« La subtilité de cette œuvre au calme apparent qui se déroule lentement et sûrement, en fait, se trouve dans les timbres et la tension maintenue entre les cordes. Le discours collectif y est plus que cohérent, on y ressent la transcendance d’une œuvre parfaitement maîtrisée. Sans conteste l’un des grands moments de ce 40e FIMAV. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“The music was glacial, fragile, calm, soft and organic sounding. There was a pulse going on inside which often reminded me of the rhythm of our breathing.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
STÉPHANE DIAMANTAKIOU
« Le Double »
QUÉBEC
“Starting with ambient noise the melodic lead was established and maintained by Geneviève Gauthier, giving almost a human voice to her tenor sax, while electric bassist and leader Diamantakiou pushed the tunes forward. The music was energized by percussionist David Simard and Robert Pelletier providing harmonic variety on vibraphone.” BLOCK, Irwin. « Avant Music News », May 17, 2024
“It was a fine way to ease out of the first day.” HILL, Eric. « Indie Dependence », May 30, 2024
SAKINA ABDOU SOLO
FRANCE
PREMIÈRE CANADIENNE
“She has a big sound on both saxes and is skilled at circular breathing. After a standing ovation, she returned to the alto and sounded more playful in her 10-minute closer, with bird-like calls and a dance-like quality to her improv.” BLOCK, Irwin. « Avant Music News », May 17, 2024
“[Sakina Abdou] made good use of the church's acoustics [...] and the audience responded warmly to her openly happy music.” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“She used the resonance of the room just right so that her playing seemed larger than life.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“Whether it is God’s or the devil’s music, there is a devout and ritualistic aspect to the proceedings – and we’re part of it.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
“It was the perfect setting for the music, and Abdou used it to its full totemic potential.” GEARY, Tristan. « The New York City Jazz Record », June 28, 2024
AMMA ATERIA
« CONCUSSSSION »
ÉTATS-UNIS
PREMIÈRE QUÉBÉCOISE
“It was a measured yet engaging and artful exploration.” BLOCK, Irwin. « Avant Music News », May 19, 2024
“it was a very musical and immersive blend of sound and visual stimuli that conveyed the physical and emotional disruption of her injury.” HILL, Eric. « Indie Dependence », May 30, 2024
SPLENDIDE ABYSSE
QUÉBEC / ITALIE
“We heard intriguing melodies and unusual sonic interactions, the silences integral to the mix. Splendid!” BLOCK, Irwin. « Avant Music News », May 19, 2024
“[...] Lauzier had managed a cleverly scripted and sublime version of minimalism, and that the usual tension that comes with waiting for a sudden eruption of sound could be replaced with a more gentle attention to each moment as it was crafted for us — that was the a-ha that clearly indicated an artistic peak had been reached.” HILL, Eric. « Exclaim! », May 20, 2024
“It was a clearly controlled environment that nonetheless felt alive and teeming with possibilities.” HILL, Eric. « Indie Dependence », May 30, 2024
“I liked the way that bass clarinetist, Lauzier, would stretch out each note carefully while the piano, accordion and percussion also took their time and played carefully and sparsely. Ms. Roy had her own sound on accordion, occasionally using her fragile voice to add an odd harmony into the sound.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
NATURAL INFORMATION SOCIETY
« Community Ensemble with Ari Brown »
ÉTATS-UNIS
PREMIÈRE QUÉBÉCOISE
“Ari Brown’s tenor sax and Mai Sugimoto on flute rose above the group sound with their lyrical creations.” BLOCK, Irwin. « Avant Music News », May 19, 2024
« [...] le saxo ténor vétéran Ari était le soliste en vedette et a pu s’exprimer à souhait sur train d’instrumentistes aguerris et fidèles au concept [...] » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“The whole show lived in a pocket that felt warm and inclusive, a showcase for the kind of talent that Chicago seems to generate with ease and regularity.” HILL, Eric. « Indie Dependence », May 30, 2024
“That central groove was often intoxicating or mesmerizing and took us along for a cosmic ride.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
BAZIP ZEEHOK
PAYS-BAS
PREMIÈRE NORD-AMÉRICAINE
“Performing with the electro-rock duo of Lukas Simonis (electric guitar) and Gert-Jan Prins, Sok carried a sheaf of tongue-in-cheek lines in English that are meant to satirize.” BLOCK, Irwin. « Avant Music News », May 19, 2024
« Humour décapant au programme, sarcastique, pince-sansrire, hyper-lucidité, accompagnement idéal de maîtres anarcho-punk portés sur le bruitisme. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“The guitarist and drummer often played a strange, stripped down version of rock with Mr. Prins adding some occasional electronics or feedback to keep things off balance and unpredictable. Mr. Sok’s words would often make fun of punk rock and other types of rock lyrics which would make me & other members of the audience laugh at the absurdities of life. [...] it was/is not like anything else I’ve heard in many years.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“The trio [...] brought a refreshing punk attitude to the festival. Short, snappy, and thrashing pieces defined their set, with the instruments wailing underneath Sok’s words. A cross between a poetry reading and a punk show, hard-hitting lyrics were a welcome change in a festival of instrumental prowess.” GEARY, Tristan. « The New York City Jazz Record », June 28, 2024
NICOLE RAMPERSAUD SOLO
NOUVEAU-BRUNSWICK
“Alternating with a smaller piccolo trumpet, she used several mutes and various techniques, such as short bursts, or a flurry of notes, or just pressing on the pistons or bending notes ending with big clear tones that filled the church.” BLOCK, Irwin. « Avant Music News », May 19, 2024
“[...] a display of virtuosity and heart.” CHAMBERLAIN, MIke. « All About Jazz », May 27, 2024
“Ms. Rampersaud is obviously a virtuoso on the trumpet and was constantly pushing herself to the limits.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
SOPHIE AGNEL / JOHN BUTCHER
FRANCE / ANGLETERRE
PREMIÈRE NORD-AMÉRICAINE
“An inventive and engaging encounter!” BLOCK, Irwin. « Avant Music News », May 19, 2024
« [...] brillante démonstration de ce qu’est la symbiose de deux maîtres improvisateurs en temps réel. L’étendue du vocabulaire de nos protagonistes impressionne, l’écoute mutuelle encore davantage. [...] Merveilleux duo! » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“[...] one of the undisputed highlights of the festival [...] The interaction between the two musicians was quicksilver incisive, with not a false step.” CHAMBERLAIN, MIke. « All About Jazz », May 27, 2024
“[...] performance by veterans Sophie Agnel and John Butcher set a high bar for attention to detail and interplay while continually discovering new shapes.” HILL, Eric. « Indie Dependence », May 30, 2024
“These two musicians work together very well, exchanging ideas, creating a fascinating ongoing dialogue. [...] This is one the best and most intense improv sets of this fest!” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“Top shelf improvisation, by two major practitioners of the genre [...]” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
BILL ORCUTT GUITAR QUARTET
ÉTATS-UNIS
PREMIÈRE CANADIENNE
“Bill Orcutt’s Guitar Quartet, with Wendy Eisenberg, Ava Mendoza and Shane Parish, began their joyful gig with a handful of short, upbeat and energetic pieces that power their way into your head and heart. [...] Eisenberg’s lyrical solo stood out. ” BLOCK, Irwin. « Avant Music News », May 19, 2024
« [...] mélange inédit de country folk americana et de de prog expérimental. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“ferocity and good humour [...] the group left us with the buzz of a work well presented plus the open-ended possibility of countless projects that might spring from new combinations of all those on hand. [...] Eisenberg’s lyrical solo stood out. ” HILL, Eric. « Exclaim! », May 21, 2024
“[...] a festival highlight [...]” HILL, Eric. « Indie Dependence », May 30, 2024
“Each of the long solos by all four guitarists showed the great playing abilities of each. [...] They rule!” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“The group is all smiles, each member bringing their characteristic musical persona and sound to the picture.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
ROSCOE MITCHELL SOLO
ÉTATS-UNIS
“His ability to play credibly, including long lines sustained by circular breathing, was impressive. The ovation from the audience spoke for itself.” BLOCK, Irwin. « Avant Music News», May 19, 2024
“The pieces he played had a wistful narrative aspect to them that carried great emotional resonance.” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“[...] Roscoe Mitchell did what he does best, confounding peoples' expectations time and again.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“Tonight, it feels like studies, orderly and unhurried, one note at a time. [...] spectacular circular breathing.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
“It felt like the whole concert was delivered in one continuous breath, a single thought with bold digressions and eager homebases.” GEARY, Tristan. « The New York City Jazz Record », June 28, 2024
JOËLLE LÉANDRE / MAT MANERI / CRAIG TABORN
« hEARoes »
FRANCE / ÉTATS-UNIS
PREMIÈRE CANADIENNE
“[...] we could almost hear them listening to each other and responding with notes, the communication and complicity was so complete. Tricky techniques were absent as they showed how beautiful music can be created spontaneously by experienced players with those proverbial big ears. The classically trained Léandre most impressed with her brilliant solo piece that stands as a festival highlight.” BLOCK, Irwin. « Avant Music News», May 20, 2024
« il est permis de conclure à une rencontre de très haut niveau entre trois musiciens de grande expérience, en symbiose claire et nette. On ira même jusqu’à dire qu’il s’agissait là d’une des meilleures exécutions de Joëlle Léandre en sol canadien. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“There are a couple of clear ways to impress in the world of improvised music, especially in the context of a festival where a large portion of the programming features top shelf musicians across a variety of improvising styles. The first is to innovate and the second is to simply be undeniable. This trio, subtitled Roaring Tree, was born and recorded for the first time about a year ago at a concert in France, and easily ticks off both of those boxes.” HILL, Eric. « Exclaim! », May 21, 2024
“The trio of Joëlle Léandre, Mat Maneri, and Craig Taborn put on a clinic in improvisation, the communication among the three at the highest level.” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“Léandre especially highlighted why she might be the most creative and electrifying double bass player alive currently.” HILL, Eric. « Indie Dependence », May 30, 2024
“This was improvised chamber jazz at its very best.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“Tour-de-force aside, it’s the waves of ideas coalescing or circling around each other in real-time that makes the value of this incomparable trio.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
“[...] festival’s pinnacle of acoustic free-form improvisation [...]” GEARY, Tristan. « The New York City Jazz Record », June 28, 2024
THE DWARFS OF EAST AGOUZA
QUÉBEC / ÉGYPTE / ÉTATS-UNIS
“At the midnight show, The Dwarves of East Agouza turned their concert into a party as they injected a funflavoured spirit into the festival scene with their psychedelic improvised music with its Middle Eastern flavour.” BLOCK, Irwin. « Avant Music News », May 20, 2024
« À la fois oriental, psychédélique et vaudevillesque, cet épisode du 40e FIMAV aura laissé sa marque dans la nuit. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“This concluded one of the best single days at FIMAV seen in 25 years, and everyone walked out of the room on a high.” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“Funky, unpredictable, surrealist and a highlight of the festival.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
DON MALFON SOLO
ESPAGNE
PREMIÈRE CANADIENNE
“He makes the instrument sing, then takes just the mouthpiece into his clasped hands and seems to make it talk!” BLOCK, Irwin. « Avant Music News », May 20, 2024
“Malfon took his time to carefully stretch certain sounds in his own unique way. [...] Some of the more subtle sounds that Malfon played reminded me of small flying saucers or perhaps spirits which were already flying around inside as we entered the church.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
NATE WOOLEY
« Columbia Icefield »
ÉTATS-UNIS
PREMIÈRE CANADIENNE
“It was a beautiful musical tribute. Near flood lights flashed as Wooley playing Albert Ayler’s Ghosts before a final note on his trumpet.” BLOCK, Irwin. « Avant Music News », May 20, 2024
« Œuvre superbe! [...] Cette heure de musique est extrêmement variée, les niveaux d’intensité suivent de belles courbes, on est captivé par la trame narrative de Nate Wooley. Le grand glacier canadien dont l’œuvre est aussi l’évocation, s’en trouve honoré. » BRUNET, Alain. « PAN M 360 », 21 mai 2024
“The theatre was moved to complete silence as Wooley began with a solo overture to introduce the program. [...] Whether it was Mendoza's presence or the influence of Miles on the compositions, there was a groove factor that gave the show a joyous pulse. As the group reached a late crescendo, replete with Alcorn shredding on the pedal steel supported by Sawyer in an unexpected approximation of vintage Sabbath, there was no doubt that the icefield was in real danger. In the aftermath, Wooley gathered himself to close with a solo elegy that was as lovely and expressive a eulogy as anyone could deliver.” HILL, Eric. « Exclaim! », May 21, 2024
“[...] the music brought tears to many in the audience [...]” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“[...] I was moved to tears by the end of the set since I was so stirred by the music and performance.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“This is music brimming with love and anger.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
KAVAIN WAYNE SPACE / XT TRIO
ÉTATS-UNIS / ANGLETERRE
PREMIÈRE NORD-AMÉRICAINE
“[...] a blend of genres that for more than 75 minutes was busy, propulsive, and dramatic.” BLOCK, Irwin. « Avant Music News », May 20, 2024
“The improvisation was hugely satisfying [...]” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
SÉLÉBÉYONE
ÉTATS-UNIS / FRANCE / SÉNÉGAL
PREMIÈRE CANADIENNE
“I love the way both rappers work together and apart. [...] Damion Reid is also a master drummer and often plays both in and around the groove of the recorded beats.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
“[...] it’s an ambitious and ideal unit.” CRISTOL, David. « The Free Jazz Collective », June 26, 2024
KIM MYHR
« Sympathetic Magic »
NORVÈGE / FRANCE
PREMIÈRE CANADIENNE
“[...] a joyful and positive series of songs featuring repeated motifs and a full-soundscape, but always restrained. I most enjoyed the final piece when the full band let loose and went all-out.” BLOCK, Irwin. « Avant Music News », May 20, 2024
“[...] the final concert turned out to be just the kind of ecstatic farewell any festival might desire. [...]” HILL, Eric. « Exclaim! », May 22, 2024
“The music was shimmeringly pretty [...] had much of the audience dancing joyfully by the end of the concert.” CHAMBERLAIN, Mike. « All About Jazz », May 27, 2024
“[...] transcendent, groovy, uplifting, celebratory and inspiring.” GALLANTER, Bruce. « Downtown Music Gallery », June 9, 2024
INSTALLATIONS SONORES DANS L'ESPACE PUBLIC
« Personne ne reste indifférent devant cet art musical qui s’installe depuis nombre d’années dans l’environnement de Victoriaville. [...] Une pratique qui évolue, tout comme l’ouverture des visiteurs qui sont désormais plus enclins et sensibilisés à cette forme d’art qui vient s’intégrer harmonieusement au FIMAV. » TOUPIN, Manon. « La Nouvelle Union », 13 mai 2024
« Érick d’Orion a réussi à composer un paysage sonore cohérent où chaque installation a été mise en valeur en bénéficiant de l’aire physique nécessaire afin de diffuser un large champ acoustique. L’auditoire a pu s’imprégner d’une multitude d’expériences artistiques issues de la complexité du monde sonore tout en s’harmonisant aux sons ambiants, environnement en constant changement parsemé d’odeurs de la végétation. » BOURDAGES, Esther. « ESPACE art actuel », 27 juin 2024
PIERRE BOULANGER « Sans titre B »
QUÉBEC / PREMIÈRE MONDIALE
TIM FEENEY « Nightjar's Nest »
ÉTATS-UNIS / PREMIÈRE MONDIALE
LA QUADRATURE & AUDIOTOPIE « Sédiment narratif »
QUÉBEC / PREMIÈRE MONDIALE
FLO BRISEBOIS « Terres synthétiques »
QUÉBEC / PREMIÈRE MONDIALE
PETER VAN HAAFTEN / GARNET WILLIS « Air Prism Nº 1 »
CANADA / PREMIÈRE MONDIALE
ADAM BASANTA « Persistent Teenage Gestures »
CANADA
PIERRE BOULANGER « Résonance »
QUÉBEC / PREMIÈRE MONDIALE
MÉNARD / ST-AMAND « Projet 3.0 »
QUÉBEC / PREMIÈRE MONDIALE
JEAN-FRANÇOIS LAPORTE « Spirituel »
QUÉBEC / PREMIÈRE MONDIALE
EXPOSITION
SÉBASTIEN PESOT
« Opus Focus »
QUÉBEC
PROGRAMMES DE FILMS EXPÉRIMENTAUX
PROGRAMME 1 : VISIONS PHOTOCHIMIQUES
JULIE MURRAY « Frequency Objects »
« Située entre les deux, dans une impossible réconciliation, la bande sonore de Frequency Objects fait parler le film. [...] C’est comme si, la joue plaquée contre le projecteur, nous laissions notre paroi crânienne vibrer contre le moteur et la rétine devenir surface de projection. » BENAMMAR, Samy. « 24 Images », 28 mai 2024
PHILIP HOFFMAN « Deep 1 »
« Entre l’agitation photochimique des procédés artisanaux et la plasticité de ces bêtes qui affleurent, le film s’accroche, conscient de son insignifiance, en accordant suffisamment d’espace aux petits riens pour qu’ils se chargent d’une puissance orchestrale. » BENAMMAR, Samy. « 24 Images », 28 mai 2024
SARAH SEENÉ / MAXIME CORBEIL-PERRON « Le Spectre Visible »
« [...] profondément humaniste [...] » BENAMMAR, Samy. « 24 Images », 28 mai 2024
MIKE ROLLO « P L U M E »
ANNIE ST-JEAN « Capter le fuyant »
KAREL DOING « A Perfect Storm »
LOUISE BOURQUE « Bye Bye Now »
« Bye Bye Now se souvient et oublie, ressasse inlassablement les racines de l’imaginaire, les traumas et les rêves. Il tourne autour d’archives jusqu’à en devenir une, déformée et rapiécée, et nous plonge dans un temps discontinu. » BENAMMAR, Samy. « 24 Images », 28 mai 2024
PROGRAMME 2 : L'ATTAQUE DES VIDÉOCASSETTES : L'ART DU « MIXTAPE » VIDÉO
Despair | S.P.K., Australie, 1982
First Transmission | PSYCHIC TV / Thee Temple ov Psychik Youth, Angleterre, 1982
The Greatest Hits of Scratch Video [Vol. 1 & Vol. 2] | GEORGE BARBER, Angleterre, 1984 / 1985
Cathode Fuck / T.V. Sphincter | CHRIS GORE, États-Unis, 1986 / 1987
Broken | NINE INCH NAILS, États-Unis, 1993
Sociology 666 | RICHARD ALTMAN & SEBASTIAN CAPONE, Canada, 1996
« On sort de la salle un peu déstabilisés par une séance dont l’extrême originalité réveille à la fois nos ambitions révolutionnaires avec un cinéma qui ne saurait être plus expérimental et nos travers réactionnaires qui nous font quelque peu regretter la tranquillité analogique des oiseaux de la veille. [...] Je remercie ces deux figures diamétralement opposées et absolument complémentaires [Karl Lemieux et Clint Enns], ces cinéastes-programmateurs-penseurs dont la passion partagée pour les ailleurs cinématographiques est l’un des piliers qui font tenir un milieu où l’on cherche encore des images. On refuse de se contenter de montrer, on explore les hallucinations sonores et on se dit surtout que, si l’on croit avoir entendu, c’est déjà ça de souvenir. » BENAMMAR, Samy. « 24 Images », 28 mai 2024
