[HTMlles 2024] Embodied Interventions, LePARC – Milieux Concordia
EMBODIED INTERVENTIONS
Screening and performance
17:30 – 20:30
04/05
LePARC, Milieux Concordia – Performance Lab – (EV 10.785, EV 10.760, et / and EV 4.502) 1515 rue Sainte-Catherine O, EV Building, Montréal
Embodied Interventions [Interventions incarnées] is a graduate student-led performance showcase, and the culmination of two weeks of collaborative creative laboratories in the Performing Arts Research Cluster (LePARC) at Concordia’s Milieux Institute for Arts, Culture and Technology. This year, in a first collaboration between Ada X and LePARC, three artists in the showcase working across dance, theater, film and virtual reality share their distinct creations in partnership with the HTMlles Festival. They are Allison Peacock, Debora Alanna and Kayla Jeanson.
Simultaneous Natures, Allison Peacock
As part of the PhD dissertation Simultaneous Natures,artist-researcher Allison Peacock created dance-based works corresponding to her research on three local Montréal gardens: the Japanese Garden at Espace pour la vie, West Montréal’s municipal gardens vis-à-vis the work of their head gardener, and the Home Depot parking lot at 100 rue Beaubien O. As part of an interdisciplinary approach to understanding the function and characteristics of these unique gardens, live and video-based choreography became critical to reimagining and highlighting elements of the history, spatial characteristics, and the labour that is vital for their maintenance. The three works offer a dance triptych that can hint to the diverse and divergent qualities that are part of the ways that nature co-exists with the citizenry of Montréal.
The Beholder, Kayla Jeanson
The Beholder is a hybrid camera / human persona;
a human with a camera instead of eyes.
They witness movement and hold that image in their body.
Their mind captures these echoes, but strains to recall them. “Do not make me remember,” they plead. They only want to see, and follow their sight.
When the lights are off, they remember their body. The tips of their fingers buzz with potential, their toes shift along the ground with excitement. Their lens forgets to seek the light.
They know that they once had a purpose; that they are a part of the story the way that a book’s pages are part of the story. They are the one that cups the insect in their hands and reaches over to let you peer at it. But with no insect around, they become the insect, the subject of their own film. They are at once beholder and beheld.
Lullaby, Debora Alanna
Lullaby dwells on Icelandic mythic sensibilities while bringing forth a conversation about infanticide. Pratique historique, les berceuses étaient chantées aux nourrissons sur le point d’être relâchés dans les éléments. Masked characters, Trú, a raven that used to be a man, his friend Vilborg, and a narration chorus tell the story of one lullaby event. Throughout the piece, an improvisational cohort supported by visual and audio multiplexes incorporates 3D print art and original music with projections made in Virtual Reality (VR), to expound on Lullaby.