SCREENING

A.K. Burns is an interdisciplinary artist and educator based in New York, born on the coast of Northern California in 1975. Using video, installation, sculpture, drawing, and collaboration, Burns explores systems of value and the body as a contentious domain wherein socio-political issues are negotiated.

Burns has exhibited internationally including recently at Palais de Tokyo, Paris, France; MMK Museum of Modern Art in Frankfurt, Germany; FRONT International: The Cleveland Triennial for Contemporary Art in Cleveland, OH; The Harvard Art Museums in Cambridge, MA; and Portland Institute for Contemporary Art, in Portland OR. 

As a frequent collaborator; Burns was a founding member of W.A.G.E (Working Artists in the Greater Economy) in 2008—an artists’ advocacy group that remains active as a non-profit certification organization for Arts Institutions nationally. Created in collaboration with A.L. Steiner, Community Action Center, a video re-imagining pornographic cinema for queer womxn, trans and non-binary bodies was released in 2010 and has since been collected by the MoMA and The Julia Stoschek Collection. The work was also named one of “The 25 Works of Art That Define the Contemporary Age” by the New York Times in 2019. In 2010, Burns also began a collaborative practice with partner Katherine Hubbard, producing performance installations, videos and sculptures as well as staging The Poetry Parade…, at the Museum of Modern Art, The Metropolitan Museum of Art and The Whitney Museum of American Art, all in New York.

A.K. Burns is an Associate Professor and the New Genres Area Head at Hunter College, Department of Art & Art History. Burns is currently represented by Michel Rein Gallery, Paris/Brussels, and Video Data Bank, Chicago.

Geneviève Cadieux’s work explores the field of interference of the passage of images obtained by the modes of recording and producing photographic images. The presentation of her work in museums and public spaces is inspired by theatrical and cinematographic staging, advertising strategies, and their effects on the individual. She devotes herself primarily to the production of photographic images and large-scale installations whose main subjects are the representation of the human body and the landscape, defined as a meeting place of mind and body. Geneviève Cadieux sees the body as a sensitive surface, capable of recording the marks of time and suffering, and the photographic image as a luminous wound in the emulsion. She is interested in the integration of artworks in the urban environment, their visibility, the effect they have on city dwellers and the way they mark and identify a place.

Since the early 1980s, Cadieux has taken part in numerous group shows in Canada, the United States, Europe, Australia, and Japan, including the Biennale de Montréal (1985, 1986 and 2000), the Sao Paolo Biennale (1987), the Australian Biennale (1987, 1990) and the Venice Biennale (1990), where she represented Canada. Since then, her work has been the subject of several solo exhibitions around the world, including at the Centre d'art contemporain de Genève and the I.C.A in Amsterdam (1991), the I.C.A. London (1992), Sagacho Exhibit Space Tokyo, Musée Départemental de Rochechouart (1992), Musée d'art contemporain de Montréal (1993), Nouveau-Musée Villeurbane, MUKA Antwerp, Bonner Kunstverein Bonn, Kent Gallery New York (1994), Tate Gallery, London, Angle Gallery, Santa Monica, Cleveland Center for Contemporary Arts (1995), Pittsburgh Centre for the Arts (1996), Kunsforeningen Copenhagen and Stephan Friedman Gallery, London (1997), Miami Art Museum, Galleria S.A.L.E.S in Rome (1998), the Morris and Helen Belkin Art Gallery in Vancouver (1999), the Montreal Museum of Fine Arts, the Americas Society in New York, the Beaver Brook Art Gallery in Fredericton and the Art Gallery of Hamilton (2000), Galerie Nathalie Obadia in Paris and the Frac de Normandie (2001). She took part in 59th Minute: Video Art in New York's Times Square (2002). She created Barcelona (2021-2022), a monumental work on the south façade of the National Gallery of Canada. Her work can be found in many private and museum collections in Québec, Canada, the United States, Europe, and Asia.

Since 2002, Geneviève Cadieux has been Associate Professor in the Photography Program at Concordia University’s Faculty of Fine Arts in Montréal. A visiting artist, she has taught at the College of Architecture of the University of Illinois at Chicago (1998), the Universitat Politècnica de Valencia in Spain (1997), the École d'art de Grenoble (1996) and the École nationale supérieure des beaux-arts in Paris (1993-1994).

A prolific artist who lived between New York and London, Ellen Cantor (1961-2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. In her drawings, paintings, collages, and videos, Cantor lifted characters and sequences from iconic films, reorienting the ideological transmissions of the source material. Fictional figures from Disney cartoons, cult horror films, New Wave cinema, and family movies provide a visual foil to Cantor's intimate disclosures. Magnetized by the doe-like naivety of characters such as Snow White and Bambi, Cantor would, in her drawings, extend their narrative horizons to include vivid sexual encounters and crisis-ridden relationships.

Born in Montréal, Victoria Carrasco is a Chilean-Canadian curator and is also Gallery Manager at the PHI Foundation for Contemporary Art. Carrasco holds an MA in Performance Curation from the Institute of Curatorial Practice in Performance (ICPP) at Wesleyan University, a BA in Environmental Design from the Université du Québec à Montréal (UQAM), and a BFA with a Concentration in Photography from Concordia University. In 2019, she was awarded the Ford Foundation ICPP Leadership Fellowship by Wesleyan University. She is also co-editor of the bi-annual publication TURBA: The Journal for Global Practices in Live Arts Curation.

Montréal-based interdisciplinary artist Nadège Grebmeier Forget circulates within both the visual and performing arts milieu. She has distinguished herself through the empowered and performative manipulation of her image, drawing influences from the vocabulary of feminisms, her own body and personal psyche acting as mediums of observation, research, and transformation. With multiple festivals, exhibitions, residencies, and conferences to her credit across Canada, the US, and Europe, she is better known for her durational, live, streamed, and private performances that question the labour of making and becoming; including the ways in which performance (of self or art) can be documented, shown, disseminated or exhibited. She is the first performance artist to receive the City of Montréal’s Prix Pierre-Ayot (2019), awarded in partnership with the Contemporary Art Galleries Association (AGAC). Her work has most recently been on view within the group exhibition privat at Basement Raum Für Kunst Berlin (Germany, February-March 2024). She was the concert opener for Kee Avil at Centre PHI (Montreal, May 2024). An interview by Alanna Thain about the artists approach to live scenography and the occupation of the screen as a moving mirror was published in LO: TECH: POP: CULT: Screendance Remixed by Routledge (April 2024, England, UK).

Bettina Hoffmann's work lies at the intersection of photography, film, dance and theatre. In recent works, she has choreographed and filmed interactions between people to create video tableaux and performances that examine the mechanisms of social relationships, conflict, and communication. Focusing on body movements, subtle gestures, distance, and proximity between people, she is interested in ambiguous movements and actions that oscillate between benevolence, indifference, and hostility. She is interested in collaborations and interdisciplinary approaches to artistic creation, and works with dancers and musicians from diverse ethnic and artistic backgrounds.

Her work has been shown in numerous group and solo exhibitions in Canada, Germany, Great Britain, the Netherlands, Austria, Spain, Romania, South Korea, Japan and the United States. Recent solo exhibitions include Dérive at Expression - Centre d'exposition de Ste-Hyacinthe, Choreography of Movements at the Goethe Institut Montréal, and Touch, at Occurrence, Montréal, featuring choreographic video works and performances. Recent group exhibitions include Rencontres internationales Traverse, Variabilités en échos, Toulouse, France, Festival Oodaaq, Rennes, France, and L'intentionnalité qui cherche..., Galerie GlogauAIR, Berlin, Germany.

Originally from Berlin, where she obtained an MFA from the Universität der Künste, she has lived in Montréal since 2000. She has received several grants and benefited from residencies from the Conseil des arts du Québec, in New York, and Tokyo (TOKAS). For the past 10 years, she has also been training in dance, exploring a variety of movement approaches and techniques through workshops in Montréal, New York, Tokyo, and Berlin, learning from teachers such as Peter James, Yuminko Yoshioka, Dana Gingras, Tadashi Okamura, Natsu Nakajima, Yuri Nagaoka, and Seisaku.

Action artist, poet, and teacher, arkadi lavoie lachapelle grew up in the countryside in a middle-class francophone family. For over ten years, they have been working in the Québec metropolis. A graduate in visual and media arts from UQAM (2013), they have presented their work in numerous exhibitions and festivals in Canada and Europe (notably Spain and Germany). As part of their commitment to community, they are an artist member of the Gham et Dafe workshop and were the administrator of the VIVA! Art Action festival. A finalist for the Prix Pierre-Ayot (AGAC, 2020) and the Sobey Prize (2023), lavoie lachapelle is supported by their peers as a recipient of several CAC and CALQ grants.

In a brief yet prolific career, the Cuban-born artist Ana Mendieta® created groundbreaking work in photography, film, video, drawing, sculpture, and site-specific installations. Amongst the major themes in her work are exile, displacement, and a return to the landscape, which remain profoundly relevant today. Her unique hybrid of form and documentation, works that she titled “siluetas,” are fugitive and potent traces of the artist's inscription of her body in the landscape, often transformed by natural elements such as fire and water.

The Estate of Ana Mendieta Collection, LLC, in collaboration with Galerie Lelong & Co., catalogued and digitized the entirety of Mendieta's moving image works, discovering that the artist remarkably made more than 100 in the ten-year period in which she worked in the medium. The groundbreaking exhibition of her moving image works, Covered in Time and History: The Films of Ana Mendieta, was organized by the Katherine E. Nash Gallery, University of Minnesota in 2014, and has since travelled to several institutions worldwide, including NSU Art Museum Fort Lauderdale, Florida; University of California, Berkeley Art Museum and Pacific Film Archive; Bildmuseet, Umea, Sweden; Martin Gropius Bau, Berlin; and the Galerie nationale du Jeu de Paume, Paris. In 2023, the major solo exhibition Ana Mendieta: Search for Origin was held at MO.CO Montpellier Contemporain, France and traveled to MUSAC, Museo de Arte Contemporáneo de Castilla y León, Spain and Musée des beaux-arts de La Chaux-de-Fonds, Switzerland.

Mendieta’s work has been the subject of 56 solo museum exhibitions, including six major retrospectives. Ana Mendieta: Traces, was organized by the Hayward Gallery, England, in 2013, and travelled to the Museum der Moderne Salzburg, Austria, and the Galerie Rudolfinum, Czech Republic. Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985 was organized by the Hirshhorn Museum and Sculpture Garden, Washington, D.C., in 2005 and travelled to the Whitney Museum of American Art, New York; Des Moines Art Center, Iowa; and Miami Art Museum, Florida.

Mendieta was born in Havana, Cuba, in 1948, and died in New York City in 1985.

Lynne Sachs is an experimental filmmaker and poet living in Brooklyn, New York. Her films embrace archives, diaries, letters, poetry, and music to take us on a critical journey through reality and memory. Working from a feminist perspective, Lynne investigates the connections between the body, the camera, and the materiality of film itself. Retrospectives of her 50 feature-length and short films have been presented in Argentina, China, Ecuador, Germany, Mexico, the UK, and the US.

Aki Sasamoto (b. 1980 in Kanagawa, Japan) is a New York-based artist working in performance, dance, installation, and video who is currently teaching at the Yale School of Art's Sculpture Department. She has had solo exhibitions and performances at Para Site, Hong Kong; Queens Museum, Flushing Meadows, NY; Arts and Letters, New York, NY; Danspace Project, New York, NY; SculptureCenter, Long Island City, NY; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; The Kitchen, New York, NY.

Sasamoto has been included in group exhibitions at Kunsthal Rotterdam, The Netherlands; The Whitney Museum of American Art, New York; and the Hirosaki Museum of Contemporary Art, Japan, among others. Sasamoto was included in The Milk of Dreams, the 59th Venice Biennale, curated by Cecilia Alemani. In 2021, she was an artist-in-residence at Atelier Calder in Saché, France, and in 2023 she was named recipient of the Calder Prize.

Luna Scales (b. 1992) graduated as a visual artist from The Royal Danish Academy of Fine Arts in 2020. Scales' work has been exhibited in numerous group shows both nationally (in Denmark) and internationally. Her artistic practice is primarily based on video, through which she works with the medical language and body. She explores both the poetic dimension in diagnostics and the concrete meeting and relationship between doctor and patient in order to create a language beyond the objective science of the medical field.

She lives and works in Copenhagen.

Carolee Schneemann (1939–2019) was an American visual experimental artist, known for her multimedia works on the body, narrative, sexuality, and gender. She received a B.A. in poetry and philosophy from Bard College and a Master of Fine Arts from the University of Illinois. Originally a painter in the Abstract Expressionist tradition, Schneeman was uninterested in the masculine heroism of New York painters of the time and turned to performance-based work, primarily characterized by research into visual traditions, taboos, and the body of the individual in relation to social bodies. Although renowned for her work in performance and other media, Schneemann began her career as a painter, saying: "I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas." Her works have been shown at the Los Angeles Museum of Contemporary Art, the Museum of Modern Art in New York, the London National Film Theatre, and many other venues.

Schneemann taught at several universities, including the California Institute of the Arts, the School of the Art Institute of Chicago, Hunter College, Rutgers University, and SUNY New Paltz. She also published widely, producing works such as Cézanne, She Was a Great Painter (1976) and More than Meat Joy: Performance Works and Selected Writings (1979). Her works have been associated with a variety of art classifications, including Fluxus, Neo-Dada, performance art, the Beat Generation, and happenings.

Nina Vroemen makes interdisciplinary work about ecology that is speculative and embodied. They live in Tiohtiá:ke (Montreal), on the traditional territory of the Kanien’kehà:ka and are currently an MFA candidate in Sculpture and Ceramics at Concordia University. 

Vroemen is a collaborator in three interdisciplinary performance projects (Horizon Factory + water%holding + HEaD) centered on awe and ecological justice. They are also an educator facilitating workshops and teaching in studio arts at Concordia University. 

Their recent shows include IGNITION 19 at the Leonard & Bina Ellen Gallery (Montréal), Marées Queer Tides at Gallery Sans Nom (Moncton), Artch (Québec), Watershed Art and Ecology (Chicago), Summerworks (Toronto), Centre Clark, RIPA, Centre de Création O Vertigo, and Darling Foundry. They have participated in numerous artist residencies including Studio Kura (2024), Eastern Bloc (2023), Performing Arts Forum (2023), ARTSCAPE Gibraltar (2022), RURART (2020), Studio 303 (2019), KIAC (2019). 

Their work has been published in Engaging the Margins: Experimental Practices in Interdisciplinary Art (UC Irvine, 2024), esse: art + opinions (September 2023), Low Carbon Methods Research (2022), Viral Ecologies (2022), and SLSA’s Experimental Engagements in Interdisciplinary Art (2023).

Vroemen has generously been supported by the Canada Council for the Arts, the John Howard Foundation, SSHRC, and FRQSC.