From September 8 to 12, 2021, LASER Montreal (co-chaired by Gisèle Trudel [co-investigator member, UQAM] and Nina Czegledy [collaborator member], participated at the Garden Leonardo LASER : [Anti]disciplinary Topographies: Culturing transnational dialogue for creative hybridity.
Slowness 2.0 by Andrée Martin [co-investigator member, UQAM] was selected to be part of the Performing New Infrastructures series, which presents works dedicated to the co-creation of sonic, visual and bodily experiences and performances, in the spaces between art, science, and technology, these performative acts undergird new infrastructures for the staging of critical discourse and playful experimentation, to rethink new infrastructures for the staging of critical discourses and playful experimentation.Slowness 2.0 is a multimodal presentation forming a prismatic expression of slowness in the performing arts – an invitation to dwell on experience.
With the participation of the creators/performers of the work L-libération: Alice Bourgasser, Élisabeth-Anne Dorléans, Ariane Dubé-Lavigne, Luiza Monteiro e Souza and Angélique Poulin.
Presented with the financial support from Hexagram, funded by the Strategic Clusters program of the Fonds de recherche du Québec — Société et culture (FRQSC). The Leonardo/ISAST LASERs are a program of international gatherings that bring artists, scientists, humanists and technologists together for informal presentations, performances and conversations with the wider public. The mission of the LASERs is to encourage contribution to the cultural environment of a region by fostering interdisciplinary dialogue and opportunities for community building to over 40 cities around the world. To learn more about how our LASER Hosts and to visit a LASER near you please visit our website. @lasertalks
Artist and researcher, Andrée Martin has been conducting a multi, inter, trans, postdisciplinary work on the body’s multiple ramifications for more than 25 years. Co-founder of the Living Arts and Interdisciplinarity Laboratory (LAVI – funded by the Canadian Foundation for Innovation, CFI), she is currently leading a large-scale project on the link between immersion, performing arts and human homeostatic balance. For more than twelve years, she has been creating on an ABC of the Dance Body, leading to a series of literary and scenic essays on the dancing body, of which 14 letters / works have already been created and presented in Canada, Mexico, Chile, Belgium, Spain, France, Brazil and India. Screenwriter and director, recipient of the prestigious Core Funding, Ms. Martin has authored The Power of Sound (2018), Danser Perreault (2003), Untitled Red (1999). Author of more than fifty articles published around the world (France, Germany, Belgium, Brazil, etc.), she has directed the books Abécédaire du corps dansant, Territoires en mouvance. Ms. Martin is a recipient of financial support of the major granting agencies in research-creation in Canada (CALQ, CAC, FRQSC, SSHRC, CFI).
Holder of a master’s degree about the links between contemporary music and sound in cinema, Bruno Pucella has more than twenty years of experience in sound design and sound recording. In 2020, he was awarded best sound in the documentary category for the film Istanbul echoes by Giulia Frati, for which he also composed the original score. Although film remains his main creative space, he regularly contributes to projects for the performing arts, media arts and virtual reality. As a musician, he has composed soundtracks for documentaries and produced original music for dance. In parallel, he has written and directed a documentary (Gospel According to Vivienne, 2011) as well as three short films, the last of which, Davaï, has been presented in a dozen international festivals.
Alfonso Santarpia is a psychologist-psychotherapist, assistant professor in the department of psychology (adult clinical psychology path) at the University of Sherbrooke. His research is part of a humanist / existential oriented approach along four axes: the therapeutic effects of speech (the metaphors of the psychotherapist’s body) on the client’s bodily experience; the therapeutic effects of artistic practices (Music, Dance, Poetry, Clown therapy) on different types of populations (spectators, people in mourning, in palliative care); the therapeutic and narrative effects of religious/spiritual practices in ordinary or altered states of consciousness (trance states, broadening/expanding consciousness, awe); the bodily presence, the effects of presence (psychotherapists, patients, mediators) in psychotherapy (or care) contexts with specific attention to bodily mediated psychotherapies.
Armando Menicacci holds a master’s degree in musicology at the University of Rome and a doctorate in dance and digital technologies at the University of Paris 8, where he founded and directed the Médiadanse laboratory between 1999 and 2009. Between 2009 and 2014, he was a professor of contemporary art at the Media Art School of Chalon-sur-Saône. He has published among others the book La Scena Digitale with Emanuele Quinz as well as numerous articles in music, dance, theater, robotics, visual arts and psychology. Professor at UQAM between 2015 and 2019, he is a collaborating member of Hexagram and co-founder of LAVI, a laboratory dedicated to interdisciplinary research-creation combining arts, sciences and health. At the same time, he creates digital artworks presented in Europe, Africa, North and South America. In 2020 he co-founded with Nicolas Berzi SIT Scènes Interactives Technologiques, a laboratory dedicated to the digital turn in the performing arts.
Photo Credits for banner: Andrée Martin, L-Libération (2020). With Alice Bourgasser, Élisabeth-Anne Dorléans, Ariane Dubé-Lavigne (creator-performers) and the LAVI (Laboratoire Arts Vivants et Interdisciplinarité).
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