Faire des histoires

Kim Kielhofner, A Spot on the Sun, still, 2014. Courtesy of the artist.

Kim Kielhofner, A Spot on the Sun, still, 2014. Courtesy of the artist.

Nikki Forrest, Pictures for Listening, still, 2015. Courtesy of the artist.

Nikki Forrest, Pictures for Listening, still, 2015. Courtesy of the artist.

Kandis Friesen, Trade, still, 2010, 5 min 30 sec. Courtesy of the artist.

Anick St-Louis, L’Étau, still, 2007, 4 min 30 sec. Courtesy of the artist.

Jessica MacCormack Rae Spoon, Joan, still, 2010, 3 min 53 sec. Courtesy of the artist.

Courtesy of Groupe Intervention Vidéo (GIV).

View of the exhibition Faire des histoires : Kim Kielhofner. A Spot on the Sun/Smotyn Ar Yr Haul/Une tache sur le soleil, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

View of the exhibition Faire des histoires : Kim Kielhofner. A Spot on the Sun/Smotyn Ar Yr Haul/Une tache sur le soleil, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

View of the exhibition Faire des histoires : Kim Kielhofner. A Spot on the Sun/Smotyn Ar Yr Haul/Une tache sur le soleil, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

View of the exhibition Faire des histoires : GIV le 40e, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

View of the exhibition Faire des histoires : GIV le 40e, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

View of the exhibition Faire des histoires : GIV le 40e, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

View of the exhibition Faire des histoires : Nikki Forrest. Pictures for Listening, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.

Nikki Forrest, Pictures for Listening, still, 2015. Courtesy of the artist.

View of the exhibition Faire des histoires : Nikki Forrest. Pictures for Listening, VOX, from February 28 to March 28, 2015.

Credit: Michel Brunelle.
2015.02.28 - 03.28

Nikki Forrest, Kim Kielhofner and Groupe Intervention Vidéo (GIV)

Nicole Gingras, Petunia Alves and Anne Golden

Opening on February 28, 2015 at 3:00 pm

A project initiated by Nicole Gingras, presented as part of the 33rd International Film Festival of Films on Art (Media Arts section / Experimental FIFA). A partnership between VOX,
GIV, and FIFA.


Faire des histoires, a project initiated by Nicole Gingras, consists of three exhibitions held as part of the Experimental FIFA, Media Arts section of the 33rd International Festival of Films on Art (FIFA). The projects are all related to memory: in terms of perception, story-making, or archiving.
The event includes two solo shows, curated by Nicole Gingras,
of the work of Nikki Forrest and Kim Kielhofner, along with a third exhibition celebrating the 40th anniversary of Groupe Intervention Vidéo (GIV), curated by Petunia Alves and
Anne Golden.

Press release

Moving through history
Reading, translation, traces


Three exhibitions are presented under the title FAIRE DES HISTOIRES. At first glance, what they have in common is the moving image and a means of expression: video. There is also a focus on listening, suggesting that visitors should not only be eyes, but ears moving through the space. Video shows itself in an intimate, privileged relationship that it seems to demand of the spectator-listener. Video makes [hi]stories; video reinvents cinema.

Imagery drawn from cinema forms the core of the installation
A Spot on the Sun/Smotyn Ar Yr Haul/Une tache sur le soleil by Kim Kielhofner, in which she strives to piece together from memory the film Sans soleil by Chris Marker. The artist seeks, attempts to remember, associates, invents; she remakes a story and unravels it like a spiral. Spaces succeed each other and become familiar. A recurring female figure traverses them; other female characters are associated with her. Borne by three storylines transmitted by three female narrators in English, Welsh and French, in which translation feeds the process of remembering, the installation deploys a multiplicity of fragments that, after a few minutes’ observation, absorb Sans soleil. Over time, Kielhofner has constructed a substantial bank of images, weaving them together with formal, conceptual or affective links specific to her.1 The notion of the atlas as associative principle essential to a collecting reflex is essential here, revealing the movements of a way of thinking founded on a specific mode of reading—a concept that I have borrowed from Georges Didi‑Huberman: “There would be two meanings, then, two purposes of reading: a denotative meaning; i.e., a search for messages, and a connotative, imaginative meaning, i.e., a search for montages. The dictionary affords us an invaluable tool for the first of these quests; the atlas certainly provides us with an unexpected apparatus for the second.”2

Nikki Forrest, for her part, anchors her practice in an installation form that is separate from narrative, favouring seemingly abstract elements: shimmerings of light and shadow, sounds that unveil textures and sonorities, discreet marks on paper. Pictures for Listening observes and captures the imperceptible, plunging the visitor into an ebb and flow between sound and image and providing a space for active listening in which space-time referents dissolve.3 The work was created using a camera with a myopic gaze. As the artist explains: “Video images were generated using a DSLR camera’s light sensor to record the light present at a particular time and place; the lens was detached so the camera could not ‘see’ in the usual way. Sound recorded with the images was processed, edited and re-mixed to produce the soundtrack.”4 Facing the video projection hang several drawings: Forrest, with eyes closed and wearing headphones, transposed onto paper the textures and rhythms of the soundtrack, which she listened to while drawing. She sought to translate fleeting perceptions, investigating the image-potential of sounds and the sound-potential of images. In that interplay, she proposes a context and reveals a process, a transformation of spatial perception, in the end conveying an experience that—in spite of that degree of abstraction or because of it—is deeply rooted in her memory.

Making [hi]stories is also about resistance: speaking, showing and doing differently. GIV has been engaged in that alternative approach for the past 40 years. GIV le 40e invites visitors to explore a space comprising a history of video art, to stroll through the memory bank of a collection. Headsets are provided so that they may initiate a personal relationship with each work. Not spectacle, but experience. Not demonstration, but discovery. Spectacle takes a back seat to interrogations, testimonials, shared experiences and searches among the artists represented. For GIV, memory is inscribed in and through the act of recording, capturing and disseminating images and sounds. For Nikki Forrest, it is “[m]emory as a space, a colour field; space, screen—more of a window than a screen.”5 For Kim Kielhofner, memory is a space of transformation where linearity does not exist: “In the absence of detail I rely on a story I am familiar with, a story which tries to recreate itself.”6 Video remembers and writes itself in the present tense.

1. A series of handmade books by the artist, exhibited at VOX, extend the montage principles explored in the installation’s three videos and reveal a dizzying repository of images.
2. Georges Didi-Huberman, Atlas ou le gai savoir inquiet – L’œil de l’histoire, 3, Paris: Éditions du Seuil, 2011, p. 15. [Freely translated.]
3. This work had its origins in Sense Place, a performance piece presented as part of the event Les Voisins / Neighbours in June 2014. Forrest live-mixed pre-recorded sound sources while simultaneously projecting video images; when gathering materials, she had paid special attention to the patterns, shapes and broad diversity of sounds in her immediate surroundings. For her, the piece was an exploration of place as an experience embodied in and guided by the senses.
4. Nikki Forrest, description of Pictures for Listening in 33rd International Festival of Films on Art Catalogue, Montreal, 2015, p. 97.
5. From a conversation with the author, February 2009.
6. Kim Kielhofner, excerpted from the text of A Spot on the Sun.

Kim Kielhofner. A Spot on the Sun/Smotyn Ar Yr Haul/Une tache sur le soleil

Curator: Nicole Gingras

The impetus for Kim Kielhofner’s new audio and video installation is Chris Marker’s film Sans soleil (1983), which the artist set out to re-make based on her memory of it. What ensued is a fascinating montage of sound, picture and text elements, which reflects not only the complexity of the process of remembering, but also the alterations that can occur through translation. Written first in English, the narration was translated to Welsh, then to French, and then back to English. This act of remembering, in combination with writing and translation, generated three videos that tell multiple stories, each recounted by a narrator: three spaces that are unique and that, through observation, become increasingly familiar. The experience of the piece rests on the power of the images, which appear, disappear and resurface, between memory, perception and imagination.

Complementing the artist’s video work, Black Book Project is a corpus that she has designed since 2005, revealing the extent to which montage, association and collage are core concerns of hers. Collage can here be seen as a process, a way of thinking and a means of transmission whereby the shards, the fragmenting of a collection of images and words, are favoured in the making of a story.

This is the artist’s first solo exhibition.

Nikki Forrest. Pictures for Listening

Curator: Nicole Gingras

With this recent audio-video installation, complemented by recent drawings, Nikki Forrest summarizes her investigations of what she terms “pictures for listening.” It is an exploration of the space occupied by sound, the relationship between light and pictures, and potential equivalencies between sound and image.

Forrest’s art, originally narrative and autobiographical, has by degrees shifted toward the study of forms and movements in which memory plays a determining role. In recent years, the artist has been reconsidering forms, rather than signs and symbols, moving away from narrative in favour of a perceptual experience rooted in observation and listening. Forrest designs spaces for thinking. Memory as technology and the notion of place are her guides to exploring the world around her. Pictures for Listening was built out of a desire to draw and record space differently—that is, blindly. Feeling sound and space, perceiving movement and what escapes her, without describing them, the better to re-encounter them.

GIV le 40e

Curators: Petunia Alves and Anne Golden

We rely upon artists. They are the backbone and foundation of GIV. Artist-producers formed GIV 40 years ago. Artists have always directed the centre. We determined that it was only natural to express our long, complex and varied history through artists/videos that have been or are associated with GIV. The videos in our collection travel the world. They are the reflection of shifting technologies and affinities. We are currently one of a handful of centres worldwide that focus on works created by women artists.

Currently, GIV represents 330 artists and 1,260 videos. The works in GIV le 40e represent a snapshot of our collection and history. There are 40 videos organized chronologically by date of production representing specific periods of GIV’s history. These works reflect the diversity of practices, themes and technologies in video art history. A variety of archival material (posters, catalogues, photographs) are added to the selection of videos.

In this exhibition are glimmers of a video past, ghostly images generated by obsolete cameras, recorders and editing devices. In this exhibition are echoes of a video present, a heady mix of both old and new technologies at the service of inventive artists. As for a video future, the medium has been declared dead on more than one occasion. And yet here we stand, poised for the next 40 years.

GIV le 40e is the first of a series of events scheduled in 2015 celebrating this important anniversary.

GIV Programming

Unless otherwise specified, the videos are in French.

YEARS 1975-1979

Program 1 (58 min)
• Jean-Pierre Boyer, Mémoire d’octobre, Quebec, 1979, 58 min.

Program 2 (60 min)
• Michel Sénécal and Michel Van De Walle, Ceci est un message de l’idéologie dominante, Quebec, 1975, 20 min.
• Hélène Bourgault, Partir pour la famille, Quebec, 1974, 30 min.
• Louise Gendron, Femmes de rêve, Quebec, 1979, 10 min.

YEARS 1980-1989

Program 3 (46 min)
• Femmes En Focus, Y paraît que c’est mes nerfs, Canada, 1981, 20 min.
• Ardele Lister, Hell (English), United-States, 1984, 17 min.
• Gloria Camiruaga, Popsicles, Chile, 1984, 5 min.
• Diane Poitras, Comptines, Quebec, 1986, 4 min.

Program 4 (49 min)
• Carole De Beaumont and Johanne Fréchette, La Romance du rock, Quebec, 1985, 28 min.
• Nancy Marcotte and Colette Loumède, Reportage Brésil, Quebec, 1986, 15 min.
• Silvana Afram, L’Obscurité de mon langage II, Brazil, 1988,
4 min.
• Marilyn Burgess, Une fille de ma gang, Quebec, 1989, 20 min.

YEARS 1990-1999

Program 5 (58 min)
• Christine Martin, Laws and Skin (English), Canada, 1990,
5 min.
• Ève Lamont, Bataclan, Quebec, 1991, 7 min.
• Anne Golden and Petunia Alves, Les Autres (French and English), Quebec, 1991, 31 min, 10 min excerpt.
• Diane Obomsawin, L’abominable microbe, Quebec, 1992, 5 min.
• Cathy Sisler, Aberrant Motion #4 (Face Story, Stagger Stories) (English), Quebec, 1993, 14 min 31 sec, 5 min excerpt.
• Cheryl Sim, A Few Colourful Phrases (English), Quebec, 1995, 12 min 45 sec, 5 min excerpt.
• Lisa Graves, Deborah Vanslet et Sarah Williams, Link (no dialogue), Québec, 1996, 6 min.
• Dana Inkster, Welcome to Africville (English), Quebec, 1999,
15 min.


Program 6 (approximately 75 min)
• Diyan Achjadi, Recommended Daily Allowance (no dialogue), Quebec, 2002, 31 sec.
• Frédérick Belzile, Falling (English), Quebec, 2002, 2 min 31 sec.
• Claudia Bernal, Seules celles qui meurent de mort violente vont directement à l’un des paradis (monument à Ciudad De Juarez) (no dialogue), Quebec/Mexico, 2002, 3 min.
• Tamara Vukov, NatoNosferatu (English), Canada, 2004,
3 min 40 sec.
• Aurélie Pedron, C’est ainsi qu’on avale Artaud (no dialogue), Quebec, 2005, 3 min 10 sec.
• Marik Boudreau, Sans Statut, Quebec, 2006, 2 min 19 sec.
• Anick St-Louis, L’Étau (no dialogue), Quebec, 2007,
4 min 30 sec.
• Jenny Lin, Transfer Point (no dialogue), Canada, 2007,
5 min 23 sec.
• Gabriela Golder, Doméstico/Domestic (no dialogue), Argentina, 2007, 1 min 30 sec.
• Dayna McLeod, That’s Right Diana Barry—You Needed Me (English), Canada, 2009, 6 min 48 sec.
• Victoria Stanton, Sunburst (no dialogue), Quebec, 2009,
3 min 29 sec.
• Élaine Frigon, Maison/Fast Forward (no dialogue), Quebec, 2010, 5 min.
• Sabrina Ratté, La Lune (no dialogue), Quebec, 2010,
2 min 20 sec.
• Kandis Friesen, Trade (English text), Quebec, 2010,
5 min 30 sec.
• Jessica MacCormack and Rae Spoon, Joan (English), Quebec, 2010, 3 min 53 sec.
• Michelle Smith, Traces souterraines (English with French subtitles), Quebec, 2010, 7 min 55 sec.
• Lamathilde, Le jeu du pendu — Hangman, Quebec, 2010,
1 min 40 sec.
• Eugénie Cliche, Paysage (no dialogue), Quebec, 2011,
6 min 49 sec.
• Nelly-Ève Rajotte, (I) (no dialogue), Quebec, 2013, 1 min.
• Isabelle Hayeur, Mirages (no dialogue), Quebec, 2014,
9 min 50 sec.


Report by CBC News Montreal on GIV le 40e, presented at VOX as part of the exhibition Faire des histoires.

See interview


Discussions with Alves, Forrest, Gingras, Golden, and Kielhofner

You are invited to meet the artists and curators of the exhibition Faire des histoires and engage in spontaneous discussions!

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Vernissage after dark

For Nuit blanche à Montréal, VOX exceptionnally invites you to a vernissage… after dark! Come discover the exhibition Faire des histoires

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