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It is among the most-studied imagery in history: the amateur film comprising 26 seconds, or 486 frames, that depicts the assassination of John F. Kennedy on November 22, 1963. It was captured by Abraham Zapruder, who thanks to his 8mm camera became the most famous witness to the tragedy. The footage has gained the status of historical record not only because of the traumatic images it revealed, but also as the inflection point for a profound reworking of the regimes of visibility. Since that day in 1963, every component of the Zapruder film has been subjected to rigorous scientific scrutiny, including analyses of the logical extension of its frames as well as cross-referencing with other sources. Areas outside the camera’s field of view have even been reconstituted by addition of new images, allowing the scene to be examined from every possible missing angle so as to reproduce the sequence of events, as in a psychodrama.

Today, this method of processing images to amplify the data they contain is the basis for abundant artistic and videographic production. The emergence and proliferation of open source media, widespread use of smartphones and access to geolocation data, use of software and other technologies in forensics, digital modeling, photogrammetry and ground-penetrating radar are delivering ever more efficient means of visual investigation. Artists have embraced this technological armada to conduct inquiries into allegations of human rights violations or colonization processes, or to support social or environmental justice causes. Their investigations are central to this research focus.


The Zapruder Effect

By adopting strategies akin to visual ethnography, the trio multiplies perspectives on the modernization of Iran, its rural regions, and the families witnessing their industrialization.

Parastoo Anoushahpour, Faraz Anoushahpour and Ryan Ferko, Lovers’ Wind, 2024, still, 16 mm to video, 37 min 29 s. Courtesy of the artists.

Parastoo-Anoushahpour-Faraz-Ryan-Ferko_LoversWind01_EN.jpg

Parastoo Anoushahpour, Faraz Anoushahpour and Ryan Ferko. One’s Own Eyes

Parastoo Anoushahpour, Faraz Anoushahpour and Ryan Ferko   
One’s Own Eyes


Since the early 1960s, photography books have constituted such a meaningful space for experimentation that they have been elevated to the rank of art works in themselves. This mode of presentation of photography has become so widespread that it has been the subject of numerous exhibitions in recent years. When shown as part of an exhibition, a book is usually presented in a display case, with no possibility of handling it: it thus represents a disappointing experience for the visitor, as this presentation reduces the status of a work that is a priori manipulable to its mere testimonial function. In instances when they can be consulted, books are lined up on shelves, on reading tables or in library stacks. Given the constraints represented by these presentation methods, how do we rethink the photography book in exhibition situations? VOX is initiating a curatorial research cycle that aims to experiment with its modes of exhibition.


What Exhibition Does to Books

For the curatorial research axis _What Exhibition Does to Books_, Lynda Gaudreau was commissioned to produce a new piece inspired by photoromances.

Lynda Gaudreau, Romances, detail of the installation, 2026. Courtesy of the artist.

01_lynda-gaudreau_romances_EN.jpg

Lynda Gaudreau. Romances

Lynda Gaudreau  
Romances

In these outsized installations that combine video, weaving, sound and sculpture, Michaëlle&nbsp;Sergile offers a reflection on bereavement.

Michaëlle Sergile. And Then, Perhaps, a Memory

Michaëlle Sergile  
And Then, Perhaps, a Memory

Drawing on film noir tropes while deploying visual essayism as an investigatory mode, Miles Rufelds reconciles authenticatory images with deceptive illusions around a legendary figure of experimental film.

Miles Rufelds. A Hall of Mirrors

Miles Rufelds  
A Hall of Mirrors

This documentary exhibition aims at charting the development of site-specific installations in the city between 1980 and 1989.

“Créer à rebours vers l’exposition”: The case of site-specific interventions in Montréal

“Créer à rebours vers l’exposition”  
The case of site-specific interventions in Montréal

In this specific new production, Moridja Kitenge Banza offers children and adults alike an artistic reflection on public monuments, museums and collective memory.

Moridja Kitenge Banza. Once Upon a Time, Malaika

Moridja Kitenge Banza  
Once Upon a Time, Malaika

This edition of MOMENTA Biennale d’art contemporain aims to open up multiple perspectives for experimentation and speculation on the nature, uses and production of missing images.

MOMENTA x VOX. Frida Orupabo. On Lies, Secrets and Silence

MOMENTA x VOX  
Frida Orupabo  
On Lies, Secrets and Silence

In celebration of its 40th anniversary, VOX is looking back on the images from the 1980s that have acted as catalysts for the transformation of our world.

1985. Image-Worlds

Past

VOX’s programming is firmly oriented toward research and experimentation, investigating the conceptual paradigms underpinning image practices. Individual exhibitions offer re-readings of both contemporary and historical art practices, while thematic exhibitions see us engaged in processes of reflection. 

VOX développe une programmation résolument orientée sur la recherche et l’expérimentation en interrogeant les paradigmes conceptuels à l’œuvre dans les pratiques de l’image. Des expositions individuelles proposent une relecture de l’art tant actuel qu’historique tandis que des expositions thématiques nous engagent dans des processus réflexifs. 

VOX — Centre de l’image contemporaine

Exhibitions

Parastoo Anoushahpour, Faraz Anoushahpour and Ryan Ferko. One’s Own Eyes

Lynda Gaudreau. Romances

Past

Michaëlle Sergile. And Then, Perhaps, a Memory

Miles Rufelds. A Hall of Mirrors

“Créer à rebours vers l’exposition”: The case of site-specific interventions in Montréal

Moridja Kitenge Banza. Once Upon a Time, Malaika

MOMENTA x VOX. Frida Orupabo. On Lies, Secrets and Silence

1985. Image-Worlds