Opening and Performance Night – Rituals: Healing elixirs
Saturday April, 2 | 5:00 PM - 9:00 PM
Lieu Saint: Interactive Structure
Saturday April, 2 | 5:00 PM - 8:00 PM
and every Saturday and Sunday between April, 3 and 30 | 12:00 PM - 5:00 PM
Under reservation for the duration of the festival
What your eyes [don’t] see by Lucia Vergel Loo
Saturday April 2 | 6:20 PM
Saturday April 9 | 3:00 PM - 3:30 PM
Saturday April 16 | 3:00 PM - 3:30 PM
Saturday April 23 | 3:00 PM - 3:30 PM
Guided Visit with Curator (in french)
Sunday, April 3 | 1:00 PM - 2:00 PM
Round table: En situation d’itinérance
Tuesday April, 5 | 6:00 PM - 7:30 PM
Opening: (Dé)Masquer / (Un)Masking / (Des)Enmascararse
Thursday April, 7 | 5:00 PM
Wapikoni: Short film screening
Thursday April, 7 | 6:00 PM - 8:00 PM
Wapikoni: Awareness workshop
Friday April, 8 | 5:30 PM - 7:00 PM
Creative workshops with Art for Elderly
Saturday April, 9 | 11:00 AM - 12:00 PM and 12:00 PM - 1:00 PM
Guided Visit with Curator (bilingual)
Sunday, April 10 and 17 | 1:00 PM - 2:00 PM
Round table: Art, féminisme et écologie
Tuesday April 12 | 6:00 PM - 7:30 PM
Round Table: Accessibility and immigration
Wednesday April 19 | 6:00 PM - 7:30 PM
I Want My LGBTV featuring Hot Mess Hotline
Friday April, 22 | 11:00 AM - 7:00 PM
Saturday April, 23 | 5:00 PM - 8:00 PM
In Flux: Poetry Films
Sunday April 24 | 12:00 PM - 3:00 PM
Creative workshop with Maria Ezcurra
Thursday April 28 | 3:00 PM
Screenprinting workshop with Atelier Circulaire
Saturday April, 30 | 2:00 PM - 5:00 PM
- World Trade Centre Montréal
747 Rue du Square-Victoria, Montréal, QC H2Y 3Y9
6 AM – 8 PM
- Place Victoria
800 Rue du Square-Victoria, Montréal, QC H4Z 1C3
Monday to Friday : 6 AM – 8 PM / Acces by the STM Lobby
Saturday and Sunday : 6 AM – 8 PM / Entrance on the Saint‑Jacques side
- Cité Internationale – OACI
950 Rue du Square-Victoria, Montréal, QC H3C 6J7
6 AM – 8 PM
Voies-Voix Résilientes (Resilient Voices-Pathways)
Moreover, the United Nations remind us that the national, ethnic, cultural, religious, sexual and any other minorities have the basic right for equity and protection of their existence. Whether they are active or passive, they all face the same obstacle: the extremely discriminatory structures that are deeply rooted in social habits. Although minority and majority cannot exist without each other, the term minority also refers to a diminished voice. In the sense that the numerical majority is not necessarily the one who has a “voice”.
In addition to this majority/minority tension and these general observations, the concept of minority remains difficult to define, as suggested by the lack of international consensus on the term’s definition itself. This resistance to standardization highlights a systemic difficulty in our world: to accurately perceive the issues surrounding the conditions of dialogue for equity. Indeed, In this beginning of the 21st century, the values of equality, freedom and dialogue that our democratic societies advocate for are in direct opposition to their capitalist and productivist foundations, which are based on hyper-categorization, the division of labor and biopolitics (sex/gender/race).
In order to fully understand the collective power we hold over these dynamics, we must question ourselves. Who are these minority voices? How are they resilient? How do they find solutions to systemic violence? What are the foundations for establishing a fair dialogue for a more egalitarian social utopia? What are the approaches that inspire and evolve towards a more egalitarian society?”
Eddy Firmin and the Intervals collective, curators of this 14th edition of the festival, will be keen to penetrate the blind spots of our gaze in order to introduce us with sensitivity and emotion into the world of struggles for difference and dignity.
Anna Binta Diallo
Art For Elderly
Condé and Beveridge
Joliz Dela Peña
Kelly Sinnapah Mary
Kevin Yuen Kit Lo
Lucía Vergel Loo
Moridja Kitenge Banza
Richard-Viktor Sainsily Cayol
Tonya Sam’Gwan Paris
Photo : courtesy of the artist
Originally from the French Caribbean, Eddy Firmin is an artist-researcher, lecturer, living and working between Montreal and Halifax (Canada). He holds a PhD in Art Studies and Practices from the Université du Québec à Montréal, teaches at NSCAD University and has coordinated the publication of the decolonial journal Minorit’Art since 2017.
In the fall of 2021, he initiated and curated the 1st Black transnational biennial, Af-flux, in Montreal and Quebec City. His research interests focus on the decolonization of the imaginary and the articulation of transcultural issues in art.
The Rosie Douglas Tour, which took place in 1975, represents today one of the most emblematic social justice initiatives of the Black and Idigenous communities of Canada.
In a flash, Roosevelt Bernard Douglas, also known as Rosie, radiated a convening message in the imagination of Indigenous and Afro-descendant individuals, which still lives on today. Just like Dr. Martin Luther King had a dream, Rosie had a dream of unity between Indigenous and Black communities of Canada within their long journey for dignity. Rosie’s legacy extends far beyond Sir George Williams University’s racial uprising, which has been historically associated with her.
The curatorship After Rosie emphasizes the desire for social justice as part of the highest human values. It transcends the cacophony of identities and the complexity of nations and dives into the heart of the unspeakable tremors that bind us to the Other. As Édouard Glissant said so well, it is “possible for us to approach this chaos, to last and to grow in this unpredictable”, and to palpitate with the palpitation of the world”, which is to be discovered at last.”
Half a century after Rosie, the 14 selected Aboriginal and Afro-descendant artists sing a poignant visual chant about memory, resilience and social justice. Through reverberations, artists Stephane Alexis and Catherine Blackburn mirror each other’s resilience on the windows of the Place Victoria. All the while, others such as Anna Binta Diallo or Sam’Gwan Paris, remind us that beyond their native and black crossbreeding, they carry the memory of multiple secular narratives within them. Furthermore, the artists Charles Campbell, Richard-Viktor Sainsily Cayol, Jobena Petonoquot and David Garneau point out that no march of equity can be made without the convocation of an ancestral memory.
Eddy Firmin. P.h.D.
Assistant professor at NSCAD University
Intervals is a non-profit collective of artists and cultural workers interested in the social role of art in a plural world. Founded in 2015, the collective strives to bring together creators from Montreal’s ethnocultural communities through discursive, creative, production and artistic dissemination activities.
The collective aims to fill liminal spaces and, through social interactions and interventions, seeks to fill a void – a gap between communities, institutions, and established structures. Intervals is itself the space of the in-between, the hyphen that connects, communicates and facilitates experiences, exchanges and relationships to the world.
The members are Caroline Douville (artist/curator), Maria Ezcurra (artist/educator), Dominique Fontaine (curator), Romeo Gongora (artist/educator) and Miwa Kojima (artist/designer/editor).
Since its inception, the members of the collective have met regularly to exchange ideas, share experiences and plan artistic projects. These meetings have become a creative and reflective interval that has greatly contributed to our sense of community and belonging as Montreal artists, and has inspired us to find ways to extend this experience with other individuals and communities.
Tales of plurality
In response to Art Souterrain’s invitation to co-curate this year’s festival under the theme “Voix-voies résilientes,” the collective Intervals selected the work of 22 artists that explores and reflects diverse “Tales of plurality.”
In these current times of crisis and uncertainty – affected by an ongoing pandemic, an accelerating climate chaos, social and labour inequality, multiple human rights violations, environmental and economic crisis, isolation, and abandonment, among many other critical issues – resilience seems to be our last refuge.
While this pandemic crisis has been challenging for everyone, everywhere, it has unequally affected the most vulnerable segments of societies: women, children, elderlies, low-income classes, and racial and ethnic minority groups. If something, this pandemic has shown that building resilience for one community could be harmful to another.
Thus, many of the artworks presented in this exhibition involve diverse experiences of resistance and a plurality of voices, many of which are often silenced or discriminated against based on race, gender, age, body-ableness, class or social status (ranging from immigrants, single mothers, the homeless…). Many of these projects engage with people working at the frontline as well as with communities that have undergone hardships during the Covid-19 confinement, and others still remind us of our interconnectedness on this earth, brought to our attention in the intervals between our accelerated contemporary urban living and ancestral wisdom.
The body of work that forms the “Tales of plurality” exhibition involves personal experiences from various artists and their unique sense of observing the lives of others or collaborating with diverse communities. Their practice sometimes becomes a coping mechanism, a response to difficult situations, a way of connecting with others, or sometimes a critical approach to our current circumstances. It is often channeled by audiences to bear witness to those stories, foster a conversation, and grow together within a common social milieu – a plurality of actions and interactions, all contained in the commonalities and differences of the challenging times we are experiencing, alone and together.
Thanks to our partners
Creative project of “I love to work downtown”
This project is part of the “I love to work downtown” initiative, propelled by the Chamber of Commerce of Metropolitan Montreal with support from the Gouvernement du Québec.