Kelly Egan’s artistic practices probe the intersection of art and technology, specifically on how artists reimagine dead media through the lens of contemporary practices. Her films have screened international festivals including the Toronto International Film Festival, New York International Film Festival, and Edinburgh International Film Festival, and her film/quilts have been shown at the Harbourfront Centre (Toronto), L’espace virtuel (Chicoutimi) and Evans Contemporary (Peterborough).
In-between his professional activities as a researcher for the International Research Partnership Technès (Université de Montréal), Cinémathèque québécoise, and the Canadian Educational, Sponsored and Industrial Film project (Concordia University), Louis Pelletier pursues multiple hobbies involving old films (like, really old), obsolete technologies, and Korean dramas. He has published on topics as varied as early cinema, silent cinema, and film exhibition in the days of early and silent cinema in journals such as Film History, 1895, The Canadian Journal of Film Studies, Found Footage, and The Journal of Film Preservation. His apartment smells of rancid projector oil, and he is co-editor of Nouvelles vues, a journal dedicated to Quebec cinema, for reasons that even he could not explain.
Lucie Bourassa a été nommée professeure à l’Université de Montréal en 1994. Ses cours portent sur la théorie littéraire, la poésie moderne et contemporaine, les poétiques d’auteur et les liens entre poésie et musique. Ses recherches abordent des questions de poétique, entendue comme ensembles des modes de signification propres à des discours particuliers. Ses premiers travaux étaient consacrés au problème du rythme; ils ont donné lieu à deux livres: Rythme et sens, des processus rythmiques en poésie contemporaine (Balzac, “L’univers des discours”, 1993) et Henri Meschonnic. Pour une poétique du rythme (Bertrand Lacoste, 1997). Elle a ensuite travaillé sur les modes de structuration et de représentation du temps dans la prose et la poésie contemporaines et publié un livre sur ce sujet: L’entrelacs des temporalités. Du temps rythmique au temps narratif (Nota Bene, 2009). Elle est aussi intéressée aux liens entre la poétique d’auteur, la traduction et le rythme, et a obtenu en 1999 une bourse de la fondation Alexander von Humboldt pour travailler à la Freie Universität de Berlin à un projet intitulé “Philippe Jaccottet et André du Bouchet, lecteurs et traducteurs de Hölderlin”.
Marc-Alexandre Reinhardt is a multidisciplinary artist, writer and researcher. His practice unfolds at the intersection of sound, text and images in the form of installations, performances and in situ interventions. His work has been shown in Quebec, Canada, Europe and South America. Since 2016, he has taken part of ACTION INDIRECTE, a collective exploring the gestures that connect art and politics.
Marie-Claude Loiselle uses her writing to pursue a poetic and philosophical exploration of cinema. She curated an exposition dedicated to French filmmakers Nicolas Klotz and Élisabeth Perceval, is a script advisor, and has been editor-in-chief of the film magazine 24 Images for many years. After collaborating as a writer and editor on the films of Sylvain L’Espérance for fifteen years, they co-directed their first film in 2019: The Song of Empedocles.
