The FIND festival enters its second fertile week with the Lucky Bastard event
"It’s hard to grasp what we’re doing, but that’s perfectly normal," says FIND’s guest curator Lynda Gaudreau, the discerning and analytical choreographer at the helm of the one-of-a-kind free-of-charge Lucky Bastard event at the Société des arts technologiques (SAT). The concept is about trying something new, playing with the unknown and dealing with things in the moment, where chance, process and ideas about performance are paramount. Gaudreau, who conceived of the mixed-media event with Christof Migone and Martin Tétreault, sees Montreal’s converging anglo and franco cultures – with artists from dance, audio art and the visual arts creatively commingling – as the great bastard mix. She wants to break from the conventions that artists normally experience in performance and provide a happening for those who didn’t have the chance back in the ’70s. It all sounds a bit cliché-ridden, but during the four-day event she’s extended the invitation to 40 artists from various disciplines – 19 participants, including Sarah Bild, Florence Figols, Danielle Lecourtois and Louis Guillemette – will receive an envelope an hour before they begin their "tasks" or "actions," coming together in two daily two-and-a-half-hour blocks, but won’t ever rehearse.
Gaudreau envisages the structure of Lucky Bastard as "the concept of entropy." In other words, on day 1, there will be 19 artists and no material, and by day 4, there will no longer be any artists, but the accumulated material will be on view for everyone to see. The audience can track the proceedings, moving in and around the space "from station to station."
Gaudreau, known for her Encyclopedia project (Document 4 is also at FIND), embraces the idea of gleaning and sourcing the everyday for inspiration. "What is movement?" is a perpetual question in her mind. Being in the company of artists, who can generate something "that becomes significant for them from chaos," is what charges her motor. The discriminating Gaudreau refers to it as "being witness to the creative drive."
SAT, Oct. 2-5
Second-week FINDs: Manon Oligny probes working the body to exhaustion on a squash court (YMCA Downtown, Oct. 4-5); Marie Chouinard celebrates 25 years in dance with a mega-remount of Sacre du Printemps and Prélude à l’après-midi d’un faune featuring the MSO (PdA, Oct. 5), plus new work (Oct. 8). Also, off-FIND, Suzanne Miller and Allan Paivio are presenting a solo "expressed through minimalism, spectacle and virtual space." The work includes a video component and a set, which transforms the studio/theatre into a musical instrument (Oct. 2, Studio 303).
Ex-Montrealer and LADDMI grad Noémie Lafrance took home a prestigious Bessie Award at a recent ceremony in New York. Her inspiring site-specific work, Descent, performed by twelve female dancers around a spiralling stairwell at the City Court Clock Tower in Tribeca, won her the prize. The audience descends twelve stories, and from the stairwell’s angles and shadows experiences "an intimate and unpredictable performance reflecting on women as subjects and objects of desire within the domestic realm." Brooks Williams’ Bessie-winning score incorporates recorded acoustics from the location, electronic music and original vocals by Shelley Hirsch. One question, though: When is this celebrated work coming to Montreal?