........................................................................................................................................ For its residency, *Duuu in turn invited curator and researcher Ida Soulard to propose a radio series. FIBRES FATALES / a radio series by Ida Soulard Fiber is an ideal material for solving crimes. Metaphorically speaking, textiles can be found in the vocabulary of theater, cinema and criminology. We say that something is being woven; we speak of the knot or thread of the plot, the fabric of crime or lies. This three-part radio series explores the enduring links - historical, mythological and literary - between fibers, women and criminal intrigue. → Listen to the episodes here (in french) 
Mothers knitting and babies in an air raid shelter run by the Salvation Army
under the Mothers' Hospital, Clapton, 1940 
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RESEARCH RESIDENCY
*DUUU (Winter/Spring 2022-23) In a desire to offer a context for reflection that supports critical thinking in dialogue with its mandate, Diagonale hosts *DUUU, a radio station dedicated to contemporary creation, for a period of several months. *Duuu is a radio dedicated to contemporary creation. Founded in 2012, this radio was born from the desire to make people hear situations of reflection and work. *Duuu is installed in the heart of the Parc de la Villette in Paris, where it has created a recording studio dedicated to artists and contemporary creation. This sound production tool is also a space of diffusion, which proposes a program of public events. *Duuu puts into circulation a collection of programs that can be listened to on duuuradio.fr. Inventing what could be an art radio today, *Duuu experiments with other modes of speech, and works to cross parallel voices and create encounters. + details: https://duuuradio.fr/ ← That residency is supported by the Conseil des arts de Montréal 
Les Tricoteuses jacobines, gouache by Jean-Baptiste Lesueur, 1793, Musée Carnavalet.
RESIDENCY PAUL MAHEKE August 2022 Paul Maheke was in residence during the month of August. After studying at ENSA Paris-Cergy, Paris and Open School East, London, Paul Maheke’s works and performances have been shown at Tate Modern, London, the Venice Biennale, Centre Pompidou, Palais de Tokyo and Lafayette Anticipations in Paris, Baltic Triennial 13, Manifesta 12, Cabaret Voltaire, Zurich and Chisenhale Gallery, London, amongst others. In 2021, he was shortlisted for the Future Generation Art Prize and included in British Art Show 9. With a focus on dance and through a varied and often collaborative body of work comprising performance, installation, sound and video, Maheke considers the potential of the body as an archive in order to examine how memory and identity are formed and constituted. |
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Portrait of Paul Maheke by Julija Navarskaite
PASCALE THÉORÊT-GROULX - BIOGRAPHY - Originally from Gatineau, Pascale Théorêt-Groulx earned a BA with a major in Visual Arts and a minor in Graphic Narrative from the Université du Québec en Outaouais. In 2014, she completed an MFA in Media Arts at Emily Carr University of Art + Design in Vancouver, having received a Joseph-Armand-Bombardier Graduate Fellowship from the Social Sciences and Humanities Research Council of Canada. She has been an artist in residence at the Banff Centre in Alberta, DAÏMON in Gatineau, Pigment Sauvage in Baltimore, the Vermont Studio Center and Fonderie Darling in Montréal. Her work has appeared in several solo and group exhibitions at venues including the Fonderie Darling, the Centre Clark, DARE-DARE and Galerie B-312 in Montréal; Verticale in Laval; Karsh-Masson Gallery in Ottawa; AXENÉO7 in Gatineau; and the ICA in Baltimore, Maryland. She lives and works in Montreal. ------------ TALK PASCALE THÉORÊT-GROULX 02.9, 6pm - Online Pascale théorêt-Groulx will present her two-months researches during an online talk. Join the talk here |
RESEARCH RESIDENCY PASCALE THÉORÊT-GROULX 11.1 - 12.30.2021 During 2 months, the artist Pascale théorêt-Groulx is in residence to develop the research project "Elle laisse passer le regard même quand elle est fermée". Before the invention of flat glass, openings in walls were covered with all sorts of materials, such as animal skin, cloth, wood and translucent stone. The transparency that we associate with windows is therefore relatively new in the history of housing. Today, the window represents a threshold between public and private space, an opening onto the world, and evokes notions of community and the social contract – particularly in a city such as Montréal, where windows punctuate the façades of tall buildings. This mosaic of glass reminds us that these seemingly inert masses of stone and concrete are in fact full of life. ‘The window is the space – real, imagined or fantastical – that makes us aware of the unseizable, infinite space that is the world,’ writes essayist Andrea del Lungo. During lockdown, Théorêt-Groulx spent a great deal of time looking out of the windows of her apartment in Ville-Marie. She watched the changes in the weather, the movement of clouds, the comings and goings of blue-collar workers, the drunks in the alleyway, the large tree near the community garden, and, sometimes, nothing at all. She noticed in the distance, behind the trees and small apartment blocks, three tall buildings that she couldn’t identify. After several walks around the neighbourhood, she finally discovered the respective locations of these buildings and what they were used for: a residential and commercial building housing the entrance to Sherbrooke metro station; a seniors’ residence, les Résidences Soleil Manoir Plaza, and a condominium tower. These three buildings seemed to Théorêt-Groulx to represent different sides of Montréal life: neighbourhood stores, public transportation, the omnipresence of rental accommodation, the aging population, and the property boom. She set out to discover the secrets of these buildings that she sees every day, and to explore their historical, metaphorical, ambulatory, and sensory aspects. Her findings will take the form of material and conceptual experiments exploring ideas around openings, closures, framing, and the interweaving of people, places and sensations. This project is made possible by the support of Conseil des arts de Montréal. 
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