[Fig. 01] Heaven or Montréal : The Unfinished Video, 1997

Video Corpus

Find all the videos mentioned in the program texts here.
You can also view the LES VIDÉOGRAPHES programs edited by Luc Bourdon for Vidéographe's 50th anniversary here!


Sélectovision / Éditomètre / Entrée en scène


A three-part demonstration and illustration of the technical aspects and development of Vidéographe since its birth. Topics include Selectovision, a video-on-demand program that subscribers could use by phoning Vidéographe and which among was the first experiments in cable broadcasting in Quebec. We also see how the editometer works, the first editing device made by Vidéographe and which made possible precise editing. Finally, the founder of Vidéographe, Robert Forget, shows us around the editing room, the videotheatre and the rest of the organisation's facilities.

Musique d’intermission


This video, which is annonymous, presents a moment, a pause, an intermission. A jazz tune is coupled with a static image of a man seated cross-legged, watching monitors levitating in the sky.

Got Away in the Dying Moments


A video designed to challenge existing models of AIDS treatment in our society. Using a collage of elements as well as techniques from video and performance, the themes of mourning, urgency & healing are explored in a poetic and highly charged video. Got Away in the Dying Moments suggests natural alternatives to the current treatments and attitudes that constrain our hearts and minds with respect to the AIDS crisis.



A lovers' rendez-vous coincides with an imaginary erotic encounter. Real time is superimposed onto a dream of desire and pleasure, where male and female bodies become animated images in a uni-dimensional space. The body is highlighted in this video ; feedback effects are related to the images of the lovers and give the impression of bodies that can radiate thoughts and desires. Female and male images are superimposed upon one another but they never join. The filming techniques employed involved shooting the characters separately on a white background and subsequently uniting them through such special effects as negative-positive and fade-in and fade-out within the edit. According to Mousse Guernon, this work is the first erotic animation video.



Appealing to several videotext and sound treatment procedures, this pionneer of experimental video in Québec has systematically explored the linguistic possibilities of electronic imaging. This in light of developing poetic and cinematic abstractions granting access to unimagined universes in which living and artificial organisms join together at the frontier of the infinitely small and the infinitely large. Vidéo-Cortex is part of the Intégrale Jean-Pierre Boyer.

Réaction 26


Using electronic feedback, this video is a crazy roller-coaster ride of images circling, bypassing and being superimposed on one another as they dance about the screen. Fascinating to the eye, the images resemble abstract geometric forms. Bursting and streaming images on the screen are backed up by an extremely emotive soundtrack by Michel Hinton.

Video Clouds


An illustration of the possibilities around electronically manipulating the colours of moving clouds. This formal investigation also makes it possible to experiment with other technical applications such as coloured titles, animation, etc.



Like Video Clouds, Fireworks presents electronic colorization tests, here fireworks.



Appealing to several videotext and sound treatment procedures, this pionneer of experimental video in Québec has systematically explored the linguistic possibilities of electronic imaging. This in light of developing poetic and cinematic abstractions granting access to unimagined universes in which living and artificial organisms join together at the frontier of the infinitely small and the infinitely large. Phonoptic is part of the Intégrale Jean-Pierre Boyer.

Cable Box


Taking place in an unspecified year in the early 1990s, a night of mindless television channel flipping is slowly interrupted and overtaken by a pirate television signal. A flood of colours emanating from video feedback, warring tribes displayed through a modified oscilloscope, and a flurry of gun violence repeated via luminance keying dominate stations one by one. Abstract imagery through analog video glitch techniques forewarn the passive television viewer that the far-right American political system to come will not be the result of a sudden shift. Instead we will see a rise of increasingly conservative policies followed by a moulding of public perception by broadcast television. As Cable Box progresses, commercials, sitcoms, and nightly news segments begin to highlight the true nature of broadcast television: to serve the financial and neoliberal interests of media conglomerates.

Composed of found footage sourced through hundreds of VHS tapes, Cable Box is faithful to the video-art tradition of turning the analog television signal against itself. Like Nam June Paik and Richard Serra before him, director Rob Feulner (b. 1987) uses broadcast television tools to demonstrate that the television signal controls society for an elite agenda while creating thematic links to our current Internet landscape.

How Flowers Never Became a Food Group


A poetic and fragmented construction of images and text suggests failure and disillusion about romanticism. Intense psychedelic colours characterize images of flowers, as if they were struggling while maintaining a playful tone. Feelings of ambiguity are evoked, oscillating between the notions of the possible and the impossible, as well as attraction and repulsion. The project is an audiovisual collaboration with experimental musician Alain Lefebvre.



Richard Martin has captured the choreography of a dancer, shooting the performance nine times as a way of accentuating contrasts and producing an abstract composition of form and movement. In the video, contrasts gradually increase until the dancer’s gestures are but abstract black and white movements. The music remains while the commentary disappears.

What is beyond the Hellraiser?


The journey is up to you.

This Super8 experimental short film has been created during an artist residency at Le Fresnoy - Studio national des arts contemporains.

Soundtrack created by Montreal-based experimental musician Hazy Montagne Mystique. The music has been created based on the image.

Puerto Rico Tautology (14 dubs high)


Puerto Rico Tautology (14 dubs high) was recorded in 2015 and completed in early 2016. Found footage of Puerto Rican families celebrate in the street as the Fania All-Stars perform in the background. The clip, recorded on VHS, is dubbed to another VHS tape and played again. The image and sound gradually decay with each dub, until the image breaks completely.

Inspired by the mass exodus of Puerto Ricans moving to Orlando, Florida, this piece is an illustration of the economic degradation of Puerto Rico. The island, much like the video, is losing its vibrancy and colour, but more alarmingly the island is being robbed of its resources and standard of living through increasing debt of Wall Street hedge funds. This is also represented through the audio, as the crowd and the music are increasingly distorted and difficult to hear. A House of Representatives member can be heard over the VHS audio, pleading with Congress to allow Puerto Rico to declare bankruptcy. As the distortion increases, the house member's message becomes less clear, lost in the ether of the ignored United States territory.

Plant Dreaming Deep


Plant Dreaming Deep conveys states of transition, solitude, isolation and uncertainty. Analogue manipulations such as colored filters, thick textures, and psychedelic rhythms bring a unique material quality to the images. Through these visual characteristics, an introspective atmosphere emerges that seems to mask psychic and misunderstood experiences and mysterious symbols.

The video was made in collaboration with experimental musician Émilie Payeur.


Again And Again We Ask These Questions


Again And Again We Ask These Questions is a video that takes into consideration all species, cultures and lifeways that are no longer in existence or are being driven towards extinction. It commemorates and reaches out to those already gone and to those threatened. The performer reads, from cover to cover, a collection of repeated questions of an existential nature, printed in black ink on newsprint paper. Each time the book is opened and its pages exposed to air and light, the newsprint paper fades and yellows.



Upon enlarging the picture, a large amount of grain can be discerned. It's like another world or dimension, as if numerous people moving in a crowd. This film is also about  a woman living in a big city.


Les amies de l'angoisse


A young apathetic woman is watched by a video camera. The camera and its accomplice, Ms. Special Effects, make her re-live a state of profound distress, leading the character to change her perception of herself. They try to provoke a reaction from the character. The young woman experiences the special effects and the camera movements as if she were inside the image. Through the character's upheavals of consciousness, the video's mirror-effect is averted in a playful manner, in order to propose an original and ironic reflection on the notions of identity, self-image, and video art.

The Coldest Day of the Year


The Coldest Day of the Year takes place in a future where there has been a cataclysmic event that has made tracing a coherent meaning of the past and recounting a narrative of the present impossible. The narrator believes she has seen another being in this destroyed landscape. She attempts to find this figure and recounts a journey that traces the shadows of her presence. Using temporary sets, props and collaged images, The Coldest Day of the Year recounts an attempt to understand an ever-shifting horizon and possibility of dwelling.

How to explain performance art to my teenage daughter


Mother and daughter embrace the difficult intricacies of explaining art to each other through an intimate action. This is intercut with a straightforward description of Joseph Beuys’ well-known 1965 performance, How to explain pictures to a dead hare. Absurdity and terderness merge to reveal understanding as a sensory activity.


Liabilities: Part 1 & 2


This tape is based on four years of performance work that I have done with an alternate persona, "Anne Russell". The character is autobiographical in nature and originated from a name that my parents decided against when I was born. The video leads to the creation of two characters. There is "Anne", whose father is killed in a freak car accident, leaving her mother free to name her. There is "Monique", whose father survives and finally chooses her name. What is important in these narratives is that "truth" and "fiction" are not seen as opposing ideas, but as essential parts of each person's autobiography.

Monique Moumblow

Comment vs dirais-je ?


Louis visits his parents for a week, and wishes to find a way to break the news. His parents are intrigued to see their son making such an effort running around with a camera. So they approach and make efforts themselves to understand what he is doing. They are surprised by how much attention a camera can give to its subject. But what has Louis, Antoine, and Thérèse moving so willfully toward the unknown? They embark together on what becomes a common project, they feel that what is to come must override their fears. The video begins after eight hours of live camera. The author states : "Why should I tell you, you will ask me? Very simply because, or else, I wouldn't have anything to say."

Ice Cream


An ice cream factory worker reflects on AIDS and the new capitalism. “A move from a regime of cultural production ordered by authorship, originality and signature to one ordered by the brand, branding and simulation.” This short essay doc is indebted to deep digs by Emily Martin, Lisa Adkins and Karen Ho.

Drawing on Life : the Art of David Fincham


A portrait of American artist, David Fincham, who lives with AIDS. All the while executing a series of still-life paintings in his large studio, Fincham comments on the impact of AIDS on his life and artistic practice. With humour, he discusses catholicism, homosexuality, death, art and the politics surrounding AIDS in America.

Le récit d'A


Le Récit d'A consists of a series of tales which take place within the same video : parallel universes which reflect each other without ever meeting. The tale of Andrew, a travelogue and the thoughts of Edmond Jabes are all elements in the free play of the composition. "I use autobiographical traces (made with scans and in Super 8) to speak of vaster spaces : the existential desert of Jabes; the desert of the 1990s; our youth devastated by AIDS; my life deprived of its youth. The video also speaks of a way of seeing, of a change in consciousness, and of what can open up, even in the face of such a seemingly disastrous result".

Esther Valiquette

The guy on the bed


News from another pandemic, the one that ‘changed everything’ before it fell out of the news cycle and collective memory, except for the newly infected, or those who, like myself, managed a new life after death. Based on a text by David Wojnarowicz.

Heaven or Montreal : The Unfinished Video


Does absence leave a mark? Is silence heard? Reflecting on the premature death of a young dancer and artist, Heaven or Montreal points to unfinished ideas, creating "outlines" of lost energy and imagination. As a finale, it summons all its desperation and asks for silence to speak and stillness to dance. Ian Middleton, its co-author, died in 1993 of AIDS-related causes.

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