Programming

Julie Andrée T. prepared a gallery project that combined a performative action with an investment of space, a research and creation project based on the experience of meeting points between body, object and space through principles such as fusion, passage, juxtaposition or superposition.

Robyn Moody set up a "mark removal" booth in the antibody gallery.

This project required the participation of Montreal artists who were asked to transform the DARE-DARE space into a "hostile environment for art".

Two public events from midday to sunset.

Invitation to the North American launch of Jean-François Pirson’s latest book. Presentation and reading by the author on Saturday, March 17, at 3:00 p.m. at DARE-DARE.

The position of the viewer in the work is an important and current topic that Karen Spencer addresses using the strategy of duality: on the one hand, a personalized encounter around a very simple action in the room and on the other hand, the inscription of her personal and intimate life in the more formal context of the gallery.

On the occasion of its fifteenth anniversary, the members and friends of DARE-DARE invite you to four days of collective venting, which we hope will guide you along the path to happiness.

Through lyrics, songs and gestures of remarkable precision, she traced the evolution of her identity as a woman, artist and member of a Jewish family.

Geneviève Crépeau (eight months pregnant!), accompanied by her two acolytes, sang about the ups and downs of the artist's life.

Emanuel Licha met couples in their homes. He had them put on suits made of Velcro strips that they experimented with in their privacy, without the presence of the artist.

Christine Lebel's (aka Chocolate Lady) Montreal exhibition/performance played on the ambiguities between chocolate and sexuality, the artist and the character by making DARE-DARE a place for consumption.

This event follows the success of the evening of performance "Parlez-moi d'Amour!" presented at DARE-DARE the previous year.

In this outdoor intervention, the room evoked by the title is a shed in a Montreal alley to which the artist had grafted video monitors.

Through very simple mechanisms, Peter Conlin (Vancouver) draws us into a poetic relationship with images by highlighting their fragility and ephemeral nature.

Yves Gendreau installed a construction sign with no inscription on a vacant lot in Montreal's central business district.

Offering an ironic and feminist look at the workplace, seven percussive "secretaries" shook their bureaucratic chips to the delight of the audience.