Embodiment
The Birth
of the
World

INTRODUCTION

A WORD FROM THE CURATOR

Isabelle Van Grimde

More than ever, artistic creation is opening up, becoming a site of encounters. The multi-branched, transdisciplinary works of Van Grimde Corps Secrets reflect this, rechanneling the desire to take art beyond our common perceptions. We are trying to evolve in response to the context in which we live, which we incarnate. Over the past year, the body—which has become a home or a prison at times—has managed to adapt to distance, isolation and solitude. But now it is time, as spring approaches, to project ourselves toward the other.

Created by Van Grimde Corps Secrets in January 2020 with the help of various collaborators, the Embodiment series of exhibitions reflects a specific need: to perpetuate a singular perception of the body, vacillating between the ancestral entity containing memory and an organic technology in constant mutation. This unresolved polarity serves to crystallize creations sparked by improbable encounters. By inviting artists from all disciplines to collaborate on Embodiment, we are initiating a transdisciplinary conversation, encouraging artists to explore their subjective and visceral reactions to the issues put forward by the company.

Embodiment 2, the second exhibition in the series launched in 2020, features the video work of Canadian artist Brad Necyk. In his two-part audiovisual piece, The Birth of the World, the artist confronts his ideas with those of Eve 2050: The Web Series, created in 2018 by Van Grimde Corps Secrets/DAVAI. In so doing, he is offering his own powerful interpretation of the humanity of tomorrow.

My intention as curator of Embodiment 2 was to create a strong sense of counterpoint, to explore the tension between two different aesthetics. Whereas my work as an artist focuses on the carnal, primal, human body, Necyk explores the vegetal, mineral world and the subtleties of an artificial aesthetic. By reappropriating images from Eve 2050 and implanting them within his own universe, Necyk transforms Van Grimde Corps Secrets' material signature and underscores the presence of hybrid entities engaging in complex interactions. An ambiguity thus arises between these ancestral bodies of the earliest ages and those of the future, products of technological influences. Are we witnessing the beginning of the world, or the end of time? At once alternative realities and deconstructions of our fundamental components, Embodiment 2 relies on ongoing research that questions the perception of the body in our physical and virtual environments.

I am very proud to place Brad Necyk’s work in a dialogue with Eve 2050: The Web Series, and feel the powerful, symbiotic resonances with the worlds of Van Grimde Corps Secrets. Presented at Virtual Espace Corps Secrets, Embodiment 2 defies all disciplinary, spatial and temporal boundaries, displaying to the public the fruits of advanced corporal experimentation.

Welcome to Virtual Espace Corps Secrets.

ARTISTS

BRAD NECYK

Brad Necyk is an artist and writer on Vancouver Island, Canada whose practice focuses on empathy, consciousness, and human and more-than-human flourishing.

He recently completed a research-creation Ph.D. in Psychiatry at the University of Alberta and his doctoral research was awarded the Governor General’s Gold Medal. Currently, he is a Research Associate at the University of California Santa Cruz’s Earth Futures Institute and Film & Digital Media Faculty.

Currently, he primarily works in film, dance, and video installation collaborations. His first book, ALL SKY, MIRROR OCEAN: A Healing Manifesto is to be published in late-2021. He is a founding member of Distant Early Warning and Studio Everywhen.

His artistic work was included in the 2015 Alberta Biennial, and has been shown internationally, most recently in Santa Cruz, CA and Chicago, IL; his two recent films Joshua Tree and All of Everything and Alberta #3 have begun to be screened at film festivals internationally; he has presented academic work at conferences in Canada and internationally, most recently at the 2018 FLUX Symposium at the International Museum for Surgical Sciences in Chicago, IL and SLSA 2019 UC Irvine in California.

GARY JAMES JOYNES

Gary James Joynes (aka Clinker) is an award-winning visual and sound artist that has been active in the international live audio-visual and experimental music performance community for many years. He blends the beauty and physicality of sounds auditory and visual elements in Live Cinema AV performances and in rigorous and emotional photo and video installation works. The past few years have seen him also composing sound and music for avant-garde film and contemporary dance works.

Joynes is currently developing his next large-scale immersive audio + visual installation entitled THE CREPUSCULAR SOUND RAY REFLECTING POOL ((( SONIC SUNS, SONAR WINDS, WINGS & SOUND BEAMS ))) which will premiere in 2021/2022 in Edmonton, AB, Canada. This new work will expand on his cymatic-based works revealing a new artistic vocabulary revealing the visualization of sound through projected light.

Previous years have seen Clinker’s sound and video work performed and exhibited in Canada and internationally in festivals and events including the KOFFLER CENTRE (Toronto), THE BANFF CENTRE, ELECTRIC FIELDS (Ottawa), MOUNTAIN COMPUTER MUSIC FESTIVAL (Montana), ROULETTE MIXOLOGY FESTIVAL (New York), SOUNDASAURUS 1 & 2 (Calgary), MUTEK_10 FESTIVAL (Montreal), SOUNDFJORD RE/FLUX SUBLIMATED LANDSCAPE / SONIC TOPOLOGY @ ICA LONDON (London, UK), EMMEDIA SONIC BOOM 2009 (Calgary), THE BANFF CENTRE – INTERACTIVE SCREEN (2008 & 2007 editions), 2008 LEONARD COHEN INTERNATIONAL FESTIVAL, TANZSTARTKLAR FESTIVAL 2008 (Graz, Austria), NEW FORMS FESTIVAL 2007 & 2003 (Vancouver), SPRAWL – INTERPLAY_4 FESTIVAL 2007 (Amsterdam, Dublin, London, Bristol), SEA OF SOUND FESTIVAL 2005 (The Works – Edmonton), MUTEK LE PLACARD FESTIVAL 2005 (Montreal), and STANDART 2003 (Madrid, Spain).

VAN GRIMDE CORPS SECRETS

Founder and artistic director of Montreal company Van Grimde Corps Secrets, choreographer Isabelle Van Grimde approaches the dancing body in a transdisciplinary manner. Her research and creative work are enriched by various disciplines, offering a pluralistic and resolutely contemporary vision of the body. Concepts from cutting-edge research in science and humanities are interwoven with ideas from theatre, music and literature to create a dynamic dialogue through dance. This approach leads Isabelle Van Grimde to collaborate with artists and researchers from various disciplines incorporating digital technologies into the creation, production and presentation of her works, forming a wide array of artistic gestures aimed at rethinking and reconfiguring dance. Stage productions, choreographic concerts, installations, performances, publications and interactive web-based works are all part of her company Van Grimde Corps Secrets repertoire.

Beyond its creative activities and to optimize them, Van Grimde Corps Secrets is also involved in exploring and reflecting on new forms of transdisciplinary collaborations and the synergetic potential created by digital technology. The company regularly forms partnerships with structures from other disciplines, including universities (McGill, University of Alberta, UQAM, UdeM, etc.). Documentation and the sharing of its research online are integral parts of its approach and interaction with its ecosystem.

DAVAI & ROBERT DESROCHES

Born & raised in Montreal, Robert Desroches (aka Rob) grew up immersed in a multicultural and open minded environment that nourished his passion for visual art. Following his studies in film, Desroches worked as a director and photographer on creative music videos and dance projects. His artistic background had a big influence on his commercial work, notably his ability to push every image and idea to its full potential while adding his own twist.

In 2015, Desroches joined DAVAI, a Montreal based production company, as a creative associate. Since then, they opened an office in Paris and collaborated with big names such as Lady Gaga, Jay Z, Miley Cyrus and David Beckham through major international leaders including Tudor (Rolex), Moment Factory and Les Grands Ballets Canadiens.

Founded by Maël Demarcy and Jeremy Nolet, DAVAI tackles projects ranging from traditional advertising, photography and fiction to stage installations and music videos. It has collaborated for nearly a decade with some of the biggest names in the Montreal industry. Increasingly solicited by agencies and brands based in Europe, including Tudor (Rolex), Carrefour and SVR Laboratoire, DAVAI undertook several projects in 2019-2020, including one with Lady Gaga and David Beckham in Los Angeles, and another with the All Blacks rugby team in New Zealand.

ESSAY 1

EMBODIMENT 2: BODY NARRATIVES FOR POST-HUMANS

Laurie Cotton Pigeon and Joanne Lalonde (Department of Art History, UQAM)

Translated from the original French

“Science fiction is a space of experience for
exploring the possibilities within our reach.”
—Isabelle Stengers, Résister au désastre (2019)

As end-of-the world narratives proliferate, it would seem that recourse to the imagination has never been so essential in quelling the teleological anxieties associated with the Capitalocene era and anthropocentric humanism.

With the web exhibition Embodiment 2, choreographer and curator Isabelle Van Grimde is pursuing her reflections on the states of the body and its evolving potentialities by drawing on an imaginary world of science fiction, using a dual formula. By bringing together Eve 2050 by the dance company Van Grimde Corps Secrets, and The Birth of the World by media artist Brad Necyk, Van Grimde offers new perspectives on the states of the body, inviting us to rethink the latter and the procedure through which it is materialized or symbolized in these troubled times. The exhibition's interface, simple and easily accessible, provides our initial perception of the two works, allowing Internet users to trace their own trajectories by orienting the sequences. The exhibition space navigated thus becomes an experiential site, allowing users to explore the full evocative and transformative powers of the body. This exhibition is a follow-up to the first part presented at Espace Corps Secrets in 2020.

Van Grimde proposes the notion of embodiment in her curatorial approach in order to echo, on the one hand, the relational process used as a strategy of interdisciplinary and collaborative creation, and on the other hand, the possibilities of the body revisited in the context of scientific advances. Situated somewhere between incorporation and/or incarnation, the notion of embodiment is part of a conceptual fluidity that summons both phenomenological and symbolic perspectives. The body, well beyond the circumscription of the skin and perimeters of identity, is thus conceived as an environment, a matrix. It is a site of experiences, of correspondences and elasticity. Although it is increasingly mediatized by digital interfaces, the body is never inert, undergoing on the contrary a process of materialization or emergence. Embodied existence, defined by Brian Massumi in Parables for the Virtual (2002) as movement, affect and sensation, invariably implies a material value.

The web-series Eve 2050 by Van Grimde Corps Secrets invites viewers to immerse themselves in a hypothetical borderline future (between utopia and dystopia) in which the human animal is able to hybridize its body with different organic and mechanical elements, thereby allowing it to adapt to a hostile environment. The pivot point of the next humanity, Eve paradoxically embodies an emancipated perspective in a world in which the ecosystems of planet Earth have been ravaged by human activities. The figure of Eve can be perceived as a symbiotic assemblage that embraces different polarities: inner and outer, microcosm and macrocosm. Like a supra-organism, Eve embodies the multi-individual lineages and multi-species entanglements (a term borrowed from Donna Haraway) that are essential to the survival of the species.

Brad Necyk’s diptych The Birth of the World is a contemplative work at the boundaries of symbolic abstraction, an aesthetic experience of human vulnerability vis-à-vis the cycle of birth and death. Like a theatre in miniature, Necyk’s work is a mise en abyme of the Eve 2050 web series, with a computer-simulated environment in which the vegetal world attempts a final infiltration into a post-apocalyptic world. Visitors are encouraged to immerse themselves into the very heart of the Eve 2050 matrix, where they are confronted with the moving hospitality of their host, who exerts all his energy to resist the disaster. Through this play of scale, Necyk attempts to transmit a sensitive knowledge of the natural world, reflecting his openness to otherness. In line with his practice, Necyk weaves the broad narrative (or meta-narrative) of the piece based on his internalized experience, and with excerpts drawn from his encounter with Van Grimde’s work.

Much more than a genesis figure, the avatorial character of Eve embodies both the potentialities and point of emergence of life (human and non-human). She allows us to take full measure of that which is felt and experienced, along with the power of bodily engagement in our relationship with the world. Embodiment 2 is thus proposing a universe in which post-humanity is embodied, and a bearer of hope.

Laurie Cotton Pigeon is a Master's candidate in Art History at UQAM. Her research interests include cyberfeminism, technological utopias, video games and web art. She has been awarded two grants: the Bourse institutionnelle de soutien à la réussite (UQAM, 2020), and the Bourse de maîtrise of Figura, Centre de recherche sur le texte et l'imaginaire (UQAM, 2021) for the excellence of her academic record.

Joanne Lalonde is a full professor in the Department of Art History of UQAM. Her research focuses on media and digital arts. She is also interested in the methodologies of research on emerging artistic practices. She is the Director of Archiver le présent research team (UQAM, Concordia, Université de Montreal), SSHRC Insight Program. She is currently the Interim Dean of the Faculty of Arts.

ESSAY 2

ART IN THE AGE OF THE ANTHROPOCENE

Jonathan Garfinkel

In Eve 2050, Montreal-based choreographer Isabelle Van Grimde proposes an answer to the question, “What can a body do?” By drawing on prosthetic and cyborg imagery, she challenges us to imagine the future body. The result is an ambitious, rich and provocative triptych. Eve 2050 had its premiere online as a web-series in spring 2018. Later that year it was presented as an interactive installation with performance at Agora de la Danse in Montreal, and finally in 2019 as a stage production. I had the privilege of seeing the web series as part of the art exhibition Dyscorpia 1.0 in Edmonton, Alberta, and was amazed by the bodies Van Grimde choreographed against the backdrop of desert, the dancer’s gender-ambiguous movement, of the physical body hybridized with technology in fascinating and challenging ways.

In his two companion films, The End of the World and The Birth of the World, artist Brad Necyk initiates a conversation with Van Grimde’s Eve 2050. Working with footage that did not make it into Van Grimde’s project, Necyk cut, contrasted and spliced, juxtaposing Van Grimde’s choreography with footage he filmed on Vancouver Island. The ensuing dialogue between Van Grimde and Necyk raises several questions: how do we make art in the Age of the Anthropocene? As we sit on the brink of collapse, what is the responsibility, morally and aesthetically, of artists? Necyk – in dialogue with Van Grimde – proposes a possible answer to these questions.

The End of the World starts with lush images of the West coast rainforest. These slow initial shots – of mist and ferns, alien-like trees and their shadows – evoke a sense of the primordial, an ancient rhythm reinforced by Gary James Joynes’ droning, haunted soundscape. Yet almost right away we are aware that we are watching from a distance, as though to remind us that we are not quite there. Playing with perspective, Necyk “projects” his forest imagery onto the far wall of a warehouse-like space. Moss grows through the cracks, denoting decay and abandonment. The room itself echoes the rain forest, and worlds flow into each other in strange and surprising ways: a spherical orb floats in a corner, and the impossibility of water contained by itself rises and falls, a lone surf. Are these “supernatural” images suggesting a defiance of nature, or an evolution in ecology? Is this space a place of magic, or nightmare? In this heightened state of ambiguity, the result is beautiful, haunted disorientation.

When images of the dancer Sophie Breton from Van Grimde’s Eve 2050 appear, it does not feel imposed or foreign; it speaks the same language as Necyk. Breton dances around an ark of trees, as though movement has grown out of the rainforest itself. Perspective shifts; suddenly the images are projected onto a side wall. Later Breton and dancer Justin de Luna don technical augmentation; spinal cords on the exteriors of their backs; projections of screen and LED light on their bodies. So we are led into the uncanny future via the porthole of Van Grimde’s choreography, but always back to ourselves, to the body, to the forest we’ve neglected.

I first became familiar with Necyk’s work at the University of Alberta, where his PhD research-creation dissertation exploring mental health (he received his PhD in Psychiatry), was featured as an art exhibition. Telling Stories Otherwise (2019) was an ambitious journey from the personal to the other; this included aspects of his own struggles with bipolar disorder. Using various mediums, including interviews, paintings, 3D rendered photography and video, his research took him from the Centre of Addiction and Mental Health in Toronto to Iqaluit, Nunavut, where he held artistic workshops with Indigenous youth on the subject of suicide. Telling Stories Otherwise is an expansive, multi-dimensional work that documents the struggles of mental health, but also suggests opportunities for healing.

Since his PhD exhibition, Necyk has evolved in both focus and aesthetic, turning his concerns from mental health to that of the ecological catastrophe of our times. His film Joshua Tree (2019) reflects this. Describing it as a “building off of evolving themes of the Anthropocene by directly witnessing landscapes at risk of annihilation, acting as an archive, a memorial”, Necyk contrasts stark imagery of Joshua Tree National Park in California with a 3D-rendered sandstorm video sculpture. As the storm worsens, the chaos that envelops the space suggests a devastation that is both overwhelming and inevitable.

The End of the World and The Birth of the World continue Necyk’s concerns with the ecological. While watching these two films, there were moments I felt uncomfortable, that I was forced to watch too closely, witness to something I did not wish to see. Yet as my discomfort grew, I felt Necyk was creating some kind of eulogy to a passing era. It is a mourning, perhaps, that many of us would rather not face. Contrasted with Breton dancing, and her own body morphing, I wondered, what devastation will our children endure as we are catapulted into Van Grimde’s techno-utopian future?

While Van Grimde proposes the possibility of a human body coupled with technology in beautiful and surprising ways, Necyk forces us to meditate on ecology and loss, created through imagery of the slow wafting through. Together, they weave a song about end times, which is also a beginning. At the conclusion of The Birth of the World, Necyk shows us a long, single shot of a sun hovering, slow, stark and cold. A reminder: the earth will outlive us. In our passing, what is our responsibility and prayer? Van Grimde’s Eve 2050 suggests that our bodies, like our planet, will evolve. Necyk proposes a similar healing, along with a heavy gaze. In witnessing the present-past comes awareness, and through that, the possibility of change.

Jonathan Garfinkel is an award-winning poet, playwright, journalist and novelist whose work has been translated into twelve languages. His novel, The Truth-Tellers, is forthcoming with House of Anansi Press in 2022. Currently Garfinkel is doing a research-creation PhD in Medical Humanities at the University of Alberta, where he is writing about diabetes and the DIY Artificial Pancreas movement. He lives in Berlin.

CREDITS

Presented by Van Grimde Corps Secrets

Exhibition Curator: Isabelle Van Grimde

Artists: Brad Necyk, Gary James Joynes, Van Grimde Corps Secrets, DAVAI

Authors: Laurie Cotton Pigeon, Joanne Lalonde, Jonathan Garfinkel

Project Management: Iloé Françon
Project Coordination: Roxane Krief
Graphic Design: Isabelle Ducharme
Web Development: Ingenisoft Inc
Texts and Translation: Jeffrey Moore, Benoit Pelletier, Joséphine Rivard
Communications: Agence Mickaël Spinnhirny
Media Relations: Sheila Skaiem

Interviews: Frédérique Doyon, Thom Gossage, Gary James Joynes, Isabelle Van Grimde
Hosting of panel discussions: Dr. Isabelle Lemelin, Anthropologist
Guest researchers: Dr. Cristian Berco, Historian; Raphaël Cuir, Art Historian; Dr. François-Joseph Lapointe, Biologist; Dr. Jacques Mateu, Plastic Surgeon; Dr. Brad Necyk, Visual and Media Artist; Marilene Oliver, Multimedia artist

Acknowledgments:
Brad Necyk and Gary James Joynes for the loan of their work and participation in the exhibition University of California Santa Cruz: Film & Digital Media Faculty and the Earth Futures Institute

Van Grimde Corps Secrets is supported in all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec and the Conseil des arts de Montréal.

The End of the World

CREDITS

The End of the World (part 1 of The Birth of the World)

Director: Brad Necyk
Visual Design: Brad Necyk
Original Music Score, Sound Design and Mixing, Modular Synthesizer, Bass Guitar and Vocals: Gary James Joynes

Commissioned and coproduced by Van Grimde Corps Secrets

Comprised of unpublished rushes from Eve 2050: The Web Series and motion capture data from Eve 2050: The Virtual Reality Prototype

Additional artworks contributed by aAron Munson, Marilene Oliver, Veronika McGinnis

Developed with the University of California, Santa Cruz: Film & Digital Media Faculty and the Earth Futures Institute

CREDITS FOR EVE 2050: THE WEB SERIES

Creation and Production: Van Grimde Corps Secrets
Coproduction: DAVAI
Creative Director and Choreographer: Isabelle Van Grimde
Director: DAVAI
Performers: Sophie Breton, Justin De Luna, Chi Long, Marine Rixhon, Gabrielle Roy, Emmanuelle Martin, Felix Cossette, Georges-Nicolas Tremblay, Brontë Poiré-Prest, Erika Morin, Marie Mougeolle, Rhéa Sky Walsh, Soula Trougakos, Angélique Willkie, Kim Long, Alice Delapierre
Music Composer: Thom Gossage
Assistant to the Choreographer: Sophie Breton
Visual and Interactive Design: Jérôme Delapierre
Editing: Pier-Philippe Chevigny
Directors of Photography: DAVAI and Derek Branscombe
Sound Design: Thom Gossage and DAVAI
Costume Design: Pascale Bassani and Isabelle Van Grimde
Sculptures Family Portrait and accessories for the costumes: Marilene Oliver

Developed with the Plan numérique du Québec and the National Creation Fund of the National Arts Center.

Eve 2050 is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Initiative.

Van Grimde Corps Secrets is supported for all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.

CREDITS FOR EVE 2050: THE VIRTUAL REALITY PROTOTYPE

Prototype inspired by the Eve 2050 triptych by Van Grimde Corps Secrets

Created by Van Grimde Corps Secrets and the University of Quebec in Abitibi-Témiscamingue

Artistic Direction and Choreography: Isabelle Van Grimde
Musical Direction: Thom Gossage
Performer: Sophie Breton
3D Design: Thomas Thevenet and Yohji David
Unity Integration and Development: Yohji David
Sound Design: Florian Clar
Character Animation: Michell-Eve Clavette and Yohji David

With the support of:
Iloé Françon, Production Manager, Van Grimde Corps Secrets
Mathieu Perreault, Liaison and Industry Relations Officer, UQAT
Casey Côtes-Turpin, Laboratory Manager and Research Officer, UQAT
Estelle Guingo, Doctoral candidate, laboratory assistant and lecturer, UQAT
Amélie Richard, Managing Director, Eltoro Studio
Maxime Dussault, Artistic Director - Partner, Eltoro Studio

Van Grimde Corps Secrets would like to thank the Creation and New Media Department of UQAT and the UFR Ingémédia of the University of Toulon.

The Birth of the World

CREDITS

The Birth of the World (part 2 of The Birth of the World)

Director: Brad Necyk
Visual Design: Brad Necyk
Original Music Score, Sound Design and Mixing, Modular Synthesizer, Bass Guitar and Vocals: Gary James Joynes

Commissioned and coproduced by Van Grimde Corps Secrets

Comprised of unpublished rushes from Eve 2050: The Web Series and motion capture data from Eve 2050: The Virtual Reality Prototype

Additional artworks contributed by aAron Munson, Marilene Oliver, Veronika McGinnis

Developed with the University of California, Santa Cruz: Film & Digital Media Faculty and the Earth Futures Institute

CREDITS FOR EVE 2050: THE WEB SERIES

Creation and Production: Van Grimde Corps Secrets
Coproduction: DAVAI
Creative Director and Choreographer: Isabelle Van Grimde
Director: DAVAI
Performers: Sophie Breton, Justin De Luna, Chi Long, Marine Rixhon, Gabrielle Roy, Emmanuelle Martin, Felix Cossette, Georges-Nicolas Tremblay, Brontë Poiré-Prest, Erika Morin, Marie Mougeolle, Rhéa Sky Walsh, Soula Trougakos, Angélique Willkie, Kim Long, Alice Delapierre
Music Composer: Thom Gossage
Assistant to the Choreographer: Sophie Breton
Visual and Interactive Design: Jérôme Delapierre
Editing: Pier-Philippe Chevigny
Directors of Photography: DAVAI and Derek Branscombe
Sound Design: Thom Gossage and DAVAI
Costume Design: Pascale Bassani and Isabelle Van Grimde
Sculptures Family Portrait and accessories for the costumes: Marilene Oliver

Developed with the Plan numérique du Québec and the National Creation Fund of the National Arts Center.

Eve 2050 is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Initiative.

Van Grimde Corps Secrets is supported for all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.

CREDITS FOR EVE 2050: THE VIRTUAL REALITY PROTOTYPE

Prototype inspired by the Eve 2050 triptych by Van Grimde Corps Secrets

Created by Van Grimde Corps Secrets and the University of Quebec in Abitibi-Témiscamingue

Artistic Direction and Choreography: Isabelle Van Grimde
Musical Direction: Thom Gossage
Performer: Sophie Breton
3D Design: Thomas Thevenet and Yohji David
Unity Integration and Development: Yohji David
Sound Design: Florian Clar
Character Animation: Michell-Eve Clavette and Yohji David

With the support of:
Iloé Françon, Production Manager, Van Grimde Corps Secrets
Mathieu Perreault, Liaison and Industry Relations Officer, UQAT
Casey Côtes-Turpin, Laboratory Manager and Research Officer, UQAT
Estelle Guingo, Doctoral candidate, laboratory assistant and lecturer, UQAT
Amélie Richard, Managing Director, Eltoro Studio
Maxime Dussault, Artistic Director - Partner, Eltoro Studio

Van Grimde Corps Secrets would like to thank the Creation and New Media Department of UQAT and the UFR Ingémédia of the University of Toulon.

ORIGIN

CREDITS

Eve 2050: The Web Series

A production of Van Grimde Corps Secrets in coproduction with DAVAI

Creative Director: Isabelle Van Grimde
Director: DAVAI
Screenwriter: DAVAI
Based on ideas and research from Van Grimde Corps Secrets and associate researchers:
Dr. Cristian Berco, Historian – Dr. Marie-Hélène Boudrias, Neuroscientist – Marie Brassard, Playwright, Director and Actor – Dr. Joanne Lalonde, Art Historian – Dr. François-Joseph Lapointe, Biologist – Dr. Isabelle Lemelin, Anthropologist – David Paquin, Engineer and Designer in New Media Creation – Darian Goldin Stahl, Artist and PhD student in Humanities – Dr. Monique Régimbald-Zeiber, Artist and Researcher on the construction of the gaze and history – Raphaël Cuir, Art critic and Art Historian – 
Dr. Isabelle Choinière, Artist and Researcher in new contemporary performative practices – Roland Huesca, Author and Researcher in aesthetics and dance – Dr. Jacques Mateu, Plastic Surgeon – Dr. Brad Necyk, Visual and media artist – Marilene Oliver, Multimedia artist – Dr. Hiba Zafran, Occupational Therapist.

Choreographer: Isabelle Van Grimde
Assistant to the Choreographer: Sophie Breton
Performers: Sophie Breton, Justin De Luna, Chi Long, Marine Rixhon, Gabrielle Roy, Emmanuelle Martin, Felix Cossette, Georges-Nicolas Tremblay, Brontë Poiré-Prest, Erika Morin, Marie Mougeolle, Rhéa Sky Walsh, Soula Trougakos, Angélique Willkie, Kim Long, Alice Delapierre
Music Composer: Thom Gossage
Visual and Interactive Design: Jérôme Delapierre
Costume Design: Pascale Bassani and Isabelle Van Grimde
Accessories for the costumes: Marilene Oliver
3D Modeling for the costumes: 33 Degrés
Preliminary research for the costumes: Jérôme Delapierre and Manon Desrues

Sculptures from the work Family portrait, on loan from artist Marilene Oliver
Table from the work Dissections created for The Body in Question(s) by architects
Anick La Bissonnière and Éric O. Lacroix

Director of Photography (studio): Derek Branscombe
Steadicam Operator: Derek Branscombe
Director of Photography (desert): DAVAI
Drone Operator: Pier-Philippe Chevigny
First Assistant Cameraman: Harold Cassière
Gaffer: Jaden Scholes
Grip: Alex Filion
Assistant Grip: Francis Rufiange
Assistant Grip: Éric Marroquin
Production Designer: Laura Nhem
Set Painter: Mélanie Morin
Construction: Korantin Le Dosseur
Installation of Marilene Oliver's sculptures: Justine Chrétien
Animal Wrangler: Jean Cardinal, Cinezoo
Lead Make Up and Hair: Marie-Josée Galibert
Make Up and Hair: Simon Marceau-Houle
Production Assistant: Thomas Camus
Production Assistant: Alexandre Primeau
Editor: Pier-Philippe Chevigny
3D Artist: Jean-Michel Simard
Compositing: Jean-Michel Simard & DAVAI
Rotoscoping: DAVAI
Colorist: Simon BøisX
Title Designer: Baillat
Foley Artist: Nicolas Gagnon & Pier-Philippe Chevigny
Sound Design: Thom Gossage & DAVAI
Sound Editing: Pier-Philippe Chevigny

Special thanks to CineGround and Cinepool for their support.

Special thanks to Circuit-Est for lending extra space during the Montreal shoot.

Developed with the Plan numérique du Québec and the National Creation Fund of the National Arts Center.

Eve 2050 is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Initiative.

Van Grimde Corps Secrets is supported for all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.

TRANSFORM

CREDITS

Eve 2050: The Web Series

A production of Van Grimde Corps Secrets in coproduction with DAVAI

Creative Director: Isabelle Van Grimde
Director: DAVAI
Screenwriter: DAVAI
Based on ideas and research from Van Grimde Corps Secrets and associate researchers:
Dr. Cristian Berco, Historian – Dr. Marie-Hélène Boudrias, Neuroscientist – Marie Brassard, Playwright, Director and Actor – Dr. Joanne Lalonde, Art Historian – Dr. François-Joseph Lapointe, Biologist – Dr. Isabelle Lemelin, Anthropologist – David Paquin, Engineer and Designer in New Media Creation – Darian Goldin Stahl, Artist and PhD student in Humanities – Dr. Monique Régimbald-Zeiber, Artist and Researcher on the construction of the gaze and history – Raphaël Cuir, Art critic and Art Historian – 
Dr. Isabelle Choinière, Artist and Researcher in new contemporary performative practices – Roland Huesca, Author and Researcher in aesthetics and dance – Dr. Jacques Mateu, Plastic Surgeon – Dr. Brad Necyk, Visual and media artist – Marilene Oliver, Multimedia artist – Dr. Hiba Zafran, Occupational Therapist.

Choreographer: Isabelle Van Grimde
Assistant to the Choreographer: Sophie Breton
Performers: Sophie Breton, Justin De Luna, Chi Long, Marine Rixhon, Gabrielle Roy, Emmanuelle Martin, Felix Cossette, Georges-Nicolas Tremblay, Brontë Poiré-Prest, Erika Morin, Marie Mougeolle, Rhéa Sky Walsh, Soula Trougakos, Angélique Willkie, Kim Long, Alice Delapierre
Music Composer: Thom Gossage
Visual and Interactive Design: Jérôme Delapierre
Costume Design: Pascale Bassani and Isabelle Van Grimde
Accessories for the costumes: Marilene Oliver
3D Modeling for the costumes: 33 Degrés
Preliminary research for the costumes: Jérôme Delapierre and Manon Desrues

Sculptures from the work Family portrait, on loan from artist Marilene Oliver
Table from the work Dissections created for The Body in Question(s) by architects
Anick La Bissonnière and Éric O. Lacroix

Director of Photography (studio): Derek Branscombe
Steadicam Operator: Derek Branscombe
Director of Photography (desert): DAVAI
Drone Operator: Pier-Philippe Chevigny
First Assistant Cameraman: Harold Cassière
Gaffer: Jaden Scholes
Grip: Alex Filion
Assistant Grip: Francis Rufiange
Assistant Grip: Éric Marroquin
Production Designer: Laura Nhem
Set Painter: Mélanie Morin
Construction: Korantin Le Dosseur
Installation of Marilene Oliver's sculptures: Justine Chrétien
Animal Wrangler: Jean Cardinal, Cinezoo
Lead Make Up and Hair: Marie-Josée Galibert
Make Up and Hair: Simon Marceau-Houle
Production Assistant: Thomas Camus
Production Assistant: Alexandre Primeau
Editor: Pier-Philippe Chevigny
3D Artist: Jean-Michel Simard
Compositing: Jean-Michel Simard & DAVAI
Rotoscoping: DAVAI
Colorist: Simon BøisX
Title Designer: Baillat
Foley Artist: Nicolas Gagnon & Pier-Philippe Chevigny
Sound Design: Thom Gossage & DAVAI
Sound Editing: Pier-Philippe Chevigny

Special thanks to CineGround and Cinepool for their support.

Special thanks to Circuit-Est for lending extra space during the Montreal shoot.

Developed with the Plan numérique du Québec and the National Creation Fund of the National Arts Center.

Eve 2050 is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Initiative.

Van Grimde Corps Secrets is supported for all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.

HYBRID

CREDITS

Eve 2050: The Web Series

A production of Van Grimde Corps Secrets in coproduction with DAVAI

Creative Director: Isabelle Van Grimde
Director: DAVAI
Screenwriter: DAVAI
Based on ideas and research from Van Grimde Corps Secrets and associate researchers:
Dr. Cristian Berco, Historian – Dr. Marie-Hélène Boudrias, Neuroscientist – Marie Brassard, Playwright, Director and Actor – Dr. Joanne Lalonde, Art Historian – Dr. François-Joseph Lapointe, Biologist – Dr. Isabelle Lemelin, Anthropologist – David Paquin, Engineer and Designer in New Media Creation – Darian Goldin Stahl, Artist and PhD student in Humanities – Dr. Monique Régimbald-Zeiber, Artist and Researcher on the construction of the gaze and history – Raphaël Cuir, Art critic and Art Historian – 
Dr. Isabelle Choinière, Artist and Researcher in new contemporary performative practices – Roland Huesca, Author and Researcher in aesthetics and dance – Dr. Jacques Mateu, Plastic Surgeon – Dr. Brad Necyk, Visual and media artist – Marilene Oliver, Multimedia artist – Dr. Hiba Zafran, Occupational Therapist.

Choreographer: Isabelle Van Grimde
Assistant to the Choreographer: Sophie Breton
Performers: Sophie Breton, Justin De Luna, Chi Long, Marine Rixhon, Gabrielle Roy, Emmanuelle Martin, Felix Cossette, Georges-Nicolas Tremblay, Brontë Poiré-Prest, Erika Morin, Marie Mougeolle, Rhéa Sky Walsh, Soula Trougakos, Angélique Willkie, Kim Long, Alice Delapierre
Music Composer: Thom Gossage
Visual and Interactive Design: Jérôme Delapierre
Costume Design: Pascale Bassani and Isabelle Van Grimde
Accessories for the costumes: Marilene Oliver
3D Modeling for the costumes: 33 Degrés
Preliminary research for the costumes: Jérôme Delapierre and Manon Desrues

Sculptures from the work Family portrait, on loan from artist Marilene Oliver
Table from the work Dissections created for The Body in Question(s) by architects
Anick La Bissonnière and Éric O. Lacroix

Director of Photography (studio): Derek Branscombe
Steadicam Operator: Derek Branscombe
Director of Photography (desert): DAVAI
Drone Operator: Pier-Philippe Chevigny
First Assistant Cameraman: Harold Cassière
Gaffer: Jaden Scholes
Grip: Alex Filion
Assistant Grip: Francis Rufiange
Assistant Grip: Éric Marroquin
Production Designer: Laura Nhem
Set Painter: Mélanie Morin
Construction: Korantin Le Dosseur
Installation of Marilene Oliver's sculptures: Justine Chrétien
Animal Wrangler: Jean Cardinal, Cinezoo
Lead Make Up and Hair: Marie-Josée Galibert
Make Up and Hair: Simon Marceau-Houle
Production Assistant: Thomas Camus
Production Assistant: Alexandre Primeau
Editor: Pier-Philippe Chevigny
3D Artist: Jean-Michel Simard
Compositing: Jean-Michel Simard & DAVAI
Rotoscoping: DAVAI
Colorist: Simon BøisX
Title Designer: Baillat
Foley Artist: Nicolas Gagnon & Pier-Philippe Chevigny
Sound Design: Thom Gossage & DAVAI
Sound Editing: Pier-Philippe Chevigny

Special thanks to CineGround and Cinepool for their support.

Special thanks to Circuit-Est for lending extra space during the Montreal shoot.

Developed with the Plan numérique du Québec and the National Creation Fund of the National Arts Center.

Eve 2050 is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Initiative.

Van Grimde Corps Secrets is supported for all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.

SAPIENS

CREDITS

Eve 2050: The Web Series

A production of Van Grimde Corps Secrets in coproduction with DAVAI

Creative Director: Isabelle Van Grimde
Director: DAVAI
Screenwriter: DAVAI
Based on ideas and research from Van Grimde Corps Secrets and associate researchers:
Dr. Cristian Berco, Historian – Dr. Marie-Hélène Boudrias, Neuroscientist – Marie Brassard, Playwright, Director and Actor – Dr. Joanne Lalonde, Art Historian – Dr. François-Joseph Lapointe, Biologist – Dr. Isabelle Lemelin, Anthropologist – David Paquin, Engineer and Designer in New Media Creation – Darian Goldin Stahl, Artist and PhD student in Humanities – Dr. Monique Régimbald-Zeiber, Artist and Researcher on the construction of the gaze and history – Raphaël Cuir, Art critic and Art Historian – 
Dr. Isabelle Choinière, Artist and Researcher in new contemporary performative practices – Roland Huesca, Author and Researcher in aesthetics and dance – Dr. Jacques Mateu, Plastic Surgeon – Dr. Brad Necyk, Visual and media artist – Marilene Oliver, Multimedia artist – Dr. Hiba Zafran, Occupational Therapist.

Choreographer: Isabelle Van Grimde
Assistant to the Choreographer: Sophie Breton
Performers: Sophie Breton, Justin De Luna, Chi Long, Marine Rixhon, Gabrielle Roy, Emmanuelle Martin, Felix Cossette, Georges-Nicolas Tremblay, Brontë Poiré-Prest, Erika Morin, Marie Mougeolle, Rhéa Sky Walsh, Soula Trougakos, Angélique Willkie, Kim Long, Alice Delapierre
Music Composer: Thom Gossage
Visual and Interactive Design: Jérôme Delapierre
Costume Design: Pascale Bassani and Isabelle Van Grimde
Accessories for the costumes: Marilene Oliver
3D Modeling for the costumes: 33 Degrés
Preliminary research for the costumes: Jérôme Delapierre and Manon Desrues

Sculptures from the work Family portrait, on loan from artist Marilene Oliver
Table from the work Dissections created for The Body in Question(s) by architects
Anick La Bissonnière and Éric O. Lacroix

Director of Photography (studio): Derek Branscombe
Steadicam Operator: Derek Branscombe
Director of Photography (desert): DAVAI
Drone Operator: Pier-Philippe Chevigny
First Assistant Cameraman: Harold Cassière
Gaffer: Jaden Scholes
Grip: Alex Filion
Assistant Grip: Francis Rufiange
Assistant Grip: Éric Marroquin
Production Designer: Laura Nhem
Set Painter: Mélanie Morin
Construction: Korantin Le Dosseur
Installation of Marilene Oliver's sculptures: Justine Chrétien
Animal Wrangler: Jean Cardinal, Cinezoo
Lead Make Up and Hair: Marie-Josée Galibert
Make Up and Hair: Simon Marceau-Houle
Production Assistant: Thomas Camus
Production Assistant: Alexandre Primeau
Editor: Pier-Philippe Chevigny
3D Artist: Jean-Michel Simard
Compositing: Jean-Michel Simard & DAVAI
Rotoscoping: DAVAI
Colorist: Simon BøisX
Title Designer: Baillat
Foley Artist: Nicolas Gagnon & Pier-Philippe Chevigny
Sound Design: Thom Gossage & DAVAI
Sound Editing: Pier-Philippe Chevigny

Special thanks to CineGround and Cinepool for their support.

Special thanks to Circuit-Est for lending extra space during the Montreal shoot.

Developed with the Plan numérique du Québec and the National Creation Fund of the National Arts Center.

Eve 2050 is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter Initiative.

Van Grimde Corps Secrets is supported for all its activities by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal.