Winners of the cross Summer Residencies

The Summer Residencies are a cross-residency initiative between the two organizations. Marc-Olivier Hamelin will be hosted at AXENÉO7 and Neeko Paluzzi at l'Écart from August 4 to September 2, 2022.

Without any production imperative, the initiative is based on the encounter between artists and communities. The residency aims to immerse the artists in different contexts and to initiate new ideas.

Bios

Marc-Olivier Hamelin

Marc-Olivier Hamelin is originally from Rouyn-Noranda. He graduated from Concordia University in Fine Arts (Montreal, 2014) and holds a MA degree in Museology and Art Practices from the Université du Québec en Outaouais (UQO, Gatineau, 2019), where he focused on multiple voices in an artistic creation context. He has exhibited several projects, among which Il y avait là trois structures (langagière, intérieure ou physique) ; J’y retourne moins souvent qu’avant as part of the group exhibition The State of Parenthesis, curated by Marie-Hélène Leblanc at Galerie UQO (Gatineau, 2017), It Is About Finding a Method to Integrate Those New Voices. Getting to Know the Double, dont les œuvres combinent des récits personnels et des explorations d’autres auteurs at L’Écart (Rouyn-Noranda, 2018), Il s’agit de trouver une méthode pour intégrer ces nouvelles voix. Connaitre le double,  […] Whose Works Layer Personal Narratives with Explorations of Other Authors at Galerie UQO (2018) and ça demande un lifestyle précis as part of the exhibition Ce n’est pas rien, ce n’est peut-être pas grand-chose, mais ce n’est pas rien, which he developed by inviting eight of his peers, and more recently the project Il y a plusieurs fissures dans le solage, that’s a shame (2021). He takes dialogue as a starting point and raises issues related to self-narrative and speech production. His projects — in which he interweaves his voice with that of  others — take shape in  installations, videos and texts.

Neeko Paluzzi

Neeko Paluzzi (he/him) is a lens-based artist and language educator who situates his own queer body at the center of inter-textual installations that use translation theory to explore European musical, literary, and cinematic histories. His body is morphed and merged into these texts using projection, 3D-scanning, and deep-fake technologies as a way to examine his own subjectivity and to question the traditional barriers between character and creator. Although he utilizes contemporary photographic techniques, Paluzzi’s art practice is grounded by the rigours of darkroom chemistry and scholarly research, presenting opportunities to explore the history of photography in conversation with other artists and academics.