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Le Prix Powerhouse

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25 October 2018 - 13:08

INVITE

La Centrale is proud to announce the laureates for 2018 Powerhouse Prize:

Helena Martin Franco and Victoria Stanton

We look forward to welcoming you for the award Ceremony November 16, 2018, from 6pm to 9pm at La Centrale (4296 blvd. St-Laurent)

 

The winners of the 2018 Powerhouse Award were chosen through consensus by members of the jury following animated deliberations on the thirty-four nomination files under consideration. The discussions were guided by a genuine spirit of openness and sharing of diverse perspectives, grounded in the dedication of its members. This openness of process and dialogue needs to be highlighted, thanks to the diversity of perspectives and practices within the jury. Our choice fell on two ambitious artists who, while being active in their community for a long time, contribute decisively to an art form still marginalized by institutions. In this respect, we have not opted for obscure artists, but rather for true fighters of a certain caliber whose commitment to their artistic practice and community is without question and deserves today to be honored. Let us also mention that this process of deliberation has, over the years, allowed us to discover artists with extraordinarily rich practices and expand our knowledge of the work of several others. It is safe to say that our critical reflections in choosing the artists for this award will have an impact on the direction of future programming in contexts other than this one, the La Centrale Powerhouse initiative being fundamental to the ecology of Montreal's visual arts community.

 

A woman walks in the street with a pair of Canadian maple leaf adorned red bags. The rhythm of her footsteps, hindered by the iron she carries on her leg, prevents her from being that who she is; instead, eyes absorbed, she accommodates and conforms diligently to the society that observes her. Her golden wig is a reflection of the stigma that hides the other (woman, immigrant, artist) in the conventional glare of cultural stereotypes. Montreal-born artist of Colombian origin, Helena Martin Franco is Fritta Caro. As Fritta, Helena begins a crusade against the politically correct cultural melting pot. Helena is also Corazon desfasado, a saint venerated by lamenting spirits in the promised land of hyper-consumerism; woman-chameleon, spider-woman and elephant woman, she shatters conformist molds of identity and gender. Through this performative trilogy of self-referential fictions, this artist has given different faces to the individual and collective vulnerability imposed by the migratory experience. For over twenty years, Helena has consolidated a trans-disciplinary and cross-border practice that positions itself as one of the pioneers of Latin-American art and Latin-Canadian art. Her social involvement has enabled her to forge artistic relations, particularly between the north and the south of the American continent, through local institutions. The Powerhouse Award jury wanted to reward not only the coherence of her artistic career, but also her strong political commitment to strengthen the cultural subjectivities of our day.

 

Active for more than twenty years in Montreal as well as in national and international performance circles, Victoria Stanton’s practice is marked by a rich dedication and coherence. In step with the qualities characteristic of her performance practice, her professional journey reveals both her deep local roots and the significance of her observations through which she seizes the world around her.

In the sphere of "art as transaction", Stanton seeks to put in place new strategies of human interaction by diverting, one at a time, situations otherwise familiar. Active in the local art scene since the mid-1990s, this seasoned and affable performer is regularly invited to present her work - either solo or in the collective TouVA - in various countries in the Americas, Europe and Asia. In an approach borrowing from relational aesthetics, the artist’s work unfolds on various scales and her practice creates an impact in the various communities that it touches. An inspired and introspective artist, but also a researcher, curator, author, musician and teacher, Victoria Stanton’s eminently sincere approach has a plural impact that is felt in diverse realms. This essential figure in the history of performance art in Quebec proposes and cultivates a careful and empathic look at the world that surrounds her. In all spheres of her work, this Montrealer makes visible her presence and sensitive connection to her surroundings, exploring this creating of relationship at multiple levels. Through one person at a time, her work reaches an ever-expanding audience.

 

We would like to express our appreciation to this year's jury, kimura byol-nathalie lemoine, Nuria Carton de Grammont, Natacha Clitandre, Ji-Yoon Han and Cheryl Sim

 

La Centrale would like to recognize the generous contribution of an anonymous donor who has made this prize possible.

 

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INVITACIÓN

La Centrale se enorgullece en anunciar las ganadores del Premio Powerhouse:

Helena Martin Franco y Victoria Stanton

Tenemos el gran placer de invitarles a la ceremonia de entrega del Premio el 16 de noviembre del 2018, de 6 a 9 pm en La Centrale (4296 boul. St-Laurent)


Las galardonadas de la edición 2018 del Premio Powerhouse fueron seleccionadas por unanimidad por los miembros del jurado tras intensas deliberaciones que caracterizaron el análisis de las treinta y cuatro sumisiones. El debate fue enriquecido con convicción por todos nosotros, y seguido por un genuino espíritu de apertura y de escucha de los argumentos de cada cual. Este hecho merece ser destacado debido a la gran diversidad de prácticas y perspectivas que coexistían en el seno del jurado. La galardonadas son dos artistas de gran envergadura las cuales contribuyen de manera decisiva al desarrollo de una forma de arte todavía demasiado marginada por las instituciones, aun y cuando estas han permanecido activas desde hace mucho tiempo en sus comunidades. En ese sentido, no optamos por artistas desconocidas, sino por verdaderas luchadoras cuyo compromiso con su práctica artística y su entorno es infinito, y merece ser celebrado. Consideramos necesario mencionar que este ejercicio de selección nos ha a menudo permitido descubrir artistas con una práctica extraordinariamente rica y nos ha aportado un mejor conocimiento del trabajo de muchos otros. Creemos que nuestra labor tendrá un impacto sobre la dirección que tomarán las programaciones futuras en contextos distintos al actual. Más allá del otorgamiento del Premio en sí mismo, esto constituye un índice que el trabajo de La Centrale Powerhouse es fundamental para la ecología de la comunidad de las artes visuales en Montreal.

 

Una mujer va por la calle cargando un par de bolsas rojas adornadas con la hoja del arce canadiense. La cadencia de su andar, marcada por el grillete de su pierna, le impide ser quien es para acomodarse o amoldarse razonablemente a la sociedad que la mira con ojos absortos. Su peluca dorada es el reflejo del estigma que enmascara al otro (mujer, inmigrante, artista) en el destello convencional de los estereotipos culturales. Helena Martin Franco, artista montrealense de origen colombiano, es Fritta Caro con quien emprende una cruzada itinerante en contra del mestizaje políticamente correcto. También es Corazón desfasado, santa venerada por aquellos espíritus malogrados en la tierra prometida del hyperconsumismo; mujer-camaleón, mujer-araña y Mujer elefante que fractura los moldes conformistas sobre la identidad y el género. A través de esta trilogía performativa de ficciones autorreferenciales, Helena le ha dado diversos rostros a la vulnerabilidad individual y colectiva que impone la experiencia migratoria. Desde hace mas de veinte años lleva consolidando una práctica transdisciplinaria y transfronteriza que la ha colocado como una de las pioneras del arte latino-quebequense y latino-canadiense. Su implicación social le ha permitido entretejer relaciones artísticas a través de instituciones locales como entre el norte y el sur del continente. Es así como el jurado del premio Powerhouse ha querido recompensar no solo su sólida carrera artística, sino también su aguerrido compromiso político para empoderar a las subjetividades culturales hoy en día.

 

Activa desde hace más veinte años en la escena del performance en Montreal, pero también a nivel nacional e internacional, Victoria Stanton se dedica con ahínco a una práctica de una coherencia extraordinaria. Así, en sintonía con las nociones inherentes a su práctica performática, su carrera profesional revela al mismo tiempo sus profundas raíces locales y el alcance de una mirada con la que se ampara de lo que la rodea.

Enfocada en el "arte de la transacción", Stanton se esfuerza de poner en práctica nuevas estrategias de interacción humana al desviar, una a una, situaciones que de otra manera nos resultarían familiares. Presente en la escena artística local desde mediados de la década de los noventa, esta artista del performance, aguerrida y afable, es regularmente invitada a presentar su trabajo, ya sea de manera individual o como parte del colectivo TouVA, en varios países de las Américas, Europa y Asia. Haciendo uso de un enfoque que se inspira de la estética relacional, ella se revela en varias escalas y su práctica resplandece. Quien se codea con la infatigable Victoria Stanton, artista inspirada e introspectiva, pero también investigadora, curadora, autora, música y profesora, y descubre su trayectoria singular, sigue el hilo de una práctica eminentemente sincera cuyo impacto se despliega a diferentes escalas. Esta figura fundamental de la historia del performance en Quebec dirige y cultiva una mirada atenta y empática hacia lo que la rodea. En todos los aspectos de su trabajo, esta montrealesa cristaliza una presencia en el mundo y una relación, un vínculo sensible con este último. Una persona a la vez, Stanton alcanza un público cada vez más vasto.

 

Nos gustaría agradecer al jurado del premio 2018: kimura byol-nathalie lemoine, Nuria Carton de Grammont, Natacha Clitandre, Ji-Yoon Han y Cheryl Sim.
La Centrale agradece la generosa contribución de un donante anónimo que hizo posible este premio.

 

15 March 2018 - 11:53

Support the carrer of a 37 years and older artist by nominating them for the Powerhouse Prize 2018!

Deadline April 30, 2018

The PRIX POWERHOUSE is a biennal $5,000 recognition award that celebrates women* artists who have reached the mid-stage in their career and contribute in a significant and sustained way to the cultural life of Montréal. The purpose of the prize is to recognize and honour individual artists of unique vision who pursues their practice with determination and without compromise.

THE AWARD INCLUDES

- Two 5,000$ grand prizes.
- A one month exhibition at La Centrale for the two nominees chosen by an external jury of cultural professionals from Montreal.

ELIGIBILITY CRITERIA:
- Be at least 37 years of age and identify as a woman

- Live within the Greater Montréal area at the date of nomination
- Be nominated by a third party (only one nomination per artist will be considered)
- Have a practice in the visual arts that spans more than ten years (visual arts includes new media, sound and performance)


- Sustain a pertinent artistic practice of quality that thrives under the radar of major cultural institutions in the city
- Board and staff members of La Centrale are not eligible

 

NOMINATION
To nominate an artist, please fill the present form and send it to us along an email stating why the artist is deserving of the prize, according to the above stated criteria.  Do not forget to mention why you feel this artist is underrecognized and to include visuals of her work.

Please include the full contact information (email, phone, postal address) for yourself and your nominee.
Nominations should be submitted no later than:
 Monday April 30th, 2018
By email or Dropbox to
programmation@lacentrale.org


*Women and self-identified women.
La Centrale would like to recognize the generous contribution of an anonymous donor that has made this prize possible.

11 February 2016 - 15:16

La Centrale is very proud to announce
the finalists for the POWERHOUSE PRIZE 2016!

kimura byol-nathalie lemoine
Manon Labrecque
Alexis O'Hara



JURY'S STATEMENT

The process and the choice for the final nominations for this year Powerhouse Prize was engaging, chaotic but clear in the end. Sitting at a table discussing and debating the dossiers was a telling experience in how an artistic community comes together not with a final result, but with the aim of finding a set of criteria and more important questions that can lead us to determine the recipients of this prize. Quickly it became clear, that it is not about choosing the obvious or the most enduring, nor the most recognized or under recognized artistic practice, but to rather take a closer look at practices that reflect the liminal and systemic conditions that determine the visibility of the artists in Montreal and the art world today. Given the rich offering of this year’s nominations we decided to reconsider our first and perhaps obvious impulses, but to go a step further and question the political correctness, the desires of a prize such as the Powerhouse Prize, the meaning of recognition and the role of Montreal’s institutions and networks. While all the nominees are deeply invested in their respective practice and communities this prize will offer visibility, financial support and the opportunity to discover the work of artists that merit more recognition. For us as a jury this meant highlighting the drive of these artists’ to transgress disciplines, norms and communities.

 

 

kimura byol-nathalie lemoine

The many names of star kim / cho mihee / kimura byol / nathalie lemoine speak to the complexity of their identities. zer art practice creates a space to appreciate the material quality of identities: at once unstable, constructed and real. ze is a Korean-born Belgian adoptee who immigrated to Canada. As a racialized queer who was raised by white Europeans, kimura-lemoine, whose art practice encompasses film, video, calligraphy, painting, photography, digital, action and conceptual art, brings us to question our socialized and oppressive perception of identity. Practicing since the 1980s, ze does this with an affirming softness and playfulness, using a DIY aesthetics that is truth-seeking. zer multidimensional, prolific and persistent art practice, despite contemporary art’s boxes, echoes zer enduring and generous presence in Montreal’s feminist art communities, as a curator, a documenter as well as a member of GIV, La Centrale and Qouleur, a 2QTPOC (2-spirited-queer-trans-people of colour) art festival. The jury wished to acknowledge kimura-lemoine’s intersectional contribution to feminist art communities as well as to highlight zer long standing practice which has persistently and courageously been defying categorization. While kimura-lemoine has received recognition mostly outside of Quebec,zer nomination signals a positive change in Montreal’s feminist art landscape: one where agents do not only fight against the systemic barriers that exclude white women from mainstream art circuits but also those that prevent women of colour, as well as queer, gender non-conforming, and trans artists, from being considered according to their own merit.

 

Manon Labrecque

The jury was drawn to the practice of Manon Labrecque for her research and creation in kinetic installation, which today, all to often, is not a field of practice in which women artists are well represented. In this way she  has opened new perspectives for other generations of artists, as she has done since the beginning of her career, as a leading figure in video art, which she now also teaches. By inscribing her practice in a niche rarely penetrated by women artists, Manon Labrecque has developed an approach in which the issues raised stimulate profound consideration of the nature of the contemporary subject. By the considered strategies that Labrecque brings forward, such as self-filming, the body and its images are brought into the work. In this way the works affirm the performative dimension of the subject, in exposing its vulnerabilities, and out of this, paradoxically, one’s power to act. When representations of the body do not appear, the installations elaborate playful metaphors of mechanical subjectification and submission, amplifying the experience of contingency in role of reception.  At the heart of these works by Labrecque, the controlled unruliness, provoked and experienced, bring out the tensions between the self and the world, and its relations, in which technology, even artisanal, is always implicated.  The works of the artist, in the form of uncertain vacillating automatons and machines of vision, seemingly  innocent, reveal the norms at work, which are evaluated, measuring power, even in its most interiorised manifestations.

 

 

Alexis O'Hara

The jury wished to honour the ongoing quality and coherence of artist Alexis O’Hara’s process, which for twenty years has developed into a singular, dense and multifaceted body of work. O’Hara’s universe is both personal and collaborative; her relationships with scenic and surrealist games, vocal and electronic improvisations and political and social issues convinced the jury, as did the consistency and audacity of her artistic practice. Alexis O’Hara’s work covers a variety of mediums and forms, places and scales: electronic improvisations, performances, videos, installations and objects, galleries, theatres, bars, vacant lots, shopping malls…. Her oeuvre draws inspiration from the fragmentation of sexual, linguistic and cultural identities, creating an interdisciplinary and political practice that explores the allegories of the human voice. Particularly interested in post-apocalyptic culture, human biology and cognitive science, O’Hara invents characters, is one half of an androgynous sound art duo, participates in collaborative projects, and performs abroad. In 2015, le Mois Multi (Québec) hosted her work La Couvée, an immersive performance-installation, where the public was invited to enter a giant egg sac, inside of which they took part in a meditation on the life cycles of gods, mortals and aliens – a critique of the commodification of women’s fertility. Fashion, fertility, gender stereotypes and the social construction of femininity and masculinity are all areas of research that nourishes the artist’s work

 

24 September 2014 - 13:34

2014 finalists are Manuela Lalic, Renée Lavaillante, Dayna McLeod and jake moore !!

La Centrale is very pleased to announce that the 2014 Powerhouse Prize has been awarded to Montreal artist Dayna McLeod.

‘‘ The interdisciplinary practice of Dayna McLeod offers us the irreverent attitude - insolent and free, of the 21st century artist. One could qualify her performances and videos as courage in the face of normalisation in our culture. McLeod has chosen to put before us a radical honesty - the head, the breast, the sex - with a sense of humour of dazzling intelligence. ’’  - Mathieu Beauséjour, member of the 2014 jury.

 

The POWERHOUSE PRIZE is a $5,000 recognition award that celebrates women* artists who have reached the mid-stage in their career and contribute in a significant way to the cultural life of Montréal. The purpose of the prize is to recognize and honour an artist of unique vision who pursues their practice with determination and without compromise.

This year the jury found four artists equally deserving of this prize and we congratulate them. The 2014 finalists for the Powerhouse Prize are:

Manuela Lalic
Renée Lavaillante
Dayna McLeod
jake moore
 

We thank all those nominated artists and nominators for their support of this initiative that seeks to recognize the achievements of mid-career women artists in Montreal.

The members of our jury this year were : Raymonde April (artist and teacher, Concordia University), Mathieu Beauséjour (artist and curator), Geneviève Goyer-Ouimette (Director, CIRCA Art Actuel) et Krista Lynes (teacher, Concordia University). We would also like to thank them for their time and fantastic work. The winner of this year's prize has been chosen by vote by the sixty members of La Centrale.

6 February 2013 - 16:39

Announcing the three finalists for the Powerhouse Prize for 2013:

Catherine Bolduc

Nadia Myre

Thérèse Mastroaiacovo

 

7 June 2013 - 15:54

Finalists for the 2013 Powerhouse Prize were Catherine Bolduc, Nadia Myre and Thérèse Mastroiacovo.

 

 

10 February 2012 - 20:42

La Centrale Galerie Powerhouse is honored to announce the call for nominations for the 2014 POWERHOUSE PRIZE !
 

4 July 2011 - 12:59

It is with great enthousiasm that La Centrale announces Aude Moreau as the winner of the first ever Prix Powerhouse.

5 April 2011 - 23:00

It is with great honor that we are launching the first edition of LE PRIX POWERHOUSE.

22 June 2011 - 9:55

It is with great pride that La Centrale Galerie Powerhouse announces the 3 candidates in the run for this first edition of the PRIX POWERHOUSE prize, which will be given during a "6 to 8" event, on Wednesday June 29th, 2011.