Throughout the years, women video artists have shed a light on important questions and themes: revolution, domesticity, gender, HIV/AIDS, LGBTQI+, immigration, racism, and many more.
GIV connects women artists of all generations, origins, and horizon to varied publics. The cultural and generational diversity, at the heart of our mandate for decades, contributes to the expansion of our local and international influence. GIV draws its strength from the communities we collaborate with. Our practice of inclusion ensures that the artists working with us are extremely different - and it is reflected in the works of our collection.
The video medium and the formats change, as the context in which the artists evolve, and the works diversify. And yet, some themes seem timeless. We find them reinvented by new generations, other cultures or by the same artists that renew themselves. Since its beginning, GIV addresses subjects like feminism, immigration, sexuality, relationship to the self, violence, discriminations and oppressions, aging, technological transformations, etc. In this moving continuity, our collection is enriched, supporting works of the next generations.
With this case study we would like to think about the ways in which video artists approach these subjects and themes, throughout the years. These works bear witness of changes and evolutions. The main question that this Case Study is exploring is: what is expressed by women through the video works that GIV distributes, from 1975 to now?
About Groupe Intervention Vidéo
Founded in Montreal in 1975, Groupe Intervention Vidéo (GIV) is one of the rare artist-run centres across the world dedicated to the promotion of works made by women (in the most inclusive sense) – by distributing and presenting them, as well as by actively supporting their production. GIV has a distribution catalogue of 1460 works by 370 women artists.
We would like to acknowledge that Groupe Intervention Vidéo (GIV) is located on the traditional and unceded territory of the Kanien’keha:ka (Mohawk). Tiohtiá:ke/Montreal is historically known as a gathering place for many First Nations. As a community, we commit to building a sincere relationship with Indigenous peoples based on respect, dignity, trust, and cooperation, in the process of advancing truth and reconciliation.
Anne Golden is an independent curator and writer whose programs have been presented at Musée National du Québec, Edges Festival, and Queer City Cinema, among others. She has written for FUSE and Canadian Theatre Review. Golden has participated in numerous panels on curatorial practices, independent distribution, and more recently, horror films.
Golden is Artistic Director of Groupe Intervention Vidéo (GIV). She teaches in the Media Arts Department of John Abbott College. Her novel FROM THE ARCHIVES OF VIDÉO POPULAIRE (Pedlar Press) was released in March, 2016. Golden has made over twenty videos including LES AUTRES (1991), FAT CHANCE (1994), BIG GIRL TOWN (1998), and THE HORROR CYCLE (2016-2018).
Annaëlle Winand is a PhD candidate at the Department of Library and Information Science (Université de Montréal). She holds a master's degree in History and Archival Science from the University of Louvain (Belgium). Her research focuses on the notion of archive(s) in experimental films and videos. In parallel to her doctoral research, she is a programmer at the Montreal Underground Film Festival and artistic co-director of Groupe Intervention Vidéo (GIV).
Alanna Thain is a professor of Cultural Studies and World Cinemas at McGill University, where she directs the Moving Image Research Laboratory and the Institute for Gender, Sexuality, and Feminist Studies. She is the author of Bodies in Suspense: Time and Affect in Cinema (University of Minnesota Press, 2017). Her current research includes Anarchival Outbursts on dance and the movement practices of post-digital cinema, and Cinema Out of the Box, a research-creation project around a mobile, bike powered cinema, and the global trend of outdoor cinemas.