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1992
1991
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- during Des 20 jours du théâtre à risque, Montreal (Quebec).
- lors du Sound-Symposium 6, St.John's (New Foundland).
- Galerie Sans-Nom, Moncton (New Brunswick).
- Aire de service pour oeuvres et oeuvres d'art, during Congrès ANNPAC/RACA, St-Raymond (Quebec).
- Espace Virtuel, Chicoutimi (Quebec).
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“Wearing a kettle for a hat, Diane Landry uncoils the umbilical cord binding her to a generator. Out of a bag, she pulls scarves all tied up in a long line - recalling a prisoner’s bed sheets - and then she strikes up a repetitive complaint on the harmonica. In a parallel action, Jocelyn Robert walks toward her, naked but covered with piezo buzzers emitting their characteristic powerful high-pitched sound. Then he puts on an overcoat, fastens it at the ankles and shovels up cold soil into it. Diane wraps up the scarves around her neck and head, layer after layer, until she creates a huge cocoon. Internment. The kettle is boiling. They retreat, one being enormous and waddling, the other blind and suffocating. Through internment, the work creates, alienates and damages itself.” Excerpted from/Extrait d'un texte de Doyon/Demers «Le projet de réalité de l'œuvre est de côtoyer l'art», Parallélogramme, Toronto, Vol. 17, No 4, 1992.
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