TITLE : The Cod
Performance
DATE : 1997-2006
CAMERA VIDÉO : Nicole Catellier, Boris Firquet, Katherine Kuster/Rice Gallery, Jocelyn Robert
EDITION VIDEO : Diane Landry
 VIDEO
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1997
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- MoisMulti 9, IN_EX, Parc de la Cetière, production Recto-Verso, Québec.
- 11th Annual Subtle Technologies Festival, University of Toronto, Toronto (Ontario).
- Avatar à Vooruit, Courtisane Festival, Gand, Belgium.
- Francofffonies-Pleine Lune, Théâtre Châtelet, Paris, France.
- Rice Gallery, Houston, TX.
- Festival in Regina, Neutral Ground, Regina (Saskatchewan).
- during Stockholm-New Music, Fylkingen, Stockholm, Sweden.
- during Arte en Progresion, Centro Cultural San Martin, Buenos Aires, Argentina.
- during 7a*11d International Festival of Performance Art, Toronto (Ontario).
- during HTMlles organized by Studio XX, collaboration la chambre blanche, Quebec city.
- Mobius, Boston, MA.
- AKA, Saskatoon (Saskatchewan).
- Ace Art inc., Winnipeg (Manitoba).
- during LIVE Biennial of performance art, Grunt Gallery, Vancouver ( British Colombia).
- during Sound Symposium, St.John's (New Foundland).
- during Super micmac, Maison de la culture du Plateau Mont-Royale, Productions SuperMémé, Montreal.
- EMMEDIA, Gallery & Production Society, Calgary (Alberta).
- during The Canadian Performance Tour organized by Inter/Le Lieu and ASA European :
- Carl Stipendium, Essen (Germany).
- Moltkerei Werkstatt, Cologne (Germany).
- C.U.B.A., Münster (Germany).
- OF-Kunstraum, Offenbach (Germany.)
- Artis, s'Hertogenbosch (Netherlands).
- during Festival Musiques au présent, organized by L'Orchestre symphonique de Québec and Avatar.
- Centre des Arts actuels SKOL, Montreal (Quebec).
- during 3e Symposium en arts visuels de l'Abitibi-Témiscamingue, Amos (Quebec).
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“Amongst the evening's strongest moments, Diane Landry's waltz of visual scratch was a must. With two record players on the tables of which she displays casual objects lit by the side, wavy transposed shadows are distorted on a kinetic photograms movie screen. Like a DJ, Diane Landry operates with her back to the public; she composes pictures by constantly replacing the objects. Here, references to photography as well as to the record player culture supported, audible rumpling of the needle's scratching included, a performance only wind by the formal limits of the projections obtained. A great idea.” (Excerpted from Bernard Lamarche, «Place à la performance», Le Devoir, Montréal, 15 juillet 1997.)
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