Audrée Juteau, Zoey Gauld, Catherine Lavoie-Marcus and Ellen Furey

Audrée Juteau, Zoey Gauld, Catherine Lavoie-Marcus and Ellen Furey, photo by Nicolas Biaux

A native of Abitibi-Témiscamingue, Audrée Juteau returned to settle in the region five years ago with the project of helping to decentralize artistic practice in large urban centers. Newly director of L’Écart, her professional career intersects with the management of L’Annex-A, which aims to support artists by offering creative residencies in the Bellecombe district of Rouyn-Noranda, as well as a practice artistic choreographer and performer/dancer in the world of contemporary dance and interdisciplinary arts for around twenty years. She is also a graduate of LADMMI, holds a master’s degree in dance from UQAM, and is the recipient of the 2010 danceWEB – ImPulsTanz (Austria) scholarship awarded by Jardin d’Europe and the David Kilburn prize (2015). Audrée Juteau’s experimental contemporary dance works contain an element of unpredictability and seek to place human beings, animals, and objects on an equal footing. With Mystic-Informatic, she returns to collective creation with Zoey Gauld, Catherine Lavoie-Marcus and Ellen Furey. For this creation, they together imagine methodologies borrowed from the fungal world. 

Zoey Gauld is a dance artist working on unceded Indigenous lands in Tiohtià:ke/Mooniyang/Montreal, Quebec. She likes to consider the body as a vector of possibilities that destabilizes ideas and identities through movement. This year, Gauld is collaborating with Audrée Juteau, Catherine Lavoie-Marcus, and Ellen Furey/L’Annex-A, Sasha Kleinplatz and Créations Estelle Clareton. She holds a master’s degree in dance from UQAM and is a member of Addendum Actions Criticality with Care (AACC).

Catherine Lavoie-Marcus is an interdisciplinary artist and performing arts researcher based in Tiohtià:ke/Mooniyang/Montreal. Since 2009, she has presented choreographic creations in various contexts: on stage, in situ, in art galleries, and museum rooms. She publishes zines and theoretical reflections in the form of articles and essays and, from 2014 to 2019, she runs a free writing column at Esse arts + opinions in the company of Michel F Côté. During the 2022 edition of the TransAmériques Festival, the pair is launching the literary UFO Danses à futures , a collection which brings together 161 dance proposals which speculate on choreographic art and its future. Lavoie-Marcus holds a doctorate in arts studies and practices from UQAM.

Ellen Furey is an artist-choreographer based in Tiohtià:ke/Mooniyang/Montreal, Canada. Since 2012, she has worked on and within collaborative and interdisciplinary discursive processes that emphasize the disorder of subjectivities. His work uses the potential of dance virtuosities and performance art as material for life, oblique rebellion and debate, entangled in heavy ambiguity. She collaborates with artists such as Malik Nashad Sharpe, Dana Michel, Christopher Willes, Audrée Juteau, N. Zoey Gauld, Catherine Lavoie-Marcus, Paul Chambers, Hanako Hoshimi-Caines, Alanna Stuart, Romy Lightman, and has danced in works by Dancemakers, Daniel Léveillé, Frédérick Gravel, Mårten Spångberg (Sweden) and Tina Tarpgaard (Denmark) among others. Furey ‘s work has been presented in Europe, Canada, the United States, and the United Kingdom. She co-created two dance works with British choreographer Malik Nashad Sharpe (SOFTLAMP.autonomies (2018) and High Bed Lower Castle (2022, FTA)), and her most recent work Lay Hold to the Softest Throat premiered at TransAmériques Festival (Montreal) in June 2023. She is the recipient in 2014 of a danceWeb – ImPulsTanz scholarship (Austria) and a graduate of the School of Toronto Dance Theater. Furey is currently training in mediumship/psychic development and conflict management (University of Waterloo). She is certified as an end-of-life doula. Since 2019, she has been an artistic advisor at Danse-Cité, a contemporary dance presenter in Montreal. 

This collaborative work features two large metal structures, a computer from 1983, and small, yellow 3D-printed sculptures in a scenography evoking the ruins of capitalism and the waste produced by the constant renewal of technology. The dance inside grows like an optimistic mushroom, the matsutake. Embodying a punk, apocalyptic, and feminist approach, the piece gives power back to dance and expels our ecological despair.