Born in Montréal, Sylvie Laliberté has been a performance artist since 1985, and an important figure on the Canadian performance art scene. Her work, which integrates singing, dance, and story-telling, has been exhibited nationally and internationally. Her video works question the frame, gesture, body-camera relationship, self-representation, sense of space, fiction, and parody. Narrative, humour, and the role of the storyteller are essential components of her post-feminist and subjective videography. Links between the domestic environment and existential preoccupations are explored, while the electronic medium integrates the performative capacities of the subject. Laliberté's works are a testament to the fact that the critical dimension of feminism may be integrated without denying the specific nature of the creative process and allowing the presence of a conscious, active and imaginative individual. Her videotape Oh La La du narratif was awarded the 1998 Prize from the Quebec Association of Cinema Critics in the short and medium length category. Her videotape Bonbons Bijoux received the Prize from the Oberhausen Festival (Germany) the same year. Sylvie Laliberté received the Louis-Comtois Prize, awarded by the City of Montreal and the AGAC (Montreal Association of Galleries). Sylvie Laliberté also produces objects and engravings, marked with her sense of the oral and self-derision. Her first book, Je suis formidable mais cela ne dure jamais très longtemps was published at Les 400 coups, in 2007.
4 products
Il n’est pas innocent que le bonheur soit heureux
New product!Happiness is a tautological state. Why is one happy? Because he or she is happy. It’s very simple. And it smells good. Still happy than one can be happy. This video was produced for Manif d’art 2003 in Québec focussing on happiness and its representation.
Sylvie Laliberté’s work centers on self-representation and narrative, and is often delivered in a humorously faux-naïve and playful aesthetic. In her first video, _Bonbons bijoux_, the artist speaks directly to the camera about simple, trivial things, delivered in a whimsical and spirited manner. In a succession of brief vignettes, the artist, like a candid half-woman, half-child, tells stories...
The Tool Is Not Always a Hammer
New product!"I wanted to share the instrument of my happiness. It’s easy, it’s clear and it’s well crafted. I hope that you’ll enjoy it. And remember : everyone has their own star." – Sylvie Laliberté
"This is a story about a love story. We often believe that love stories are lived in a horizontal position, very, very horizontal. However, love is experienced standing up. So I tell this story with both feet in the snow. I work with and within the limits of the screen to show how much love tends towards freedom, even when it's a story confined by its own history and form, in this case, video."...
Il n’est pas innocent que le bonheur soit heureux
New product!Happiness is a tautological state. Why is one happy? Because he or she is happy. It’s very simple. And it smells good. Still happy than one can be happy. This video was produced for Manif d’art 2003 in Québec focussing on happiness and its representation.
Sylvie Laliberté’s work centers on self-representation and narrative, and is often delivered in a humorously faux-naïve and playful aesthetic. In her first video, _Bonbons bijoux_, the artist speaks directly to the camera about simple, trivial things, delivered in a whimsical and spirited manner. In a succession of brief vignettes, the artist, like a candid half-woman, half-child, tells stories...
The Tool Is Not Always a Hammer
New product!"I wanted to share the instrument of my happiness. It’s easy, it’s clear and it’s well crafted. I hope that you’ll enjoy it. And remember : everyone has their own star." – Sylvie Laliberté
"This is a story about a love story. We often believe that love stories are lived in a horizontal position, very, very horizontal. However, love is experienced standing up. So I tell this story with both feet in the snow. I work with and within the limits of the screen to show how much love tends towards freedom, even when it's a story confined by its own history and form, in this case, video."...