Posted at 6:07 p.m.
By awarding its Grand Prize to Sisyphus, the performance-marathon by Victor Pilon presented last September at the Olympic Park, the Conseil des arts de Montréal (CAM) has recognized the infinite power of a work to change the course of a life. And make sense of the absurdity of our world.
Indeed, for a (very) rare time since the beginning of the awarding of its Prizes, in 1985, the CAM has not given its Grand Prize to an organization, a festival or the career of a creator. But to a work, one and only. A performance born in mourning, tragedy and darkness. And which culminates in light, sharing and beauty!
“I am very happy and also very surprised to win the Grand Prix,” said Victor Pilon, very moved, a few minutes after his presentation, Thursday at the Palais des Congrès. “First, because our company Lemieux Pilon 4D Art won the Grand Prix in 2014; but also because it is a recognition for a work of contemporary art, an intimate and personal performance. »
Initially, his proposal had something “kamikaze”. A single man who constantly repeats a mechanical gesture to cling to life: move 300 tonnes of sand with a shovel, from point A to point B, for 26 days, six hours a day! But the encounter with the public gave meaning to his quest. “A gesture of love above all”, he says, for his spouse Sylvain, victim of a tragic road accident, 5 years ago.
PHOTO SARAH MONGEAU-BIRKETT, THE PRESS
Victor Pilon’s incredible 30-day marathon, with Sisyphus. Here thn full performance last fall.
According to Pilon, everyone can identify with the myth of Sisyphus: “By revisiting mythology (and the novel by Albert Camus), I thought I was offering a cerebral work. With a sacred, meditative side in the performance. However, quite the opposite happened: it went through the heart. »
In the repetition, the eternal recommencement, there is a liberation from suffering, an acceptance of the void. I received testimonials from spectators who told me that my performance helped them get out of a toxic relationship! I have never experienced such a thing in 40 years of creation. I realized the immense power of the encounter, of intimate contact, with the public.
Victor Pilon
Good news, if you are not among the 3000 people who saw his performance in Montreal last fall, the artist confirms the upcoming release of a film made from a recording of his work. “The Grand Prix grant ($30,000) will help me with the editing and post-production of the film,” concludes Pilon, still amazed by the impact of his work on the community.
PHOTO MARCO CAMPANOZZI, THE PRESS
The Jury Prize was won by Productions Nuits d’Afrique. In the photo, Suzanne Rousseau, director, and Lamine Touré, founder.
Fair Trade African Nights & Directors, honored
Nathalie Maillé, Executive Director of the Conseil des arts de Montréal, also awarded the Jury Prize, a unanimous favourite, to Productions Nuits d’Afrique. Finally, the very first Audience Award went to Les Réalisatrices Équitables, an organization that fights for “better parity in cinema while advocating for the sharing of storytelling with Indigenous and diversity achievements”.
PHOTO MARCO CAMPANOZZI, THE PRESS
Anik Salas received the Audience Award on behalf of Les Réalisatrices Équitables.
The seven other finalists for the 36 ᵉ Grand Prix are: Center d’art daphne, Danse-Cité, Festival Accès Asie, Poetry everywhere, Le Monastère, Les Forges de Montréal, and Violette (Joe Jack and John). The ceremony was hosted by Marc Labrèche, in the presence of the Mayor of Montreal, Valérie Plante, and the Minister of Canadian Heritage, Pablo Rodriguez.