https://periculum.art Periculum Tue, 23 Jun 2026 15:26:46 +0000 https://periculum.art en https://periculum.art/Menu-EN-1 Wed, 11 Jan 2023 19:57:19 +0000 Periculum https://periculum.art/Menu-EN-1 [local-style="29622399"]{ display: none; } About News Support Projects Contact Subscribe to our mailing list ︎ ︎ ︎ <img width="2801" height="375" width_o="2801" height_o="375" data-src="https://freight.cargo.site/t/original/i/1b60c08b96028caef1bbf58fb902abc7a7e7c021a661984433e821c8d8b56604/PERICULUM_signature_20264x.png" data-mid="249744774" border="0" src="https://freight.cargo.site/w/1000/i/1b60c08b96028caef1bbf58fb902abc7a7e7c021a661984433e821c8d8b56604/PERICULUM_signature_20264x.png" /> https://periculum.art/Home Wed, 29 Jun 2022 21:54:53 +0000 Periculum https://periculum.art/Home <img width="2801" height="375" width_o="2801" height_o="375" data-src="https://freight.cargo.site/t/original/i/32129f78b6d19552514700b04e522e98fefbcadf949774fdb949c4e44e23ea67/PERICULUM_signature_brun4x.png" data-mid="243969552" border="0" src="https://freight.cargo.site/w/1000/i/32129f78b6d19552514700b04e522e98fefbcadf949774fdb949c4e44e23ea67/PERICULUM_signature_brun4x.png" /> https://periculum.art/Intro-copy Wed, 29 Jun 2022 22:22:55 +0000 Periculum https://periculum.art/Intro-copy ABOUT PERICULUM fulfills its educational mission by supporting projects by artists and thinkers working in the field of contemporary art and by presenting artistic or research initiatives to the public through its website. The Foundation aims to support exploratory or discursive initiatives in art whose critical value sometimes exists on the margins of institutional frameworks. It supports the development of visual art, sound, and textual projects (film, installation, performance, photography, image-based, sculpture, etc. or their imbrication), as well as proposals for critical reflection through discourse. The Foundation favours risk-taking, deep thinking, and long-term or multi-stage projects. It particularly supports initiatives that reflect on cultural production, those who shape it, the society and the conditions in which it evolves&nbsp;as well as its history. It is interested in projects that question the very practice of art, its forms and narratives, its institutions and its economy. ADVISORY COMMITTEE An advisory committee of peers from the contemporary art field assists the Foundation in distributing its funds. Vincent Bonin is a writer and a curator. He lives in Montreal. In 2012, with curator Catherine J. Morris, he co-organized Materializing “Six Years”: Lucy Lippard and the Emergence of Conceptual Art at the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. In 2014, he organized the exhibition D’un discours qui ne serait pas du semblant / Actors, Networks, Theories at the Leonard and Bina Ellen Art Gallery and Dazibao, Montreal, focusing on the reception of “French Theory.” In 2014, he curated Passages to abstraction: Geneviève Cadieux at de Musée d’art de Joliette. In 2016, he organized Response, a dialogue with philosopher Catherine Malabou, at the Musée d’art contemporain des Laurentides, Saint-Jérôme. Bonin has edited and written several books. His essays have been published by the magazines Canadian Art and Fillip, the Centre André Chastel, the Musée d’art contemporain de Montréal, Les presses du réel, Sternberg Press and the Vancouver Art Gallery, among others. Since 2015, Marie-Hélène Leblanc has occupied the position of director and curator of Galerie UQO at the Université du Québec en Outaouais. Her curatorial practice has led her to produce around thirty projects to date presented in a variety of exhibition structures in Quebec, the rest of Canada and Europe. She has been the executive director of the artist-run centre Espace Virtuel (now BANG) in Chicoutimi and the artistic director of the production centre DAÏMÕN in Gatineau. Marie-Hélène Leblanc is a doctoral candidate in Studies and Art Practices at the Université du Québec à Montréal, where her research examines the connections between storytelling in relation with time (the narrative element versus the historical element) in contemporary artistic practices addressing war since 1990. In 2018 she received the Emerging award from the Société des musées du Québec and in 2013, she received the Jean-Claude Rochefort grant for contemporary art curating from the Fondation de l’UQAM. Catherine Lescarbeau is currently pursuing a PhD in Études et pratiques des arts at Université du Québec à Montréal (UQAM). As a multidisciplinary artist, she is interested in the relationship between conceptual art and institutional criticism, as well as the relevance of these approaches today. Her most recent research focuses on houseplants. By way of this object, Lescarbeau aims to develop an interface that allows her to reflect on the relationship between culture and nature within corporate and institutional spaces.&nbsp;She has participated in several solo and group exhibitions and presented various performances in Quebec and France (Galerie UQO, Leonard &amp; Bina Ellen Art Gallery, La Mirage, Fonderie Darling, FRAC Lorraine). She is implicated in the arts community notably as a member of boards and programming committees for important artistic organizations in Gatineau and Montreal such as AXENÉO7 from 2015-2022 and since 2018 on the board and the programming committee of the Fonderie Darling. She was coordinator of the research group on auctions in contemporary art (UQAM-FRQSC 2016-2019), led by the artist and professor David Tomas, for whom she was a research assistant for many years. She also teaches visual arts at the Gégep de l’Outaouais. https://periculum.art/Nouvelles-copy Wed, 11 Jan 2023 20:16:46 +0000 Periculum https://periculum.art/Nouvelles-copy Recipient Production of discourse 2025606/2026 Yan Wu What Is Your First Language? Hors champ06/2026 Reflecting on Programming Films: Critical and Creative Gestures Session 4: Perspectives on Decoloniality Screenings and discussion with Regards Palestiniens : Farah Atoui &amp; Muhammad El Khairy, Regards Noirs&nbsp;: Leîka and Samuel Garrigó Meza, Articule Hors champ12/2025 Reflecting on Programming Films: Critical and Creative Gestures Session 3: Perspectives on Decoloniality Présentations et discussions avec les commissaires :&nbsp;Ariane De Blois, Dominique Fontaine, Nicole Gingras et Michèle ThériaultMédiatrice : Maude Trottier, Hors champ VIVA! ART ACTION10/2025 Collectif Phorie7-11 October Recipient Artistic production 202509/2025 Parastoo Anashahpour Ultrablue* Recipient Production of discourse 202507/2025 Andrew Witt Pacific Riviera Hors champ08/2025 Reflecting on Programming Films: Critical and Creative Gestures Session 2: “Reacting to the World” Screening and discussion with Marlene Edoyan and Hubert Sabino-Brunette, RIDM. Discussant: Mustfaf Uzener (Acéphale). Moderator : Charolette Lehoux (Hors champ and Cinéma public) Hors champ05/2025 Reflecting on Programming Films : Critical and Creative Gestures Session 1 : “Experimenting” Screening and discussion with Benjamin R. Taylor and Noa Blanche of Lumière collective, Mathilde Fauteux, Programmer and coordinator at Vidéographe. Moderator : Nour Ouayda. Collectif Regards palestiniens + Dar Filastin-Maison Palestine in collaboration with Cinéma public 03/2025 forms of resistance / love is the deepest Workshop followed by a public screening and discussion with the artist Jayce Salloum. 2024 Fund Recipients10/2024 Each bursary is 32 500 $ Artistic Practice Justine A. Chambers The Brutal Joy &nbsp;— &nbsp;performance and choreography Discourse Rémi Belliveau Triste Nation &nbsp;— &nbsp;essay&nbsp; Follow-up09/2024 Isabelle Pauwels: Some Final Thoughts on Max Experiments (2023-24) Call 202409/2024 The 2024 competition for Periculum bursaries has ended. In 2025 two distinct calls will take place, one for ARTISTIC PRACTICE and the other for DISCOURSE. Follow-up11/2023 Philippe Hamelin and Isabelle Pauwels share the current state of their research and its accompanying process. 2023 Fund Recipients &nbsp; 10/2023 2023 recipients of two bursaries of $30 000, one for artistic practice and the other for discourse. Artistic Practice Joyce Joumaa Youssef Bey Karam — film / video (working title) Discourse&nbsp; Tricia Middleton Ciphers — critical and creative writing (working title) Call for Proposals 2023 08/2023 The period to receive applications is closed. Support was given in artistic practice and in discursive practice. The next call will take place in early spring 2024. Follow the current projects&nbsp; 06/2023 Philippe Hamelin and&nbsp;Isabelle Pauwels share with us the current state of their research. 2022 Fund Recipients 01/2023 Following the call for proposals in 2022 and a two-phase process of evaluation, the following artists, projects and organization were given support. Artistic Practice*Philippe Hamelin Avec Paul Wong – Portrait en mouvement&nbsp;[With Paul Wong – Portrait in Movement] Isabelle Pauwels Writing in Three Dimensions&nbsp;*&nbsp;This year exceptionally two bursaries of 30 000 $ each were given for artistic practice. In 2023 the program will solicit in two areas of activity: artistic practice and discourse. Organization La Cinémathèque québécoise A sum of $ 15 000 to continue the processing of the Vidéographe Fonds. https://periculum.art/Support-1 Wed, 29 Jun 2022 22:22:08 +0000 Periculum https://periculum.art/Support-1 SUPPORT offered The Foundation makes two distinct calls in production of discourse (early February) and in artistic production (early April). Each bursary is $ 35 000 CAD. The selection process is in two parts and takes about three months from the date of submission. Learn more Production of discourseCall closed. Artistic productionCall closed. https://periculum.art/Discourse-1 Tue, 04 Feb 2025 14:06:12 +0000 Periculum https://periculum.art/Discourse-1 Production of discourse This axis supports discursive projects associated with contemporary and its recent history (from the 1960s to today) that propose critical and exploratory research in the areas of art history, criticism and curating. Projects must aim to make an important contribution to the field. As such the Foundation seeks proposals that focus on topics and theoretical issues that are understudied or ignored, or that are reconsidered from a contemporary perspective. They can also investigate the current conditions of artistic practice and its dissemination or reflect upon its own conditions of enunciation. The call is directed to persons with a professional experience in the areas of art history, criticism and curating without these practice being necessarily exclusive. Support is intended for research and development aiming at a result that may be an autonomous in-depth essay, an exhibition project accompanied by an in-depth essay, a cycle of conference (s) / a colloquium, or an important cycle of public programs. Experimental forms of writing may be considered. dissemination The research that is the object of the support must be realized within 12 to 18 months after the starting date of the project. The recipient will determine the ulterior mode of public presentation or dissemination (among others a publishing platform, public lectures, an exhibition or an event). The Foundation will follow on its website the evolution of the research project. The recipient in collaboration with the director of the Foundation will determine the form that will take these periodic follow-ups. The Foundation wishes to share with the public the tenor of the project as well as the process of conceptualizing and structuring used by the researcher.&nbsp; ELIGIBILITY Applicants must have a relevant professional experience in the areas of art history, criticism or curating.&nbsp; New projects or those that constitute a distinct phase within a cycle, will be given priority. The applicants can be affiliated with an organization, but the project must be their initiative and the research their entire responsibility and intellectual property. Doctoral research projects or those that receive or will receive significant university-based research funds are not eligible. Applicants must be Canadian citizens or permanent residents. SELECTION PROCESS First, an advisory committee, including the director of the Foundation, will evaluate the submitted proposals and determine a list of pre-selected candidates. Second, the pre-selected candidates will be asked to submit a more detailed proposal that the same advisory committee will evaluate to determine the final recipient. TWO-STEP SUBMISSION PROCESS The process has two phases, the first focuses on the subject, its origin and the planned contribution of the research. The second focuses on the chosen methodology, the budget and the production timeline.Submission address: info@periculum.art Phase oneInterested candidates must submit the following information in a single PDF. Applications can be submitted in English or in French to info@periculum.art at the latest on March 31, 2026 at midnight. Clearly indicate in the object section of your email and on page one, at the top right side the axis DISCOURSE.Complete address, including email, telephone number, and mailing address.CV, including a paragraph that clearly describes your relevant professional experience;Presentation of the subject of research including the origin of your interest in the topic and its link to contemporary art (between 1000 to 1500 words max);Contextualization of the research within its related field (historical precedents, contribution to the field, 800 to 1000 words max);A bibliography of existing literature on the subject;Applicant documentation (in digital format) relevant to the proposal.Phase twoNext by invitation only, pre-selected candidates will submit the following information: Methodology for the development and the realization of the research;*Budget (real costs of research); **Production schedule;Ulterior stages if formalized.*A methodology is a how one proceeds in the elaboration of a research project: the particular ways and know-how that will be employed in the process. It is not a production schedule. ** Further information concerning eligible expenses will be communicated to the preselected candidates. SELECTION criteria Phase 1Relevance of the research in relation to the Foundation’s focus;Relevance and original contribution to the field in question; Exploratory and critical character of the proposal. Phase 2Coherence of the proposed methodology;Coherence of the budget;Feasibility of the project and of its production schedule. https://periculum.art/Artistic Tue, 04 Feb 2025 14:21:53 +0000 Periculum https://periculum.art/Artistic Artistic Production In this axis the Foundation seeks art projects that respond to one or several of the Foundation’s areas of interest. It focuses on practices based on research and conceptual coherence. All mediums are eligible, including ones that crossover, as well as ones that are text based and closely embedded in the practice. The project may be by an artist or a collective. It may be a single production or part of a cycle of works as long as it is a distinctive and significant part of the cycle. Support is not given to finish a project that is in its final phase. Presentation The result must be made public, in part or in whole, no later than 18 to 24 months after the funds have been given. It is the recipient’s responsibility to determine the method of public presentation and oversee its realization. The Foundation wishes to know how the recipient envisages the presentation or dissemination of her, his or their project and if it may involve a partner.The proposals supported by the Foundation are followed on the Foundation’s website in close collaboration with the recipient and in a manner that is suitable to each project, as a way to introduce the public to each artist (s) specific creative and conceptual process.&nbsp;The website can also be the site and medium of dissemination of the project.&nbsp; ELIGIBILITY The artist (s) making the proposal must have relevant professional experience. Projects that are supported or will be supported by university-based research funds are not eligible. Applicants must be Canadian citizens or permanent residents. SELECTION PROCESS The process is in two-stages. Firstly, the director supported by an advisory committee evaluate the submitted proposals and pre-select candidates. Secondly, the selected candidates are invited to submit a more detailed proposal to be evaluated by the director and the advisory committee. After assessment a candidate or collective is selected. TWO-STEP SUBMISSION PROCESS The first step focuses on the concept and approach and the second focuses on methodology, the budget and the production schedule. Submission email: info@periculum.art Phase oneInterested candidates submit the following information in a single PDF. Applications can be submitted in English or in French to info@periculum.art at the latest on May 24th, at midnight. Clearly indicate in the object section of your email and on page one on the top right side of your proposal: ARTISTIC AXIS. Complete address, including email, telephone number, and mailing address; CV, including a paragraph that clearly describes the nature of your practice and your relevant professional experience;Description of the research and concept (between 1000 and 1500 words max);* Contextualization of the research and concept within the field to which it is related (500 words max);Examples of relevant previous work (in digital format) whether images, videos or relevant texts (by the artist or on the practice).Phase twoNext, by invitation only the selected candidates submit the following information: Methodology for the development of the project*;Budget;**Production schedule;Proposals for the public presentation of the project (no commitment is required).*A methodology is a how one proceeds in the elaboration of a your project: the particular ways and know-how that will be employed in the process. It is not a production schedule. ** The project can benefit from other sources of funding, but individually, these cannot exceed the amount awarded by the Foundation. Further information concerning eligible expenses will be communicated to the preselected candidates. SELECTION criteria Phase 1Relevance of the research and project to the field to which it is related and to the Foundation’s areas of interest.The exploratory and critical character of the form and content of the project. Phase 2Coherence of the proposed methodologyCoherence of budgetFeasibility of the project in relation to a partial or whole result within 18 to 24 months after it has been initiated. https://periculum.art/Projects-1 Wed, 11 Jan 2023 20:32:47 +0000 Periculum https://periculum.art/Projects-1 https://periculum.art/Yan-Wu-1 Tue, 23 Jun 2026 15:26:46 +0000 Periculum https://periculum.art/Yan-Wu-1 YAN WUWhat Is Your First Language? <img width="360" height="640" width_o="360" height_o="640" data-src="https://freight.cargo.site/t/original/i/c9b157dab385f3aa97df07c5aea150b684f573298b628fa5b05251fa9784655f/Chinatown-excursion--Splendid-China-Mall--Markham--December-20--2024.-Photograph-and-annotations-by-Yan-Wu.jpeg" data-mid="249744204" border="0" alt="Chinatown excursion, Splendid China Mall, Markham, 20 d&eacute;cembre 2024. Photo et annotations : Yan Wu " data-caption="Chinatown excursion, Splendid China Mall, Markham, 20 décembre 2024. Photo et annotations : Yan Wu " src="https://freight.cargo.site/w/360/i/c9b157dab385f3aa97df07c5aea150b684f573298b628fa5b05251fa9784655f/Chinatown-excursion--Splendid-China-Mall--Markham--December-20--2024.-Photograph-and-annotations-by-Yan-Wu.jpeg" />Chinatown excursion, Splendid China Mall, Markham, December 20, 2024. Photograph and annotations by Yan Wu Project Yan Wu’s project aims to articulate a critical framework for understanding language in diasporic contemporary art beyond identity, toward a condition of uneven access, mediation, and persistence of language. Building on her curatorial work with Chinese Canadian artists Morris Lum and Paul Wong Wu will investigate how Chinese characters for instance don’t simply function as readable text nor opaque visual signs but rather operate as traces of language that remain active even when detached from full linguistic competence calling into question the assumption that language belongs to, or is fully possessed by its speaker. Instead it suggests a “post-loyalist“&nbsp;relation to language, in which script, meaning and affect circulate beyond the boundaries of literacy, producing layered and uneven modes of encounter. Chinese in this context, does not simply signify cultural belonging; it functions as a material and conceptual element that exceeds the artist’s direct linguistic competence. Wu’s project shifts the focus from identity to language—from what the work represents to how language operates within it. In doing so, it situates these practices in closer dialogue with traditions of language-based conceptual art, where meaning emerges through structure, mediation, and the limits of legibility. What Is Your First Language? will take the form of a bilingual essayistic script developed through field research, conversations with artists, and close analysis of artworks and sites.&nbsp;&nbsp;Her research will follow four trajectories (Historic Chinatown; Commercial and Suburban Chinatown; Conceptual Chinatown and Global Circulation Chinatown) following the formation of the mentioned linguistic condition across archives, artworks, restaurants, suburban malls, migration routes and systems of global circulation. SUPPORT IN PRODUCTION OF DISCOURSE — 2026&nbsp; biography Yan Wu is a curator, writer, and translator based in Toronto. She works as a public art curator with a focus on the intersection of contemporary art, architecture, and the making of public space in urban contexts, and alongside this role maintains an independent practice focused on contemporary conceptual art, writing, and translation. Her writing has been published in e-flux Criticism, PUBLIC, Canadian Art, ArtReview Asia, and Artforum.cn, among others. She previously served as English editor of Time+Architecture at Tongji University (2016–2022). As a translator, she has co-translated Chinese editions of key texts in conceptual art and criticism, including Rosalind Krauss’s Passages in Modern Sculpture, Lucy Lippard’s Six Years, Dan Graham’s Rock My Religion, and Yve-Alain Bois and Rosalind Krauss’s Formless. She also co-translated John Cage’s Not Wanting to Say Anything About Marcel for M+ and contributed Chinese-language texts to the museum’s digital project on Marcel Duchamp’s Boîte-en-valise. Her curatorial work engages closely with conceptual art practices, with an emphasis on language, publication, and mediation. Recent projects include Tom Dean: GOOD-BYE at the Robert McLaughlin Gallery (2025), focusing on the artist’s early conceptual works and urban interventions, and Interior Chinatown: Morris Lum, the artist’s first museum solo exhibition examining the spatial and cultural conditions of Chinatowns across North America (McMaster Museum of Art, 2026; Varley Art Gallery of Markham, 2027). Earlier projects at the Art Museum at the University of Toronto include Making Models, Immaterial Architecture (online), and Miao Ying: A Field Guide to Ideology. Wu is currently a PhD pre-candidate at the Daniels Faculty of Architecture, Landscape, and Design, University of Toronto, where her research explores play-space as a framework for a public art research lab. https://periculum.art/VIVA-ART-ACTION Thu, 02 Oct 2025 15:11:24 +0000 Periculum https://periculum.art/VIVA-ART-ACTION VIVA! ART ACTION Collectif Phorie <img width="640" height="427" width_o="640" height_o="427" data-src="https://freight.cargo.site/t/original/i/4f7cf1788191e1f417ac27b76c11afe94d601e04eed589c38cb443a992665bd3/collectif-Phorie--Lectures-Heliotropes--2022.-Photo-Nicholas-Dawson-copy.jpeg" data-mid="238950799" border="0" data-no-zoom="true" alt="Credit: Lectures H&eacute;liotropes, 2022. Photo: Nicholas Dawson." data-caption="Credit: Lectures Héliotropes, 2022. Photo: Nicholas Dawson." src="https://freight.cargo.site/w/640/i/4f7cf1788191e1f417ac27b76c11afe94d601e04eed589c38cb443a992665bd3/collectif-Phorie--Lectures-Heliotropes--2022.-Photo-Nicholas-Dawson-copy.jpeg" /> updateOpening discussion : Preliminary Reflections on Affect and Performance October 7, 7PM Collectif Phorie (Marie Achille, Félix Chartré-Lefebvre and Benoit Jodoin). The discussion will take place in French. project What affects circulate before, during, and after a performance? What bodily intensities, emotions or desires are set in motion, shared or transformed between people, depending on their situation? To mark the beginning of their writing residency at VIVA! 2025, collectif Phorie invites the public to a three-voice discussion, where the memes of the collective will share some preliminary thoughts on the affective economies in action art. Without external moderation, the members of the collective will exchange questions they have prepared in advance, in a relay format inspired by their collaborative working method. The audience and festival artists will then be invited to join the discussion. Supported by PERICULUM, this activity marks the return of discursive activities in the festival’s programming, and aims to open up space for shared reflection, where ideas can circulate, settle and crystallise throughout the project. VIVA! authors’ residency In partnership with PERICULUM and Inter, act actuel, VIVA! welcomes collectif Phorie to participate in a writing residency developed to support performative writing practices. Over the course of the festival, two members of the collective–Marie Achille and Félix Chartré-Lefebvre –will take on the role of witness and researcher, using their experiences with the programming as material for poetic and critical reflection on performance and the circulation of affect. Their thoughts and observations will be shared daily on the VIVA! Blog, and feed the creation of a piece of collective writing that will be published in Inter, art actuel #147 as part of a special portfolio dedicated to the 9th edition of VIVA! Art Action. English translations of the Blog texts will also be made available after the festival.