Monday, February 17, 2014

ICARE on tour as of February 28th in the Quebec Province!



Credit: Yves Renaud, on the picture: Reanud Lacelle-Bourdon

Wednesday, February 5, 2014

Pictures of the 30th anniversary press conference

Victor Pilon et Michel Lemieux

Michel Lemieux et Victor Pilon

Credit: Annik MH De Carufel pour le Devoir
Nathalie Bondil, Zoë Beaudry, Bénédicte Décary

Michel-Marc Bouchard, Luc Boulanger, Lorraine Pintal, Annie Gascon


Lorraine Pintal of Théâtre du Monde, Michel Gagnon of Place des Arts, Nathalie Bondil of Musée des Beaux-Arts de Montréal:  our partners in 2014

Credit: GHYSLAIN LAVOIE pour le Journal de Montreal

Wednesday, January 29, 2014

A retrospective on the company's 30th on Radio-Canada


Shot during the rehearsals of their latest creation, Icare, at Théâtre du Nouveau-Monde.
Interview by Maxence Bilodeau.






To see it on the Radio-Canada web page, click here!

Tuesday, January 28, 2014

Lemieux Pilon 4D Art celebrates their 30th anniversary!





PHOTO: ÉDOUARD PLANTE-FRÉCHETTE, LA PRESSE 

Michel Lemieux et Victor Pilon fêtent les 30 ans de leur compagnie 4D art.

LUC BOULANGER

Toujours très actifs


Depuis 30 ans, Michel Lemieux et Victor Pilon
proposent des spectacles hybrides alliant le réel
et le virtuel, en fusionnant les arts de la scène et
les nouveaux médias. Pour transcender les arts
vivants et la technologie moderne.
Michel Lemieux croit que le secret du succès de la compagnie qu'il
codirige avec Victor Pilon peut se résumer en un mot:
émerveillement. «Notre processus de création fait beaucoup appel
au potentiel d'émerveillement chez les spectateurs, dit-il. Pour
Victor et moi, la capacité de s'émerveiller et de rêver habite tout le
monde, depuis l'enfance. Nos spectacles sont comme une porte
ouverte sur cette enfance.»
À l'occasion du 30e anniversaire de leur compagnie, 4D art, les
créateurs multimédias Michel Lemieux et Victor Pilon ont rencontré
hier les médias. En compagnie de directeurs artistiques de trois
grands lieux culturels montréalais: Lorraine Pintal du TNM, Nathalie
Bondil du Musée des beaux-arts et Michel Gagnon de la Place des
Arts. Ils ont dévoilé une série d'activités qui se tiendront à Montréal.

Après Icare, qui est à l'affiche du Théâtre du Nouveau Monde
jusqu'au 8 février, ces «frères siamois de la culture» reprendront
leur spectacle hommage à Norman McLaren, à la Cinquième Salle
de la Place des Arts, du 27 mars au 12 avril. Cette reprise de
Norman s'inscrit dans le cadre du 100e anniversaire de la
naissance du regretté cinéaste de l'ONF.

Ensuite, les artistes auront carte blanche pour créer une installation
au Musée des beaux-arts, du 1er mai au 31 août. La directrice du
MBAM, Nathalie Bondil, estime que les créateurs retourneront «à
leurs origines» d'artistes visuels, en investissant l'espace du carré
contemporain du Musée. En effet, Lemieux et Pilon ont commencé
respectivement en performance et en photographie.
Pour clore les événements du 30e anniversaire, Blimp Télé produit
un documentaire qui suit durant une année le parcours créatif et la
collaboration particulière entre Lemieux et Pilon. Réalisé par Michel
Barbeau, le film sera diffusé sur les ondes d'ARTV et de
TéléQuébec. Il sera présenté en primeur au MBAM en mai
prochain.

Quatre événements marquants

Starmania, l'opéra (2009)

La version opératique de Starmania, produite par l'Opéra de
Montréal, a vu le jour 30 ans après la création du grand succès de
Luc Plamondon et Michel Berger, avec une scénographie et une
mise en scène remarquables. Des projections très efficaces sur
des écrans gigantesques qui permettent aux spectateurs de
voyager d'un univers spatio-temporel à l'autre.

Norman (2007)

Le tandem Lemieux-Pilon transpose en multimédia l'oeuvre du
grand cinéaste canadien Norman McLaren. La critique souligne
unanimement la réussite de l'entreprise. «Un spectacle ouvert,
accessible et enchanteur, que l'on connaisse l'oeuvre de McLaren
ou non», écrivait-on dans La Presse, lors de la création du
spectacle en 2007, à la Cinquième Salle. Le spectacle sera repris
au même endroit, du 27 mars au 12 avril. À voir.

La Tempête (2005)

Pour leur première production sur la scène du Théâtre du Nouveau Monde, les fondateurs de 4D
art s'associent avec la metteure en scène Denise Guilbault pour revisiter la dernière pièce de
Shakespeare. Personnages virtuels et réels se côtoient sur scène et font disparaître les
frontières entres les disciplines artistiques. «L'accostage multimédia est réussi», soulignait LaPresse.

Orféo (1998)

«Étonne-moi!», a dit jadis Serge Diaghilev à Jean Cocteau. En revisitant le mythe grec d'Orphée
et Eurydice, c'est exactement ce qu'ont fait Michel Lemieux et Victor Pilon. Ce spectacle
chorégraphique et technologique a aussi tourné en Amérique du Nord. «Virtuel et vertueux», titre, le Washington Post. «Visuellement, Orféo est sans aucun doute ce que j'ai vu de plus fort dans toute mon existence», lance le critique de La Presse.

Click here to read the article (in French)!

Icare on television!




"Du pur bonbon"

"le TNM disparaît sous les projections de Lemieux et Pilon", 

"Des grands moments de beauté et d'émotions!", 

Christian Saint-Pierre, VOIR





Click here to see the whole critic (in french)

Friday, December 6, 2013

Tickets for Norman in March-April 2014 are now on sale!


Place à l'inspiration depuis 50 ANS !


  • Cinquieme Salle from  March 27th to April 12th, 2014

Description

(Re)discover the world of Norman McLaren!

Created as a tribute to Norman McLaren, the pioneer filmmaker, this production takes us on a journey of initiation into McLaren’s playful animated landscapes in the company of dancer/chorographer Peter Trosztmer. Using their unique virtual reality visual language, Michel Lemieux and Victor Pilon immerse us in the movement, abstraction, and humanism that are characteristic of the filmmaker’s oeuvre.


Special price for under 30 years old.
Show in french. For more information, Lemieux Pilon 4DART : 4dart.com


Buy your tickets here








Tuesday, December 3, 2013

Award of Outstanding Achievement – Event Spectacular: Michael Jackson: ONE, Mandalay Bay Hotel, Las Vegas



This live entertainment spectacle represents an electrifying achievement for Cirque du Soleil, who have found a new creative recipe for today’s electic, media-centered audiences. In ONE they’ve fused Cirque’s traditional energy with the iconic power of the King of Pop. The two make a perfect marriage; Michael was a longtime fan of Cirque’s magic, and many of his musical themes lend themselves to eclectic spectacle.


Michael Jackson: ONE dazzles at every turn, alternating between multisensory overload and lingering poetry. The show’s creators have deconstructed Michael Jackson into his essential components, both physical and emotional. A single white glove… a fedora hat… a pair of sparkle-spatted shoes… each becomes a springboard to a segment of the show that grows from that single artifact into a mind-blowing series of images. Jackson’s eternal themes find physical expression as well: the healing of Love… the power of Belief… the glory of Unity… these grand ideas combine with Michael’s iconic visuals to remind us of his essential goodness and eternal optimism, even in the face of unspoken sorrows and a life lived in the camera’s glare.


Innovative? Yes. The show introduces a number of first-time performance technologies, including a crazy acrobatic performed on neon green elastic straps, and a manic number in which performers hurl themselves belly-first to the stage floor, then to spring high into the air like crickets. Mapped projection certainly isn’t new, but ONE kicks it into warp drive, wrapping the entire stage, proscenium and theater walls in a dizzying barrage of images that adroitly capture the essence of each song. 


And while Michael himself is present throughout the show via multiscreen projection and clever costume references, when the moment finally comes (as it must) for The Gloved One to appear in a holographic-style Pepper’s Ghost illusion, it’s done with such lyrical elegance and musical precision that Michael becomes a golden sparkling spirit, blessing the show’s dancers with his magic.

Friday, November 29, 2013

Retrospective for Lemieux and Pilon at Musée des Beaux-Arts de Montréal in 2014



Publié le 28 novembre 2013 à 08h48

Opulente programmation 2014 au Musée des beaux-arts

Le Musée des beaux-arts de Montréal fête le... (Photo: Marco Campanozzi, La Presse)

Le Musée des beaux-arts de Montréal fête le 50e anniversaire... du Musée d'art contemporain de Montréal (MACM). Pour le lancement de la saison 2014, le directeur du MACM, John Zeppetelli, est venu à la rencontre de la directrice du MBAM, Nathalie Bondil.
Photo: Marco Campanozzi, La Presse
Le Musée des beaux-arts de Montréal (MBAM) poursuivra en 2014 cette période faste qui le caractérise depuis six ans avec des expositions d'envergure internationale ainsi que des découvertes plus ciblées. Le début de cette année 2014 opulente sera marqué par une solide incursion dans l'art contemporain européen et nord-américain.
L'événement de 2014 au Musée des beaux-arts sera sans nul doute l'exposition consacrée à Peter Doig, Nulle terre étrangère, du 25 janvier au 4 mai.
D'origine écossaise et ayant vécu une partie de sa jeunesse à Montréal, Peter Doig est à 54 ans l'un des artistes vivants les plus estimés des grands collectionneurs. En février dernier, une de ses toiles a été vendue à Londres pour 12 millions.
L'exposition montréalaise, la première d'une telle importance à être organisée en Amérique du Nord, présentera des oeuvres qu'il a créées à Trinidad depuis une dizaine d'années.
L'art contemporain sera encore à l'honneur avec la célébration, par le MBAM, du 50e anniversaire... du Musée d'art contemporain de Montréal (MACM).
En effet, les deux musées s'associent pour présenter, rue Sherbrooke, leur première exposition conjointe, Quand les collections du MBAM et du MACM conversent, une sélection - deux par deux - d'oeuvres contemporaines parmi les 8000 que possède le MACM et les 6000 du MABM.

Place à Jules de Balincourt
Vernie hier soir, l'exposition de l'artiste d'art contemporain franco-américain Jules de Balincourt se poursuivra jusqu'au 6 avril dans le Carré d'art contemporain du MBAM, avec une sélection d'oeuvres de cet artiste de 41 ans collectionné par de grands musées des États-Unis.
L'été 2014 verra l'arrivée d'une exposition de la collection Fabergé du Virginia Museum of Fine Arts de Richmond, soit 240 objets luxueux dont les fameux oeufs de Pâques de la famille des tsars Romanov de Russie.
À l'automne, le MBAM collaborera avec le musée Kunsthaus de Zürich et le Los Angeles County Museum pour présenter De Van Gogh... à Kandinsky: l'expressionnisme allemand et la France, 1900-1914, une exposition «exceptionnelle».
«Au niveau assurance des oeuvres prêtées, c'est du jamais vu au Musée», a expliqué, hier, Nathalie Bondil, directrice et conservatrice en chef du MBAM.

Carte blanche à Pilon et Lemieux
Le musée donnera également carte blanche aux artistes Michel Lemieux et Victor Pilon, du 30 avril au 31 août, dans le cadre de la Biennale internationale d'art numérique.
Il s'agira d'une installation immersive soulignant le 30e anniversaire de la compagnie Lemieux Pilon 4D Art.

Puis, le musée présentera, du 23 septembre au 18 janvier, la première rétrospective consacrée à la peintre montréalaise Marion Wagschal, grande artiste figurative qui a formé nombre de plasticiens à l'Université Concordia.
Enfin, les amateurs d'Andy Warhol pourront admirer, d'octobre 2014 à mars 2015, une trentaine d'affiches du prince du pop art appartenant à la collection de Paul Maréchal.
À noter que l'exposition La planète mode de Jean Paul Gaultier, produite par le musée, continue d'être présentée ailleurs dans le monde.
Après New York jusqu'en février 2014, elle se rendra à Londres en avril, puis à Melbourne en octobre. Elle atteindra d'ici quelques semaines le million de visiteurs, un record mondial pour une exposition sur la mode.

Wednesday, October 16, 2013

Preview of La Belle et la Bête in The China Post!







Arts & Leisure

'La Belle et la Bete' cast excited for Taipei show

By Joy Lee ,The China Post
October 16, 2013, 12:11 am TWN

TAIPEI, Taiwan -- The cast and crew of the upcoming performance of “La Belle et la Bete” (Beauty and the Beast) yesterday talked about the excitement of coming to Taipei to perform at the National Theater Concert Hall between Oct. 18-20.
Powell, Motown Records' chief of charm, dies
Storyteller Diane D'Aquila performs in “La Belle et la Bete” in this undated photo. (Courtesy of Yves Renaud)


In reworking this classic tale, renowned drama producers Michel Lemieux and Victor Pilon utilized cutting-edge holographic technology to create a virtual reality on stage.


Diane D'Aquila, who plays the storyteller in the show, said that the space of the National Theater Concert Hall is a perfect place for the performance.
“I have played in some huge opera houses in Europe, and we have some large theaters in Canada,” said D'Aquila. “But this one (the National Theater), it took my breath away. It's an extraordinary building.”
Isabelle Painchard, the assistant director of the show, said that the house not only just looks good, but the show will be presented beautifully in the theater.
“We all feel privileged to play in here,” said Vincent Leclerc, the actor who plays the Beast in the show.
Janine Theriault, who plays Belle in the performance, also said that audiences in Taiwan can expect a different version of “Beauty and the Beast,” compared to the Disney version of the story.
“We have taken this story and set it in something between the timelessness and commentary, so a lot of the topics are much more modern compared to other versions of the story,” said Theriault.
The cast also talked about the difficulties in adapting to the visual style of the show, which involves strikingly realistic holograms.
“A lot of my scenes are virtual scenes, which is a quite new experience for me. The challenge primarily is that we do not see the images that the audiences see at all ... so it is very much about memorizing where you are and the space and the relationship to what's going on around me,” Theriault said.
“Most of the plays are about the actors and the playground where they can do whatever they want to do in there. When you do cinema or TV, the actor is one part of the puzzle because you have sounds, coloring, and editing. And this show is like a cinema, the actor is just one part of the results along with projections, the virtual characters, and the sounds,” Leclerc said.
The cast hopes audiences will come to the show to experience the wonder of this reinvention of theater, as well as enjoy a classic story with a modern twist.
The event sponsors will hold a conference at Noise Kitchen at 3 p.m. this coming Saturday, with Taipei Arts Festival director Yi-Wei Keng joining the discussion.

Thursday, September 19, 2013

La Belle et la Bête on its way to Asia!

After a successful tour in France that included 7 cites, La Belle et la Bête will tour in Asia!

The tour will start in Daejon, South Korea, at the Culture and Art Center, with two representations on October 6th and October 7th.
 

It will then head to Taipei, in Taiwan, at the National Chiang-Kai shek with five performances, from October 18th to October 20th.


Check the promotional trailer:



Monday, July 15, 2013

'Michael Jackson ONE' in Las Vegas: Cirque du Soleil refinds its way


 

LAS VEGAS - On June 29, the top executives of the Montreal-based Cirque du Soleil were here at the theater inside the Mandalay Bay Resort and Casino, sitting alongside the likes of Justin Bieber, Spike Lee and Neil Patrick Harris, celebrating the opening of "Michael Jackson ONE," the latest Cirque creation, designed as an evocation of the music and spirit of the late King of Pop.



Those executives were in dire need of a successful night. The annus horribilis of an entertainment colossus that once seemed infallible began last August with the demise of "Viva Elvis," a Cirque show reflecting its newfound interest in working with the estates of iconic celebrities. Not only was "Elvis" a uncharacteristically bland and unimaginative show — a whitewash of its subject to the point of rendering the man unrecognizable — but audiences at the high-end Aria Hotel and Casino responded with a yawn. Cirque had wanted to do a retooling, but the hotel's owner, MGM Resorts, which found the box-office reports depressing reading, told them to close it down instead. Shows shutter all the time, but not Cirque shows in Vegas. None of its desert extravaganzas, which typically cost tens of millions to produce and take years to recoup, had ever closed. Performers grow old within them. The masterpiece "Mystere" has been playing nearly 20 years.
After the "Elvis" debacle came the layoffs of 400 Cirque employees, some 9 percent of the staff, announced in January. That led to an uncomfortable headline in the large Canadian newspaper The Globe and Mail: "Massive layoffs and mediocrity: Has Cirque du Soleil lost its way?"
Mandalay Bay has a fake beach and wave pool, and that was the site of the opening-night party for "ONE." Cirque is famous for its extravagant parties, which typically go on for several hours. But on this occasion, attendees say news filtered in that there had been, that very Saturday night, a serious accident just up the Strip at the MGM Grand, at "Ka," one of Cirque's most massive and artful creations. The show had been canceled midperformance. Although most of the Mandalay Bay celebrants did not know it straightaway, an accident inside one of the show's thrilling battle scenes had led to the death of a performer, Sarah Guyard-Guillot, a 31-year-old mother of two. Although all circus shows involve risk, and minor accidents are not unknown, no one had ever died while performing a Cirque show.
The word here is that the Cirque leadership and staffers, who remain close-knit despite all of the above, were devastated beyond measure by the death of Guyard-Guillot. Creative or financial struggles are one thing; this was another. This, they felt, had nothing to do with any narrative trajectory of a company, despite the sudden interest of the media in connecting those dots. The accident led to the temporary suspension of "Ka." As of Thursday, the show still was very slowly easing back into rehearsals with the intent of removing the scene that contained the accident. The reopening date, likely to be quiet, has yet to be set. Cirque wants the artists themselves to decide when they are ready.
All of that might explain why "Michael Jackson ONE" opened here with attention very much focused elsewhere. That's a shame. It is a strikingly beautiful and emotional show. Indeed, "ONE," which was created by Jamie King, who once danced alongside Jackson on his "Dangerous" world tour in 1992-93, is the first Cirque show in a good long while to feel like it actually has a heart. That crucial collective drive of vulnerability, wonder and striving for rebirth informed all the great early Cirque shows, especially those created by its early auteur, Franco Dragone, the creator of "O." The return of an emotional personal vision is long overdue.
"Michael Jackson ONE" actually is being widely confused with "Michael Jackson: The Immortal World Tour," a separate, arena-based Cirque show, also based on the life and works of Jackson and that has been playing arenas around the world (including the United Center in Chicago last summer). Although a hit at the box office, "The Immortal" is a massive, cool-to-the-touch hagiography that captures Jackson's thirst for the kinetic and the spectacular but seems to crush his gentle spirit and confusing legacy with video, volume, freneticism and fireworks. It evidences a fear of intimacy, which is not surprising given the complexities of its subject, but still, that's no excuse for not seeming to reveal much of the man.
King's far superior and infinitely more personal piece at Mandalay Bay is a whole different beast.
Indeed, it contains a beast at its center: a roving man-and-machine with arms made up of cameras, headlines, flashbulbs and probing tentacles. When you add the projected tabloid images on the walls of the theater that greet the audience as it enters, you grasp the show has an antagonist not unlike the one that pursued Jackson himself. By contrast, the representations of Jackson are fleeting, flickering and fragile. The notion of Jackson rendered in twinkling lights and inhabiting the Milky Way will sound cloying to the controversial late star's detractors, of course, but then such people are not the target audience. And to King's great credit, he doesn't deify so much as evoke with arresting fullness that familiar Jacksonian worldview — that instantly recognizable, inherently unworkable blend of softness, horror, urbanity and escape. The Jackson of "ONE" captures that wildly singular fusion of childhood innocence and pulp stardom — and makes clear that when Jackson died, the world of Neverland disappeared with him, for good or ill.
It is a show that makes you miss the man and his art. In its best moments, it makes you wonder what aspects of him ever really touched the earth.
"ONE," as seen Wednesday, is a remarkable sonic experience. There are a whopping 5,800 speakers installed in the theater, including at least three in every seat, creating an experience that certainly can't be re-created in arenas. The mixes of the Jackson hits are, of course, based on the original recordings, but they have been infused by music director Kevin Antunes with theatricality. There are unexpected pauses, mashups, stutters, reaches.
The take on "Bad," performed against a backdrop of a graffiti-clad moving subway car with original Jackson video playing off to the side, is especially resonant in that it contextualizes Jackson's music against a stark, brutal picture of the big U.S. cities of the 1980s, before mayors started cleaning them up and the yuppies moved back. It's arresting little meditation on what the weird man was up against back then with all his talk of reconciliation and wonder.
King uses a frame — a quartet of initially cynical youthful explorers in street clothes breaking into Neverland, it seems, and slowly being immersed and empowered by Jackson's world. It's not a wildly original device (the chaotic first version of "Spider-Man: Turn Off the Dark" on Broadway tried something similar with disastrous results), but it is executed very well by King, and it allows for an eye-popping final moment when 50 or so dancers we've watched do "Bad," "Thriller" and "Beat It" disappear en masse into the floor, even as their guiding Jackson sprit heads for the rafters. The fan characters, who remind you of the crew from Scooby Doo, until they start to dance themselves, then just get on with their lives. Mostly by not fearing a few notes of ambiguity, King pulls off what surely read in description as hokey devices.
There's one such moment, which will be what most people carry home from their costly 90 minutes, when Jackson, who is never impersonated in the show directly, appears in holographic form, dancing alongside the company, only to suddenly transform into his younger self from Gary, Ind., only then to disappear without warning into a puff of digitized smoke, leaving the other dancers sad and confused.
It's an eye-popping trick, worth the price of admission. Aside from wondering how on earth they did that with such realism, you get an existential shiver or two. It's certainly a moment that plays with an icon's immortality — which is what a lot of Jackson fans want — but it's just removed enough that it does not so much feel like Jackson has been reborn so much as taken the form of a ghost dancing, not so different from the visions that both ennobled and terrified Scrooge. People's mouths fall open.
The sensation is, as anything sensational about Jackson always should be, complex. And complexity coupled with heart is the only way to bring a grieving Cirque back.
Twitter@ChrisJonesTrib

Wednesday, May 29, 2013

New-York Premiere for La Belle et la Bête at Brooklyn's Academy of Music, Next Wave Festival, in November 2013!


Lemieux Pilon 4D Art is pleased to be back at BAM for a second time with their show La Belle et la Bête at the Howard Gilman Opera House from November 21st to November 23rd, 2013.
The company already performed for the Next Wave Festival, in 2006,  with their adaptation of William Shakespeare’s The Tempest.

The 2013 Next Wave Festival—featuring 34 opera, theater, music, and dance engagements in BAM’s three venues—will take place from September 17 through Dec 22.

BAM Executive Producer Joseph V. Melillo comments, “This fall, we offer our audiences 
a rich assortment of adventurous, groundbreaking work by American and international 
artists, including the BAM debuts of 15 dance, music, and theater-makers. It is 
particularly exciting, in the 31st iteration of the Next Wave Festival, to see the robust 
variety of productions that has been made possible with the addition of the flexible 
Fishman Space—now in its second season of unique festival engagements.”

BAM Howard Gilman Opera House (30 Lafayette Ave) 

Nov 21—23 at 7:30pm 
Tickets: $20, 30, 40, 50 (weekday); $25, 35, 50, 60 (weekend)


Wednesday, May 8, 2013

Official photos from Michel Lemieux and Victor Pilon at Rideau Hall, in Ottawa!




Michel Lemieux and Victor Pilon, invested Officers of the Order of Canada during a ceremony at Rideau Hall on May 3rd, 2013.
They're joined by His Excellency the Right Honourable David Johnston, Governor General of Canada.







Photo credit: Sgt Ronald Duchesne, Rideau Hall
© Office of the Secretary to the Governor General (2013) 

Monday, April 15, 2013

Ottawa's University proud of one of its former student, Victor Pilon.


Victor Pilon: A multi-gifted artist


Victor Pilon is among the first wave of multidisciplinary artists. 
This uOttawa alumnus was recently named an Officer of the Order of Canada.
by CHARLES ROUSSEAU


Victor Pilon
Credit: From Victor Pilon's personal archives.

“I graduated from one of Canada’s best photography programs, and it draws its strength from the passion and talent of its academic staff.”
—Victor Pilon

As an avant-garde creator whose works help shape Canada and Quebec’s international creative reputations, Victor Pilon expresses his artistic talents both on stage and in the visual arts.
In 1982, he graduated from the University of Ottawa with a bachelor’s degree in fine arts, and then in 1983, with a BA in photography. He is among the first wave of multidisciplinary artists: as a director, scenic artist, pictorial designer and photographer, he works on both theatrical productions and large-scale public events.

He says that for him, it all started at uOttawa. “I have very fond memories of my time at the University of Ottawa. For me, a university’s reputation is based on the professors who teach there. I graduated from one of Canada’s best photography programs, and it draws its strength from the passion and talent of its academic staff. I really appreciate the progress I made in this bilingual program, not to mention the fact that once I graduated, the strong influence that the Francophone professors had on the Montreal arts scene really helped prepare me to take on the artistic community. I was privileged to have such great professors and mentors as Charles Gagnon, Peter Gnass, Evergon, Pénélope Cousineau, Edmund Allen, Michel Goulet, Louise Poissant, and many others. Their dedication and enlightened advice helped me become the artist I am today.”

For nearly 20 years, Victor Pilon was the official photographer for royal visits to Canada and in 1994, Her Majesty Queen Elizabeth II awarded him the Royal Victoria Medal (R.V.M.) for his services to the Royal Family. In 1990, he joined Michel Lemieux to form Lemieux Pilon 4D Art as designer and co-artistic director. Since then, he has created over thirty avant-garde theatre productions, including La Belle et la Bête andThe Tempest for Montreal’s Théâtre du Nouveau Monde, Luc Plamondon’s Starmania Opéra for the Montreal and Quebec opera companies, and Delirium and Soleil de minuit for Cirque du Soleil. He has also designed major public performances for the Montreal International Jazz Festival and for Montréal en Lumiére. Both the quality and professionalism of these performances and their universal appeal allow Pilon to translate emotions into pictures and movement that reach out and captivate his audiences.
On December 30, 2012, His Excellency the Right Honourable David Johnston, Governor General of Canada, named Victor Pilon, O.C., R.V.M., of Montreal as an Officer of the Order of Canada “for his contributions to the performing arts in Canada and abroad, as a director, designer, photographer and pioneering multidisciplinary artist.”