
Christine Palmiéri is an artist, art critic and poet. A Canadian of French origin, she has lived in Quebec for many years. She is an associate professor at UQAM, a member of Hexagram (UQAM) and FrancoLab (Sorbonne), and holds a PhD in Art Studies and Practices. She has taught visual arts and lectured at universities in Quebec, France and Mexico, among others. Biotechnology in art is one of her main preoccupations. For over twenty years, she directed the online magazine Archée, which focuses on digital arts. In her work as an artist, she combines traditional techniques with new media technologies to create installations that combine trivial objects with interactive visual and sound devices. She has exhibited in galleries and museums around the world and participated in numerous festivals. She curated the exhibition De la monstruosité, expression des passions, which led to a publication. Among her poetry collections, L’éternité n’est jamais loin was published this year by Éditions Mains Libres. She has also published poetry and essays on art in magazines, collectives and anthologies.
Luminous energy is at the heart of many artistic productions and approaches, which use its effects or counter-effects to make or break the visible. We’ll take a look at how these operating flows work, and how invisible X-rays of energy reveal the real, while visible light energy antithetically makes it disappear. The appearance-disappearance effects of black holes and stars sometimes coexist in the same work, creating the impression of a “parallel world” that questions our understanding of reality. In this encounter between electromagnetic and human energy, the need for ethical problematization is essential, for while energy can be creative, it can also be destructive. At the dawn of AI experiments, we may well wonder whether energy possesses intentionality, whether energy is conscious, as Thérèse Brosse claims in La conscience-énergie, structure de l’homme et de l’univers (1984).