« Grebmeier Forget’s performances involve dizzying streams of images, which have become somewhat of a signature for the artist. It’s as though there were never enough time or space for her to target her subject in the process of becoming, and that subject, in spite of her, merges with a representation of the “public” body. » 1


Nadège Grebmeier Forget’s interdisciplinary practice unfolds via durational, live, live-streamed and private performances, which sometimes result in drawing, photography or installation works. In these performances, she models and hybridizes herself to defuse expectations of beauty and explore the effects (and affects) of the concerned gaze on the unfolding identity as it is observed and analyzed by others, including oneself. Seeking to confront desires and ideals (aesthetic, commercial, sexual, etc.) through an empowered and performative manipulation of her own image, she intrinsically questions the labour of making and becoming; including the ways in which performance (of self or art) can be documented, shown, disseminated or exhibited.

Engaged within both of Montreal’s visual and live arts communities – as an artist, freelance project coordinator, creative consultant or artistic director – She has participated in numerous events, festivals, panels, residencies, and exhibitions across Canada, the US, and Europe, and is the first performance artist to receive the City of Montreal’s Prix Pierre-Ayot (2019), awarded in partnership with the Contemporary Art Galleries Association (AGAC).

Born in 1985, the first daughter of a 1950's runner up California Beauty Queen, she lives and works in Tio'tia:ke / Mooniyang / Montreal.

♥

« Grebmeier Forget has worked previously with performances mediated through mirrors, Skype, projections, Photobooth images, or in the positioning of her body in relation to the audience. On screen and off, she often uses embellishments like makeup, glitter, children’s decorations, clothing, and packaged food products. She adorns, prepares, and presents her body as something to be consumed (visually, literally, metaphorically), but also as something that is never fully accessible or that performs an excess of adornment to a point where desirability begins to erode. […] While she is clearly drawing upon histories of feminist performance art and its emphasis on the presence of the active, embodied female subject who resists or troubles the fetishizing gaze, Grebmeier Forget’s performances also build upon this history to address the ways that gendered subjectivities have more recently been performed by/for/with new technologies. With her ongoing use of Photobooth screen grabs in this (SUITE) and other performances, Grebmeier Forget references the selfie, the YouTube celebrity, or the “camgirl,”and connects to broader conversations around how we perform our selves online. » 2

---

1 - ST-GELAIS, Thérèse « Feminisms and Uncertainty: A Body of One’s Own and Beyond
Oneself », esse arts + opinions, no.90 Féminimes | Feminisms, May 2017, p. 43

2 - BURISCH, Nicole, « Never Enough / Jamais Assez: on documentation, proximity, and Nadège Grebmeier Forget’s SUITE from the series One on one’s for so-called fans », 2015 CORE Program catalog, p. 18

---

© Copyright information:

This website and its content is copyright of Nadège Grebmeier Forget (all rights reserved). Any use, redistribution, or reproduction of part or all of the content in any form allowed or prohibited according to the following terms:

• You may print or download to a local hard disk extracts for your personal and non-commercial use only.

• You may not, except with our express written permission, distribute or commercially exploit the content. Nor may you transmit it or store it in any other website or other form of electronic retrieval system.

For information or written permission, please contact Nadège Grebmeier Forget at nadege.g.forget [at] gmail [dot] com

« Grebmeier Forget’s performances involve dizzying streams of images, which have become somewhat of a signature for the artist. It’s as though there were never enough time or space for her to target her subject in the process of becoming, and that subject, in spite of her, merges with a representation of the “public” body. » 1


Nadège Grebmeier Forget’s interdisciplinary practice unfolds via durational, live, live-streamed and private performances, which sometimes result in drawing, photography or installation works. In these performances, she models and hybridizes herself to defuse expectations of beauty and explore the effects (and affects) of the concerned gaze on the unfolding identity as it is observed and analyzed by others, including oneself. Seeking to confront desires and ideals (aesthetic, commercial, sexual, etc.) through an empowered and performative manipulation of her own image, she intrinsically questions the labour of making and becoming; including the ways in which performance (of self or art) can be documented, shown, disseminated or exhibited.

Engaged within both of Montreal’s visual and live arts communities – as an artist, freelance project coordinator, creative consultant or artistic director – She has participated in numerous events, festivals, panels, residencies, and exhibitions across Canada, the US, and Europe, and is the first performance artist to receive the City of Montreal’s Prix Pierre-Ayot (2019), awarded in partnership with the Contemporary Art Galleries Association (AGAC).

Born in 1985, the first daughter of a 1950's runner up California Beauty Queen, she lives and works in Tio'tia:ke / Mooniyang / Montreal.

♥

« Grebmeier Forget has worked previously with performances mediated through mirrors, Skype, projections, Photobooth images, or in the positioning of her body in relation to the audience. On screen and off, she often uses embellishments like makeup, glitter, children’s decorations, clothing, and packaged food products. She adorns, prepares, and presents her body as something to be consumed (visually, literally, metaphorically), but also as something that is never fully accessible or that performs an excess of adornment to a point where desirability begins to erode. […] While she is clearly drawing upon histories of feminist performance art and its emphasis on the presence of the active, embodied female subject who resists or troubles the fetishizing gaze, Grebmeier Forget’s performances also build upon this history to address the ways that gendered subjectivities have more recently been performed by/for/with new technologies. With her ongoing use of Photobooth screen grabs in this (SUITE) and other performances, Grebmeier Forget references the selfie, the YouTube celebrity, or the “camgirl,”and connects to broader conversations around how we perform our selves online. » 2

---

1 - ST-GELAIS, Thérèse « Feminisms and Uncertainty: A Body of One’s Own and Beyond
Oneself », esse arts + opinions, no.90 Féminimes | Feminisms, May 2017, p. 43

2 - BURISCH, Nicole, « Never Enough / Jamais Assez: on documentation, proximity, and Nadège Grebmeier Forget’s SUITE from the series One on one’s for so-called fans », 2015 CORE Program catalog, p. 18

---

© Copyright information:

This website and its content is copyright of Nadège Grebmeier Forget (all rights reserved). Any use, redistribution, or reproduction of part or all of the content in any form allowed or prohibited according to the following terms:

• You may print or download to a local hard disk extracts for your personal and non-commercial use only.

• You may not, except with our express written permission, distribute or commercially exploit the content. Nor may you transmit it or store it in any other website or other form of electronic retrieval system.

For information or written permission, please contact Nadège Grebmeier Forget at nadege.g.forget [at] gmail [dot] com