Environnement
entends-tu ?

Karine Gonthier-Hyndman stands out in a multitude of theatre roles, going back to more than a decade ago. Whether we think of Queue cerise (Olivier Morin) and Tocate et Fugue (Florent Siaud) at the Théâtre d’Aujourd’hui, Le songe d’une nuit d’été (Frédéric Bélanger) at the Théâtre Denise-Pelletier, or of Le Roman de Monsieur Molière (Lorraine Pintal) on the TNM stage, the myriad of projects in which she chooses to involve herself in shows her versatility, as well as her passion for creation. We have also had the pleasure to see her in Le Faiseur (Alice Ronfard) at the Théâtre Denise-Pelletier, Limbo (Amélie Dallaire) at the Écuries Theatre and at Usine C for the play Atteintes à sa vie (Philippe Cyr).
On TV, Karine has accumulated roles in different productions such as Toi & Moi II, Les beaux malaises, and Nouvelle Adresse which allowed a broader audience to get to know her talents. From 2016 to 2018, she earned nominations from the Gémeaux Prize for her brilliant interpretation of Élizabeth in Les Simone («Best female supporting role : comedy»). She will also be nominated four years in a row (2016-2020) for Like-moi («Best performance : comedy»). She finally wins, along with her teams, the Gémeaux Prize in 2018 and 2020 (Like-moi) and in 2021 with Entre deux draps.
In 2019, Karine takes on the role of the unforgettable Alexandra, in Les invisibles, under the direction of Alexis Durant-Brault on TVA. Since 2020, she embodies Micheline, girlfriend of Patrice Robitaille aka Serge, in the outstanding series C’est comme ça que je t’aime from the creators of Série Noire, on Radio-Canada. We can also see her in Patrick Sénécal présente on the Club Illico, Chouchou on Noovo, Sans-Rendez-vous and Avant le crash on Radio-Canada.
On the big screen, she is part of the casts of Trip à trois by Nicolas Monette and Charlotte Le Bon’s Falcon Lake. Her role in the short film Frimas by Marianne Farley allowed her to take part in the 2022 Oscars.

Heather Davis is an assistant professor of Culture and Media at The New School in New York whose work draws on feminist and queer theory to examine ecology, materiality, and contemporary art in the context of settler colonialism. Her most recent book, Plastic Matter explores the transformation of geology, media, and bodies in light of plastic’s saturation. She is the editor of the award-winning Desire Change: Contemporary Feminist Art in Canada and co-editor of Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies. Davis is a member of the Synthetic Collective, an interdisciplinary team of scientists, humanities scholars, and artists, who investigate and make visible plastic pollution in the Great Lakes.

Innue from Mashteuiatsh, Sonia Robertson is an artist, art therapist, and curator. With a degree in interdisciplinary art from the Université du Québec à Chicoutimi, she has participated in numerous events in Canada and internationally. Her increasingly participatory in situ approach explores expression and healing through art. In 2017, she completed a Master’s degree in art therapy at the Université du Québec en Abitibi-Témiscamingue, developing an imaginative approach based on hunter-gatherer peoples. Actively involved in her community, she founded Kamishkak’Arts (Diane Robertson Foundation) in 1994, an organization that promotes art as a means of expression for community members. She also co-founded the TouT-TouT artist workshops in Chicoutimi in 1997, and Kanatukulieutsh uapikun in 2001, which promote the traditional knowledge of the Pekuakamiulnuatsh about plants. In 2011, she launched the Festival de contes et légendes Atalukan. Since 1994, she has worked as a curator on projects at the intersection of art and art therapy, encouraging artists to explore different realms of expression. In 2021-2022, she completed a curatorial residency at Lobe, leading to the project Eshi Uapatika ishkueuatsh tshitassinut/Regards de femmes sur le territoire, presented at the UQAM Gallery in 2023.