Company – 2359 Productions

MISSION

To create, produce and present immersive, interactive artworks and installations combining new technologies and living arts. To use a documentary approach to tell stories that make audiences consider current collective issues.

Favoring a documentary approach rooted in complex current realities, 2359 aims to innovate in the way it chronicles our world, our society. Enriched by scientific, political and community-based notions, its works encourage audiences to reflect on current collective issues.

By choosing to delve into major issues, 2359 renders each production an exploration of our contemporary society, an artistic and human endeavour where commitment, innovative storytelling and collective inquiry converge to create captivating and enriching experiences.

A Franco-Ontarian organisation, 2359 operates in a francophone minority context, contributing to the development of francophone artistic culture in Canada and elsewhere.

HISTORY

The story of 2359 begins in 2019, when two young artists, Marie-Ève Fontaine and Guillaume Saindon, decide to form a new creations company while working on the documentary theatre project PANAMÀ. Both active in the theatre milieu for several years, and despite their divergent specializations, a complementarity quickly develops between the two creators.

Winnipeg-born Marie-Ève Fontaine works as a stage artist in productions across Canada. Over the years, she trains in writing and puppetry and, in parallel with her artistic development, works as a columnist and researcher for several radio and television networks. Guillaume is a director and multimedia designer and developer, specializing in immersion, interaction and the mutual benefits of theatre and digital arts.

Within 2359, their respective interests meet, complement and blend to give the company a clear artistic vision. Whether through the integration of digital arts into the performing arts and the inclusion of science and research in the narrative development, or through the creation of immersive and interactive installations, they both aspire to explore new ways of telling stories and of saying the world.

Since 2019, 2359 has spawned several projects (PANAMÀ, Giant Mine, What is left of us, etc.) for which Marie-Ève Fontaine is sometimes collaborator (What is left of us), sometimes co-producer (Giant Mine, PANAMÀ).

OBJECTIVES

Create high-quality immersive, interactive pieces and installations
Favour a documentary approach to examine current collective issues
Decompartmentalize the artistic milieu by giving a platform to scientific, political and other communities through their inclusion in the creative process
Align traditional theatrical practices with emerging technologies
Contribute to digital literacy in the performing arts milieu, while ensuring the continuity and relevance of traditional theatrical forms
Contribute to digital literacy in the performing arts milieu, while ensuring the continuity and relevance of traditional theatrical forms. Contribute to the development of francophone artistic culture

MANIFESTO

ONE
Because each story is unique, it defines its own needs. Limiting ourselves to one form, one medium, one practice or one field is an arbitrary hindrance.

TWO
Because our experience of the world is not rooted in reason and intellect, we favor a mode of reception that beckons us to make sense through the senses.

THREE
Aware of the limited space for artistic discourse in the public arena, we will treat every opportunity to share our work as a privilege, with gratitude and responsibility.

FOUR
Every creative deed is political, social and cultural. Our creative processes must reflect our convictions.

FIVE
Our creations are fundamentally public processes. They are financed mainly by public funds, address social issues and draw on public resources. We will make all documentation gathered, code developed, studies carried out, etc. openly available wherever possible.

SIX
Access to culture is a fundamental right that should not be dictated by geographical location or financial means. The less fortunate and those living in regional communities have just as much right to such access.

SEVEN
We are agents of a community. It supports us. We are responsible for enriching it in return.

EIGHT
Recognizing the inherent theatricality of our everyday environments, our creations shall not be confined to dedicated spaces. As much as possible, we will inhabit public spaces and everyday life.

NINE
Creative processes are not limited to conventional art forms. We value the aesthetic and creative potential that manifests itself in other disciplines.

TEN
Technological innovation is dominated by commercial imperatives. We are committed to subverting these innovations for the benefit of creation.

ELEVEN
Every iota of human experience is the target of commodification. We pledge to usurp these strategies and mechanisms in favor of creation.

TWELVE
This manifesto, like our creations, is alive and subject to continual revision and expansion.