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.


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).



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.

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.

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.

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

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.

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.

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

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.

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

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

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

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



Émilie Camiré-Pecek (credit Annie Éthier)

Marc-André Charette (credit Marianne Duval)

John Doucet (credit Marianne Duval)

Valentin Foch

Marie-Ève Fontaine (credit Jonathan Lorange)

Zackari Gosselin

Sasha Hayashi (credit Maxime Côté)

Florence Leguérinel (credit Louise Jean-Baptiste)

Jonathan Lorange

Anne-Marie Ouellet (credit Jonathan Lorange)

Thomas Sinou (credit Jonathan Lorange)

Seth Thomson


Guillaume Saindon — General and artistic director

[email protected]


Marc-Antoine Séguin — President

Aidan Côté-Lapointe — Treasurer

Marie-Ève Trahan — Secretary

Jean-Nicolas Masson — Administrator

Marianne Gingras — Administrator

Guillaume Saindon – Administrator

Guillaume Saindon

Originaire de Rimouski et basé à Ottawa, Guillaume Saindon est metteur en scène, concepteur et développeur numérique en arts vivants et interactifs. Après avoir fait ses premiers pas dans le milieu culturel en tant que comédien, il s’intéresse à la réalisation au cinéma et à la mise en scène au théâtre. Il entame alors des études en théâtre à l’Université d’Ottawa puis un certificat en cinéma de la Prague Film School, avant de compléter une maîtrise en Digital Narratives à l’Internationale Filmschule Köln en Allemagne où il étudie l’apport des technologies numériques aux arts vivants. Il est ensuite invité à intégrer la maîtrise en pratiques théâtrales – mise en scène à l’Université d’Ottawa qui lui permet d’élaborer son processus créatif.

Guillaume s’intéresse aux liens qui unissent le théâtre et les nouvelles technologies, à la façon dont ils peuvent se nourrir réciproquement mais aussi à la façon dont les technologies peuvent faire évoluer notre manière de créer, de penser les formes théâtrales et les arts vivants. Finalement, il questionne les notions d’immersion, d’interaction, de transmédia et l’usage de nouvelles plateformes numériques.

Depuis ses débuts dans le milieu artistique, les projets sur lesquels il a travaillé en tant que metteur en scène, assistant metteur en scène ou concepteur multimédia ont été présentés partout au Canada, en Europe et dans plusieurs festivals. Il a notamment travaillé sur White Out (L’Eau du bain et Théâtre Français du CNA), Remixed (Trophy), Avant l’archipel (Théâtre Catapulte et Théâtre Français de Toronto), Solstice d’hiver (Prospero et Théâtre Français de Toronto) ou encore Jeff Koons (Théâtre du Trillium) qui lui a valu en 2021, le prix Rideau pour la meilleure conception la conception multimédia.

Aujourd’hui directeur artistique de 2359, Guillaume produit des œuvres immersives et interactives qui placent le spectateur au cœur d’espaces ultra sensoriels et qui repensent la façon de raconter et recevoir des histoires.

Guillaume Saindon

Born in Rimouski and based in Ottawa, Guillaume Saindon is a director, designer and digital developer of live and interactive arts. After taking his first steps in the cultural world as an actor, he became interested in film and theater directing. He then went on to study theatre at the University of Ottawa, followed by a certificate in filmmaking at the Prague Film School, before completing a master’s degree in Digital Narratives at the Internationale Filmschule Köln in Germany. There, he studied the use of digital technologies in performing arts. He was then invited to join the MFA in Theatre Directing at the University of Ottawa, where he further developed his creative practice.

Guillaume investigates the relationship between theatre and new technologies, how they can be mutually beneficial, and how technologies can change the way we create and think about theatrical forms and the performing arts. Finally, he explores notions of immersion, interaction, transmedia and the use of new digital platforms.

Since joining the arts community, the projects he has worked on as director, assistant director or multimedia designer have been presented across Canada, in Europe and at numerous festivals. His credits include White Out (L’Eau du bain and NAC French theater), Remixed (Trophy), Avant l’archipel (Théâtre Catapulte and Théâtre Français de Toronto), Solstice d’hiver (Prospero and Théâtre Français de Toronto) and Jeff Koons (Théâtre du Trillium), for which he was awarded the Prix Rideau in 2021 for best multimedia design.

Now Artistic Director of 2359, Guillaume produces immersive, interactive works that place the spectator at the heart of ultra-sensory spaces and rethink the way stories are told and received