Nelly-Eve Rajotte

Nelly-Ève Rajotte is a professor at the School of Design at UQAM, where she leads the Moving Image and Sound Design research axis. A visual and media artist, her practice engages time-based media, moving image, sound, immersion and the experiential dimension of perception, explored through performance and installation. Her research-creation focuses particularly on non-human modes of landscape capture, using LiDAR, biosensors, artificial intelligence, and robotics, while examining the sensitive entanglements between technology, the body, and the environment. Her works, recognized for their immersive and monumental presence, challenge conditions of reception and open new forms of perceptual otherness. In Quebec, her projects have been presented at the Musée d’art contemporain de Montréal (MACM), the Musée d’art de Joliette (MAJ), Fonderie Darling, Occurrence, Clark, Optica, and Circa. Internationally, her work has circulated in festivals and events such as MUTEK (CA, JP, MX, AR), the International Festival of Films on Art, the KIKK Festival (Belgium), Transmediale (Berlin), ISEA, Lab30 (Germany), and the International Short Film Festival of Berlin.<br>Her upcoming exhibitions include solo presentations at Contemporary Calgary (CA) and Emerson Contemporary (Boston, US) in 2026. Her works are part of several public collections, including that of Hydro-Québec.

École de design UQAM

Stem

Nouvelle oeuvre présenté aux Rencontres internationales de la photographie en Gaspésie

Rencontres internationales de la photographie en Gaspésie

Teaser

Nelly-Eve Rajotte, Montréal (Québec) | nellyeverajotte.com

Stem_carleton

Stem : Œuvre cinématographique en projection monumentale – espace public
Réalisation et musique : Nelly-Eve Rajotte
Durée : 12 min.

STEM, c’est la rencontre sensible entre la précarité de la survivance et la pérennité de la machine. Le dispositif trace un paysage improbable, il parcourt le territoire et se dirige à la rencontre de l’arbre-chimère. Il questionne la machine et sa capacité de correspondance poétique. Dans une traversée qui tend vers l’absolu, le passager ne touchera jamais le sol, il se glisse dans le paysage sensible au son de l’entrelacement des rumeurs du vent, des séquences polyphoniques des chœurs ainsi que du sombre frottement des cordes – tout cela issu de calculs algorithmiques (machine de Turing).