Umpimähkään (randomly)

At the end of 2017, I spent two months in Finland at an artist residency at the Titanik Gallery in the city of Turku. I went to the forest in Pasila with a friend with whom I share a special connection and it has completely changed my life, but for the best. This video is a collection of impressions and memories related to this experience. The soundtrack comes from a recording of a performance having taken place at this same gallery.

  • Emilie Payeur
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  • Genres:
    glitch, noise
  • Runtime:
    5 minutes 14 seconds
  • Completion Date:
    January 4, 2018
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  • Festival Oodaaq
    May 4, 2019
    European Premier
Director Biography - Emilie Payeur

Émilie Payeur is a multidisciplinary artist from Montreal, Canada, mainly active in experimental music and visual arts. Her music, often described as minimalist and sometimes harsh, is mainly based on the no-input technique and on risk-taking. In her visual work, she is interested in the traces she perceives as remnants of actions from the past; also in the manipulation of reality, of others views and her own view. Emilie has a master's degree in electroacoustic music composition from the Université de Montréal and her work has been performed all over the world and has received numerous awards, both in Canada and internationally.

Emilie is a member of Dead Squirrels (noise music trio), Kohlenstoff Records (label and experimental music collective), Projet K (experimental ensemble), Moshi Moshi (experimental and Kawaii audio/visual trio) and Jeunesse Cosmique (music label and cosmic family). She also plays in the Giri Kedaton Gamelan.

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Director Statement

My practice is multidisciplinary, primarily in experimental music and visual arts. I am interested in traces. Like remnants of past events or actions, traces tell stories. They are like physical memories; they have the power to evoke, in a way that is both vague and precise, something that has happened, to replay in deferred time what has been stored into memory. I am also interested in the passing of time, in its transformative action both physically and cognitively, its distorting effect on memories and its deterioration of the material. I pay attention to the other, to the other’s perception of the other, of his environment, of me; I pay attention to my own perception as I look at the other, incognito. By isolating and appropriating certain elements of a lived or imagined situation, I enjoy playing with reality, manipulating it to distort or giving it new meaning. To trick the perception of others, making them believe something that may be true or maybe wrong.