Née à Bonaventure en Gaspésie, Fernande Forest vit à Rimouski dans le Bas-Saint-Laurent où elle exerce une pratique en arts visuels depuis plus de 30 ans. Sa recherche est axée sur le vivant, principalement sur les végétaux qu’elle côtoie dans son milieu de vie. Depuis ses débuts en photographie, elle utilise le numériseur comme caméra macro, ce qui l’a amenée récemment à la microscopie scientifique. Designer graphique de formation, elle a complété un cours de deuxième cycle en études de la pratique artistique.

Elle a réalisé de nombreuses expositions solos et collectives présentées au Canada, en France et en Pologne. Elle a participé à des symposiums et des événements de création in situ tel la Rencontre photographique du Kamouraska. Boursière du CALQ et du CAC, elle réalise aussi des œuvres dans le cadre de la politique d’intégration des arts à l’architecture.

Sa pratique en photographie crée des filiations entre notre rapport au végétal, au scientifique et à notre humanité en révélant le réel et en le magnifiant. Dans les représentations qu’elle fait, elle cherche à faire émerger, de façon tangible, la force vitale qui nous est commune. Celle qui pousse tous les organismes vivants à s’épanouir en évoluant grâce aux mélanges, aux risques et aux renouvellements que les rencontres provoquent.

Montreal-based animation software company

LopLop is a small 2D graphics software development company operating in the Montreal ecosystem of video games, animated films, television automation and digital public art. For 25 years, they have been making hyper-specialised software written in C++, OpenGL, GLSL and Metal.

Their team is made up of 3 people: Alain Bergeron, a seasoned graphics programmer with 40 years' experience, Aude Brochard, a dynamic 34-year-old manager, and a young 19-year-old genius discovering 2D and 3D programming.

A non-binary digital artist, Marion Schneider (elle/iel) has a degree in Visual and Media Arts from UQAM (Montreal) and in Digital Design from the École nationale supérieure Olivier de Serres (Paris). Obsessed with the sea, words and machines, her artistic research focuses on the poetic and engaging potential of digital tools. His interdisciplinary practice focuses on sentimentality and how it is updated through technology.

Rooted in hacktivist ideology, his work is often autonomous, permeable and looped, incorporating the sharing and reuse of data. He is interested in themes relating to nature and virtuality, as well as gender, intimacy, distance and memory; his work explores the ways in which each of these subjects intersect.

Schneider has shown his work in a number of exhibitions in Montreal and Quebec City, including at ICRA-X, Place des Arts, Art Mûr, and the Galerie de l'UQAM. He received an honourable mention from UQAM for his bachelor's degree, the McAbbie Foundation bursary for excellence, and the Jean-Pitre and Claude Leclerc prize.

Léo Sanches a toujours fait preuve de curiosité. Enfant, une des choses qui le fascinait le plus était le petit appareil photo de sa mère. Il était des plus simple, mais il représentait pour lui la possibilité de voir le monde d’un autre œil, tel un objet magique. Des journées entières à jouer avec cet appareil ont imprégné son esprit et ouvert le chemin vers sa carrière.

Léo Sanches est arrivé à Montréal en 2012 à la recherche de nouvelles opportunités. Cette nouvelle vie lui a offert une plus grande liberté d’expérimenter avec des projets personnels. Cependant, son statut d’immigrant a suscité de nombreux questionnements. Il s’en est trouvé transformé, au même titre que sa pratique photographique, portant désormais un message plus personnel, explorant l’expérience et les blessures de l’immigration.

Sandrine Deumier is a multi-disciplinary artist working in the fields of performance, poetry and video art, whose work explores post-futurist themes through the development of aesthetic forms linked to the digital imagination.

With her dual training in philosophy and the arts, she has built up a protean body of poetic work centred on the question of technological change and the performative place of poetry conceived through new technologies. Using the material of the word as an image and the image as a vector for the word, she develops work at the junction of the video medium and sound poetry, seeing them as sensitive devices for expressing a form of unconscious material of the self. The process of writing and the moving matter of the image function in an ebb and flow of underlying meanings that refer back to the vacillation of reality and its transfers of reality via unconscious thought structures. His work consists mainly of poetic texts, video-poems, multimedia installations and audiovisual poetic performances in collaboration with composers.

Natacha Clitandre completed a B.A. in visual arts at UQAM in 2000. In 2007, she completed a Master's degree in Theory and Practice of Contemporary Art and New Media at Université Paris 8 and École nationale supérieure des arts décoratifs (ENSAD). As part of her studies, she spent time at Brown University and RISD, in Providence, Rhode Island.

As part of her work process, she wanders the city to document the shifting poles of attraction, collecting data and narratives that help identify what influences our sense of belonging. Using ubiquitous technological devices, she creates mechanisms that highlight the relationship between the artist, the public and our shared spaces. By inviting us to take a different look, she seeks to create social links, break down the barriers between living environments and reveal the different layers of history that urban space and the contents of interest to a variety of communities harbor.

Her work has been presented in Europe (Nantes, Paris, Brussels) and North America (Montreal, Laval, Quebec City, Gaspésie, Pittsburgh, New York, Baltimore). Also a cultural worker*, she notably developed the Slow Tech posture of the feminist artist-run center Ada X, where she was-from 2017 to 2022-coordinator of programming and the HTMlles festival. She lives and works in Montréal/Tio'tia:ke.