By exhibiting his digital works in venues associated with the visual arts, Oli Sorenson questions the status of the artist as a creator of unique, one-off objects. He highlights the contradictions between notions of authenticity and current means of mass reproduction in an era of digital image overload. In particular, he seeks to destabilize the idea that art is created in a vacuum, favoring gestures of quotation and creative appropriation. When he copies, transforms, and combines existing images by recognized artists, his works provoke confrontations between new images and familiar forms in order to interact more closely with the collective memory of art lovers who frequent galleries.

Oli Sorenson's remix art was first recognized in London (UK), where he participated in several media art events at the Institute of Contemporary Art (2003-06), Tate Britain (2006), and the British Film Institute (2008-10). He built an international profile with performances at ZKM (Karlsruhe, 2002), ISEA (Helsinki, 2004), and the Mapping (Geneva, 2009) and Sonica (Ljubljana, 2012) festivals. Based in Montreal since 2010, Sorenson has shown his work at Power Plant (Toronto, 2014), FILE (Sao Paulo, 2015), Monitoring (Kassel, 2017), Art Mûr (Berlin, 2018), Elektra (Montreal, 2019), and TOPO (Montreal, 2020, 2016).

Born in Bonaventure in the Gaspé Peninsula, Fernande Forest lives in Rimouski in the Lower St. Lawrence region, where she has been practicing visual arts for over 30 years. Her research focuses on living things, mainly the plants she encounters in her everyday environment. Since her early days in photography, she has used a scanner as a macro camera, which recently led her to scientific microscopy. A graphic designer by training, she completed a graduate course in artistic practice studies.

She has held numerous solo and group exhibitions in Canada, France, and Poland. She has participated in symposiums and in situ creative events such as the Rencontre photographique du Kamouraska. A recipient of grants from the CALQ and the CAC, she also creates works as part of the policy of integrating art into architecture.

Her photographic practice creates connections between our relationship with plants, science, and our humanity by revealing reality and magnifying it. In her representations, she seeks to bring out, in a tangible way, the vital force that we all share. The force that drives all living organisms to flourish and evolve through the combinations, risks, and renewals that encounters bring about.

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 has always been curious. As a child, one of the things that fascinated him most was his mother's small camera. It was very simple, but to him it represented the possibility of seeing the world through different eyes, like a magical object. Days spent playing with this camera left a lasting impression on him and paved the way for his career.

Léo Sanches arrived in Montreal in 2012 in search of new opportunities. This new life offered him greater freedom to experiment with personal projects. However, his status as an immigrant raised many questions. He found himself transformed, as did his photographic practice, which now carries a more personal message, exploring the experience and wounds of 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.