Duke and Battersby’s low-tech, funny, smart and irreverent work combines song, video clips and animation, to portray a sublime and abject world. Occupying both rooms of the gallery, are taxidermied animals in colourful costumes.

Jean-Philippe Roy is interested in notion of the sacred and the paradox of a sculpture embodying this idea. While the sacred suggests a universal communion aroud the divine idea, the sculpture remains anchored in the immediate. 

Catherine Béchard and Sabin Hudon’s works diverge familiar shapes by the incorporation of mechanical movements or the production of unexpected sounds. The objects used in the installation, refer to experiences or cultural knowledge, evoking specific images.

zipertatou shares these worlds that he imagines with their space, time, characters and the story in which they are the protagonists. In Top Manatavo, tissue boxes fly, what resembles a swollen wing comes out of the opening where one usually pulls the tissues.

Olivia Boudreau’s work is remarkable for having combined the respective temporalities of performance and videography. She starts from the sequence-shot, the isochrony between the filmed time, the point of view, the time that the video is watched later.

Lise Boisseau avoids the stretcher and colours and chooses to work with ink on paper (particularly film paper), employing Chinese calligraphy techniques.The choice of such a mode of tracing, fragments the painted surface into a multitude of marks.

Brian MacDonald asked three artists to create an artwork knowing that they would be part of an installation with a troubling dilemma: the works of art would only be an instant of respite in the face of the nuisances of the everyday life ?

David M.C. Miller does not subject just anything to this process of erasure or fragmentation, only the face, image par excellence of others, a subject in its own right, unique and singular, whole and indivisible.

In Refusing to make a scene, Pavitra Wickramasinghe presents her work on the upheaval in the domain of the constitution of images from the moment the cinema introduces a radical change of structure in this field. 

To be all things brings together David Naylor's sculptures, which recall the furniture in our homes since they are made from armchairs, couches, loveseats, sofas or recamiers, of which the artist only keeps the structures as an armature.  

Monique Moumblow has five-year-old twin girls in the midst of learning language and social skills. Arko Preeka is a phrase made-up by the twins that had deep emotional meaning to the girls yet remained elusive to others.

Renée Lavaillante works are based on data collected during her conversations with hikers in the Collioure area, to whom she asked to described the route of one of their mountain treks. She adapted their oral description to a work on paper, drawing a line representing their route.

Guillaume La Brie's exhibition consists of four large sculptures that, together, appear as the remains of a small furnished apartment. The walls seem to have come to life in order to warp themselves, collapse, crumple, overlap some furniture. 

Yoshiaki Kaihatsu’s installation continues his longstanding material approach that works with waste or garbage as construction material. He has recently been producing environments constructed and altered by the accumulation of Styrofoam packing material.

Doris Kuwert brings these domestic objects to life to create peculiar choreographies. Placed on smooth and polished surfaces, the objects move, interact, and bunch together under the force of magnets attached to motors placed under each of the surfaces.

In this non-linear work, the double dialectic of confrontation and concord is constantly replayed without finding a terminology, except that of opening a space of reflection without limit on the question of the motive of the gesture.

Geoffrey Jones constructs devices inspired by his ideas. In A plan for a northern hemisphere it is not only the proponents of the conceptual art and the theorization of this form of art that are revisited by the work of Geoffrey Jones, but as well and especially their display in museums.

Justin Stephens's exhibition does not show paintings, only shapeless masses of wax made by having left countless candles burning and melting, on a small wooden plate first, on a heap of wax afterwards; multicoloured shoe-laces lean against the wall, miraculously holding up straight.