The subject of Stephen Schofield’s work is the strangeness, humour and erotics of ordinary experience. The materials and procedures he uses to make them spring from the laboratories of the home: the kitchen, the bathroom and the garden.

With humor and poetry, Jean-Pierre Gauthier creates kinetic and sound installations that refer to chaos, convolutions and unpredictability.

With his installations, videos, performances, drawings and models, Stéphane Gilot tries to redefine our relationship with space by using hybrid construtions and imaginary spaces in which the public is invited to take part in an inventory of situations.

The spaces build by Véronique Chagnon-Côté recall certain traditional notions of painting by their drawing lines perpective. However, she retains abstraction techniques such as flat tint, pattern and hard-edge cutting to explore painting materiality. 

Ten artists have been invited to talk about their artistic approaches in the context of their studios. Experience the pulse of their practice. Understand the artist's relationship with their creative process, with their work and production context.

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.

Jennifer Campbell’s artistic practice engages her in actions that she documents through photography or videography. The five works depict the artist in action on a natural site with interventions that suddenly and radically disrupt and transform the site.

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.

Works gathered in Maps in Doubt exhibition are the result of a superposition or a juxtaposition of the rewriting journey of the two artists in different cities to deconstruct the spaces geography as we know it and use it. 

This performance is inspired by a child’s suit. This found object, belonging to another era, appears to be a shrunken version of a grown up’s clothing. Not knowing the clothing’s specific history allows for a continual projection of possible scenarios.

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.  

Free Haircuts by Children is a whimsical performance that playfully engages with the enfranchisement of children, trust in the younger generation, and the thrills and chills of vanity.

With 1+1=1, Mother Tongue, Ataman and Sedira deal with the unpredictable impacts of acts as decisive as the borders erection and the desire to abolish them. This exhibition reveals the limits of constraining the photographic conception to a theory of the index sign. 

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.