Artworks Samples. Canadian Cultural Center, Biennale Nemo, Paris, 2025. Curators: Catherine Bédard, Alice Jarry,
Marie-Pier Boucher, Samuel Bianchini.

With: Lorella Abenavoli, Brice Ammar-Khodja, Alexandra Bachmayer, Jacqueline Beaumont, Samuel Bianchini, Marie-Pier Boucher, Jean-Michaël Celerier, Yiwen Chen, Maria Chekhanovich, Beth Coleman, Audrey Coulombe, Arthur Enguehard, Maude Girault, Matthew Halpenny, Alice Jarry, Raphaelle Kerbrat, Lauren Knight , Anne-Marie Laflamme, Guillemette Legrand, Annie Leuridan, Corentin Loubet et al., Vanessa Mardirossian, Alireza Moezi, Aurélie Mosse et al., Joel Ong, Guillaume Pascale, Asa Perlman, Ana Piñeyro, Olivain Porry, Suarjan Prasai, Ramin Sedagheti, Jane Tingley, Philippe Vandal, Félix Vanneste, Lee Wilkins, Aline Zara.

Oscillation is a group exhibition gathering twenty-five works and exploratory processes by Canadian and French artists and designers (including 26 students from Concordia University, Montreal; University of Toronto, and École Nationale des Arts Décoratifs, Paris). Oscillation bears witness to movements between research and creation, the sensible and the intelligible, light and darkness. The exhibition incorporates material and symbolic, living and semi-living processes that transform over time. This dynamic exhibition that oscillates from one state to another, following the variations of its entire lighting system. The exhibition is part of the project Oscillation: Material, Computational, and Ecological Reciprocities.

Lighting design: Nathalie Perrier
Research-creation engineering: Alexandre Mazel Screen-printing: Philippine Joyeux, Pascal Viel
Coordination support: Lauren Knight
3D modelling: Daphne Siracusa
Photos:  Vincent Royer - OpenUp Studio

See interview about the process
Canadian Cultural Center 
Associated Event: Material Assemblages Before and After the Human

Support: SSHRC,  Canadian Cultural Center-Paris, Hexagram, the Concordia University Research Chair in Critical Practices in Materials and Materiality, and the University of Toronto Pedagogical Fund

Exhibition views. Oscillation, Centre Culturel Canadien, Paris, 2025. 

Jacqueline Beaumont. Growing Affinity. 3D-printed biopolymer objects. 2025. Growing Affinity dissects the relationships between biotechnology and transfeminine embodiment through transforming slaughterhouse byproducts into semi-living artifacts.These sculptural interventions, constructed from gelatin-based biopolymers harvested from abattoir remnants, manifest as tangible explorations of biomaterial potential.

Alexandra Bachmayer. Yield Lines. Bioplastics. 2025. Yield Lines is a collection of material samples that explores structural memory and elasticity through the manipulation and modification of non-stretch biopolymers into flexible, accommodating forms. 

Aurelie Mosssé et al. Pepeyoca : light from within. 2023-25. Concrete, glass, silicone, plastic, bioluminescence, plants.
Pepeyoca is a living wall – an interface through which bacteria, plants and humans meet, support and mutually enrich one another within a framework of interspecies interdependence. Through the cohabitation of a colony of bioluminescent bacteria – a living source of light – and phytoremediating and oxygen-producing heathland plants, and human intermediation, Pepeyoca raises questions about the emergence of a new architectural aesthetics.

Vanessa Mardirossian. Pantone TCX - Identical Colours, Different Footprints. Fabric and natural dyes. 2025.
Pantone TCX explores textile dyes and their impact on human health and the environment. The fifty Pantone TCX colours – a global standard in fashion and textile design – recommended by trend forecasters WGSN for Fall-Winter 26/27 are reproduced here using natural dyes. While the colours may appear identical, their effect on living things and the environment is radically different.

Ana Piñeyro. Crafting Behaviour. Heat-responsive material system. 2024. Crafting Behaviour explores how the shape and structure of heat-sensitive filament-based materials can create expressive movement. These systems use active filaments – made by twisting and winding – that physically change shape when exposed to heat. Taking a textile-based, hands-on approach, the work looks at how material structure relates to movement, and how changes in form can produce surprising, lifelike behaviours. The materials are made using two- and three-dimensional weaving, along with other interlacing techniques.

Alice Jarry, Ramin Sedaghati, Audrey Coulombe, Jacqueline Beaumont, Alireza Moezi, Yiwen Chen. Terrestrial Flows. 2025. Terrestrial Flows is an ongoing research-creation series exploring the excitability and responsiveness of soft surfaces and magnetorheological elastomer (MRE) membranes, and how these can acquire the capacity to adapt to and interact with their environments. Situated at the intersection of biodesign and mechanical engineering, this art-science project investigates matter’s ability to affect and be affected, unfolding as a quiet choreography between organic, machinic and environmental elements. 

Anne-Marie Laflamme. Archéologie des chutes. Cellulose Pulp. 2025. Remnants Archaeology features a dialogue between memory, transformation, critique and sublimation. The project approaches textile circularity from a poetic, ecological and political perspective. It takes the form of a series of object-sculptures that explore the cycles of material and our obsession with “smoothness”, particularly in fashion and product design. Made from manufacturing offcuts and inspired by traditional papermaking techniques, this series highlights the textures and roughness of a sensitive and unpredictable material. The colours used trace a living timeline, reflecting the garments sewn throughout the seasons at atelier b, boutique-workshop in Montreal.

Jane Tingley. Foresta-Inclusive: (ex)tending towards. 2025. Foresta-Inclusive: (ex)tending towards is a two-part distributed artwork comprised of the Foresta Inclusive (FI) networked sensing infrastructure, and the (ex)tending towards multi-sensory interactive installation that is driven by FI collected sensor data. The Foresta-Inclusive infrastructure is comprised of three networked sensor pods that sense phenomenon such as: soil and air temperature/humidity, particulate matter in the air (.1 μm – 10 μm), light level, wind, volatile organic compounds (voc), co2, and rain, and sends it to the Internet in real-time. The (ex)tending towards in-gallery installation materializes this live data as imagery, light, sound, and scent, with the goal of foregrounding the hidden entanglements and more-than-human relations that flow through and within the forest ecosystem.