critical practices in materials & materiality

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	<title>critical practices in materials &#38; materiality</title>
	<link>https://materials-materiality.ca</link>
	<description>critical practices in materials &#38; materiality</description>
	<pubDate>Thu, 20 Aug 2026 20:09:24 +0000</pubDate>
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		<title>Main</title>
				
		<link>https://materials-materiality.ca/Main</link>

		<pubDate>Tue, 09 Nov 2021 05:33:33 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

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    &#60;img width="2897" height="1366" width_o="2897" height_o="1366" data-src="https://freight.cargo.site/t/original/i/1fa18d618e8ad77d16df6a15b736d616c38ed39d673dad5fcfff6e359ea98d12/banner_3.jpg" data-mid="136045487" border="0" alt="a patterned cylinder on a gradient background with text to the right" data-caption="a patterned cylinder on a gradient background with text to the right" src="https://freight.cargo.site/w/1000/i/1fa18d618e8ad77d16df6a15b736d616c38ed39d673dad5fcfff6e359ea98d12/banner_3.jpg" /&#62;3D Abaca filter by Jacqui Beaumont, Soft Membranes and Air Filtration project, dir. Dr. Alice Jarry. FRQ-SC, 2021
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		<title>Terrestrial_Flows</title>
				
		<link>https://materials-materiality.ca/Terrestrial_Flows</link>

		<pubDate>Fri, 10 Apr 2026 14:31:07 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

		<guid isPermaLink="true">https://materials-materiality.ca/Terrestrial_Flows</guid>

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	Terrestrial Flows, 2022-Ongoing


Team: Alice Jarry (Concordia University), Ramin Sedaghati (Concordia University), Audrey Coulombe (Concordia University), Jacqueline Beaumont (Concordia University), Alireza Moezi (McGill University/Concordia University), Yiwen Chen (McGill University), Saba Hor (Concordia University)Presented at the Oscillation Exhibition, Canadian Cultural Center-Paris, during the Nemo Biennale 2025: The Lost Illusions Rediscovered — New Utopias in the Digital Age
Terrestrial Flows is an ongoing research-creation series exploring the excitability and responsiveness of soft surfaces and bio-based, circular magneto-active membranes. It investigates 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. These kinetic events speculate on futures grounded in mutual care and ecological reciprocity, attuning us to the invisible currents—of extraction, light, memory, and transformation—that course through terrestrial bodies, whether mineral, vegetal, animal, or technological. By probing both the effective and affective dimensions magnetic fields, Terrestrial Flows foregrounds the temporality and relationality inherent in our embodied engagements with matter.


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		<title>Team</title>
				
		<link>https://materials-materiality.ca/Team</link>

		<pubDate>Tue, 14 Dec 2021 19:13:06 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

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	Dr. Alice Jarry is an artist, researcher and educator who specializes in site-specific responsive works, socio-environmental design, digital arts, tangible media, and community-oriented projects. Working with residual, living, and biobased materials, her research brings concerns about sustainability, aesthetics, and politics to bear critically upon materiality, material production, and contemporary matters-of-concern regarding&#38;nbsp; communities and infrastructures. With matter  inseparable from both form and practice, her works examine how materiality - engaged in constant processes of transformation with site, technology, and communities - can provoke the emergence of adaptive forms and resilient socio-environmental relations.
See faculty profile&#38;nbsp;

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		<title>Oscillation Exhibition</title>
				
		<link>https://materials-materiality.ca/Oscillation-Exhibition</link>

		<pubDate>Tue, 18 Aug 2026 21:24:11 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

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	Oscillation: Réciprocités entre milieux matériels, computationnels et écologiques&#38;nbsp;


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 PerrierResearch-creation engineering: Alexandre Mazel Screen-printing: Philippine Joyeux, Pascal VielCoordination support: Lauren Knight3D modelling: Daphne Siracusa Photos:&#38;nbsp; Vincent Royer - OpenUp Studio

See interview about the process
Canadian Cultural Center&#38;nbsp;
Associated Event: Material Assemblages Before and After the Human
Support: SSHRC,&#38;nbsp; Canadian Cultural Center-Paris, Hexagram, the Concordia University Research Chair in Critical Practices in Materials and Materiality, and the University of Toronto Pedagogical Fund 


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Exhibition views. Oscillation, Centre Culturel Canadien, Paris, 2025.&#38;nbsp;


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 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. 


&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/29fd0e488c6fb00614c4e04ab9300e85a041fe2022d3f2230bab32948dd99cad/Vue-Expo-16.jpg" data-mid="251362984" border="0"  src="https://freight.cargo.site/w/1000/i/29fd0e488c6fb00614c4e04ab9300e85a041fe2022d3f2230bab32948dd99cad/Vue-Expo-16.jpg" /&#62;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.&#38;nbsp;


&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/fb8f5006ec8c2a9c3644a8052af8c28c36c750a87ee40825691f5b7bf6e3cdd1/Vue-Expo-12.jpg" data-mid="251363031" border="0"  src="https://freight.cargo.site/w/1000/i/fb8f5006ec8c2a9c3644a8052af8c28c36c750a87ee40825691f5b7bf6e3cdd1/Vue-Expo-12.jpg" /&#62;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.


&#60;img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/14fdbc4f09b30239a95fa0574514594ed5388c71c456c776411b5d2453730086/Vue-Expo-45.jpg" data-mid="251363035" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/14fdbc4f09b30239a95fa0574514594ed5388c71c456c776411b5d2453730086/Vue-Expo-45.jpg" /&#62;
&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/04427fd74278d80fd06cfc1c2b97c5b4ab80f74870f96a011e56a2289b67945a/Vue-Expo-46.jpg" data-mid="251363036" border="0"  src="https://freight.cargo.site/w/1000/i/04427fd74278d80fd06cfc1c2b97c5b4ab80f74870f96a011e56a2289b67945a/Vue-Expo-46.jpg" /&#62;Matthew Halpnenny. Cybernetic Meadows. 2025. Cybernetic Meadows is a durational installation that is part regenerative energy technology, part garden. It takes the form of several interconnected planters arranged within the space, accompanied by a solar-powered router and detached e-ink screens displaying snippets of text that are slowly composed and updated throughout the installation. The text serves as a foil to extractive energy expectations. Each planter uses a microbial fuel cell (MFC) to gradually harvest energy from its materiality and microbial community.


&#60;img width="1980" height="1380" width_o="1980" height_o="1380" data-src="https://freight.cargo.site/t/original/i/c918eed11bc6debc6920db3488ec395355e324b090991b56d44f2150c879468b/Vue-Expo-51.jpg" data-mid="251363490" border="0"  src="https://freight.cargo.site/w/1000/i/c918eed11bc6debc6920db3488ec395355e324b090991b56d44f2150c879468b/Vue-Expo-51.jpg" /&#62;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. 


&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/b5a23c4c90021bdcbeb0fa7b854a9ffde6317d46d650f07e295aaef2766d7259/Vue-Expo-21.jpg" data-mid="251363887" border="0"  src="https://freight.cargo.site/w/1000/i/b5a23c4c90021bdcbeb0fa7b854a9ffde6317d46d650f07e295aaef2766d7259/Vue-Expo-21.jpg" /&#62;


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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. 


&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/ed2acc95fdf8024ef027a64fa16deb7719ff752c7c018d0fbb2750c705565051/Vue-Expo-36.jpg" data-mid="251364030" border="0"  src="https://freight.cargo.site/w/1000/i/ed2acc95fdf8024ef027a64fa16deb7719ff752c7c018d0fbb2750c705565051/Vue-Expo-36.jpg" /&#62;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.&#38;nbsp;


&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/e6fb560890f7b8dd7af141a08bec3e872a8b9096f75a541a814701a485091a40/Vue-Expo-11.jpg" data-mid="251364442" border="0"  src="https://freight.cargo.site/w/1000/i/e6fb560890f7b8dd7af141a08bec3e872a8b9096f75a541a814701a485091a40/Vue-Expo-11.jpg" /&#62;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. 


&#60;img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/e1c8d49f6bd353d33efef75735cca7ccf68ee31f4ed1fc266c08a758d13fa71d/Vue-Expo-10.jpg" data-mid="251364295" border="0"  src="https://freight.cargo.site/w/1000/i/e1c8d49f6bd353d33efef75735cca7ccf68ee31f4ed1fc266c08a758d13fa71d/Vue-Expo-10.jpg" /&#62;


&#60;img width="1920" height="2880" width_o="1920" height_o="2880" data-src="https://freight.cargo.site/t/original/i/cb05d9b890547944b3647d1620b6d6dee09c43e957c6857e24a2b1d9aac046f7/Vue-Expo-71.jpg" data-mid="251364878" border="0"  src="https://freight.cargo.site/w/1000/i/cb05d9b890547944b3647d1620b6d6dee09c43e957c6857e24a2b1d9aac046f7/Vue-Expo-71.jpg" /&#62;


&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/77953d9fd4de8a70a5cf3fb011d41633cfa713f10c127a213f55529329f1ce71/Vue-Expo-83.jpg" data-mid="251364879" border="0"  src="https://freight.cargo.site/w/1000/i/77953d9fd4de8a70a5cf3fb011d41633cfa713f10c127a213f55529329f1ce71/Vue-Expo-83.jpg" /&#62;Brice Ammar-Khodja with Jean-Michael Celerier. En, sur, et Face. 2025. En, Sur, et Face is an installation that rematerializes the social, material and environmental dimensions of the participatory interventions carrie out at the Champ des Possibles (2021–24), a former post-industrial site in Montreal. Once a quarry, then a dumping ground, railyard and now an unrehabilitated natural space, the site holds layers of complex histories. The project explores the imperceptible presence of metallic contaminants and magnetic residues in urban soil by experimenting with new ways of making pollution sensorially perceptible.&#38;nbsp;


&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/dd622c5c6e465dacb13e2d6ab4895c058c8d11c51de8ae184bf7142da586479d/Vue-Expo-6.jpg" data-mid="251364880" border="0"  src="https://freight.cargo.site/w/1000/i/dd622c5c6e465dacb13e2d6ab4895c058c8d11c51de8ae184bf7142da586479d/Vue-Expo-6.jpg" /&#62;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.


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		<title>Fossilation</title>
				
		<link>https://materials-materiality.ca/Fossilation</link>

		<pubDate>Thu, 20 Aug 2026 20:09:24 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

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	Fossilation


2021-2026
Alice Jarry, Samuel Bianchini, Marie-Pier Boucher, Brice Ammar-Khodja, Alexandra Bachmayer, Didier Bouchon, Maria Chekhanovich, Matthew Halpenny, Raphaëlle Kerbrat, Annie Leuridan, Vanessa Mardirossian, Alexandre Mazel, Asa Perlman, Nathalie Perrier, Philippe Vandal, Lucie Vareilles.&#38;nbsp; 


Fossilation is a large-scale bioplastic membrane fabricated from food-waste biomass. The work is structured as a sequence of successive photograms in the manner of a filmstrip. Fossilation harvests residual energy—heat waste, flow, activity, and traffic—and converts it into electricity. This supplies a modulating lighting system that illuminates the membrane. Investigating the ecology of images, the work is a fossilized material record of contemporary technological culture and bears imprinted counter-forms of obsolete electronic components, including flat screens, cables, computer parts, and peripheral devices. Exhibitions : Centre Pompidou, Paris, France, 2021; Canadian Cultural Center, Paris, France, 2025; Society for Arts and Technology (SAT), in collaboration with MUTEK, Village numérique, and XN Québec, Montreal, Qc, Canada, 2026. : Ars Electronica, Emergency, Linz, Austria, 2021; MUTEK, 2021 Montreal, Qc, Canada.  Curation: Hexagram.
Publications:
Fossilation: Nurturing Slow Expectations, Riverside Architectural Press, 2022
Form Taking / Force Shaping, Antennae, 2022
Workshops:&#38;nbsp;Materia Labo Public, îlôt Balmoral, Montreal, 2022

Production:&#38;nbsp;Bioplastic membrane: Alexandra Bachmayer, Maria Chekhanovich, Alice Jarry, Vanessa Mardirossian, and Brice Ammar-KhodjaCapturing the residual energy: Brice Ammar-Khodja, Didier Bouchon, Matthew Halpenny, Raphaëlle Kerbrat, Asa Perlman, Philippe VandalLight design: Annie Leuridan with the collaboration of Louise RustanComputer programming: Didier BouchonOverseeing the production of the work and its spatial installation: Lucile VareillesTechnical support for production and/or editing: Théo Chauvirey, Corentin Loubet, Joséphine Mas, Simon Paugoy
Support:&#38;nbsp; SSHRC Insight Development Grant (Membranes en action, PI: Jarry-Girard-A., 2020-2023),&#38;nbsp;Chaire arts et sciences de l’École polytechnique, de l’École des Arts Décoratifs - PSL et de la Fondation Daniel et Nina Carasso, the Concordia Research Chair in Critical Practices in Materials and Materiality, and the Milieux Institute for Arts, Culture, and Technology at Concordia University,&#38;nbsp;Hexagram: Research-Creation Network in Arts, Cultures, and Technologies,&#38;nbsp; the Canadian Cultural Center-Paris,&#38;nbsp;Society for Arts and Technology
Project Page


Fossilation. 2021. Centre Pompidou. Paris, France. Festival Hors-Piste. Matières d’images exhibition (Curator: Géraldine Gomez).&#38;nbsp; Photos: Samuel Bianchini and Hervé Véronèse.


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Fossilation, 2025. Canadian Cultural Center. Oscillation. Nemo Biennale. Paris, France (Curators: Catherine Bédard, Alice Jarry, Samuel Bianchini, Marie-Pier Boucher). Photos: Vincent Royer.


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Fossilation. 2026. Society for Arts and Technology, in collaboration with MUTEK, Village Numérique, and XN Québec. Montreal, Qc, Ca. Photos: Nina Gibelin Souchon.

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	<item>
		<title>ReCapture</title>
				
		<link>https://materials-materiality.ca/ReCapture</link>

		<pubDate>Thu, 20 Aug 2026 19:24:48 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

		<guid isPermaLink="true">https://materials-materiality.ca/ReCapture</guid>

		<description>


	[re]capture


2022-2025
Alice Jarry, Brice Ammar-Khodja, Jacqueline Beaumont, Jean-Michael Celerier, Matthew Halpenny, Asa Perlman, Philippe Vandal. (2024-2025). [re]capture.&#38;nbsp; indoor immersive installation filtering air pollution with abacá, bioplastics, plants, and mosses,  and outdoor DIY sensing instruments. Perte de Signal, Montreal, Qc, Canada; EISODE gallery, Montreal, Qc, Canada (Curator: Ariane Plante) and Canadian Cultural Center-Paris, Paris, France. Oscillation (Curators: Catherine Bédard, Alice Jarry, Samuel Bianchini, Marie-Pier Boucher).Drawing on fieldwork, participant observation at air sampling stations in Montreal and Paris (Ville de Montréal’s Service de l’environnement, Airparif) and interviews,&#38;nbsp; [re]capture examines the presence of air’s microscopic materials and their interactions at the interface of bodies and built and natural environments. It is a site-sepcific immersive art-science installation in which sensors placed throughout Montreal and Paris urban environments collect real-time data on air pollution—fine particles, CO2, VOCs, and images of the surrounding environment. Indoors, this data drives shifting wind and light flows moving through a filtration system made of biomaterials (abacá fiber, bioplastics) and bioindicator plants (strawberries, mosses), materializing invisible atmospheric pollution into tangible forms.
Three public workshops are an integral part of the research, gathering students, municipal stakeholders, artists,&#38;nbsp; scientists, and citizens to develop DIY bio/electronic instruments to materialize air in public settings, discover miscropic particles and their environmental impact, and familiarize themselves with the role of plants in urban environments (Biomaterialization of Air Pollution, Milieux Institute, 2023; Re-Situating, Rare Charitable Reserve, 2023; [re]capture: artist talk, Montreal, 2024).
Project page

Publications:&#38;nbsp;
Next Generation Cities Encyclopedia, Book of abstracts
Scoring the invisible
Support: FRQ-SC, Montreal Arts Council, Canadian Cultural Center-Paris, Concordia University Research Chair in Critical Practices in Materials and Materiality, Ville de Montréal, Air Parif, Ville en Vert, EISODE, Perte de Signal
Technical Support: 
Sarah Al Mamoun: Exhibition set upPatrizio McLelland: Exhibition set upMahla Mohammad-Nia: 3D Modelling
Jacob Landry: Video documentation and editing
Don Undeen: Residency support
Teague Riordon: 3D modelling&#38;nbsp;


[re]capture: Bio-materialization of air pollution. Workshop with the City of Montreal’s Service de l’environnement. Milieux Speculative Life Cluster. Concordia University. Montreal, Qc, Canada.
Photos: Andree Uranga


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[re]capture: Bio-materialization of air pollution. Workshop as part of Re-Situating: Field Trip at Rare Charitable Reserve, organized by SLOlab (dir. Tingley, J. &#38;amp; Buaini, R.). Rare Charitable Reserve.  Cambridge, On, Canada. 
Photos: Jean-Michael Celerier

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&#60;img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/9d3a7e7347eba15cb0a5df613719b0a7e30e20c7f79beca06b4c8849cd64f08a/_DSF5275.jpeg" data-mid="251443398" border="0"  src="https://freight.cargo.site/w/1000/i/9d3a7e7347eba15cb0a5df613719b0a7e30e20c7f79beca06b4c8849cd64f08a/_DSF5275.jpeg" /&#62;

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[re]capture: artist talk with Ville en Vert. EISODE. Montreal, QC, Canada.


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&#60;img width="1298" height="1306" width_o="1298" height_o="1306" data-src="https://freight.cargo.site/t/original/i/37ec96ea593dd18fddbc82cbc5b10fe2af5c8ecf752f0af395f6dbb80e30bb09/Screenshot-2026-08-19-at-12.47.02PM.jpg" data-mid="251443433" border="0"  src="https://freight.cargo.site/w/1000/i/37ec96ea593dd18fddbc82cbc5b10fe2af5c8ecf752f0af395f6dbb80e30bb09/Screenshot-2026-08-19-at-12.47.02PM.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Mapping Tempelhof</title>
				
		<link>https://materials-materiality.ca/Mapping-Tempelhof</link>

		<pubDate>Wed, 19 Aug 2026 16:10:05 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

		<guid isPermaLink="true">https://materials-materiality.ca/Mapping-Tempelhof</guid>

		<description>


	Mapping Tempelhofer Feld’s Material and Spatial Histories


2024-OngoingTempelhofer Feld sits at the intersection of its multifaceted past, present, and future. How can its material, spatial, and residual histories materialize into textures and traces? This workshop invites participants to explore and experiment with accessible biocomposites to create a living archive and a collective imprint of the site. Drawing on a counter-mapping approach—a collaborative, sensitive, critical, and participatory cartography that challenges human and more-than-human relations—the activity proposes accessible ways to engage with the site's tangible and intangible dimensions using biomaterials. As an open system, Tempelhofer Feld can be explored through the verticality of its milieu—air, water, and soil—as well as the horizontality of its surfaces, where gardens, airport infrastructure, animals, plants, construction sites, community, sheltering, and leisure areas intertwine. The workshop promotes an inclusive and speculative dialogue around these porosities.Latent Accumulation SeriesIn collaboration with: Léa Perraudin, Iva Rešetar. With the support of: German Academic Exchange Service (DAAD), Matters of Activity Cluster of Excellence at Humboldt-Universität zu Berlin, Allmende-Kontor Garden, and Archiv Flughafen Tempelhof 


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&#60;img width="1946" height="2432" width_o="1946" height_o="2432" data-src="https://freight.cargo.site/t/original/i/2042d7576b62e5ff3be1bfd042c2a81a1a7bed4a68edc768adf2dc38b27ff664/IMG_6984.jpg" data-mid="251401469" border="0"  src="https://freight.cargo.site/w/1000/i/2042d7576b62e5ff3be1bfd042c2a81a1a7bed4a68edc768adf2dc38b27ff664/IMG_6984.jpg" /&#62;
&#60;img width="1946" height="2432" width_o="1946" height_o="2432" data-src="https://freight.cargo.site/t/original/i/06848ad9dff204e625c544067381497ecf86561a46c512e6e48a1e0f63fddc89/IMG_6985.JPG" data-mid="251401481" border="0"  src="https://freight.cargo.site/w/1000/i/06848ad9dff204e625c544067381497ecf86561a46c512e6e48a1e0f63fddc89/IMG_6985.JPG" /&#62;

&#60;img width="3648" height="2432" width_o="3648" height_o="2432" data-src="https://freight.cargo.site/t/original/i/a94f15a118bbfa55207d65b49ec172296067909d752acdb6b3b2d13a04b522d3/IMG_6977.jpg" data-mid="251398240" border="0"  src="https://freight.cargo.site/w/1000/i/a94f15a118bbfa55207d65b49ec172296067909d752acdb6b3b2d13a04b522d3/IMG_6977.jpg" /&#62;


&#60;img width="3648" height="2432" width_o="3648" height_o="2432" data-src="https://freight.cargo.site/t/original/i/7bc2f94c61aaa4fbff7b6560c6a6bb0e32ff22851352177dea3971d07a465a38/IMG_7122.jpg" data-mid="251398268" border="0"  src="https://freight.cargo.site/w/1000/i/7bc2f94c61aaa4fbff7b6560c6a6bb0e32ff22851352177dea3971d07a465a38/IMG_7122.jpg" /&#62;

Above: Residual imprint process using alginate biocomposites. Below: Participants’ results include flora, rubble, residue, feathers, hair, and more.


&#60;img width="1980" height="1320" width_o="1980" height_o="1320" data-src="https://freight.cargo.site/t/original/i/91e2fa6c0e186e12f5eac93c8697f004ff10025c562529cf002ca725501de25b/IMG_7111.JPG" data-mid="251395747" border="0"  src="https://freight.cargo.site/w/1000/i/91e2fa6c0e186e12f5eac93c8697f004ff10025c562529cf002ca725501de25b/IMG_7111.JPG" /&#62;

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&#60;img width="3648" height="2432" width_o="3648" height_o="2432" data-src="https://freight.cargo.site/t/original/i/68cc8e210e5eb64838f0224dde25e7d8856b713d7bf8db2ce47d01caf3cdbbd1/Adobe-Express---file.jpg" data-mid="251398739" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/68cc8e210e5eb64838f0224dde25e7d8856b713d7bf8db2ce47d01caf3cdbbd1/Adobe-Express---file.jpg" /&#62;
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</description>
		
	</item>
		
		
	<item>
		<title>Inertia Speculative Fossils</title>
				
		<link>https://materials-materiality.ca/Inertia-Speculative-Fossils</link>

		<pubDate>Wed, 19 Aug 2026 18:23:06 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

		<guid isPermaLink="true">https://materials-materiality.ca/Inertia-Speculative-Fossils</guid>

		<description>


	Inertia: Speculative Fossils&#38;nbsp;


Alice Jarry, Guillaume Pascale, Brice Ammar-Khodja, Ariane Plante, Asa Perlman, Philippe Vandal. 2022. Installation of engraved bioplastic surfaces and discs, video, and performance intersecting the disappearance of the Earth in the eye of the Voyager probes with the environmental situation in Montreal-East. Montreal Planetarium, Montreal, Qc, Canada. Curator: Olivier Hernandez.
Speculative Fossils&#38;nbsp; juxtaposes the disappearance of Earth from the view of the Voyager probes with the atmospheric and ecological situation in the east end of Montreal. In 1977, the two Voyager probes were launched into space to study the planets in our Solar System. Symbolically, each one carries a gold-plated copper disk bearing a message intended to represent humanity. It contains images, music, and drawings meant for a hypothetical, intelligent, extraterrestrial life form. Inertia revisits this approach on Earth, using artifacts made from biomaterials — renewable organic matter of plant or animal origin — to reflect today's environmental challenges. The work centres on a bioplastic disk displaying a binary representation of daytime air quality near the petrochemical plants east of Montreal. This becomes the score for the first in a sequence of four musical pieces, composed using this data alongside the calculated distance of the Voyager probes from Earth. A series of laser-engraved biomaterial membranes, along with a film, document this process — suggesting that just as Earth is disappearing from the Voyager probes' view, the living conditions of the planet's inhabitants are becoming increasingly precarious. Associated event:&#38;nbsp;The Waste Cycle of Planetary Vision Infrastructure
Support: Montreal Planetarium, Fonds de Recherche du Québec-Société et Culture


Above: Speculative Fossils video. Below: Speculative Fossils bio-engraved objects.

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&#60;img width="1865" height="1244" width_o="1865" height_o="1244" data-src="https://freight.cargo.site/t/original/i/fec267a2b3e0ebbf66aa5cca1b257f7f3ee28ca0b7953039051efcaa35c030e2/0561FDDE-D4B3-4470-B726-A8F3ED8F32FF_1_201_a.jpeg" data-mid="251404241" border="0"  src="https://freight.cargo.site/w/1000/i/fec267a2b3e0ebbf66aa5cca1b257f7f3ee28ca0b7953039051efcaa35c030e2/0561FDDE-D4B3-4470-B726-A8F3ED8F32FF_1_201_a.jpeg" /&#62;


&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/347638f898ca5bce927f259534b677a86fab7c18938d3c0777f062f0de859e6c/1EB73690-533B-4490-BEA2-DF59B63A9ADA.jpg" data-mid="251402833" border="0"  src="https://freight.cargo.site/w/1000/i/347638f898ca5bce927f259534b677a86fab7c18938d3c0777f062f0de859e6c/1EB73690-533B-4490-BEA2-DF59B63A9ADA.jpg" /&#62;


Performance by Guillaume Pascale, 2022.


&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/9f5c37f2706dfafa0bef8e53c1fe9ec2310119f4dd14b2ae108d014e4f742972/17B46E3B-5337-455C-8494-C75E7FA91500_1_201_a.jpg" data-mid="251402889" border="0"  src="https://freight.cargo.site/w/1000/i/9f5c37f2706dfafa0bef8e53c1fe9ec2310119f4dd14b2ae108d014e4f742972/17B46E3B-5337-455C-8494-C75E7FA91500_1_201_a.jpg" /&#62;
&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/aaee4cb3b458b7f26b62dafe63778a1c6a1b06944b405da69951cf7f0f573e67/3E096069-F577-4F1A-A8A6-F1BE31F44258.jpg" data-mid="251401091" border="0"  src="https://freight.cargo.site/w/1000/i/aaee4cb3b458b7f26b62dafe63778a1c6a1b06944b405da69951cf7f0f573e67/3E096069-F577-4F1A-A8A6-F1BE31F44258.jpg" /&#62;

Below: Video Stills, 2022.

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	<item>
		<title>Outer Space and the City Diptych</title>
				
		<link>https://materials-materiality.ca/Outer-Space-and-the-City-Diptych</link>

		<pubDate>Wed, 19 Aug 2026 19:52:19 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

		<guid isPermaLink="true">https://materials-materiality.ca/Outer-Space-and-the-City-Diptych</guid>

		<description>


	Outer Space and the City


2023-2025

Marie-Pier Boucher, Alice Jarry, Guillaume Pascale.
Diptych media installation composed of an architectural maquette and a video of space infrastructure and 
space debris. 

Outer Space in the City is a diptych media installation that brings together an architectural maquette and a video to explore the intersections between urban environments and outer space. Taking Communication to the Next Level &#38;nbsp;reimagines the traditional architectural model by vertically layering a series of Google Earth images. This media maquette challenges our understanding of spatial infrastructures in the city, revealing how communication systems today operate across a vertical continuum—from the geological depths of the Earth to the orbital heights of space. The layered stack visualizes how modern cities are shaped by the invisible networks enabled by space technologies. Space Junkies is a short film composed of publicly available space imagery and audio, as well as materials collected during our ethnographic research at the International Astronautical Congress in Paris (2022). These include media, merchandise, and ephemera distributed by space agencies and private companies—stress balls, tote bags, pins, stickers, water bottles, t-shirts, postcards, car fresheners, brochures, and more. The film highlights the paradox at the heart of today’s space industry: while organizations promote sustainability and environmental responsibility, they simultaneously contribute to the growing threat of space debris—pollution that may one day render space exploration impossible.&#38;nbsp;

Canadian Cultural Center&#38;nbsp;
Article in Heliotrope Journal
Pedagogies for Cohabitation with Interplanetary Infrastructures article
Project Page
Support:&#38;nbsp; SSHRC, Insight Development Grant, 2021-2023


Space Junkies: Interplanetary Hoarding. Video. Ars Electronica, Linz, 2023; Canadian Cultural Center, Paris, 2025. 


&#60;img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/bfaf6682d93269b964481ce4a4fc8395fc932e24e002cb9812fe0bf78309388b/Vue-Expo-88.jpg" data-mid="251403749" border="0"  src="https://freight.cargo.site/w/1000/i/bfaf6682d93269b964481ce4a4fc8395fc932e24e002cb9812fe0bf78309388b/Vue-Expo-88.jpg" /&#62;

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Outer Space and the City (Space Junkies + Taking Communication to the Next Level). Maquette and video.&#38;nbsp;Canadian Cultural Center-Paris, Paris, France. 


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Taking Communication to the Next Level. Architectural Maquette,&#38;nbsp;10th Architecture Biennale. Rotterdam, Netherlands,&#38;nbsp; 2022.


</description>
		
	</item>
		
		
	<item>
		<title>Brice Ammar Khodja</title>
				
		<link>https://materials-materiality.ca/Brice-Ammar-Khodja</link>

		<pubDate>Thu, 23 Dec 2021 17:54:44 +0000</pubDate>

		<dc:creator>critical practices in materials &#38; materiality</dc:creator>

		<guid isPermaLink="true">https://materials-materiality.ca/Brice-Ammar-Khodja</guid>

		<description>


	&#60;img width="2048" height="1538" width_o="2048" height_o="1538" data-src="https://freight.cargo.site/t/original/i/790b3ca54520e1fa71b89cf4ca5ccf27f689391337fc708f4d03c12f04eabbd8/366641582_10160766624399034_5423959802974216713_n.png" data-mid="220073194" border="0"  src="https://freight.cargo.site/w/1000/i/790b3ca54520e1fa71b89cf4ca5ccf27f689391337fc708f4d03c12f04eabbd8/366641582_10160766624399034_5423959802974216713_n.png" /&#62;
	Brice Ammar Khodja is an artist, graphic designer, and Ph.D. student based in Montreal . His work examines active materials, residual matter, and low-technologies to explore the socio-environmental and political interconnections pertaining to materiality and visual information. He is currently pursuing a thesis jointly supervised in Concordia University – Montreal (Individualized Program) and EnsAD, EnsadLab – Paris (Reflective Interaction research group, SACRe program). He is a member of the Speculative Life Research Cluster (Milieux Institute), the Centre for Sensory Studies, and the Concordia’s Canada Excellence Research Chair in Smart, Sustainable and Resilient Communities and Cities. Brice is a current member of the international research-creation network Hexagram. Co-director of the typography magazine Pied de Mouche, Brice Ammar-Khodja, creates workshops and educational tools for the general public. His works have been exhibited at Ars Electronica, MUTEK, Centre Pompidou, Biennale internationale du Design, la Cité internationale des Arts, V2_Institute for Unstable Media, Musée historique de la Ville de Strasbourg.


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