Aseman Sabet is an independent curator, art historian and lecturer at the School of Visual and Media Arts of Université du Québec à Montréal. Her current research explores the sensorial turn in aesthetics and art theory, with a focus on touch, sensory memory and synaesthesia. She is a regular contributor to contemporary art publications and serves on the editorial board of ESPACE magazine, where she also works as an associate editor. She has published essays in the exhibition catalogues Patrick Coutu: Le Jardin du sculpteur (Musée national des beaux-arts du Québec, 2016), #callresponse (Grunt Gallery, 2018) and Do You See What I Hear (Dazibao, 2019). Her research was also shared through conferences in Canada (Brock University, ACFAS/UQAR, UQAM, Université Laval/MNBAQ) and France (CNRS/Paris). Her most recent exhibition projects include Through the Forest (2018), the first in a series of three carte blanche invitations from MAC LAU, focusing on intersecting epistemologies and representations of nature and history, and The New States of Being (2019), presented at CEUM and developed in collaboration with Harvard's Petrie-Flom Center for Health Law Policy, Biotechnology and Bioethics.

Since 2016, Aurélie Besson has been the Executive and Artistic Director of Molior. She has developed collaborative projects in China, Brazil, France, Slovakia, Czech Republic, Hungary, Switzerland and Canada. For more than 15 years, she has directed interdisciplinary projects in art, science and technology, alternately as a researcher, curator, artistic director or manager. She is currently completing a doctoral thesis in research-based art practice at the Université du Québec à Montréal, co-supervised by Louise Poissant and Victor Frak. Her research has been developed according to a transdisciplinary approach in which she explores the concepts of enaction and the kinaesthetic senses in the experience of interactive works. She has organized a dozen conferences and has been involved in several research groups with Montreal universities. She also coordinated the production of the book Lumières de la ville (PUQ), edited by Louise Poissant, and has published several articles on the digital arts in books, blogs and magazines. Aurélie is regularly invited to conferences and sits on numerous committees and juries that recognize her expertise. Between 2007 and 2010, she directed European collaborative art and technology projects and events in Prague. She holds a MA degree in communication (Université de Lyon 2; Universiteit Utrecht) and a MA degree in cultural development and project management (Université de Lyon 2).

Danny Perreault has over 15 years of experience in the digital arts field as an artist, teacher and production/technical director. He notably collaborated in putting together the Pure-Data Convention in 2006, worked on several editions of the Elektra festival in Montreal, and exported and set up works by Canadian artists with the groupe Molior, Perte de Signal and the CQAM in New York, Beijing, São Paulo, during the Foire des art numériques de Paris, Kinetica in London and at the Kunst Kraft Werk in Leipzig. He has also created audio-visual works, volumetric video installations, and participated in co-creation labs presented during festivals in France, Switzerland, Holland, Senegal and Tunisia.

He holds a MA in communication (with a major in experimental media research-creation) from Université du Québec à Montréal. His master’s thesis, submitted in 2013, focuses on video mapping. He is interested in both the aesthetic and social impacts of digital arts. He is currently supervising students in the development of interactive urban scenography projects.

Josée Brouillard is a new media artist who crafts light as an artistic material. She holds a B.F.A. from Concordia University (2102), and two DECs (professional diploma) one in Theatre production (2009) and an another in Photography (2003). She has presented her work in Quebec (OBORO, Studio XX, Biennale internationale d’art numérique, Eastern Bloc, La Bande Vidéo, at the Maisons de la culture de Côte-des-Neiges, Verdun, Janine-Sutto and Marie-Uguay)) and abroad (InShadow, Lisbon, Portugal). Alongside her artistic practice, she occasionally gives creation workshops for children and adults. These workshops invite the participants to create a work with light all the while learning basics about electricity, electronics and optics. For ten years she has worked as a technician and technical director in various artist-run centres. Josée Brouillard lives and works in Montreal (CA).

Léa Tricoire is a cultural project manager. She has been working in the cultural milieu since 2012, the same year she began a M.A. program in cultural project mangagment in France. She first cut her teeth on artistic production at the Festival international d'arts numériques VIDÉOFORMES (2012 and 2013), and then went to Prague (Czech Republic) for several months to coordinate a visual artist and exhibition curator residency program at the multidisciplinary art centre MeetFactory. Upon her return to France, she continued to specialize in the visual arts by taking up a position at Mélanie Rio gallery, and then at the RDV gallery, an exhibition space devoted to both artistic experimentation and public outreach centred on the presented practices.

In 2017, her thirst for discovery took her to Vancouver (Canada). She quickly established herself and became involved in the francophone artistic community by coordinating projects for the Conseil culturel et artistique francophone de la Colombie-Britannique, and by volunteering in the creation of the Collectif des artistes visuels francophones de la Colombie-Britannique. In the fall of 2020, Léa moved to Montreal to work on new exhibition projects.

Marta Gaspar Carpinteiro is a researcher and cultural projects manager. Trained in history and cinema at McGill University, she lived in Sweden for 3 years while she completed a master’s degree at Uppsala University. In 2016, she joined Montreal’s arts and culture environment as a documentary film researcher and production coordinator. She worked on various documentary films and series produced by Productions de la Ruelle. She then expanded her practice and skills while working as project manager for the sound creation studio Dremeka and the Growlers Choir. Since 2020, she has collaborated with the theatre company The Other Theatre, the poet and singer-songwriter Valérie Curro Kayat, and the composer and saxophonist Damian Birbrier. She continues to work as an historical consultant and documentary researcher, collaborating with Productions Nova Média. She now joins Molior’s team as its new coordinator.

Rachel A. Giguère is a lawyer and a business advisor in the entertainment and technology sector, and currently works as post-production and special effects. She was previously employed with a national firm specialized in litigation, financing and business law. Rachel has extensive experience in innovative and complex international projects. Her boundless curiosity and polyvalence have led her to work and study in several countries and to do so in three languages. She holds degrees in business administration and law.

David Beaulieu has a B.A. in electrical engineering from École de technologie supérieure de Montréal (ÉTS). He collaborated with many visual and new media artists for the development of technical components of their projects. From 2008 to 2011, he was the technical director of Molior and supervised the technical aspects for all the exhibitions shown in Canada and abroad. He was working as assistant to the development of accessories, then project manager in research and development, for Cirque du Soleil. He is currently professor in electrical engineering at Cégep du Vieux-Montréal and lecturer at ÉTS in computer studies. He still brings his technical expertise on many projects with Cirque du Soleil and for visual artists. He is currently electrical engineer at  Radio-Canada, in the departement of media engineering.

Marie-Pier Gauthier is an Interim Producer with the National Film Board of Canada’s Interactive Studio.  For the last four years, she has held the position of Production Manager.  As such, she contributes to all of the projects created by this veritable storytelling laboratory, from web documentaries, interactive installations for public spaces and interactive essays tor storytelling gaming. A graduate of l’Institut National de l’Image et du Son in interactive production as well as journalism, she has spent the last 10 years focused on producing projects by innovative artists, and on the intersection of disciplines.

Melissa Mongiat is co-founder with Mouna Andraos of Daily tous les jours, which drives projects at the intersection of participation, design, and technology. The studio comes from the fields of interaction design and narrative environments. Melissa is a designer and strategist. While adhering to the possibilities that new media offer, her approach is emphasized through participation and screenwriting.

Daily tous les jours researches new ways to interact. They tell stories and design large-scale projects that impact cities, down to tiny ones that fit inside a pocket. Their projects bring magic to everyday places, behaviours, and objects, inviting the public to become active contributors in the process and the outcome.

The work has won numerous international recognitions including prizes from Core77 Design Festival, Best in Show and Best in Engaging at the 2013 Interaction Awards, and received the Grand Prize at the 2014 UNESCO Shenzen Design Awards for Young Talents. In 2010, the founders were awarded the Design Montréal Phyllis Lambert award.

Daily tous les jours is very active in the design and new media communities, giving lectures and workshops worldwide, notably at SXSW, Walker Art Center in Minneapolis, Victoria & Albert Museum in London, Leaders in Software and Arts (LISA) in New York, Banff New Media Institute, Saint-Étienne’s International Design Biennale, and the San José Biennale.

Before founding Daily tous les jours, Melissa Mongiat was based in London where she worked on a series of large-scale public interactive installations that led to her selection by Wallpaper* magazine as one of the world’s ten breakthrough designers.

Melissa holds an MA with distinction in Creative Practice for Narrative Environments from Central Saint Martins College of Art and Design, London, and a BA in Graphic Design from the Université du Québec à Montréal (UQAM). With fellow graduates, she co-founded Like People Do, a research unit focusing on interactive environments at Central Saint Martins' Innovation Centre, that collaborated notably with Arup Foresight, Phillips, and China Heritage.

Melissa is currently teaching at UQAM's École de Design.

 Born in Paris, Michel Maillochon grew up in Orléans, studied in Tours, and then flew to Montreal one sunny morning in July 1980. And 30 years – and several return flights – later, he is still there. He first worked in a bookstore, including fifteen years at Olivieri, which he helped to launch. Then, he decided to change course and bring his practicality, love of painstakingly detailed work and courteous disposition to Lemieux Pilon 4D Art, where he has served as administrative and tour director for more than 10 years.

Pavitra Wickramasinghe is a multidisciplinary artist mainly concerned with new ways of conceptualizing the moving image and conventions of seeing. Pavitra’s work has been exhibited in numerous local, national and international venues such as Chroniques, International digital arts biennial (France), OBORO (Montréal), Kunstkraftwerk (Germany), SIGHTINGS, Leonard & Bina Ellen Art Gallery (Montréal), Yeosu International Art Festival (South Korea), Centre des Arts Enghien-les-Bains (France), Cable Factory (Finland), Centro Cultural del Matadero (Spain) and Access Gallery (Vancouver) among others. She is a recipient of numerous residencies, awards and grants including, Art Omi (NY), La Chambre Blanche (Québec), Pépinières Européennes pour jeunes artistes, (Spain), UNESCO-Aschberg Bursaries for Artists Programme, Changdong Art Studio, National Museum of Contemporary Art (South Korea), Canada Council for the Arts and The Claudine and Stephen Bronfman Fellowship in Contemporary Art. Pavitra’s project Île flottante / All is Water is currently in a permanent exhibition at the Montreal Museum of Fine Arts.

Aseman Sabet is an independent curator, art historian and lecturer at the School of Visual and Media Arts of Université du Québec à Montréal. Her current research explores the sensorial turn in aesthetics and art theory, with a focus on touch, sensory memory and synesthesia. She is a regular contributor to contemporary art publications and serves on the editorial board of ESPACE magazine, where she also works as an associate editor. She has published essays in the exhibition catalogues Patrick Coutu: Le Jardin du sculpteur (Musée national des beaux-arts du Québec, 2016), #callresponse (Grunt Gallery, 2018) and Do You See What I Hear (Dazibao, 2019). Her research was also shared through conferences in Canada (Brock University, ACFAS/UQAR, UQAM, Université Laval/MNBAQ) and France (CNRS/Paris). Her most recent exhibition projects include Through the Forest (2018), the first in a series of three carte blanche invitations from MAC LAU, focusing on intersecting epistemologies and representations of nature and history, and The New States of Being (2019), presented at CEUM and developed in collaboration with Harvard's Petrie-Flom Center for Health Law Policy, Biotechnology and Bioethics.

Art critic and curator, Dominique Moulon studied visual art at the Fine Art School (ENSA) of Bourges and holds a Master's Degree in aesthetics, science and technology from the University of Paris 8. He is a member of the Observatory of Digital Worlds in Humanities (OMNSH), of the International Association of Art Critics (AICA) and of the Opline Prize for online contemporary art. Founder of MediaArtDesign.net and MoocDigitalMedia.paris ; he also writes articles for Art Press, Digital MCD, The Seen and Neural. He is the Artistic Director of the media art fair Variation (Show Off) Paris. Dominique Moulon teaches digital media at EPSAA (Ecole Professionnelle Supérieure d’Arts Graphiques) in Paris, ECV (Ecole de Communication Visuelle) and Parsons (The New School for Design). He has also been a regular guest professor at the School of the Art Institute of Chicago (SAIC), the National School of Fine Arts (ENSBA) in Paris, The Fresnoy (Studio national des arts contemporains) and the University of Paris 8. His book Contemporary New Media Art was published in French by Nouvelles Editions Scala in 2011 and in English as an e-book in 2013. Currently curator in residence at La Maison Populaire de Montreuil, he is doing research at the laboratory Art & Flux (CNRS) of the University of Paris 1 Panthéon-Sorbonne while preparing his next book on the relationships between art, technology and society. As an expert in digital cultures, he has also been sollicited for his input by some companies like SFR, Accenture, Drouot, Renault, l’Oréal Google, Axa or Landor.

Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works that utilize light, space and sound to reflect on the intricacies of perception mediated through digital technologies via installations, screen-based works and performances. Since 2008 he is a co-author of Arctic Perspective Initiative, dedicated to untangling ways of knowing, from traditional knowledge, culture and new technologies throughout the circumpolar region. His work has been featured at: Lyon Bienniale, Istanbul Design Bienniale, The Tokyo Museum of Photography, ELEKTRA, Montreal Bienniale, Ars Electronica, and CTM among many others.

Nathalie Bachand is a writer and independent curator.

An active contributor to the cultural field, she regularly writes on the visual and media arts.

She is interested in issues pertaining to digital technology and its conditions of emergence in contemporary art.

Previously in charge of development for ELEKTRA-BIAN (2006-2016), she initiated, created and directed the publication project Angles Digital Arts (2009).

In 2016, along with Chloé Grondeau she co-curated, , the exhibition ADC/DAC by the New York artist Phillip David Stearns, presented at Diagonale as part of the 3rd edition of BIAN. Most recently, she was the curator of the group exhibition The Dead Web – La fin, presented at Eastern Bloc, and the 32 exhibitions UN MILLION D’HORIZONS, a project organized by Accès culture as part of Montréal’s 375th anniversary celebrations , which took place in the summer of 2017.

She is currently co-curator for the Espace [IM] Média 2019 festival of the Centre en art actuel Sporobole, and contributor to the blog “A Future Salvo”, which focuses on the relationship between art and science.

A fashion designer and university professor, Ying Gao has achieved personal distinction through her numerous creative projects: five solo exhibitions in Switzerland and Canada (Musée national des beaux-arts du Québec, Textile Museum of Canada…) and participation in around fifty group exhibitions around the world (MAK Vienna, Museum Boijmans van Beuningen Rotterdam, Design Museum Holon…). Her varied creative work has enjoyed international media coverage: over 350 press articles and media appearances (Time, METAL, Vogue, Dazed, Interni, Radio Canada, TV5… ). She is one of the “Fab 40: Canada” selected by Wallpaper magazine. 
Ying Gao questions our assumptions about clothing by combining urban design, architecture and media design. She explores the construction of the garment, taking her inspiration from the transformations of the social and urban environment. Recognized worldwide, her designs are frequently shown in museums and galleries. Design is the medium, situated in the technological rather than in the textile realm : sensory technologies allow garments to become more playful and interactive. Ying Gao explores both the status of the individual, whose physical contours are transformed by external interferences, and the garment’s function as a fragile protective space. Her work testifies to the profound mutation of the world in which we live and carries with it a radical critical dimension that transcends technological experimentation.

http://yinggao.ca/