“One is not born, but rather becomes a body. And one is not born, but rather, becomes a glitch.” -  Legacy Russel, Glitch Feminism.

Do you ever sit so still, that you almost feel your arms float? Or look so intently at something that its very atoms shake and your vision goes blurry?

This collection of work explores intimate dissociation from our new daily lives, stemming from over a year living in a global pandemic. The artists speak to a nostalgia and need for physical contact when stuck in an online everyday. Student collective, HAAL.400., performs on, and with Zoom. Out of sync with each other and embracing the glitch from multiple perspectives.

Madison Strizic, an artist who worked with bread way before the pandemic made baking bread a trend, braids challah, it’s remnants, sealed on parchment paper, become Baker’s Monotype (no.2 & no.3).

Louis-Emile Lalonde’s paintings nod to one of the only joys this winter; the snow sculptures in Montreal’s parks, while Alejandro Torres wraps us in a warm blanket, allowing us to daydream about seasons to come.

Florence Pin’s series of words and photographs encourages a sense of familiarity, of nostalgia, a return to a pre-pandemic world. Paired with Marie-Andree Macameau’s Pas de soleil, pas de Marie and Nadia Mariyan Smith’s To See the Earth Before the End of the World, we hone in on the glitch, the snippet of reality in our interconnected, intangible world. A glitch, not revealing another place, but what was already there that had been so long overlooked.  

“I became myself, I found my body, through becoming, embodying, a glitch.”

Text by Chloë Lalonde

We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtià:ke/Montréal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community.


(Heather Reid, Abi Stushnoff, Alex Pruneau, Louis-Félix D’Amours)

Digression Cabaret in Sum, Video, 30:24mins, 2020.

Project Statement:

Digression Cabaret in Sum is a thirty-minute video gathered from three one-hour Zoom improvisational jams performed by our collective HAAL.400. Responding to the phrase “indulge in digression”, the collective focused on various performative gestures (including interpretive movement, mirroring, repeating, ect.) with low-resolution soundscapes, interchanging Zoom backgrounds and filters (i.e. “THE URGE TO PERFORM”), and numerous other idiosyncratic ideas. The phrase, “indulge in digression” arose from our reflections over three months of weekly discussions, jams, and open studios which, because of the Covid-19 pandemic, always occurred on the Zoom platform. The name, HAAL.400, resembles “HAL 9000”, the AI assistant from 2001: A Space Odyssey (Kubrick 1968). However, unlike HAL 9000, HAAL.400 requires human intervention. With this major difference aside, HAAL.400 and HAL9000 do share the common feature of aggregating knowledge into a central processing unit and both require computerized human intervention in this process. We see HAAL.400 as N.A.I., or Non-Artificial Intelligence, not to be confused with Narrow A.I.. With these semantic links, we bring our collaboration into a virtual philosophical dimension investigating digital collectivity, difference, playful resistance, and much more.

Artist Bio:

In response to limited resources and social isolation due to the Covid restrictions, four emerging artists came together and created the collective identity of HAAL.400. We are one chaotic body on a two-dimensional plane. HAAL.400 represents not only who, but where and when. Zoom is our sandbox for initiating collaboration. It functions as a space for conversation, inspiration, and digression. The collective began by setting the task of creating a manifesto, a declaration on the mode of existence of artists in the context of confinement and isolation. While we have digressed from this task, we continue to circle back towards the idea of having a non-textual/non-transcript manifesto and will continue to revolve around this pursuit. HAAL.400 will be digressing in another cabaret as part of IMCAfest online exhibition, April 25 to May 1, 2021. For more details check Instagram @imcafest.

Find more of HAAL.400’s work on: @imcafest

Madison Strizic

Baker’s Monotype no. 2, Bread print on baking parchment. 60 x 38 cm, 2020.

Baker’s Monotype no. 3,
Bread print on baking parchment. 58 x 38.5 cm, 2020.

Project Statement:

Informed by the artist’s Ashkenazi heritage, Baker’s Monotype no. 2 and 3 reference the symbolic nature of braiding challah in Judaism in order to conceive of bread as more than sustenance. Ingrained with significance, from the cultural to the political, social, and economic, bread has been associated with times of generosity and goodwill as often as it has been found rooted to the bleak, uncertain, and scarce. In this way, the impressions left on these sheets of baking parchment are as much traces of being with as they are reminders of being without; both a memory from a time in the past when we broke bread in each other’s company and the yearning to do so again someday.

Artist Bio:

Madison Strizic is an interdisciplinary artist and baker based in Tiohtiá:ke/Montreal currently pursuing a Bachelor of Fine Arts in Fibre and Material Practices at Concordia University. Drawing on themes of reciprocity, comfort, and community, her work attempts to unravel and explore different ways of coming together and (be)coming a/part (of) through storytelling, conversation, and food.

Find more of Madison Strizic’s work on: @

Louis-Émile Lalonde

I See Faces in the Park, Oil on canvas, 36” by 24”, 2021.

Project Statement:

This piece was created in reaction to the armies of snowmen, which populated Montreal’s parks as of January 2021. The COVID19 pandemic has transformed many areas in the city into desolate liminal spaces, devoid of human interactions. However, parks have become sanctuaries where one can escape the dryness of isolation and experience urban nature. As such, the arrival of winter and its annual activities have resulted in the proliferation of snow sculptures. I was interested in the snowmen as slightly creepy, distorted humanoid vessels for joyful memories. Their sight is both heart- warming and disenchanting as they represent a playful endeavor in these eerie and uncertain times. My piece depicts both the snowmen as humans and humans as snowmen, reflecting the humanist and existentialist symbolism of this creative ritual.

Artist Bio:

My work centers itself around the representation of memory. Often referencing dystopian and surrealist art, I create visual allegories that sit between realism and fiction. While materials and techniques change with each project, the process remains mostly constant: my methodology consists of gathering information in the form of visual studies, pictures and writings, to then work from imagination. Then, each step in the process of creating a piece relies on actively and passively activating my memory to lay down ideas on the artwork. My pieces always start as fragmented sketches that I refine into a cohesive picture, the same way we piece together a multitude of memories into a narrative that we call the past. Hence, memory is both the subject and the object of my work.

Find more of Louis-Émile Lalonde's work on: @elime.l

Alejandro Torres

Intimacy & Casualty, video, 9:00mins, 2021.

Project Statement:

I tend to forget where I am. My identity and the space I live in are continuously changing. It is when I perceive light and water interacting that I feel relief. Intimacy & Causality is a nostalgic recollection of emotions caused by pre-covid life and the outbreak; freedom and anxiety, love and fear, sadness and relief. An audiovisual daydream sequence recorded with an iPhone 8 in Montreal and San Jose del Cabo during 2020. Link to Work:

Artist Bio:

I'm someone somewhere studying his second year of Films Studies Major.

Find more of Alejandro Torres’s work on: @julio_torres.s

Florence Pin

Fleurs d’Août, Photography, 2020.

Project Statement:

Fleurs D’Août is an intuitive space for reconciliation. It’s the nostalgia used as a central ground, searching for the possibility of softness. It’s a reconnection to childhood memories and land in order to create space for acceptance.

Artist Bio:

The themes of memory and nostalgia have been the center of my research over the past couple years. These main subjects have manifested themselves in different ways approaching childhood memory and fragility, the concepts of home, trauma healing and selective memory, and constructing/deconstructing identity. My artistic process consists of exploring the relationships between the body, the object and the space and how it relates to memory and nostalgia. Through a mostly still life and self-portraiture photographic and installation approach, I create ephemeral assemblages to rebuild memory and explore how selective it is. My work initially corresponds to my surrounding environments. I’m inspired by my childhood space and its nature searching for a reconciliation of legible memory and nostalgia. I am performing childhood memory by wondering through the lands where I grew up, collecting organic objects from it and bringing them into the studio. I’m very drowned towards the similarities of body gestures and landscapes and I’m interested in how the object transforms by being relocated and how it reacts to its new environment with time. While using objects that have a specific meaning for myself, I’m sharing with the audience an opening to different perspectives. The photographs gather a nostalgia from the memory of each viewer related to an object or an atmosphere.

Florence Pin is a visual artist from the small town of Saint-André-Avellin. She is working with photography and installation. She is a fourth-year student in the photography program at Concordia University.

Find more of Florence Pin’s work on: @florenceepin

Marie-Andrée Macameau

Pas de Soleil, Pas de Marie, Virtual Photographic book, 2020-2021.

Project Statement:

I have been going through moments when it feels like all sense of self has just gone with the wind and now, I’m being blown around trying to find something to hold on to – to make sense of my life. This series explores the themes of depression, isolation and anxiety. I am exploring my own experience of depression through images, documenting everyday life and banal moments in a domestic setting. This body of work also includes still life and self-portrait photography. This project is an effort to illustrate the feeling of self-lost, emptiness and lingering sadness. Pas de soleil, Pas de Marie is a therapeutic process and an attempt to find healing.

Artist Bio:

Marie-Andrée Macameau is an artist from Abitibi-Témiscamingue who works mainly with photography and family archives. Influenced and inspired by her roots, she works with places and moments of her childhood. She often revisits familiar locations and recreates moments from the past for the camera. For the last year, she has been working on a photographic project documenting her experience with mental health. Her work offers a representation of vulnerable and healing moments. Her photographs are pieced together in a very intuitive manner where the theme of memory is central to her artistic approach resulting into a melancholic ambiance. Link to Virtual Book:

Find more of Marie-Andrée Macameau's work on: @marieandreemac 

Nadia Mariyan Smith

In the Garden, Photography and Video, 1:49mins, 2021.

Project Statement:

Drawing from poet Ed Roberson and his radical departure from the romantic landscape tradition, To See the Earth Before the End of the World places a sense of urgency on recognizing our rapidly evolving ways of experiencing life. Moving away from its intended use, I face the webcam both outwards and closer inwards, straying away from the normative display of the physical self on webcam. I specifically focus on the haptic nature of experience, and how that physicality is transforming while we increasingly live our day-to-day lives on screen. Importance is placed on the disconnection of our senses when on screen and attempts to express our longing for touch. I push haptic, physical experiences through the screen medium. I display a longing for a physical dimension of screen experience. I question our new reality, our new relationship to reality, our new screen sensibility. 

Sound plays a role in our experience of physicality. I draw from composer Miya Masaoka’s use of biofeedback to produce “plant sounds” in real-time on a modular synthesizer. I extend this exploration of nature versus machine with the function of using my noisy 2011 MacBook laptop and it’s built in microphone to pick up the sounds of my exploration into the garden. 

To See the Earth Before the End of the World explores what it means to increasingly live so much of our lives on screen.

Artist Bio:

Nadia Mariyan’s visual art practice often engages with the environment, relationships to landscapes, and with issues of (un)belonging to place. Themes of migration, movement, and transformation between time and space are apparent in their work. Nadia is influenced by their background of coming from a English-Settler heritage on one side of their family and a Trinidadian multiracial heritage on the other. Nadia is also informed by their position of being a non-binary person and not a single being. They are interested in the complexities of individuation and often allude to the influences that impact their thought processes and inform their work. Nadia often creates ‘other worlds’ to point to the variations of the self-existing in a space and as a tool to determine their own landscape in the midst of uncertainty.

Find more of Nadia Mariyan Smith’s work on: @nadiamariyan