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https://www.concordia.ca/finearts/about/galleries-venues/fofa-gallery.html

FOFA Gallery, 1515 Ste-Catherine Street W. (Room EV-1. 715), Montreal, QC (2026)

08/26/2026

Save the date! Quadruple Zine Launch / À vos agendas! Lancement de quatre zines.

🍎🥚🎨🌻

It’s with great pride and joy that Eco-FOFA invites you to be part of our first zine launch at the Molinari Foundation Jardin des couleurs terrace from 5-7pm on September 1, 2026.

Fondation Guido Molinari
3290, rue Sainte-Catherine Est

We are launching 4 zines about material transformation—from food waste through the reuse of discarded oil paint. All zines are printed bilingually in EN / FR and will be available on our website.

The researchers/writers will attend the event. Drinks will be provided. Come learn and celebrate with us!

~~~~🍎~~~~~🥚~~~~~~🎨~~~~~~🌻

Celebration du lancement de quatre zines

C’est avec beaucoup de fierté et de joie qu’Eco-FOFA vous invite à participer au lancement de son premier fanzine, qui aura lieu sur la terrasse du Jardin des couleurs de la Fondation Guido Molinari, de 17 h à 19 h, le 1er septembre 2026.

Fondation Guido Molinari
3290, rue Sainte-Catherine Est

Nous lançons quatre fanzines consacrés à la transformation des matières, allant du gaspillage alimentaire à la réutilisation de peinture à l’huile mise au rebut. Tous les fanzines sont imprimés en version bilingue français / anglais et seront disponibles sur notre site Web.

Les chercheur·euses et auteur·rices seront présent·es lors de l’événement. Des boissons seront offertes.

08/18/2026

⟡ Curator spotlight / The Let Down Reflex⟡ 9/9

texte en français dans les commentaires

Time to celebrate this exhibition’s curators !!

Amber Berson is a writer, curator, and art historian. She holds a PhD from Queen’s University, where her SSHRC-funded research examined artist-run culture and feminist utopian thinking. Her curatorial projects include Educating Our Desires (2024, with Felicity Tayler), Souper Spaghetti (2020, with Manon Tourigny), Utopia as Method (2018), and World Cup! (2018), and has curated iterations of The Let Down Reflex since 2016 with Juliana Driever. Berson was a co-lead of Art+Feminism and served as Concordia University’s 2019–20 Wikipedian in Residence. She is the Executive Director of the Visual Arts Centre in Montreal and a single mom to two daughters.

Juliana Driever is a curator and writer focused on collaborative practices, public space, and site-specificity. Her work strives to create equity for art and ideas that exist beyond a perceived mainstream. Her most enduring project, The Let Down Reflex, with Amber Berson, has developed through exhibitions, texts, and public events since 2016. Her writing has been published by A Blade of Grass Foundation and Bad at Sports, in the print volume “Service Media: Is it ‘Public Art’ or Art in Public Space?,” and in a number of exhibition catalogues. She is a single mother to an eighteen-year-old.

The Let Down Reflex 2026.

Photos: documentation of installation exhibition by Laurence Poirier, headshots by the curators

08/17/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 8/9

texte en français dans les commentaires

I want an artworld was conceived of by Shani K Parsons and developed in collaboration with Kerri-Lynn Reeves.

Shani Khoo Parsons (she/her) is an independent curator, designer, mother, and founding director of Critical Distance Centre for Curators (CDCC). With degrees in architecture (Temple U, Phila) and graphic design (RISD, Providence), she has pursued a transdisciplinary, process-driven practice within both independent and institutional contexts in Toronto and New York, producing an eclectic body of work ranging from intimate artist’s books to immersive exhibitions. With Critical Distance she has collaboratively produced over 70 exhibitions and projects with 350+ artists and guest curators over the past 13 years and has simultaneously developed an experimental independent curatorial practice; in 2022 she received a Master of Visual Studies in Curatorial Studies from the University of Toronto. Key projects include Infinite Distance (accessible/interactive digital exhibition), Love’s Labours (moving image program at R***e Theatre, Toronto, as part of The Let Down Reflex by Amber Berson and Juliana Driever), The Parkette Projects (site-responsive public art exhibition), and The aleatory object (experimental collections-based gallery exhibition, Art Museum of the University of Toronto).

Kerri-Lynn Reeves (she/her) is an interdisciplinary artist, educator, and mother originally from rural Manitoba, where she grew up as a European-Canadian settler on Treaty 2. Often working in craft and material practices, she studies the relationship of the social and the material. With a commitment to blurring the lines between life and art, she explores the confluences of her art making, teaching, and parenting practices in all that she does. Kerri-Lynn holds a BFA from the University of Manitoba (Winnipeg, MB) and a Master of Fine Arts - Studio Arts in Fibres and Material Practices from Concordia University (Montreal, QC). Reeves has received awards from the Social Sciences and Humanities Research Council of Canada, Winnipeg Arts Council, Manitoba Arts Council, Manitoba Culture,

08/12/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 7/9

texte en français dans les commentaires

Today, we are looking back on Kaude Nalebuff’s performance, The Cycles, from July 23, 2026. For this iteration of the performance, the artist was joined by Luiza Dale, Hope Kronman, and Emma Zakes Green. The working script is avaialable for consultation in the gallery.

Thank you to all of those who participated and attended!

Rachel Kauder Nalebuff’s performances—often about love, the body, and solidarity—have been staged at REDCAT, The Skirball Center, The Public Theater, and La Ferme du Buisson (in collaboration with artist Emily Mast). Rachel created Our Red Book, named a best book of the year by the San Francisco Chronicle, and the New York Times best-selling My Little Red Book, two anthologies that bring together voices from around the world to reflect on transformative journeys surrounding menstruation. Most recently, Rachel is the author of Stages: On dying, working, and feeling, a hybrid collection of writing and interviews with end-of-life care workers that “feels truly revolutionary, in both form and in content” (Elif Batuman). Together, with director Caitlin Ryan O’Connell, she approaches theater-making as a way to enact a small-scale version of the world we wish to live in. She currently directs 3 Hole Press, a small press for experimental drama, and teaches creative writing at Yale University. Last but not least, she is the mother of a wild animal/toddler.

The Cycles, 2026.

Photos: documentation of performance by Thomas Hagen Veilleux, installation by Laurence Poirier, headshot by Carl Chen.

08/11/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 6/9

texte en français dans les commentaires
LoVid is a NY-based interdisciplinary artist duo working collaboratively since 2001. LoVid’s practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Throughout their interdisciplinary projects over two decades, LoVid has maintained their signature visual and sonic aesthetic of color, pattern, and texture density, with disruption, and noise. LoVid’s work captures an intermixed world layered with virtual and physical, materials and simulations, connection and isolation. Over the decades LoVid worked across disciplines including immersive installations, sculptural synthesizers, single-channel videos, textile paintings, digital objects, mobile media cinema, works on paper, audiovisual and participatory performances, and stained glass.

LoVid’s work has been exhibited internationally including at: OFFSCREEN Paris, Toledo Museum of Art, Nantes Museum of Arts, Buffalo AKG Museum, Museum of the Moving Image, Grand Rapids Museum, Art Blocks Curated, Gazelli Art House, Postmasters Gallery, Honor Fraser Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, MoMA, Issue Project Room, Science Gallery Dublin, The Jewish Museum NY, Daejeon Museum, Smack Mellon, Butler Institute of American Art, and New Museum. LoVid has received grants and awards from organizations such as The Robert Rauschenberg Foundation, Graham Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, NYFA, Lower Manhattan Cultural Center, Experimental TV Center, New York State Council on the Arts, and the Greenwall Foundation. LoVid’s work is in private and public collections including the Whitney Museum, the Museum of the Moving Image, Le Random, the Parrish Museum, Thoma Foundation, and the Heckscher Museum.

Kids at a Noise Show, 2016. One-channel video, 20:35.

Photos: documentation of installation by Laurence Poirier, headshot by Chris Neir and screenshot curtesy of LoVid and Electronic Arts Intermix (EAI).

08/07/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 5/9
texte en français dans les commentaires

Lise Haller Baggesen (1969 DK/US) is a Danish-raised, Amsterdam-trained, Chicago-based, interdisciplinary artist. Her hybrid practice includes painting, writing, performance, installation, sartorial, text-and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multi-media show A Space Where Your Voices Can Live (S/DK) and the solo exhibition APOCALYPSTICK! (F). She is a 2015 nominee for The Joan Mitchell Foundation’s Emerging Artist Grant, and a 2017 resident at Banff Centre for Arts and Creativity in Alberta, Canada. Exhibitions include Poetry Foundation; Chicago Cultural Center; 6018 North; DPAM; MCA, and Art Institute of Chicago (IL); A.I.R. Gallery (NY); The Contemporary Austin (TX); Southern Exposure, San Franciso (CA); Overgaden (DK); Roskilde Festival (DK); Museet for Samtidskunst, Roskilde (DK); Malmö Konstmuseum (SE); MoMu Antwerpen (B); Bicolore, Paris; Confort Moderne, Poitiers; Villa Arson, Nice; and Théatre de la Ville de Paris (F). She will be in residency at Cité Internationale des Arts in Paris in 2027.
Lise Haller Baggesen, Mothernism, 2013-present. Audio and textile installation, dimensions variable.
Photos: documentation of work by Laurence Poirier, headshot by Lise Haller Baggesen

08/05/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 4/9

Leisure is a collaborative practice founded in 2004 between Montreal-based artists Meredith Carruthers and Susannah Wesley. Their research-based practice explores feminist cultural history, working in friendship, and children’s right to creativity. Leisure's work is currently on view at The Power Plant, Toronto, as part of the exhibition Colourful Parachutes curated by Frances Loeffler. Recent solo exhibitions include Chrysalis and Butterfly (Optica, 2025), Having Ideas by Handling Materials (Oakville Galleries, 2023), and How one becomes what one is (Musée d’art de Joliette, 2018). In 2025, Leisure was awarded the Prix Louis-Comtois and was long listed for the Sobey Art Award. Setting new precedents in academia, Wesley and Carruthers are currently working on a collaborative PhD at Concordia University.

Having Ideas by Handling Materials, 2023. Wood, sand, wheels, ping pong balls, and Plexiglas. Dimensions variable.

Why is the history of art so solid? 2023. Digital print montage on paper. 13.5” x 17”

Photos: Documentation of work by Laurence Poirier, Laura Findlay (image 4) and portrait by Joanna Bell .

⟡ Artistes en vedette ⟡

Leisure est un projet collaboratif fondé en 2004 par les artistes montréalaises Meredith Carruthers et Susannah Wesley. Leur pratique, axée sur la recherche explore l'histoire culturelle féministe, le travail en amitié et des droits des enfants à l'expression créative. Les œuvres de Leisure sont actuellement exposées au Power Plant à Toronto dans l'exposition « Colourful Parachutes », organisée par Frances Loeffler. Des expositions individuelles récentes incluent « Chrysalis and Butterfly » (Optica, 2025), « Having Ideas by Handling Materials » (Oakville Galleries, 2023) et « Comment on devient ce que l'on est » (Musée d'art de Joliette, 2018). En 2025, Leisure a reçu le Prix Louis-Comtois et a été sélectionné sur la longue liste du Prix Sobey pour les arts. En établissant de nouveaux précédents dans le milieu universitaire, Wesley et Carruthers travaillent actuellement sur un doctorat collaboratif à l'Université Concordia.

Informations sure les photos dans les commentaries!

08/04/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 3/9

texte en français dans les commentaires

Jacqueline Hoàng Nguyễn

Jacqueline Hoàng Nguyễn is a visual artist and doctoral candidate in the Art, Technology and Design programme at Konstfack and the Royal Institute of Technology (KTH), Sweden. She completed the Whitney Independent Study Program in New York in 2011, received an MFA and a postgraduate diploma in Critical Studies from the Malmö Art Academy, and a BFA from Concordia University, Montreal. Working across installation, film, sound, photography, and archival research, Nguyễn explores historicity, collectivity, and utopian political imaginaries through feminist and decolonial perspectives. Her work has been exhibited internationally at venues including Mo Art Space and Vin Gallery (Việt Nam), the Musée d’art contemporain de Montréal, Bonniers Konsthall (Stockholm), the MA*GA Museum (Italy), the Vancouver Art Gallery, Mercer Union (Toronto), Braunschweig Kunstverein, The Július Koller Society (Bratislava), the Sharjah Art Foundation, and Apexart (New York). Her ongoing doctoral research, “Perspectives from the Darkroom: Vietnamese Photography and Unprocessed Histories,” examines the social and political history of photography in Việt Nam during the French colonial period and the role of Vietnamese photographers in anti-colonial and nationalist movements.

Wages Due Song, 2016-2026, Sound installation comprising stereo audio (3 min. 18 sec.) and hand-embroidered linen banner, 43.3 × 55 in. In collaboration with Thunder Tillman, textile production assistance Võ Trân Châu and the team at Cosi Vietnam

Photos: documentation of artwork by Laurence Poirier, headshot by Jean-Baptiste Béranger, and archival document from University of Ottawa.

08/03/2026

⟡ Artist spotlight / The Let Down Reflex⟡ 2/9

texte en français dans les commentaires

Home Affairs

Home Affairs is an interdisciplinary art collective that develops creative projects addressing issues that shape women's lives. Since 2011, the collective has collaborated with women across Türkiye, Europe, and the United States to create platforms for dialogue, community participation and social exchange. Working across art, design, publishing, and community engagement, Home Affairs explores the intersections of gender, culture, and everyday life. The collective received its first design patent in 2020 for ArtSit; an innovative wheeled museum chair designed to enhance children's engagement with art and cultural spaces.

Arzu Ozkal is a Turkish-born artist, designer, and educator whose work explores design activism, social participation, and the ways self-publishing and artist networks shape contemporary culture. She is a founding member of Home Affairs and has exhibited her work internationally. Her work is included in major public and private collections. Ozkal is co-editor of Cabaret Voltaire: Fluxus West, San Diego, and Southern California Mail Art (with Mila Waldeck) and Gün: Women’s Networks: Turkey (with Claudia Pederson). She is Professor of Graphic Design at San Diego State University.

Nanette Yannuzzi Macias is a conceptual artist and writer whose work has engaged pressing cultural and social issues, from women's rights and environmental concerns to poetry and personal histories. She received a BFA from Cooper Union School of Art and an MFA from the University of California, San Diego. She was a fellow at the Whitney Museum ISP and has exhibited her work nationally and internationally. Yannuzzi, is the co-founder of the art collective Home Affairs and is based in Cleveland, Ohio. She has retired after 30 years of teaching art at Oberlin College and Conservatory.

And Everything Else II, 2026, screen-printed original posters reprinted on newsprint

Photos: documentation of performance by Laurence Poirier, headshots by Max Luera (image 2) and Paul Yannuzzi (image 3).

07/31/2026

⟡ Artist spotlight / The Let Down Reflex⟡

Dillon de Give

Today, we are looking back on de Give’s performance, The Production of a Routine, from July 10, 2026. For this iteration of the performance, the artist was joined by Ansona Ching, Claire Bartleman, Magdalena Olszanowski, and Celeste Midori.

Thank you to all of those who participated and attended!

Dillon de Give’s work has taken the form of participatory projects, walking art, and other experiments in everyday life. It has been presented at the Queens Museum, Flux Factory, and other venues focused on social practice and performance.

Photos: documentation of performance by Laurence Poirier and headshot by Chris Neir.

⟡ Artiste en vedette / The Let Down Reflex ⟡

Dillon de Give

Aujourd’hui, nous revenons sur la performance de de Give, La production d’une routine, présentée le 10 juillet 2026. Pour cette itération de la performance, l’artiste était accompagné d’Ansona Ching, de Claire Bartleman, de Magdalena Olszanowski et de Celeste Midori.

Merci à toutes les personnes qui ont participé à la performance et à toutes celles qui sont venues la voir !

Le travail de Dillon de Give a pris la forme de projets participatifs, de marches artistiques et d’autres expérimentations ancrées dans la vie quotidienne. Son œuvre a été présentée au Queens Museum, à Flux Factory, ainsi que dans d’autres lieux consacrés aux pratiques sociales et à la performance.

Photos : documentation de la performance par Laurence Poirier et portrait de l’artiste par Chris Neir.

FOFA Gallery

08/26/2026

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