As a non-binary digital artist, Marion Schneider has a degree in Visual and Media Arts from UQAM (Montréal) and Digital Design from l’École Nationale Supérieure Olivier De Serres (Paris). Obsessed with the sea, words and machines, they work with digital tools in a both poetic and political way. Schneider’s interdisciplinary practice focuses on sentimentalism as a philosophy and its interactions and subversions of popular understandings and uses of technology.
Rooted in hacktivist ideology, their work is often autonomous, permeable and functions in a loop, integrating data sharing and reuse. They are interested in themes from nature and virtuality, to gender, intimacy, distance and memory; their work considers the ways each of these subjects intersect.
Schneider has exhibited their work in several exhibitions in Montréal and Québec City, including at ICRA-X, Place des Arts, Art Mûr and Galerie de l'UQAM, among others.
They received an honorable mention from UQAM upon completing their Bachelor's degree, a Scholarship of Excellence from The McAbbie Foundation and the Jean-Pitre and Claude Leclerc prize.
Selfgen evokes the idea of queer identity and self-representation through advanced artificial intelligence and machine learning processes. Working with a database of over 500 personal selfies accumulated on their cell phone, Marion Schneider teaches an artificial intelligence algorithm (GAN) to craft new images of themselves. By playing with the parameters of this learning process and the images provided, an infinite number of self-portraits are generated on demand, which by their abstraction are ambiguous and evoke fluidity and impermanence.
The production of this work is supported by TOPO - digital creation center as part of its 2021-2023 programming on the theme Fluidity
Marion Schneider is non-binary digital artist who lives and works in Montréal. Their engaged and poetic interdisciplinary practice focuses on sentimentalism and contemporary expression through the digital medium.
2020- Protocole d'une dissolution (THÉÂTRE-LABORATOIRE)
2018- Loophole ou dans l’urgence, créer une brèche pour enfin contempler la mer