Exhibitions
Performances
| 03.2019 | Omniprésent, Live 006, 104 Factory, le 104, Paris |
| 11.2018 | Omniprésent, Live 005, Mirage Festival, Lyon |
| 10.2018 | Omniprésent, Live 004, Silicon Malley, Lausanne, Suisse |
| 06.2018 | Omniprésent, Live 003, Electrons Libres, Stereolux, Nantes |
| 02.2018 | Binary Sunrise, Chapelle des Petits-Augustins |
| 10.2017 | Omniprésent, Live 002, Les Grands Voisins, Paris |
| 07.2017 | Omniprésent, Live 001, Les Petites Serres, Paris |
Festivals
| 04.2018 | Chalon Tout Court, Festival de court-métrage, Chalon-sur-Saône |
| 02.2018 | Binary Sunrise, Chapelle des Petits-Augustins |
| 06.2017 | Rencontres documentaires, La générale Nord-Est, Paris |
| 11.2016 | Fstvl Dcmtr, Palais des Beaux-Arts, Paris |
| 10.2016 | Bon Esprit, Nuit Blanche, La Rotonde, Paris |
| 06.2013 | La Nuit des Images, Musée de l’Élysée, Lausanne, Suisse |
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Olivier Bémer was born in Paris in 1989 where he lives and works. His main medium is the screen, as it oscillates between still and moving images, sound, text and live feeds. His work questions the relationship we have with technical objects and seek to deconstruct a fantasized vision of technology by presenting it not as a solution but as a symptom of our profound inadequacy to the world.
Education
2019 - 2021 Le Fresnoy – Studio National des Arts Contemporains 2016 - 2018 ENSBA Paris, Master of fine arts with honors 2010 - 2013 ECAL, Switzerland, Bachelor in PhotographyDistinctions
2021 – Les Amis des Beaux Arts de Paris grant award. 2020 – Finalist of the SIEMENS price for digital art 2020 – Production grant, Les Amis des Beaux-Arts de Paris 2019 - Selection of Emerige Revelations 2019 2018 - Video prize - Félicita 19Publications
Felicità, Beaux-Arts de Paris éditions, 2019 Libération, octobre 2019 L’Effet Falaise, Emerige, 2019 Le Quotidien de l’Art, Juillet 2019 Finale, Beaux-Arts de Paris éditions, 2018 Entwürfe #77, Agglo, 2014 Round and Around, Aaluägä Books, 2013 Ecal photography, Hatje Cantz, 2013| 23.09 | → | 31.12 | Panorama 23, Par le Rêve..., Le Fresnoy – Studio National, Tourcoing |
| 30.04 | → | 15.05 | Jeune Création 72e, Fondation Fiminco, Romainville |
| 23.09 | → | 31.12 |
| Panorama 23, Par le Rêve..., Le Fresnoy – Studio National | ||
| 30.04 | → | 15.05 |
| Jeune Création 72e, Fondation Fiminco, Romainville | ||
| In a room of fictions we are welcomed by a man without a past. As he passes through gradients of artificial light, our avatar discovers his shadow. When the symmetry breaks, a grayscale duel ensues, where rationality overexposes while fear darkens. In Noon, shadow and light assume an allegorical form. An obsessive desire to eliminate shadows in favor of light reflects the mirage of progress through technology; rationalizing one's environment by erasing any trace of doubt and indeterminacy. This sequence shot in first person view plunges us into a technological timeline in which our avatar sees his identity slipping away from him as he tries to illuminate its various representations. |
| Film | Film HD, 15’00'', 4:3, Binaural Mix, Blender 3D | |||
| Installation | Plexiglas screen, 165x124cm, Ropes, knots | |||
| Production | Le Fresnoy - Studio National des Arts Contemporains | |||
| Exhibition Views | Panorama 23, Par le rêve, Le FresnoyCommissariat, Olivier Kappelin | |||
| Team | Tutor3D SupervisorSound DesignSound EditorFoley ArtistRecordingsMixColor GradingGraphic Design | Emanuele CocciaThomas LéonPablo AltarValentine GellinChristophe BurdetMartin DezelcauxGeoffrey DurcakBaptiste ÉvrardThomas Petit | ||
| "On January 31st, there will be 7 days left to see the exhibition. On February 1st, there will be 6 days left to see the exhibition. On February 2nd, there will be 5 days left to see the exhibition. On February 3rd, there will be 4 days left to see the exhibition. On February 4th, there will be 3 days left to see the exhibition. On February 5th, there will be 2 days left to see the exhibition. On February 6th, there will be 1 days left to see the exhibition."[exhibition text] | ||
| Installation | Androids Phones, Flexible supports, Php code, Twitter API | |
| PHP coding | Olivier Jonvaux | |
| Exhibition Views | Galerie Grand-Verre, FOMO, jan 21 | |
| Curator | Yue Yuan | |
| Web | FOMO Online | |
| It's ten past ten and time stands still on the watches in advertisements. A brand logo proudly appears in the center of the V formed by the two hands. The mercantile hour of consensus. Here time drags on and then starts again. A succession of extraordinarily vain events is in progress. The protagonists don’t worry too much, the path seems to be clearly indicated. Their gestures slide and repeat across the surface of the screen. The set takes some initiatives but no one really pays any attention. So the story has many false starts, nothing happens and the real stutters and stammers. The vessels overflow but no longer communicate. |
| Film | Film 4K, 19’00'', 16:9, Sound Digital 5.1 | |||
| Installation | Moniteur 65’’, 4x Swiss Ball, Audio Headphones | |||
| Co-Production | Le Fresnoy - Studio National des Arts Contemporains Les Amis des Beaux-Arts de Paris | |||
| Exhibition Views | Panorama 22, Les Sentinelles, Le FresnoyCommissariat, Louise Déry | |||
| Team | DancersDOPSoundMix | Anais BarrasDaniel GaliciaTilhenn KlapperSehyoung LeeFélix TouzalinBalthazar LabValentine GellinGeoffrey Durcak | ||
| 10¢ collective attempts is a sound installation simulating randomly and continuously 3 sound-interactions normally coming from a group of people. Laughter, applause, and a mantra.Each interaction is made up of 100 recordings made by 100 different individuals, paid $0.10 on the Amazon Mechanical Turk website, a platform launched by amazon.com in 2005 to hire remotely located "crowdworkers" to perform discrete on-demand tasks that computers are currently unable to do.The recordings are then broadcast simultaneously but randomly to simulate a group recording. A diffusion which by its cohabitation of different rhythms and sound textures testifies to a break-up of the participants, and the impossibility of gathering.A report of each financial transaction is displayed on a A4 laser-printed piece of paper, hanged on a clipboard below each speaker. | ||
| Installation | Sound Installation, ∞ loop, Raspberry Pi, Pythin Coding, laser prints, plexiglas supports | |
| Exhibition Views | L’Effet Falaise, Prix Emerige, 2019Commissariat, Gaël CharbauFelicità, Palais des Beaux-Arts de Paris, 2019 | |
| John asks George and George answers him. From suggestions to suggestions John enters a virtuous marketing circle. A story without an end. This scenario was based on real patents for new techniques and advertising technologies to aim and target consumers more precisely, that you can find online. A selection of diagrams extracted from those patents are screen-printed on Ikea furnitures that are also present in the film. the Ikea tables are presented together with the film. | ||
| Installation | Film HD, 11'28'', 16:9, ST, loop, Ikea tables, screenprinting | |
| Sound Design | Pablo Altar | |
| Exhibition Views | L’Effet Falaise, Prix Emerige, 2019 Commissariat, Gaël Charbau Ingenious, Prix Siemens, Centre Pompidou, 2020 +333, exposition collective, Folle Béton, Paris, 2019 | |
| A work of Art was submited every day to Microsoft's artificial stupidity Caption Bot during the course of 2019. The results were published every day on Instagram.Complete collection here | ||
| Installation | Collection of 356 images, 1 image per day, Tablet, diaporama | |
| Exhibition Views | 30 ans pile, Galerie Papillon, Paris, 2019 | |
| Alice & John is a conversation between Alice, an Artificial intelligence to chat with people online, and John Lennon. The conversation is made of Alice's answers to each sentence of Lennon famous song; 'Imagine'. Then starts a dialogue of the deaf between an out of date anthem of hope, and the arrogants answers of a blond and anorexic chatbot, dancing on a smartphone displaying John Lennon and Yoko Ono's videoclip from 1971. | ||
| Installation | Film HD, 5’24'', 16:9, ST, Tablets, loop | |
| Exhibition Views | +333, exposition collective, Folle Béton, Paris, 2019L’Effet Falaise, Prix Emerige, 2019Commissariat, Gaël Charbau | |
| Omniprésent is a performance by Olivier Bémer and Pablo Altar. Video and music are linked by computer programming and interacting with each other. They take on a narrative dimension in which the viewer is involved. All the images used during the performance are live streams. They bear witness to moments that are doomed to disappear. Pattern recognition and computer vision applied to these images trigger sounds which become the sound material of a music made of randomness and improvisation.More on Omnipresent.space | |
| Performances | Live 006, 28.03.2019, 104 factory, le 104, ParisLive 005, 02.11.2018, Mirage Festival, LyonLive 003, 07.06.2018, Electrons Libres, Stereolux, NantesLive 002, 15.10.2017, Ecran Voisin, Les Grands Voisins, ParisLive 001, 07.07.2017, Les Petites Serres, Paris. |
| Travel is the movement of people between relatively distant geographical locations, you may understand the word « distant » in a broader sense. It can be one way or a round trip, as long as you remember where you began. Travel can also include relatively short stays between successive movements.Navigation is the process of monitoring and controlling any movement from one place to another. Navigation, in a broader sense, can refer to any skill or study that involves the determination of position and direction. wether it’s land navigation, marine navigation, aeronautic navigation, space navigation, or somewhere else.Time is exhausted, space is mapped, and we have the gift of ubiquity. Landscapes or wallpaper ? We are spectators of our own representations, we move from one paradox to another and we take pictures of other pictures. "in real life" is a vague idea. Representation and experience are two porous notions. | ||
| Film | HD, 23'03'', 16:9, ST | |
| Music | Pablo Altar | |
| Festivals | DIAS, Copenhague, Danemark, 2020Les Yeux Ouverts, La générale Nord-Est, Paris, 2017Fstvl Dcmtr, Beaux-Arts, Paris, 2016Nuit Blanche, La Rotonde, Paris, 2016 | |
