Exhibitions
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(b.1989, Paris) studied at Écal Switzerland (2013), ENSBA Paris (2018) and at Le Fresnoy (2021). His works focuses on our growing use of new information and artificial intelligence technologies, and the way these new means of representation and storytelling affects out relationship to time and one another.
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
2020 – Finalist of the SIEMENS price for digital art 2020 – Production grant from Les Amis des Beaux-Arts de Paris 2019 - Selection of Emerige Revelations 2019 2018 - New Technologies prize - Palais des Beaux-Arts de ParisTexts
DIAS Kunsthal Marion ZilioPublications
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
Next 
| 03.2021 – 06.2021 | 100%, La Villette, Paris |
| 10.2021 – 01.2022 | Panorama 23, Le Fresnoy – Studio National, Tourcoing |
Selected Works
" 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. " Galerie Grand-Verre – 01.31.2021 – 02.07.2021 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.- Il est dix heures dix et le temps s’arrête sur les montres des publicités. Le logo de la marque peut apparaître fièrement au centre du V que forment alors les deux aiguilles. L’heure mercantile du consensus. Ici, le temps s’éternise. Une succession d’événements extraordinairement vains est en cours. Les protagonistes ne s’inquiètent pas trop, le chemin paraît bien balisé. Leurs gestes glissent et se répètent à la surface de l’écran. Le décor prend des initiatives et personne n’y prête vraiment attention. Alors l’intrigue multiplie les faux départs, rien ne se réalise et le réel bégaye. Les vases débordent et ne communiquent plus.
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.
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 withe the film.
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
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.
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
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.