120 × 120 × 120 cm
View of the exhibition INDUSTRIES at L'Amour, Bagnolet
The quantities of sand, cement and gravel placed in the center of this iron structure correspond to the amount required to, mixed with water, create a concrete shape accordingly to proportions of the structure.
150 × 100 cm and 183 × 52 × 29 cm
LA POUSSIÈRE DE L’HEURE ET LA CENDRE DU JOUR (The dust of the hour and the ash of the day) is the photograph of an opening excavated in the Solnechnoye forest in Russia. In the exhibition, far from the hole dug in the woods, the photo is put into perspective by a foundation footing created with the exact dimensions of the opening in the snow.
À LA VITESSE DU DÉSIR (At the speed of desire) is a sculpture that evolves during the lifespan of the artist-run space Wonder/Liebert in Paris. After digging a large hole to throw a car into it, I submerged its engine with concrete. Then for two years I grew an urban wasteland typical weed named Aillante.
250 × 250 × 190 cm
LA DÉCOUVERTE DE L’IGNORANCE (The discovery of ignorance) works like an hourglass. Over the exhibitions, the tubes will gradually go out one by one. Once the monument is completely extinguished, all neon lights are replaced and a new cycle can begin.
Site specific project at the Fallen Monument Park in Moscow
The Fallen Monument Park is located in the centre of Moscow. It’s a resting place for many statues removed from parks and public squares in the aftermath of the collapse of Communism. In 2018, I built up there a pedestal made out of snow.
TO SEE NOT TO SEE TO HEAR NOT TO HEAR TO EXHUME INHUME bring together many little concrete bottles, next to images taken during an expedition in Hiroshima and copied hundred times. The exhibition was punctuated by nine experimental concerts where Japanese artists improvised live with sounds of explosions derived from American movies.
Personnal exibithion at Wonder/Liebert in Paris in 2018
DU TEMPS DONT JE SUIS FAIT (The time I am made of) is an exhibition around a series of gestures of thought deriving from the five materials presented in the oldest Chinese handbook describing the functioning of the world : water, wood, fire, earth, and metal. Each elements interacting with each other accordingly to an erosive process.
Personnel exhibition at La Consiergerie Art Center (73)
A Tony Cragg chair that disappears, a cement factory that closes: two local stories that I bring closer and take as a starting point. This link between these two stories, which historically does not exist, becomes the shape of the exhibition.
Produced with Guillaume Gouerou, Simon Nicolas, Basil Peyrade, Maxime fourcade.
Kiuaskivi is an immersive installation offering the opportunity to the visitor to make a rhythmic techno music sauna inside an art center. Speaker transducers attached to the inside of the sauna turn it into sound box.
An algorithm to detect abnormal behavior equivalent to the ones used in the surveillance cameras of public places is applied to video recording images of the recent Parisian demonstrations.
Collective Exposition B L OB! at Bertrand Grimont Galerie
The show DU TEMPS DONT JE SUIS FAIT is entirely burned. The ashes are used as fertilizer to grow Aillantes inside the gallery, an invasive plant, with which I have, since years, come to create close ties with.
IL N’Y A QUE LA CANAILLE POUR METTRE SON SUR LES MURAILLES is a show produced with the help of forty art school students. Together, we invested the Belfort school art center with more than 40,000 kg of sand. No substitute has been added to the sand to prevent it from collapsing as it dries.
Eleven independents sculptures seem to be suggesting by their shapes a possible appropriation by skateboarders who also occupied the square. By moving them, rolled over and jumping on them, day by day they modified their shapes until it remains only broken wooden planks.