120 × 120 × 120 cm
View of the exhibition INDUSTRIES at L'Amour, Bagnolet
The quantity of sand, cement and gravel placed at the centre of the iron structure corresponds to the dosage required to be mixed with water in order to create a new concrete shape, according to the proportions of the beam cage.
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 Ashes of the Day) is the photograph of a hole dug by the artist in the Solnechnoye forest in Russia. During the exhibition, far from the Russian forest, the picture is put into perspective by a foundation footing created of the exact same size of the opening in the snow.
The sculpture À LA VITESSE DU DÉSIR (At the Speed of Desire) evolved during the entire lifespan of the artist-run space Wonder/Liebert in Paris. After throwing a car into a whole dug into the building outside space, its engine has been filled up with concrete. For two years the artist grew Ailanthus inside of the installation, a typical plant of urban wastelands.
250 × 250 × 190 cm
LA DÉCOUVERTE DE L’IGNORANCE (The discovery of ignorance) works like an hourglass. During the exhibition the neon tubes will gradually blow out one by one. Once the monument is completely burned out all the lights will be replaced allowing a new cycle to begin.
L’ÉTERNITÉ N’EST GUÈRE PLUS LONGUE QUE LA VIE (Eternity isn’t longer than life) is an exhibition featuring five sculptures made of tubular aluminium elements. Each metal structure is decorated with iconographical figures coming from different cultures made from aluminium casting.
Site specific project at the Fallen Monument Park in Moscow.
The Fallen Monument Park is located in the centre of the city of Moscow. When the Soviet Union collapsed, Soviet leaders statues were removed from public spaces and left abandoned in the park.
In 2018, the artist built up a pedestal in the park made out of snow that melted and disappeared as it was touched by the sun.
The installation “TO SEE, NOT TO SEE. TO HEAR, NOT TO HEAR. TO EXHUME, INHUME” is made of several little concrete bottles, together with pictures taken during an expedition to Hiroshima and copied a hundred times. During the exhibition it has been spaced out by nine experimental concerts where Japanese artists live jammed with sounds of explosions taken from American movies.
Personnal exibithion at Wonder/Liebert in Paris in 2018
DU TEMPS DON’T JE SUIS FAIT (The Time I’m Made Of) focuses on a series of movements to be found in the oldest Chinese canonical text named Yi Jing and describing the functioning of the world around five elements: water, wood, fire, earth and metal. Each element interacts with the other four ones following an erosive process.
Personnel exhibition at La Consiergerie Art Center (73)
A Tony Cragg chair that disappears, a concrete plant that closes: two local stories that the artist brings closer and takes as starting point. The link between these two stories, which historically does not exist, becomes the form of the exhibition.
600 × 100 × 160 cm
View of the REALITE exhibition at the Christophe Gaillard’s Galerie in Paris
Photo Rebecca Fanuele
The installation LE DRAPEAU DE NOS PÈRES (The Flag of our Fathers) has been inspired by an anonymous photograph taken in the late 1960s in Japan, depicting the protests against the construction of Narita Airport near Tokyo.
Produced together with Guillaume Gouerou, Simon Nicolas, Basil Peyrade, Maxime fourcade.
Kiuaskivi is an immersive installation offering the visitor the opportunity to have a techno music sauna inside an art centre. Transducer speakers inside the sauna transform it into a sound box. Each presentation of Kiuaskivi is an opportunity to invite several DJs and have them playing live for an audience located only inside the sauna.
Collective Exposition B L OB! at Bertrand Grimont Galerie
The show DU TEMPS DONT JE SUIS FAIT has entirely been burnt. The ashes have then been used as fertilizer to grow Ailanthus trees inside of the gallery space during another exhibition. The artist shares a strong bond with the plant, considered an invasive species.
The show IL N’Y A QUE LA CANAILLE POUR METTRE SON SUR LES MURAILLES (There is only the canal to put sound on the walls) has been created with the help of forty art school students. The Belfort Art School exhibition space has been filled up with more than 40,000 kg of wet sand. No additive has been added to the sand in order to prevent its collapse as it was drying.
Eleven independent sculptures seem to suggest with their shapes a possible use by the skateboarders who normally occupy the square. By moving, rolling over and jumping on them, they modify their shapes until only broken wooden planks will remain.