LE COMMENCEMENT ET LA FIN
LE COMMENCEMENT ET LA FIN

2014. Cement, sand, gravel, rebars 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.

LA POUSSIÈRE DE L'HEURE ET LA CENDRE
LA POUSSIÈRE DE L'HEURE ET LA CENDRE

2016. Silver print on composite aluminium, reinforced concrete 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.

À LA VITESSE DU DÉSIR
À LA VITESSE DU DÉSIR

2016. Car, concrete, plante 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.

LA DÉCOUVERTE DE L'IGNORANCE
LA DÉCOUVERTE DE L'IGNORANCE

2018. Steel, fluorescent tubes, electronic ballasts, cables 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.

LA TERRE DES SOCLES VIDES
LA TERRE DES SOCLES VIDES

2018. Silkscreen prints on brushed aluminium plates. 80 × 100 cm LA TERRE DES SOCLES VIDES (The Land of the Empty Pedestals) is a group of five images displaying people tearing down statues or modern artworks. Each image is tilted and cropped to restore the subject vertically inside the frame.

DANS LA LANGUE DES CIMENTS
DANS LA LANGUE DES CIMENTS

2018. Steel, reinforcement for reinforced concrete, wooden crate, concrete. Variable dimensions 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.

OUI LA NUIT RÊVE DANS LE MINÉRAL
OUI LA NUIT RÊVE DANS LE MINÉRAL

2020 Soloshow at CAB Grenoble

. In Beijing, there is an old observatory where ancestral astronomical tools are shown. Almost abandoned, those past’s tools are oddly dreaming of our dystopias. They have nothing scientific to tell anymore about the sky and they remember us those times when planets were still concerned about human’s destiny. Stories of ecological collapses and space conquests are the starting points of the exhibition.

L'ÉTERNITÉ N'EST GUÈRE PLUS LONGUE
L'ÉTERNITÉ N'EST GUÈRE PLUS LONGUE

2019, Solo show at the White Noise Gallery in Rome. Aluminium. 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.

TO SEE, NOT TO SEE. TO HEAR, NOT TO
TO SEE, NOT TO SEE. TO HEAR, NOT TO

2016. Photocopying, concrete, concrete blocks sound system. Personal exhibition at BnA gallery in Tokyo 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.

CE QU'EST AU FEU LE VENT
CE QU'EST AU FEU LE VENT

2017. Steel. CE QU’EST AU FEU LE VENT (What is wind to fire) is a steel sculpture recalling both the form of a transmission tower and the crane origami.

SALAGADOU LA MENCHIKA BOU LA BIBBIDI
SALAGADOU LA MENCHIKA BOU LA BIBBIDI

2019. Steel, squash, sodium lamps, water, soil 180 × 180 × 240 cm SALAGADOU LA MENCHIKA BOU LA BIBBIDI BOBBIDI BOO is an autonomous structure allowing to grow squashes. The vegetables have been chosen for their original form.

LE DRAPEAU DE NOS PÈRES
LE DRAPEAU DE NOS PÈRES

2017. Flag, steel, plexiglass, brass. 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.

DE LA SURVEILLANCE AUX SURVEILLÉS
DE LA SURVEILLANCE AUX SURVEILLÉS

2016. Exhibition view at LES BARREAUX in Paris. Steel screen barriers. Variable dimensions. Photo crédit : Salim Santalucia The algorithm normally used by surveillance cameras in public spaces to detect abnormal behaviours is applied to video recordings of Parisian demonstrations.

BUNKER C.A.A.O.U.
BUNKER C.A.A.O.U.

2015. Bakelised plywood, wooden battens 330 × 395 × 230 cm BUNKER C.A.A.O.U. was built with materials normally used for the production of concrete formworks.

LE PALMIER DES GHETTOS
LE PALMIER DES GHETTOS

2018. Wood, earth, ash, Aillantes, growth lamps. Variable dimensions 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.

RAT DE VIVRE
RAT DE VIVRE

2019. Steel, rats, wood chips 206 × 116 × 102 cm A steel cage, filled with car spare parts, houses three rats. Spinning the wheel inside, the rodents can activate an industrial propeller and –by doing this- give water to the plant at the other end of the exhibition space.

IL N'Y A QUE LA CANAILLE POUR METTRE
IL N'Y A QUE LA CANAILLE POUR METTRE

2019, Solo show at La Cantine d’Art Contemporain de Belfort 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.

KIUASKIVI
KIUASKIVI

2016. Sauna, transducers speakers, cabin shelves. 195 × 210 × 215 cm 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.

NOS JOURS
NOS JOURS

2018. Compressed snow. Variable dimensions, begin with 350×120×120 cm 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.

LES CHEVAUX DE TROIE
LES CHEVAUX DE TROIE

2015. Wood. Public order from the city of Paris, Place de la République 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.

CRYSTAL METH
CRYSTAL METH

2017. Disco Ball, chain, motor 40 × 40 × 300 cm A disco ball rotates on itself at the end of a long chain. On the floor, the crushed mirrors create a thin glass dust.

ESPERANTO
ESPERANTO

2016. Molotov cocktails on demonstration posters, pasted on composite aluminium 150 × 90 each Molotov cocktails are thrown onto blank protest posters mounted on aluminium panels. The posters exhibit the sign of the past action, the glass impact and smoke traces.

POUR LES CHOSES QUI RESTENT BRUTES
POUR LES CHOSES QUI RESTENT BRUTES

2019. Engine, car, steel, water, hydrochloric acid, salt, pump 153 × 153 × 96 cm A car engine has been turned into a fountain spilling a mixture of water, salt, hydrochloric acid and nitric acid that corrodes the metal

BUNKER C.A.A.O.U. CTRL-ALT-ESC
BUNKER C.A.A.O.U. CTRL-ALT-ESC

2019. Digital printing 130 × 80 cm. 3D reconstitution of the Bunker C.A.A.O.U. in flames, as it will also appear in the project «Quad-Core Mausoleum», a digital archive of Wonder / Liebert created by Pierre Gaignard.