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.
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.
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.
2018. Wood, earth, ash, Aillantes, growth lamps. Variable dimensions Collective Exposition B L OB! at Bertrand Grimont Galerie I burned down my previous show titled DU TEMPS DONT JE SUIS FAIT and used the ashes as fertilizer to allow invasive plants to colonize the gallery space during the three months this new exhibition was running.
2021. Aluminium 450 × 550 × 110 cm Once I came to collect materials from a scrap dealer. He told me that aluminum is only found into rocks having a level of purity of metal that never exceeds 99.4 or 99.5%. Despite that, a stone at a 99.9% level of aluminum has been discovered in 1996 in the Sahara. The latter came from a meteorite named Hypatia.
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.
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.
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.
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.
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.
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.
2019, Solo show at La Cantine d’Art Contemporain de Belfort The show IL N’Y A QUE LA CANAILLE POUR METTRE SON NOM 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.
2020. Solo exhibition at the Art Center of the Villa Arson. An exhibition conceived as a psychedelic expedition, a journey through a shamanic and cavernous world dotted with various encounters with experiences on maters.
2020. Soloshow at CAB Grenoble . In Beijing, there is an old observatory where ancestral astronomical tools are shown. Almost abandoned, those tools are oddly dreaming of our contemporary dystopias. They have no longer any scientific use to conduct resarches about the sky, but they are able to remember us those times when planets were still concerned about human’s destiny. Stories of ecological collapses and space conquests were the starting points of this exhibition.
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.
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.
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.
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 has collapsed, URSS leaders statues were removed from public spaces and were left abandoned in this Area. In 2018, I have built up a pedestal in the park made out of snow that melted and disappeared as it was touched by the sun.
Colorimetric proof on paper and aluminum frame and anti-reflective glass. 40 x 60 cm In 2016, I made a bunker formwork echoing the experience of the Wonder in its repeated construction of a collective housing in the Paris region. In 2019, I burned down this bunker, modeled its destruction, printed the result.
2021. Aluminum. 10 works in total. Seven variations of cast and manufactured aluminum ornaments interact with three transfers of images printed on aluminum from photos of planets captured with my telescope during various trips in Europe.
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 associated with iconographical figures coming from different ancient cultures casted in aluminium.
A show curated with Andy Rankin at Pal Project Gallery In Paris. We organized an exhibition which brings together more 110 artists who we have invited to entrust us with a work that we destroyed and reduced to powder. We then hung this material on the wall in transparent bags, allowing anyone to buy a work by weight. All artists were sold at the same price: 100 euros per gram.
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.
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.
2019. Engine, car, steel, water, hydrochloric acid, salt, pump 153 × 153 × 96 cm I thought that if I could apply a system that replicated the effect of a river by perpetually flooding a metal object, it would eventually become unrecognizable and take back the appearance of a rock. So I disassembled an engine on a car and I connected a water inlet where the oil is supposed to enter the engine. The water got all over the inside until it came out of all the openings, running down the engine.