120 × 120 × 120 cm
View of the exhibition INDUSTRIES at L'Amour, Bagnolet
A pyramid created of sand, cement and gravel are formed at the center of a cubic iron structure. The quantities of sand, cement and gravel used are corresponding to the dosage required for, mixed with water, to 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.
Site specific project at the Fallen Monument Park in Moscow
In the middle of the Fallen Monument Park, resting place for many Soviet statues removed from Russian parks and squares in the aftermath of the collapse of Communism, a pedestal made out of the city's last snow melts slowly. It imitates forms of an accelerated ruin until its collapse six hours later.
View of the exhibition INSTALLATION in Paris.
Eight steel props are horizontally crossing an exhibition space, implying the possible collapse of the walls. In this space, atypical for its deterioration, eight steel props have previously been installed vertically by workers to prevent the flooded ceiling from collapsing.
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. First, a large hole is dugout in the exhibition space, into which a car is projected, its engine is submerged by concrete.
The chassis of the car is then cut to allow access to the underlying land and to in there grow an Ailanthus Altissima, an urban wasteland typical weed.
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 determined by their own obsolescence. Once the monument is completely extinguished, all neon lights are replaced and a new cycle can begin.
A metal furniture is dragged on the ground from the north to the south of Paris, from the artist’s studio to the exhibition space. The furniture presents the traces of its journey and is accompanied by a screenshot of the performance.
The images taken during an expedition in Hiroshima, printed and copied hundred times, were littering the floor, next to forty-two concrete mould bottles. The exhibition was punctuated by nine experimental music concerts. The groups were invited to improvise a live composition with youtube nuclear bomb sounds.
Ce qu’est au feu le vent (What is wind to fire) is a steel sculpture made from the idea of an electric pylon, which in its fall would have taken the form of the origami of the crane. It represents the story of Sadako Sasaki, a survivor of the atomic bombings of Hiroshima.
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 text describing the functioning of the world; water, wood, fire, earth, and metal. Each element interacting with each other accordingly to an erosive process.
DIY batteries, cassette tape recorder,
60 × 60 cm
Six homemade saline batteries are used to power a cassette tape recorder that is broadcasting the scream of a woman saying that she will not return to work at the battery factory even though the Wonder factory re-opened its doors to workers in 1968.
2019. Steel, squash, sodium lamps, water, soil
180 × 180 × 240 cm
This autonomous structure allows growing squash chosen for their original forms. A drop of water drips into a plant pot, sodium lamps nestled in the roof encouraging the growth of plants.
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.
Video recordings of the recent Parisian demonstrations are realized through placing a camera on a video tripod to achieve a surveillance camera angle. On those images, an algorithm to detect abnormal behavior is applied, equivalent to the ones used in the surveillance cameras of public places. The police, static and aggregated, is detected and encircled by red rectangles.
Photo crédit : Salim Santalucia
Collective Exposition B L OB! at Bertrand Grimont Galerie
The charred remains of the exhibition DU TEMPS DONT JE SUIS FAIT are exposed. The ashes are used as fertilizer to grow Aliante inside the gallery, an invasive plant, with which I have, since years, come to create close ties with. The exhibition becomes the theatre of the life of this plant.
206 × 116 × 102 cm
This steel cage houses three rats in a car spare parts environment. If a rodent wheel can spin an industrial propeller, or at another time, water a plant at the other end of the space, it is always in an electric motor that this installation seeks to transform itself.
The exhibition was organised around eleven independents sculptures reproducing various forms of minimal art. Their lines constituting, in reality, an invitation to the skaters to reclaim them. By moving them, jumping on them, they become themselves actors of the piece. Vandalised, the modules shapes were evolving as the days passed, until the total destruction of the exhibition.
Exibithion vue of IT'S A DREAM at Arrondit in Paris en 2017
The weight of an aluminum ball made of four hundred molten beer cans makes a fir tree to lose its erection. Several Santa Clauses, connected to each other in series, sings Christmas songs in canon. Moving boxes are nestled under a staircase with the name of each of the artist’s pieces written on them. It’s a dream is an exhibition on Christmas.
La terre des socles vides (The land of empty pedestals) is a serie of five historical iconoclasm scenes screen printed on brushed aluminum plates. People, all of whom disagree with the political or cultural content, are tearing down statues or modern artworks : each image is tilted, to restore the subject vertically, inside the frame.
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.
150 × 90 each
Molotov cocktails are thrown onto blank protest posters pasted on wood panels and then cut to the shape of their constraints. These posters exhibit the only trace of this action, the impact of broken glass and traces of smoke, a sign of omen and deterrence.