Émilie Brout & Maxime Marion Documentation - Artoday
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Émilie Brout & Maxime Marion
Documentation
www.eb-mm.net
Bio Émilie Brout & Maxime Marion began their collaboration at the École Nationale Supérieure des Arts Décoratifs in Paris. Their work sits in public and private collections such as the FRAC Ile-de-France, the François Schneider foundation, collection Famille Servais or collection Frédéric de Goldschmidt, and has been featured in numerous media outlets including Le Monde, Art Press, Libération, Art Viewer, New York Observer, Tracks, BBC and Frieze. Previous exhibitions and screenings include Young Art Triennale at Casino Luxembourg; Thessaloniki International Short Film Festival; Louvre Auditorium, Paris; Haus der Kulturen der Welt, Berlin; MAC VAL, Vitry-sur-Seine; Villa Arson, Nice; Redline Contemporary Art Center, Denver; OCAT Shenzhen; Carroll/Fletcher, London; Moscow Biennale for Young Art; Seongnam Art Center; Palais de Tokyo, Paris. They have recently had solo exhibitions at 22,48 m², Paris; La Chaufferie, Strasbourg; Pori Art Museum, Pori; Villa du Parc, Annemasse; Steve Turner, Los Angeles. Artistic approach The approach we have been developing for the past ten years is largely based on links and encounters between archetypes from art history (from the Pre-Renaissance to cinema) and contemporary visual culture - particularly that of the web. This practice is based on a thorough work of research and iconography that nourish pieces that are both critical and emotional, and that integrate in their very modalities of production the economic, political and social specificities induced by the different aesthetic registers they call upon. We aim to inscribe embodiment in our fields of intervention, most often through open, non-linear and non-heroic narrative approaches. With video as our medium of choice, we seek to push the limits of the formats we manipulate, and even to invent new ones. Our pieces often have a hybrid, ambiguous dimension, as much in terms of their content as their materiality or their multiple contexts of reception: a crisis of the image, provoking a sensitive dissonance between narrative power and the perceptible unveiling of the mechanisms of production at play.
Émilie Brout & Maxime Marion
Artist duo, French & French-Luxembourgish, born 1984 & 1982, live and work in Paris, FR
eb.mm.contact@gmail.com
www.eb-mm.net | instagram.com/emiliebrout_maximemarion | twitter.com/ebroutmmarion
Solo shows
2021 génériq, 22,48 m², Paris, FR
2019 Collapsing New People, La Chaufferie, HEAR, Strasbourg, FR
Great Stories Start Here, 22,48 m², Paris, FR
2018 You should only have eyes for me, curated by Garance Chabert, Villa du Parc, Annemasse, FR
Lightning Ride, curated by Anni Venäläinen, Pori Art Museum, Pori, FI
2017 Deliverance, Steve Turner, Los Angeles, US
Quickening, 22,48 m², Paris, FR
Better Not Tell You Now, Link Cabinet, WWW
Predator 900R, Espace 36, Saint-Omer, FR
2015 Les Nouveaux chercheurs d'or, 22,48 m², Paris, FR
2013 Dérives, 22,48 m², Paris, FR
Group shows (selection)
2022 Teen Spirit, curated by Nancy Casielles, BPS22, Charleroi, BE
Ce que nous avons perdu dans le feu, curated by Lola Gonzàlez, Villa Arson, Nice, FR
2021 Alter Ego, festival OVNi, curated by Centre d'art Le Lait, Hôtel Windsor, Nice, FR
For Your Eyes Only, curated by Domenico Quaranta, Feral File, WWW
Deus Ex Machina, curated by Clément Thibault, Musée de Soissons, FR
Brave New World Order, Young Art Triennale, curated by Kevin Muhlen, Casino Luxembourg, LU
Poudres et forêt, curated by Collection Départementale de Saine-Saint-Denis, Pavillon Maurouard, Sevran, FR
Superficiel, curated by Camille Frasca & Antoine Py, galerie Mansart, Paris, FR
Artifacts of Sentience, curated by Molly Schulman and Bridget Batch, SUPERCOLLIDER, Los Angeles, US
Muses algorithmiques, curated by Pierre Soignon, Le Granit - Scène Nationale, Belfort, FR
2020 Picturalité(s), curated by Aude Cartier, La Maison des arts, centre d'art contemporain de Malakoff, FR
Persona Everyware, curated by Anne-Lou Vicente, Raphaël Brunel, Antoine Marchand, Centre d'art Le Lait, Albi, FR
After Party, curated by Elodie Bernard, Fondation du doute, Blois, FR
Me, Myself and I, curated by Pieter Jan Valgaeren, Biennale de l'image possible, La Menuiserie, Liège, BE
Rencontres Internationales Paris/Berlin, Haus der Kulturen der Welt, Berlin, DE
Melting Point*, curated by Jean-Jacques Gay, Le Bel Ordinaire, Pau, FR
Human Learning, curated by Dominique Moulon + Alain Thibault, Catherine Bédard, Centre Culturel Canadien, Paris, FR
Bagage Cabine, curated by Elodie Bernard, Kogo Gallery, Tartu, EE
I have done things here I couldn't do elsewhere, curated by Indira Béraud + Thomas Guillemet, 6B, Saint-Denis, FR
2019 Lignes de vie, curated by Frank Lamy, MAC VAL, Vitry-sur-Seine, FR
10e édition du Prix Sciences Po pour l'art contemporain, Sciences Po, Paris, FR
Pourquoi faire / Pour quoi faire, curated by Renato Casciani & Olivier Gevart, Eté 78, Ixelles, BE
A2P, curated by Casey Reas, Addie Wagenknecht, Rick Silva, exonemo, The Wrong Biennale, WWW
Screen It, Stadstriënnale Hasselt/Genk, curated by Pieter Jan Valgaeren, C-Mine, Genk, BE
Autonomie Zéro, curated by Gilles Alvarez & Dominique Moulon, Cité internationale des arts, Paris, FR
On The Edge, curated by Aurélie Faure, Litexpo, Vilnius, LT
2018 Reality Bytes, curated by Ivar Zeile, RedLine Contemporary Art Center, Denver, US
Des Surfaces dénuées d'innocence, curated by Stéphanie Vidal, Maison Populaire, Montreuil, FR
Biennale de l'image tangible, biennale, Le Red Studio, Paris, FR
Medio Acqua, curated by Renato Casciani, Base sous-marine, Bordeaux, FR
Fading Away, curated by Céline Flécheux, 22,48 m², Paris, FR
Duty Free, curated by Bob Bicknell-Knight, Chelsea College of Arts, London, UK
Re/public, curated by Roland Fischer, Stefanie Marlene Wenger & Raffael Dörig, Polit-Forum, Bern, CH
Collection for a Poor Collector, curated by Thomas Geiger, Sperling gallery, Munich, DE
Ecritures numériques, curated by Jacques Urbanska & Philippe Franck, Musée L, Louvain-la-Neuve, BE
Force of Nature, Steve Turner, Los Angeles, US
Profils, Pavillon Blanc, Colomiers, FR
2017 Who’s still Workin’ on this Masterpiece?, curated by Dragos Olea, Le Loft/Collection Famille Servais, Bruxelles, BE
Extracting / Abstracting, Steve Turner, Los Angeles, US
Demo Day, curated by Fernando Schrupp, Kunstraum LLC gallery, New York, US
Post-production manœuvre, curated by Messi Luo, Minority Space Beijing, CN
Go Canny! Poétique du sabotage, curated by Nathalie Desmet, Eric Mangion & Marion Zilio, Villa Arson, Nice, FR
Stranger Collaborations, London Art Fair, curated by Pryle Behrman, Business Design Centre, London, UK
Iconomania, curated by Florence Guionneau-Joie, MAIF Social Club, Paris, FR
Stories From Nowhere, Centre d'Art Bastille, Grenoble, FR
2016 5th Moscow Biennale for Young Art, curated by Nadim Samman, Trekhgornaya Manufaktura, Moscow, RU
Le Temps de l'audace et de l'engagement, 5e triennale de l'ADIAF, curated by Nathalie Ergino, IAC de Villeurbanne, FR
Neoliberal Lulz, Carroll/Fletcher gallery, London, UK
Portrait de l'artiste en alter, FRAC Haute-Normandie, Sotteville-lès-Rouen, FR
Home Cinema, curated by Charles Carcopino, Gare Saint-Sauveur, Lille, FR + OCAT Shenzhen, CN + Daegu Art Museum, Daegu, KR
L'Art est un mensonge, curated by Sonia Recasens, H2M, Bourg-en-Bresse, FR
Not Really Really, curated by Frédéric de Goldschmidt & Agata Jastrzabek, Frédéric de Goldschmidt Collection, Brussels, BE
The Black Chamber, curated by Eva & Franco Mattes et Badi Brusadin, Museum of Modern and Contemporary Art, Rijeka, HR
D'autres possibles, curated by Thomas Fort, Pavillon Vendôme, Clichy, FR
(in)Exactitude in Science, curated by Kamilia Kard & Filippo Lorenzin, galerie Charlot, Paris, FR
2015 Sèvres Outdoors, Cité de la céramique, Sèvres, FR
Bonjour la France !, curated by Sunhee Choi, Seongnam Arts Center, Seongnam, KR + Goyang AramNuri Arts Center, Goyang, KR
Something Else - Off Biennale Cairo, curated by Elena Giulia Abbiatici, Cairo, EG
Mapamundistas: Antipostales, curated by Alexandra Baurès, Citadel of Pamplona, ES
The Human Face of Cryptoeconomies, Furtherfield Gallery, London, UK
Home Cinema, curated by Charles Carcopino, MAC Créteil, FR; festival VIA, Manège Maubeuge-Mons, FR
Miroir, Ô mon miroir, curated by L'extension, Pavillon Carré de Baudouin, Paris, FR
Convergence, curated by Dominique Moulon, Maison Populaire de Montreuil, FR
Promenons-nous..., curated by Caroline Delieutraz & Géraldine Miquelot, Abbaye d'Annecy-le-Vieux, FR
2014 Unoriginal Genius, curated by Domenico Quaranta, Carroll/Fletcher gallery, London, UK
Matière Cinéma, curated by Mathieu Vabre, Seconde Nature, Aix-en-Provence, FR
Premio Arte Laguna, Telecom Italia Future Centre, Venezia, IT
Web Players, curated by Isabelle Arvers, Podfest, Rio de Janeiro, BR
Still Water, 22,48 m², Paris, FR
Pense-bête/Reminders collection 1, curated by Sandra Aubry & Sébastien Bourg, Galerie de Roussan, Paris, FR
Werke sind Wesen, curated by Clément Stehlin, Villa Renata, Basel, CH
2013 Terrible Twos, curated by Garance Chabert, Villa du Parc, Annemasse, FR
Jeune Création, Centquatre, Paris, FR
Play/display, 22,48 m², Paris, FR
Talents Contemporains, Fondation François Schneider, Wattwiller, FR
Awards
2021 Thessaloniki International Short Film Festival, cinematic achievement award, Thessalonique, GR
Around Video, grand jury prize, Hôtel Moxy, Lille, FR
2019 Prix Sciences Po pour l'art contemporain, public prize, Sciences Po, Paris, FR
Art Vilnius, best artist prize, Vilnius, LT
2017 Net Based Award, nominees, H3K/Kunst Bulletin, Haus der elektronischen Künste, Basel, CH
2014 Arte Laguna Prize, digital art prize, Arsenal, Venice, IT
2011 Fondation François Schneider, contemporary talent prize, Wattwiller, FR
Grants & Residencies
2021 Development Programme, research residency, Kunsthal Gent, BE
2019 CNC/DICRéAM, grant, Paris, FR
La Fondation des Artistes, grant, Paris, FR
Fonds Magnetic, grant, Bordeaux, FR
2017 CNC/DICRéAM, grant, Paris, FR
2016 Espace 36, production residency, Saint-Omer, FR
2015 SCAM, grant "Brouillon d'un rêve numérique", Paris, FR
2014 DRAC Île-de-France, grant, Paris, FR
2011 SCAM, grant "Brouillon d'un rêve numérique", Paris, FR
Collections
FRAC Ile-de-France, Paris, FR
FRAC Poitou-Charentes, Angoulême, FR
FRAC Aquitaine, Bordeaux, FR
FRAC Franche-Comté, Besançon, FR
Collection Départementale de Seine-Saint-Denis, FR
Fondation François Schneider, Wattwiller, FR
Collection Frédéric de Goldschmidt, Bruxelles, BE
Collection Famille Servais, Brussels, BE
Collection Jonathon Carroll, New-York, US
Plancius Art Collection, Amsterdam, NL
Private collections
Screenings & Talks
2021 A Truly Shared Love, screening (avant-premiere), Kunsthal Gent, BE
Thessaloniki International Short Film Festival, screening, Thessalonique, GR
2020 Rencontres Internationales Paris/Berlin, screening, Louvre auditorium, Paris, FR
2019 Arts, Culture, and Digital Transformation Summit, talk and screening, Banff Centre for Arts and Creativity, Banff, CA
New Kids on the Blockchain, talk, "Saint Satoshi priez pour nous" , Gaîté Lyrique, Paris, FR
La Vraie Vie, screening, curated by Guillaume Constantin, Les Instants chavirés, Montreuil, FR
2018 Hot Steam, screening, curated by Keaton Fox, CCTV, Cambridge, US
2017 Supernova Outdoor Digital Animation Festival, screening, curated by Ivar Zeile, Denver, US
SCAM/Best of 2017 écritures et formes émergentes, screening, SCAM, Paris, FR
Les Visiteurs du soir, festival OVNI, screening, Hotel Windsor, Nice, FR
2016 Les Incessants, screening, curated by Céline Poulin, Villa du Parc, Annemasse, FR
The Black Chamber, talk, curated by Eva and Franco Mattes, Bani Brusadin, Kino Šiška, Ljubljana, SI
Pléorama #1, screening, curated by Johan Decaix, Progress Gallery, Paris, FR
2015 New Aesthetic - Köln Unlimited, screening, Köln, DE
Cycle Bleu, screening, Forum des Images, Paris, FR
965 jours à 58 mètres, screening, Villa Belleville, Paris, FR
Art of the Networked Practice, symposium, School of Art, Design & Media - Nanyang Technological University, SG
2014 Inside/Peer to Peer, talk and screening, curated by Vittoria Matarrese, Palais de Tokyo, Paris, FR
Les Inrocks Lab/Nuit Blanche, screening, Ensad Paris, FR
Lovely Days in Bol, screening, curated by Contexts, Bol, Brac, HR
ESAD Orléans, talk, Musée des Beaux-Art, Orléans, FR
2013 SCAM/Futur en Seine, screening, Centquatre, Paris, FR
MashUp Film Festival, talk, Forum des Images, Paris, FR
Copie Copains Club, launch of www.copie-copains-club.net, Gaîté Lyrique, Paris, FR
Algoshorts, screening, curated by Alexis Kirke, Plymouth University, UK
Fairs
2021 Around Video, solo with 22,48 m², Hôtel Moxy, Lille, FR
2019 Art Vilnius, with22,48 m², Litexpo, Vilnius, LT
2018 Camera Camera, solo with 22,48 m², Hôtel Windsor, Nice, FR
2017 Art Brussels, with Steve Turner, Tour & Taxis, Brussels, BE
2016 Untitled Miami Beach, with Steve Turner, Miami, US
Art Brussels, solo with 22,48 m², Tour & Taxis, Brussels, BE
2015 Art Brussels, with 22,48 m², Brussels Expo (Heysel), BE
2014 LOOP Barcelona, solo with 22,48 m², Hotel Catalonia Ramblas, Barcelona, ES
2013 The Solo Project, solo with 22,48 m², Basel, CH
Education
2007-2009 EnsadLab, art+research lab, Ecole Nationale Supérieure des Arts Décoratifs de Paris, FR
2007 DNSEP (MFA), Ecole Nationale Supérieure d'Art et de Design de Nancy et Ecole Supérieure d'Art d'Aix-en-provence, FR
2005 DNA (BFA), Ecole Nationale Supérieure d'Art et de Design de Nancy, FR
Publications Persona Everyware, Anne-Lou Vicente et Raphael Brunel, What you see is what you hear, Paris, 2021 Chefs-d'œuvre du XXIe siècle, Dominique Moulon, Nouvelles éditions Scala, Paris, 2021 En fuyant ils cherchent une arme, Stéphanie Vidal, Nouvelles éditions Scala, Paris, 2019 Radial #1, interview avec Maxence Alcade, Radian (ESAM, ESADHaR, ENSA Normandie, Ecole doctorale 558), 2019 The Collection for the Poor Collector, Thomas Geiger, Edition Taube, Munich, 2018 Streaming Egos - Digital identities, «Strategy 2: Fake Documents», by Marie Lechner, Goethe-Institut Paris, 2016 L’écran comme mobile, Jean-Louis Boissier, Mamco-Genève, 2016 AFK, Texts on Artists 2011-2016, Domenico Quaranta, LINK Editions, Brescia, 2016 De Leur temps, 5ème triennale de l’ADIAF, Collection privées françaises, IAC Villeurbanne, 2016 The Black Chamber, LINK Editions, Brescia, 2016 Talents Contemporains 2011 - 2012, Fondation François Schneider, Wattwiller, 2015 Library of the Printed Web #3, curating and publishing by Paul Soulhellis, New-York, 2015 Press (selection) ARTE, dec 3 2021, Tracks, "Emilie Brout & Maxime Marion", portrait Frieze, oct 21 2021, "Critic's Guide: what to see in Paris during FIAC", by Wilson Tarbox Le Monde, oct 4 2021, "Un premier round réussi pour la foire Around Video à Lille", by Emmanuelle Jardonnet Zérodeux, apr 16 2021, "Emilie Brout & Maxime Marion, deux gouttes navigant côte-à-côte à travers le vide", interview by Sophie Lapalu L'Œil, dec 52020, "50 artistes du XXIème siècle qui ont déjà marqué la scène française", by Stéphanie Lemoine France Inter, aug 25 2020, Le Code a changé, "Quand les artistes s'emparent des questions numériques", interview by Xavier de la Porte Switch (on paper), may 12 2020, "Ecrans de fumée - Post-internet, et après ?" by Julien Bécourt Mouvement, may 1 2020, "Persona Everyware" by Julien Bécourt Slash, apr 29020, interview by Léone Metayer Lechassis, apr 12020, #7, "A Truly Shared Love" by Indira Béraud ESSE, jan 12020, #98, "Collapsing New People", by Vanessa Morisset Art Press, oct 30 2019, "Collapsing New People", by Indira Béraud Libération, mar 19 2019, "Great Stories : A l'amour comme à la guerre" by Clémentine Mercier Art Press, feb 12 2019, #463, « L’image-caméléon », chronique by Etienne Hatt Nichons-nous dans l'internet, dec 1 2018, #8, interview by Alexandre Léchenet Revue Possible, dec 1 2018, « The Ballad of Web Dependency », interview by Vanessa Morisset Beaux-Arts, nov 28 2018, "De l'amour en stock" by Maïlys Celeux-Lanval France Culture, nov 14 2018, Les Carnets de la création, "Emilie Brout & Maxime Marion" by Aude Lavigne Art Viewer, jul 28 2017, "Emilie Brout & Maxime Marion at Steve Turner" Point contemporain / Pratiques critiques, jun 20 2017, "Cash, Check, Charge or Art", by Marion Zilio Curating the Contemporary, jun 2 2017, "Artist of the Month", by Alejandro Ball Beaux Arts, may 23 2017, "Quand les jeunes artistes rêvent de cyborgs", by Sarah Ihler-Meyer France Culture, may 1 2017, Les Carnets de la création, by Aude Lavigne Les Inrocks, apr 3 2017, "Les 5 expos à ne pas rater cette semaine", by Ingrid Luquet-Gad France Culture, feb 24 2017, La vie numérique, "Un Logiciel est-il comme le pinceau d'un peintre ?", by Xavier de la Porte Kunst Bulletin, dec 1 2016, "Digitale Kunst - Projekt des Monats", p64, by Raffael Dörig Artspace, nov 30 2016, "10 of the Best New Artists at the Untitled Art Fair", by Andrew M. Goldstein *DUUU @ Lafayette Anticipations, oct 21 2016, interview by Damien Airault New York Observer, apr 23 2016, "Art World Descends on Brussels Despites Attacks", by Guelda Voien Artsy, apr 21 2016, "The 7 Best Booths at Art Brussels", by Molly Gottschalk Nova Planet, apr 14 2016, "Ils hantent vos souvenirs et vos photos de touristes", by Jean Morel Rue89/L'Obs, apr 13 2016, "Chercheurs d'or", by Claire Richard Vice/The Creators Project, apr 13 2016, "Art Trends: Artists Are Corporations Too", by Emerson Rosenthal Curating the Contemporary, mar 24 2016, "Neoliberal Lulz @ Carroll/Fletcher: Lol-> Lul -> Lols -> Luls -> Lolz -> Lulz", by Gabriela Acha BBC, feb 16 2016, Business News, "The Woman who became a Corporation", by Dougal Shaw Art Review, jan 1 2016, "The Human Face of Cryptoeconomies", p. 151, by J. J. Charlesworth Furtherfield, oct 26 2015, "Value in the Digital Age: In Conversation with Emilie Brout & Maxime Marion", by Nicole Sansone Osskoor, sep 28 2015, "Emilie Brout & Maxime Marion sont-ils les Madoff de l'art contemporain ?", by Maxence Alcade Neural, mar 1 2015, Issue #49, "Nakamoto (The Proof)", by Aurelio Cianciotta Libération, nov 15 2014, p34, "Au cœur de la matière filmique", by Marie Lechner Les Inrocks, jun 26 2014, "Le cinéma sous algorithmes d’Emilie Brout et Maxime Marion", by Anna Hess France Culture, apr 17 2014, Ce qui nous arrive sur la toile, "De l'art dans les paysages de Google" by Xavier de la Porte Télérama, jan 8 2014, p5, "J'ai testé la baston avec Chuck Norris" by Thierry Voisin France Culture, sep 2 2013, "La vignette" by Aude Lavigne Libération, jun 12 2013, "Séance Tenante" by Marie Lechner We Make Money Not Art, nov 21 2012, interview by Régine Debatty
A Truly Shared Love 2021, 4K video, 28’ (with the support of the Fondation des Artistes, CNC/DICRéAM and Fonds Magnetic, FR) https://vimeo.com/635206993 (trailer) A Truly Shared Love is a tragedy, and capitalism its curse. Emilie Brout & Maxime Marion show their true love story, surrounded by their cat and connected companions in their own domestic environment. Using the codes of commercial imagery of stock videos, they play with the normative and idealized representations of their genre, class and figure of artist as a model of the start-up nation that are usually conveyed there. Is there an alternative? Featuring works by Jimmy Beauquesne, Guillaume Constantin, Caroline Delieutraz, Carin Klonowski, Julie Vayssière Interview about the work with Clémence Agnez at Kunsthal Gent
Around Video, 2021, solo show, Hôtel Moxy, Lille, FR (A Truly Shared Love, 2021) Brave New World Order, 2021, Young Art Triennale, Casino Luxembourg, LU (c) Andrés Lejona (A Truly Shared Love, 2021)
génériq, 2021, solo show, 22,48 m², Paris, FR (A Truly Shared Love, 2021) You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (A Truly Shared Love (trailer), 2018)
Ce que nous avons perdu dans le feu, 2022, group show, Villa Arson, Nice, FR (A Truly Shared Love, 2021)
b0mb 2018-ongoing, online generative video, 10’ http://www.b-0-m-b.net b0mb is an online generative video, renewed at each viewing and accessible via a dedicated website. With an intense rhythm, it presents a montage of hundreds of images of all kinds from the internet, displayed on a musical soundtrack where one can hear the voice of Gregory Corso reading his poem Bomb (1958). Declaration of love to the most terrible technology and metaphor of human self-destructive nature, the poem has a wide variety of lexical fields giving it an almost universal dimension. Figure of the Beat Generation, Corso seeks to produce here a poetry where the sentences would be without perspective, building his text via a juxtaposition of keywords “against” each other. The artists then performed a work of “writing reduction”, filtering and rewriting the poem in order to translate its content into queries for search engine such as Google Image. Each image visible in b0mb thus comes automatically from the result of one of these queries, selected according to popularity algo- rithms and displayed synchronously with the stated text, on a predefined editing. If the duration and the sound remain fixed, the images are renewed on each viewing, evolving little by little in the time, over the news. Because of the great diversity of subjects covered in the poem and the heterogeneous nature of the images (am- ateur photographs, commercials, cliparts, press, definition variations, etc.), the work reveals a kind of snapshot of web culture. By a frantic sequence of indifferently innocuous, beautiful or terrible images, they also account for the violence that can emerge from it.
You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (b0mb, 2018)
You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (b0mb, 2018) Ce que nous avons perdu dans le feu, 2022, group show, Villa Arson, Nice, FR (b0mb, 2018-2022)
Great Stories Start Here, 2019, solo show, 22,48 m², Paris (b0mb, 2018 and Untitled, 2019)
Collapsing New People, 2019, solo show, La Chaufferie, HEAR Strasbourg, FR (c) Antoine Lejolivet (b0mb, 2019; Fireplace, 2019)
Fireplace 2018-ongoing, installation, video collage, online found videos, various monitors, variable dimensions You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (Fireplace, 2018) Collapsing New People, 2019, solo show, La Chaufferie, HEAR Strasbourg (c) Antoine Lejolivet (Fireplace, 2019)
Ce que nous avons perdu dans le feu, 2022, group show, Villa Arson, Nice, FR (Fireplace, 2022)
Untitled (June 21, 8-9 am) 2020, trompe-l’oeil, video projection, 45’ Ce que nous avons perdu dans le feu, 2022, group show, Villa Arson, Nice, FR (Untitled (June 21, 8-9 am), 2020) Development Programme - Kunsthal Gent, 2021, residency, Gent, BE (Untitled (June 21, 8-9 am), 2020)
Lightning Ride 2017, 4K video, 7’40’’ https://vimeo.com/213766333
With Lightning Ride, it is poles of technology, organics and mysticism that collide with electricity as a connecting
point. The video is produced from excerpts of “Taser Certifications”, a sort of ceremony authorizing in the
United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s
“oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show
us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy.
Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically
an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of
possibilities. (Sarah Ihler-Meyer)
Quickening, 2017, solo
show, 22,48 m², Paris,
FR (Lightning Ride, 2017;
Oasis Max Life, 2017)Sextape 2018, digital video, 9’ https://feralfile.com/artworks/sextape-lqu?fromExhibition=for-your-eyes-only-qpg sextape consists of an amateur pornographic video, found online and with no particular qualities, manipulated with deep fake algorithms so that the faces of Émilie Brout and Maxime Marion can be recognized. It plays with the tension of two radically opposed strategies of reputation-shaping: revenge porn (the sharing of a forged video to discredit and humiliate a person) and the voluntary leak of a real and exciting document by public figures in order to gain credibility and media visibility. (Domenico Quaranta)
You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (Sextape, 2018) Me, Myself and I, 2019, group show, Biennale de l'image possible, La Menuiserie, Liège, BE (sextape, 2018)
♥ Paintings 2017-2018, oil on smartphones, screenshot of personal social media, dimensions variable
Quickening, 2017, solo show, 22,48 m², Paris, FR (♥ Paintings, 2017)
Nakamoto (The Proof) 2014-2018, Pigment print on backlit sheet, scanner HP N6350, leds, paper, 19,6 x 35,4 x 3,9 inches This scanned image is the only existing trace of the passport of Satoshi Nakamoto. Nakamoto is the creator of Bitcoin, a revolutionary and unfalsifiable payment system for performing online transactions anonymously. This virtual currency is widely used on darknets, networks guaranteeing anonymity which have bad reputation, especially because of the cybercriminal activities they facilitate (drug trade, counterfeits, etc.). Since his first public message until his disappearance on December 12, 2010, Nakamoto has made every effort to preserve his identity. The importance of his creation and the perfectly mastered mystery around him made him today a true contemporary myth, feeding a growing number of rumors and fantasies. We decided to produce the evidence of the existence of Satoshi Nakamoto using the technology he created.
You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (Nakamoto (the Proof), 2014-2018)
Nakamoto (The Myth) 2015, Video, 4’40’’ https://vimeo.com/213766333 This video is based on a 3D model created from the face usually used to represent Satoshi Nakamoto. The sounds are coming from various sources, like testimonies about Bitcoin or great fictitious villains.
Untitled SAS 2015-ongoing, registered limited company by shares (SAS), share ledger, official documents, website https://www.untitledsas.com Les Nouveaux chercheurs d’or, 2015, solo show, 22,48 m², Paris, FR Émilie Brout & Maxime Marion legally registering an artwork at the Registry of the Commercial Court of Paris, in the form of a joint-stock company that would have no other purpose than to be a work of art: Untitled SAS (where “SAS” would be the equivalent of “LTD” for example). If a company cannot be created with “work of art” as a social object and must seek to produce profits by design, they nevertheless succeeded in this hack thanks to the help of an important law firm, by playing on a legal grey area. They relied on the “affecto societatis” (the will to create a project together, at the origin of the existence of any company) as well as the ambiguity of the term “profit”, which could be understood as not necessarily commercial. Untitled SAS is a try to be both the most clean and immaterial possible art form, and a company reduced to its most minimal legal essence: articles of association and a share ledger listing the exchanges between its co-owners. Given the history of trades, Untitled SAS has gone from a share capital of 1 € (minimum allowed value) to a valuation of nearly 300 000 € in a few years. The work/company counts 50 shareholders (artists, business angels, collectors, critics…), has been exhibited in shows including Art Brussels, Carroll/Fletcher in London or MAIF Social Club in Paris, and has been featured in numerous media outlets, such as BBC Business, New York Observer, Vice and Curating the Contemporary.
Ô Boulot, 2018, group show, MAIF Social Club, Paris, FR (c) Marie-Amélie Tondu Neoliberal Lulz, 2016, group show, Carroll/Fletcher, London, UK (c) Carroll/Fletcher
Denim 2016-2018, found jeans with smartphone imprints, vacuum packing, tablet wall support, 28 x 28 x 28 cm Art Brussels, 2016, Heysel Expo, Brussels, BE; Teen Spirit, 2022, group show, BPS22, Charleroi, BE
Ghosts of your Souvenir 2014-2018, series of online found self-portraits https://ghostsofyoursouvenir.net Ghosts of your Souvenir is a collection of tourist photographs from different authors but having all our systematic presence in the background in common. The project has a performative dimension - visit places of interest and stay there for several hours in order to be photographed indirectly - and a dimension of investigation: using the information of places and dates of our presence, we find afterwards among those images published online those where we appear. When watching this collection of images, the viewer sees at first a series of vacation pictures just as there exist already so many, with a common and familiar aesthetic, representing various famous places of the world. But in a second time, it identifies our recurring presence; although appearing in the background, our bodies then become the main subject of these photographs. They literally embody the link between these traces scattered throughout worldwide databases by people from all over the world too, and encourage us to take another look at these pictures looking banal at first glance.
You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (Ghosts of your Souvenir), 2014-2018)
Oasis Max Life 2017, tablets, phones, floral foam, steel, USB cables, videos, found animated GIFs, 40 x 40 x 150 cm
Les Nouveaux chercheurs d’or 2015-2016, Free golden samples ordered online, print on Awagami Bamboo paper, dimensions variable Les Nouveaux chercheurs d’or (The New Gold Diggers) addresses the complexity and opacity of international distribution networks through a series of samples of gold products ordered for free on the internet. If their preciousness may seem artificial at first glance, these laminate, goatskin or bubble wrap samples does nevertheless have required a huge amount of technical and human resources, often passing by several different countries. Via a similar approach to that of an archaeologist or a naturalist, we methodically collected as much as possible information on the physical and technical characteristics, legal aspects, intermediate production or financial arrangements for companies, to develop a real typology of golden materials. The result of these detailed investigations, obtained by extensive research on the internet as well as direct contact under false identities, is strictly organized and presented under the samples.
Return of the Broken Screens
2015-2017, broken display technologies, custom videos, dimensions variable
Return of the Broken Screens consists of a series of
plastic compositions (videos, generative animations,
GIF...) for damaged screens, found or bought used. The
damage and alterations due to bad handling of a former
owner are the only mean to differentiate these mass-
produced objects that or themselves designed to display
all types of images. Here, each of the compositions is
created for a specific screen; adapting and playing with
their particularities, it blurs the boundaring between
real and virtual spaces.. The hole in the glass of an
iPhone, the failed and failing pixels of a plasma screen,
the star cracks of a tablet: all these accidents become
the origin and are involved in the video, trying to play
with each particularity.Deliverance, 2017, solo show, Steve Turner, Los Angeles, USA (Lightning Ride, 2017; Denim, 2017; Chien-Loup, 2017; Oasis Max Life, 2017; Return of the Broken Screens, 2015 - 2017)
4 Million Year 2001: A Space Odyssey 2013-ongoing, website, film excerpt, length: 4 million year https://www.eb-mm.net/4MY2001ASO 4 Million Year 2001: A Space Odyssey is a video and a net-art project, which consists of the famous ellipsis of Stanley Kubrick’s film «2001: A Space Odyssey» (1968) slowed down so that a single, continuous viewing lasts for millions of years. This video is only composed of the two scenes that come before and after the ellipsis - the longest in Cinema History - when a bone thrown by an Australopithecus becomes a spaceship, symbolizing four millions years of evolution. This video is played in an extremely slow rythm, fading frames in each other according to the elapsed time since its launch. The artists guarantee the perpetuation of the project as long as they’ll live, but because the movie will only end a very long time after their death, the complete source of the project is available online.
Dérives 2013, generative video, 2,500 movie excerpts, infinite length, with the support of the Fondation François Schneider 30’ excerpt > https://vimeo.com/58256630 (mot de passe : ebmm) Dérives (Drifts) is an infinite film composed of thousands of short cinematographic extracts, each one picturing water differently. The editing of these sequences offers to the spectator an entirely new and continuously evolving film in which water becomes the main subject in addition to a journey through its history in the cinema. Dérives proposes an innovating approach of the narrative thanks to an infinite automatic editing system. Each chosen sequence had first been commented according to hundreds of different criteria such as year of release, typology or degree of intensity. In exploiting these data, a soft indefinitely pictures these micro-sequences in real time and pertinently link them up through different stylistic processes. What is to be seen is water playing a calming, terrifying or maternal role (and so ever) in turn, by subtly alternating different dramatic degrees. Water becomes an independent feature of the plot no longer used as a picturesque background; being both realistic and symbolic, an omnipotent and polymorphic entity: protective, majestic and terrible. Dérives proposes a tribute to water as well as a tribute to the cinematographic art in creating a space of dialogue between these two forms: two powerful vehicles for imagination and mirrors of reality.
5ème Triennale de l’ADIAF, 2017, group show, , IAC Villeurbanne, FR (Dérives, 2013) Fondation François Schneider, 2013, group show, Wattwiller, FR and Loop Barcelona, 2014, fair, Hotel Catalonia Ramblas, ES
Bliss (La Colline verdoyante) 2013, Lenticular print, 15 online found images, light box, 50 x 40 cm Taken in Napa Valley by Charles O’Rear in 1995, the photography used as Windows XP’s default wallpaper is considered as the world’s most seen image. Since its release in 2001, it has spawned an incredible number of variations and parodies; it is virtually impossible to find the original image online, buried among an astronomical amount of versions. Bliss is a lenticular printing which mixes a dozen of these images together. Each is representative of its history and of the different types of possible variation. These landscapes, from Minecraft to Charles O’Rear posing for Nick Stern (whose reflection is seen in the context of the photo), are precisely positioned to achieve a maximum of possible concordances. By a sort of «physical glitch», viewers never can’t really discern all these merged images that reveal the archetype of the photography: according to the movement and viewing angle, they constantly appear and elude our gaze.
Google Earth Movies 2013, HD video, 23’40’’ https://www.dailymotion.com/video/x1k0nib Google Earth Movies consists in a series of interactive adaptations of emblematic sequences extracted from famous movies, recreated and played in Google Earth. The original video camera movements are precisely transcribed in the original filming location and with the original soundtrack synchronized. Thus, it is a striking cinematographic experience that is given to us: the objectivation operated by Google Earth, presenting ghostly worlds emptied from any characters, allows to be focused on the framing and the editing of these well-known movies haunting our imagination. Putting these narrative sequences back in context establishes a true bridge between these cinematographic, physical and virtual spaces.
Le Tour du monde en instantané 2013, Digigraphies, Hanemühle paper on Dibond, 120 x 68 cm
Le Tour du monde en instantané (Around the world in an instant) consists of a series of pictures operating an objectification of the landscape of the Earth on a given Axis (Equator, Tropic of Capricorn, etc.). They are each obtained by the fusion of hundreds of screenshots taken all around the earth on each Axis. This protocol, physically impossible, is here applied to Google Earth, offering images with a pictorial, diaphanous and analogical rendering. This abstractisation by movement applies too to the caption elements of Google Earth, causing the disappearance of variable data such as altitude or geographical position, letting only appear its logo and a ruler without measure and meaning. In reference to the paintings of artists such as Auguste Baud-Bovy or Mark Rothko, for the delicacy of colors and lines, simplification and tradition of the sublime, these Tours du monde release Google Earth of its locating and figurative functions ; these landscapes, both abstract and close to reality, leave the software synthesis in favor of a meditative experience.
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