Performance, laptop, iphone, tape, 1 x A4, 2018.
This piece won the Prix de Paris 2018, which consist on a financed 1 year residency in Cité Internationale des Arts, Paris.
In TotalBodyControl performances, which are part of the “image fade” series, we are testing group obedience and autonomous self-administered authority.
Are art participants more disciplined than others?
Performance, harness, video, painting(s), sound.
Shown in Academiae Youth Art Biennale, Bolzano, 2018.
What’s performative? What’s a performance?
The action here consist of letting the audience know that something is going on, but it’s impossible to identify what there is to recognize or understand.
Antoine is continuously performing and doesn't do anything special.
The harness is an ornement. When wearing such a thing, “something” should happen. But this something has happened already by displacing the statuts of Antoine’s body, and the perceptive considerations of the audience.
Standard paper, 80g. / Typefaces: DTL Documenta, Univers / Published in 05 copy. The Manifesto Liquidist is an essay in which I expose my research on transhumanism, NBIC and optimisation in the domains of human relationships
— between themselves and the world of things. It is a writing of 175 pages in which 3 part cohabit:
1 st The Manifesto and its Traité
2 nd It’s interpretation in poetic form
3 rd A corpus of images, all taken from the internet as screen-shotted (which is also a statement on appropriation).
A Manifesto is a theoretical attitude, that applies to life, that applies to practice and applies to forms.Manifesto Liquidist
01 To find and keep spaces to hide; in connivance, between humans. To face the injunction of the all-visible: be able to disappear.
02 To understand that pleasure comes from risk, satisfaction from trial and plenitude from accident. And always, doubt.
03 To built for yourself an intimidate sense of duration. Find the right shape for you body in the midst of new magnitudes and speeds that have become unimaginable.
04 To love without knowing, without mastery, without control. Transforming consuming individualism into generous individuation.
05 To built a biologic and philosophic individuation coherent regarding what we are as a specie: by saying no to immortality, say yes to the living.
06 To not use sensorial immersion to fill emotional and sexual needs onto platforms that have no will or desires. Preach body-to-body against sterile visuality that saturates.
07 To imagine a society which would not be theocratic or either technocratic.
08 Against the demoralization that strikes the absence of epoch, do not be cynical. With an intimate injunction to be true to oneself and others.
09 To shape for oneself a body and eye which distinguish the sensations coming from the disobedient real*, and those coming from the optimized real*.
10 To re-create faith cells, and find the zone of future liminal trances.
To get complete file: CLIK
Performance, sculptures, videos, photographs, sound. National diploma of Plastic art Expression (DNSEP) May 2018, ENSBA Lyon.
Even in times of excess, emptiness is the outcome…
How not to be sick of a system based on the accumulation of a value that is abstract itself? (money)
We are always never enough
And we cannot “come” because we are nowhere. Nor in pleasure, nor in pain…
The HYPERPIECE wants to destitute the artist’s figure. The artist is not anymore “the one” who knows, rather (s) he is naked, at the earth of an interdependency network that (s) he links in order to “make form”.
The artist itself is nothing, (s) he doesn’t do anything from Zero, (s) he is a knot in the network.
(s) he needs other peoples, (s) he needs everything to exist as a “person making art”. Art doesn't exists on its own in the middle of the desert. Or it could but it needs a diffusion. So it’s easy to understand the necessity of the all “art world” (or micro / macro-cosm around the artist) to allow someone, or something (an object) to become art or artist. The understanding of this necessity is what gave me the idea to play with the option of the artist disappearing within its own HYPERPIECE.
An example of what an HYPERPIECE can be:
The HYPERPIECE is an ambiguous and chasmic space within which all the moving and thinking bodies work together. The form and its evolution are depending on things that are not necessarily decided by the “author”, but come from the HYPERPIECE body which becomes autonomous.
The HYPERPIECE create a combination of information that are not to be recorded. The piece can’t be reproduced because every time it’s played or shown, it has grown, so it has changed. The first “system of free interpretation” I gave to the performers isn’t changed, but from this first set, anything can happen.
The HYPERPIECE is a space where artists, dancers, actors, musicians and other “energies of doing” meet each other and act. Their will is to push the “author’s question” to the limit. They are emancipated from recognition and pride, they understood that “making forms” it’s being together.
The HYPERPIECE is uncontrolled. What happens within the composition doesn’t depend on the author who is “versatile and sincere at the same time” … she/he brings something to us that is an independent entity. Through responsible irresponsibility they destabilize authority of intellectual academicism and annoy the hierarchies which systems expect the clear identification of a concept or a product (in relation to the market).
The HYPERPIECE can’t exist if it’s not live. It works only with living bodies. Those bodies are collaborators, not only performers. All the actors of the project are swallown by the global body of the HYPERPIECE. They all participate in the elaboration of a form that already exist because of their group-form.
Performance, ceramics, wood, steel, coton, sensors (warmth, pressure, movements, giro-), PCBs, 2017.
Shown in Proposition For Waiting For The Future, Exhibition Laboratory, Helsinki. A show curated by Gregoire Rousseau and Flora Bouteille.
About the concept of our show, by Gregoire Rousseau:
“Proposition for waiting for the future” title may lead to the following sophisticated questioning: why do we need a proposition to wait as the future will always come? A valid answer would be first to state that the future cannot be addressed so linearly as “always come” could mean. The future cannot be simplified in the complexity of its form because a second comes after another. Time manifest its effects transforms, produce and re-produce material elements in our everyday life.
Future goes on because of historical process of spaces of collective struggle. In this sense, “waiting” relates to in between time situations; between present, past and future, between fragmentation and unity, between movement and immobility, between liquid and solid. The proposition operates both as a moment of collaborative affirmation and as a production of singular moments. A continuum of situations, a superimposition of images, sounds and material. If present is the time of the coexistence, then future is the time of affirmation.
Performance and video installation, 2017.
WANCHIN is a word made of WANK + WATCH in their — ING forms.
“At every angle of the cam there’s a limit and I can walk out but not my breathing or any noise, wall to wall to walk walk not in this room — that is the frame, the mic hole open and wide swallows all” “they are we are you are IRL WANCHIN”
Shown in Exhibition Laboratory, Helsinki in the frame of ANIMAL AND THE LOGIC OF OTHERS.
The video from Maximum Harmony was shown also in “Dear Mickey Mouse” in Chalton Gallery, London, July 2018.
Below, an excerpt of a text written by Laura O’Neill about Maximum Harmony:
“…the video digitally renders an exploration of the artist herself. Interior / Exterior. Observing the closeness of the cameras, the human body acts flat and transparent. The repeating forms of skin and hair create optical, meditative abstractions of gender constructs. Using the vantage point of the screen, the window or the transparent bag carried by us when required to conform to the demands of surveillance and security, pledging upon arrival, to leave nothing hidden, instead circulating the presence of the observing subject, self-constructing self-image.”
Do humans dream
scroll down into the endless feed,
someone is always updating more often or rising to the top by virtue of retweets, reshapes, or some opaque algorithmic calculation,
— second nature.
with your DNA we can call you
(13 % of, 7 % of, 31 % of, 9 % of, 27 % of, 6 % of, 7 % of,)
= Can you still be racist?
Your information, your Work
— second nature.
THINK OF OTHERS/. THEY WANT THE SAME:
WE WILL EXERCISE TO MAKE THIS POSSIBLE, WE DO TALK TO KEEP IT REAL
Performance, props, sculpture, video, sound.
Shown in Partout, mais pas pour très longtemps…, ELAC Perrache, Lyon, 2018.
Click here to read about it ¬ Publication: Le Chassis avec Cassandre Langlois.
An essay explaining why it is possible to be Versatile and Sincere at the same time.
To get complete file: CLIK
Method: Fluid Appropriation.
Mood: Focused Indolence.
We don’t say Yes or No, we just consent. Do not try to readjust (your television set), it’s too late for that.
I wanted to embarrass the audience and she Iona Roisin wanted to embarrass herself.
Performance and video, 2016.
Cold Green is made with 5 different types of cameras.
Here we the deactivate the sensuality of the bodies, as they are obsessively looking into the camera hole.
The cam hole becomes the Hole of all Holes.
Performance and video, 2015.
BIG DATA is the second episode of the series started with CLOSER, and followed by NAVIGATE ME. Here the two characters meet BIG DATA
“… BIG DADDY TELL THEM WHAT THEY WANT TO HEAR, SHOW ME EVERY HIDDEN DANGER, GIVE ME THE APPROPRIATE TOYS TO PLAY WITH’. And offer their bodies to its holy whole “OH BIG DATA, YOU KNOW I AM SINGULAR IN MY PATTERNS, YOU SEE ME AS AN INDIVIDUAL, I AM ALL OUTSOURCED CODE TO YOU… OH GOD YES OH GOD DOG GOD DOG GOD YES HO GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD — OH. —— YES…”
Performance and video, 2015.
CLOSER is a dialogue.
CLOSER is a script to perform.
CLOSER can be learned and forgotten.
CLOSER happens in video space.
Video space doesn’t have texture.
Maybe better to say that video space is image + space; Existing but not situated, impacting but is it a fact? Is an image a fact or a surface?
Nice Feeling is a short fiction in which an anonymous girl presents herself as a art product, as a performative body, trained in order to be exported all around the world and further her value. This white room is a direct reference to the white cube, more broadly, the piece is a critique of the tao-referentiality of post-modernist artistic production. She speaks about the separation between, her body and the world, between the art world and the actual world. She is a being-image isolated and protected in a zone where she is required to do nothing. Just being there, as an image, out of time, never getting old, never risking anything. She insist on being her own avatar, she interrogates the implications of this image, of its virtual content in concrete terms. Wondering if her discourse is impacting reality even if its origin is undefined and seems not to belong to her...
"I will speak in english cause i could be exporte all over the world. I wish I am international;
I go out sometimes and i remember...
I touched that, i sat there...
Here is just a temporary state of my body
Here I’m not the happening body...
Here I am the electric body, pointed out as singing blood, song of light and dark, moving squares on a non-existing surface.
Up there they said I don’t need to represent anything.
«No representation, no representation» they said!
This is just about being
ha - ha - ha
«Just your image. This is undefined time out of time».
I would like to be... forgetful... the one who forget everything."