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"ETERNAL SHELVES" is Stenger's first Web Based VR work programmed in early VRML 1.0, silent and un-animated. 3D words expressing the most intense emotions in a human history (exile, transe, etc.) are sitting on gray shelves, creating sparks of

A revolutionary Poetry Book, programmed in Web Based VRML and conceived for immersion. Texts translated from "Vite de la Banane", available at the New York Public Library, and the urbana Champaign Library of Illinois. Read by the author. The

The PERMANENT exhibition of the Arc de Triomphe conceived and directed by Maurice Benayoun and Christophe Girault, architect, is being dismantled to give place to a souvenir shop. To react to this obscene act of institutional vandalism, Maurice

Two people, watching Blind Love Ready Made are sitting, earphones on, in front of their show, generated abstract shapes moving at the rythm of an invisible couple orgasmic vocalizations. This solitary pleasure is only disturbed by the fact to

Two concepts have marked 21st century creation, the metaphysical consequence of which is obvious to everyone, despite their apparent differences. The first is the idea that it is the spectator who creates the picture and the second is that the

...The spirit of contemporary art Most of the sensible minds have understood, since now long, that there is no reason to produce significant...

...communiqué Centre des Arts Pour ce dernier volet de la saison, le centre des arts invite l’esprit prolifique de Maurice Benayoun à investir... ces projets inédits, etd’extraire de cet espace un panel inédit d’installations, de démonstrations et d’images qui prolongeront l’univers de...

L’exposition à la médiathèque George Sand présente le travail vidéo de Maurice Benayoun - La série Quarxs réalisée entre 1990 et 1993 en collaboration avec le dessinateur de bandes dessinées François Schuiten et l'écrivain Benoît Peeters. une des

... "interesting" the Game, must embody the interaction. The art is sometimes a form of onanism, narcissism and despair, I propose...

Two years before the turn of the century, a committee chaired by Jean-Jacques Aillagon, at the time director of the Centre Pompidou, was entrusted with the task of defining the ceremonies to celebrate the millennium. Oddly enough, I was invited to