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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

Bored by a vision of the world dominated by B2B (Business to Business) and B2C (Business to Consumer) that seem for so many people to be the only way to consider human interactions, I would like to start a series of works called H2H: Human to

3 versions of the project from the Dump: Titlism "Can we imagine a work wandering like a lost soul in search of a meaning, simply because it had become impossible to give it a permanent title? Would each proposition give the picture a different

Museum of Post-Contemporary Art (MuPCA) in The Dump Paris est une ville qui semble croire à un déterminisme calendaire qui affecterait l’histoire de l’art et plus encore l’architecture de sa conservation. Orsay: un musée du XIXe siècle, le Centre

KITSUN est un instrument de navigation fondé sur la dynamique des flux sémiques urbains. Dans les champs d’attractions qu’ils génèrent, ces flux informationnels viennent se substituer aux champs magnétiques de la boussole dans la détermination des

Artistic Statement The proliferation of networks and communication systems fosters the free circulation and the diversification of exchanges, which create a redistribution of values, as opposed to those in economics which are merely transactions.

On what is data/metadata?

On the "convergence" of technology in industry and the possibility of "divergence" of technology in new media art

"Cardinal Directions," 2010 Surveillance monitor, embedded computer, infrared sensors, robotic actuator, slip ring, stainless steel support, custom software, metal certificate 51.1" x 11.8" x 11.8" / 130 x 30 x 30 cm, free-standing sculpture edition

"Levels of Nothingness," 2009 Sept 17 - 21, 2009 The Guggenheim Museum, New York performance, installation dimensions variable Inspired by Vasily Kandinsky’s Yellow Sound (1912), Rafael Lozano-Hemmer created an installation where colors are