Catalogue 2024

A film about a film that never existed. In the 1970s, Michelangelo Antonioni wrote a screenplay, entitled Two Telegrams, with the American Rudy Wurlitzer. In the 1980s, Portuguese producer Paulo Branco agreed with the director to make the film in the United States. For various reasons, the film didn’t happen. In this film, the imagination of the two directors picks up on what this unfinished project could have been.

Alexandre Gouzou, born in 1963, founded the magazine Les Épisodes in 1997, which has published unpublished works by American authors (Kerouac, Harrison, Burroughs.) and French writers (Henri Calet, Emmanuel Bove.). He has also published short stories in magazines. J'aurais voulu que tout soit autrement is his first book. In it, he asserts himself with a muted voice, both melancholy and funny. Jean-Claude Taki is a film director. He has made both short and feature-length films using cell phones. In 2005, he made his first short films, which were the first steps towards his pocket cinema. On his website (http://www.jctaki.com/), you can find extracts from his writings, including “Lettres kazakhes”: a short illustrated epistolary novel. Written by young women, the letters are all addressed to Guillaume, a young Frenchman who has returned to France after a long stay in Kazakhstan. Through the humor, hopes and feelings delicately sprinkled throughout these letters and drawings, a rich, nuanced and subtle picture of a little-known country emerges.

Les microbes is based on the stories of some of the crew members that were told during the filmmaking process and reflects on their situation in an experimental way. They had to flee their homes due to poverty, war and prosecution. Now, after their long journey, they have to persevere and wait. Wait while the world is turning madly.

Matze Görig works at the interface between film, visual arts and sculpture in various contexts and often in the socio-cultural field. His cinematic and digital sculptural works have been shown at various exhibitions and film festivals and as interactions in opera and theater productions (e.g. International Short Film Festival Oberhausen, Hof Film Festival, Karlovy Vary Film Festival, Kunstraum München, Kino der Kunst, Konzerthaus Berlin, Transmediale Berlin, Theater Hannover). Matze Görig writes scripts, edits films and creates sound designs for his own and other artists' works. He has worked as a lecturer in various institutions (UDK Berlin, Kunsthochschule Weissensee, HFF Munich, Schlesische27) Since 2020, he has been the artistic director of theexperimental workspace Falscher Fisch in Berlin-Neukölln, which has set itself the task of inspiring new dialogues through art projects together with young refugees and in cooperation with changing partners

An unknown entity, discovers the human world in a nocturnal car ride through Los Angeles, observing people at the side of the street and listening to their stories. The film mixes the journey of a fictional character, an unknown entity played by drag performance artist Beaujangless, with documentary roadside encounters in a nocturnal car ride through the ‚City of Angels’. Observations of people passing by, accompanied by an AI-generated voice-over reciting first-person narratives from interviews, intertwine with sequences of the main character dancing to Holly Herndon‘s song ‚Frontier‘. The film explores narratives as both center and limit of human world experience and self-awareness, the concept of an immortal human soul in neo-religious, dataist times, as well as the USA as a collective narrative of capitalist superiority in decay. ‚Because We Bleed‘ is a meditation on storytelling and a poetic journey into a new, dark age.

Andrea (born 1986, Rostock, Germany) is a non-binary artist and director. Joscha (born 1984, Stuttgart, Germany) is an artist and director. Since 2009, the two have been working as a duo. They hold a diploma in photography and media from the University Of Applied Sciences Bielefeld (2006-2012). Their collaborative work revolves around people and the narratives in which they are captured. This results in non-linear stories evolving from anthropological field research and artistic subversion. Their photographs and films are exhibited and showcased internationally. Both live and work in Berlin.

This video is produced from different VR Painting I produced about Ukraine Cyber war as an ex member of IT Army of Ukraine, by using different AI images produced on the basis of the real Ukraine war one, by using also different logs from my Hacktivism with IT Army to support Ukraine. The point is to define a kind of mental cage, because a cyber war is mostly a mental war than a physical one.

Born in 1967, Valéry Grancher is a French-born artist, theorist, curator and lecturer, living and working in Paris and Hong Kong since 2014. He first became well known in the mid-1990s for being one the first net artists (online art) and for his ‘Google paintings’ but his artistic practice is vast and covers internet art, video, photography, painting, AI painting and VR installation. Valéry Grancher is an explorer. His curiosity leads him to investigate all kinds of territories such as the different media and new technology to define new forms and concepts. On 2014, the French public collection National Fund for Contemporary Art, National Centre for Visual Arts (FNAC) acquired his video installations Geopol (a 24-hour tracking shot of the horizon at the North Pole) and Tanguntsa (a 6-hour shot in deep Amazonia). His productions are included in several public collections such like Cartier Foundation for contemporary arts (Paris), Maison Européenne de la photographie (Paris), Carillo Gil Museum (Mexico), Berkeley Art Museum Pacific Film Archive (Berkeley), ZKM (Karlsruhe), Bandjoune Station (Cameroon), VMAC (Hong Kong) and many others…

"The woodland threshold" takes us on an introspective journey into the heart of the Laotian forest. The film follows Dao's journey, letting her thoughts wander to the rhythm of her footsteps, venturing into the depths of her memory. Between the parks of Rennes, where she lives, and the jungles of northern Laos, we wander with her on an inner journey, where the boundary between past and present becomes porous.

Giulia Grossmann was born in Paris in 1984, she studied visual arts and anthropology. In her work she explores the interactions between humans and their environment. Her films play with the permeable border between fiction and documentary. Since her first short film Native American, rewarded with the Inrocks lab video creation prize in 2012, her work has been exhibited in art centers, galleries and museums as well as in festivals in France and abroad.

About 100 years ago, El Lissitzky (1890-1941) crafted the first avant-garde children's book, "About Two Squares." Two years prior, he vividly illustrated the Jewish Passover tale, "Chad Gadya" or "One Little Goat." This cumulative song was designed in such a way that each subsequent verse incorporated a fresh element that abolishes the one from the previous verse. This unique creation also marked Lissitzky’s final foray into Jewish illustrations before his evolution into a pivotal figure in the Soviet avant-garde movement. Fast forward to the present, the six-screen installation, Living Spaces and Imaginary Museums, blends Lissitzky’s folklore and avant-garde ideas, staged within domestic and institutional settings. A museum attendant irons red and black towels inside a Baroque museum while uttering the punk song "Red Over White" (1984) by Siouxsie and the Banshees, as a tongue-in-cheek reference to Lissitzky’s most known political poster- “Beat the Whites with the Red Wedge” (1919). Meanwhile, another character sings the Italian version of "Chad Gadya" in a moving van. On another screen he engages in a conversation with a third character, a potential lover who answers his questions about Lissitzky’s “About Two Squares”. These illusive and allusive scenes morph into a sonorous and visual canon interval that transfigures everything — folklore and the avant-garde, private and public spheres, the past and present — transforming them all into a fairytale.

Assaf Gruber (b. Jerusalem, 1980) is a sculptor and filmmaker living and working in Berlin. The dynamic relationship between individuals and institutions is at the center of his practice, which aims to explore both how the political orientation of legacy establishments impact the lives of individuals and how these organizations choose to represent and communicate facts and their attendant artifacts. The absurd biographies of the protagonists in his projects simultaneously reveal and obscure the reasons and motives that lead people to obey or rebel against their inner world or the society in which they live. His photography, sculpture, and installations place the materiality of objects in relation to narrative dimensions, which in turn create fictional spaces where movement and non-movement function as a medium. Gruber’s solo exhibitions include the Berlinische Galerie, Berlin (2018) and the Muzeum Sztuki, ?ód? (2015). His films have been featured in festivals including the International Film Festival Rotterdam (2023) and FID Marseille (2022). He studied at Cooper Union in New York and is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris and of the Higher Institute of Fine Arts (HISK) in Ghent. Gruber was one of the fellows of the Berlin Artistic Research Grant Programme 2022/23 (gkfd).

For 30 years, Cao Guimara?es has documented fragments of his friendship with fellow artists. Friendship is a mosaic of domestic moments recorded in a variety of formats, from the computer screens, to Super8 and 35mm film to cassettes and old answering machine tapes. These audiovisual doodles are sometimes poetic, sometimes banal, and sometimes profound, mournful or uninhibitedly joyful. Above all, they are a celebration of spending time together and growing older.

Cao Guimarães works at the intersection between cinema and visual arts. With intense production since the late 1980s, the artist has his works in numerous prestigious collections such as Tate Modern (United Kingdom), MoMA and the Guggenheim Museum (USA), Fondation Cartier (France), Colección Jumex (Mexico), Inhotim (Brazil), Thyssen-Bornemisza Museum (Spain), among others. He participated in important exhibitions such as the XXV and XXVII Bienal Internacional de São Paulo, Brazil; Insite Biennial 2005, Mexico; Cruzamentos: Contemporary Art in Brazil, USA; Tropicália: The 60s in Brazil, Austria; Sharjah Biennial 11 Film Programme, United Arab Emirates and Ver é Uma Fábula, Brasil, a retrospective with a large part of the artist's works exhibited at Itaú Cultural, in São Paulo. He directed twelve feature films: Amizade (2023), Santino (2023), Espera (2018), O Homem das Multidões (2013), Otto (2012), Elvira Lorelay Alma de Dragón (2012), Ex Isto (2010), Andarilho (2007), Acidente (2006), Alma do Osso (2004), Rua de Mão-Dupla (2002) and Fim do Sem Fim (2001), which participated in renowned international festivals such as Cannes, Locarno, Sundance, Venice, Berlin and Rotterdam. He had retrospectives of his films at MoMA, in 2011, Itaú Cultural, in 2013, BAFICI (Buenos Aires) and Cinemateca do México in 2014. In September 2017, he opened the largest exhibition and retrospective about his work in Europe, at the Eye Filmmuseum, in Amsterdam. He is represented by Galeria Nara Roesler, from São Paulo and Galerie Xippas (Paris and Montevideo).

Throughout a night out in downtown Tijuana, Laura waits for her destiny to arrive.

Marinthia Gutiérrez is a filmmaker from Tijuana, Mexico. She graduated from the UCLA Theater, Film, and Television School in 2018 with a Bachelor’s in Film, emphasizing in narrative directing. Marinthia is drawn to tell stories that are character-driven and introspective in an almost surreal way, visualizing raw emotions through highly stylized images. Her tone can be described as atmospheric magical realism. Marinthia's debut short film, “Ella se queda” (She stays), was the recipient of the 2022 Standard Fantastic Fellowship and it world premiered at Semaine de la Critique - Cannes Film Festival in 2024.

J€SUS $AVES explores the archeology of Hollywood as well as Arab fetishism in cinema and the early film industry. It is a reflection on how Hollywood's influence can shape our perceptions of race, gender, and power. In Los Angeles, I initiated research and shot 16mm films. In the dunes near Guadalupe, California, midway between San Francisco and L.A., Cecil B. DeMille constructed the largest movie set in history for his silent film, The Ten Commandments. The set was called "The City of the Pharaoh". Following filming, DeMille ordered that the entire set be dismantled and secretly buried in the dunes. J€SUS $AVES uses this as a launching point to explore themes of cultural appropriation and belonging.

Siska was born in Beirut and resides primarily in Berlin. He holds a Master's degree in Film and Audiovisual Arts from the Lebanese Academy of Fine Arts. A key figure in the early Beiruti graffiti scene, Siska has also produced and performed music as part of the Lebanese Hip Hop group Kitaa Beirut ???? ?????. A large part of his practice involves archiveology, examining sociopolitical narratives in relation to personal and collective memories. It is common for his work to take the form of extended cinema where he applies cinematic codes as well as film language in order to explore various visual narrative techniques. At the Haus der Statistics in Berlin in August-2021, he curated a series of conversations, films, readings, and live performances as the artistic director of redeem ????, a platform for ongoing conversations between voices from Beirut in Berlin. In 2024 he became the artistic director and curator of ADfD - Alternative Monument for Germany, an Augmented Reality Memorial commemorating migration in Berlin that included workshops and public talks at Spore Initiative. Additionally, Siska has collaborated on numerous performance and music productions, taking a midpoint between his career as a visual artist and performance artist. In 2022, he completed his residency and fellowship at Villa Aurora in Los Angeles. Siska's work has been internationally shown, including Martin Gropius Bau (Berlin), Halle 14 (Leipzig), Paris 104 (Paris), Beirut Exhibition Center (Beirut), Mosaic Rooms (London), Berlinale (Berlin International Film Festival) and Silent Green Kulturquartier among others...

Maya Han C18H10N2O4 2023 | Etats-Unis | vidéo | essai vidéo + documentaire expérimental | 35:00 (extrait 8:00 min.) C18H10N2O4 est le composé chimique de la mélanine, l'un des pigments biologiques les plus anciens et les plus omniprésents dans la nature, y compris chez les humains et les champignons. Utilisant comme point de départ le rôle historique de la mélanine en tant que marqueur fallacieux des catégories raciales, ce film d'essai explore les manières surprenantes dont la mélanine et la mycologie sont liées, révélant des liens avec les histoires africaines et coloniales, ainsi que le rôle fascinant et plus vaste de ce produit chimique dans la nature et la culture.

Maya Han est une cinéaste expérimentale, artiste, et écrivaine. Son travail est une forme d’activisme « soft », abordant de manière critique les questions de race, de genre/sexe, de travail, d’identités diasporiques et d’histoires marginalisées ou effacées. Sa formation comprend des études en langues et littérature française de l’Université de Paris III La Sorbonne Nouvelle et un M.F.A. en Studio Art. Ses projections et expositions comprennent le Harlem Film Festival, NYC; Le Musée national des femmes dans les arts, Washington DC; et le Festival international du film de Pusan, Corée. Elle se trouve fréquemment à Paris ou à Brooklyn, où elle cultive notre jardin.

For her first grand-scale institutional show, Hansen has created the major new film and sound installation Groundings, collaborating with sound artist Eliza Bo?ek, among others. Based on long-term research on the quartzite quarry at the Giemaš mountain in the Sápmi region of northern Norway, Hansen’s investigation digs into questions of the manmade structures that control Earth’s raw materials and ground—hence the title Groundings. How technology amplifies the mapping, analysis, extraction, and profitability of natural resources and how the core resources employed in these new technologies and shifting geopolitics are the Earth’s raw materials themselves (just think of the chip in your smartphone).

The artistic practice of Nanna Elvin Hansen (b. 1989, DK) moves in the murk between art and activism. Building audio and film projects via local, collaborative processes, her works unveil structural violence that impacts on human rights and displacement.

A film critic with philosophical interests, played by the film critic Roger Koza, wonders about the nature of nature. And he obsessively tries to capture it with his cell phone camera. Other experts – filmmakers from different countries, art historians, a scenographer in charge of a natural science museum, and members of the human species from a distant future – think about ways of representation of nature. Kaleidoscopic and playful collage, sometimes fiction, sometimes documentary, „En vez de árboles“ cannot help but wonder about the nature of cinema itself.

Philipp Hartmann, born in Karlsruhe in 1972, has been working as a freelance filmmaker and video artist since 2000. Before studying film (graduating in 2007) at the Hamburg University of Fine Arts (HfbK), he studied Latin American Studies and completed a Ph.D. in environmental economics in Cologne and Brazil. His most recent feature films are „virar mar / meer werden“ (2020, together with Danilo Carvalho), „From the 84 Days“ (2021), „El Argentino“ (2022), „66KINOS“ (2017) and „Time goes by like a roaring lion“ (2013). He also regularly makes short films (e.g. „Of Seeing in Salt“ (2024), „Rüdiger“ (2021), „About the necessity to travel the seas“ (2010) or „requiem for Mrs. H.“ (2007) and commissioned productions, especially for museums and visual artists. He teaches at the Hafencity University Hamburg and in the summer semester 2023 as a substitute professor for film at the HfbK School of Fine Arts Hamburg. Also working as a moderator in different filmfestivals.

Centuries prior to the colonization of the Americas, Purple Martins began to nest in gourds that people hung to store food and water and became companion species for many tribes. The birds that European settlers brought with them drove Purple Martins out of their wild habitats so that now they can only nest in birdhouses that people build to prevent their extinction. Homing follows the migration of Purple Martins from the Amazon to the Great Lakes, between the conservationists who study them and to the houses they are dependent on for survival.

Tamer Hassan has screened his films internationally including at Viennale, Cinéma du Réel, Lincoln Center’s Art of the Real, Mar Del Plata International Film Festival and Punto de Vista. He has been a fellow at the Flaherty Film Seminar and participated in the Berlinale Talents program. He teaches at Parsons School of Design.

Fascinated tourists stroll through the GDR museum as if it were an amusement park, detached from the painful narratives of the communist regime. Their casual attraction to vintage relics, coupled with a comfortable amnesia, and a desire for utopian ideals, renders them complicit in the current Cuban reality.

Heidi Hassan is a Swiss-Cuban filmmaker and visual artist with a career that spans documentary, experimental cinema, and hybrid forms. After earning a degree in Cinematography from the Escuela Internacional de Cine y Televisión (EICTV) in Cuba and a distinction from the Haute École d'Art et Design (HEAD) in Geneva, her work has been celebrated globally. Her films often explore themes of exile, identity, and memory, and have been exhibited at prestigious festivals around the world. Among her works, "A Media Voz" (2019) stands out, having won multiple awards such as Best Documentary at IDFA-Holland, at the Havana Film Festival-Cuba, Málaga Film Festival-Spain, Iberoamerican Festival of Ceará- Brazil, FICCALI-Colombia. Her other acclaimed films include "Tierra Roja" and "Otra Isla" Additionally, she has received numerous grants and participated in exhibitions like "Inner Landscape" in Taiwan and collective shows in New York, Buenos Aires, and Geneva. Through her deep engagement with both cinema and visual arts, Hassan continues to craft narratives that challenge conventional storytelling.

“Does Spring Hide Its Joy” is an immersive audio experience by American composer Kali Malone featuring musicians Stephen O'Malley and Lucy Railton. The music is a study in long-form, non-linear durational composition, with a heightened focus on septimal just intonation and beating interference patterns. At the same time, it is a film documenting the sound piece, where Célia Hay creates a portrait of the derelict Birkenhead Docks, an industrial place where nature has quietly reclaimed its rights.

Célia Hay is a French artist whose work mixing film, photography, poetry and installation oftentimes depicts isolated social misfits wandering, on their journey to mysterious existential quests. Characters who have left the world to carry out uncanny and rebellious gestures of intimacy which are theirs only, and invent new ways to love and to exist. Themes of mourning, sisterhood, drifting, and how the loss of words can establish bonds in surprising ways are at the core of her practice.  Kali Malone is an American composer and musician who creates sonic monoliths that tug at the very material of listening. Malone’s compositions implement specific tuning systems in minimalist structure for pipe organ, choir, chamber music ensembles, and electroacoustic formats. Her music is rich with harmonic texture through synthetic and acoustic instrumentation in repetitive motions and extended durations. The music emits distinct emotive, dynamic, and affective hues which bring forth a stunning depth of focus.

En Californie, environ 172 000 personnes sont sans abri, soit 30 % du total du pays, même si cet état ne représente que 12 % de la population des États-Unis. Le manque de logements abordables, les problèmes de santé mentale et la consommation de drogues, sont les causes principales de cette crise sociale. Cette détresse humaine est partout de nos jours, mais elle est loin d’être banale. J’ai rencontré quelques personnes itinérantes lors de mon passage dans la ville de El Centro et elles ont bien voulu que je les filme. J’ai capté quelques moments de leur vie quotidienne, aux abords l’autoroute 8 et du désert de Sonora.

Isabelle Hayeur est connue pour ses photographies et ses vidéos expérimentales. Elle a également réalisé plusieurs commandes publiques, des installations in situ et des livres photographiques. Sa démarche s’inscrit dans la perspective d’une critique écologique, urbanistique et sociale. Depuis la fin des années 1990, elle sonde les territoires qu’elle parcourt pour appréhender comment nos civilisations contemporaines investissent et façonnent leurs environnements. Elle est préoccupée par l’évolution des lieux et des communautés dans le contexte sociopolitique néolibéral que nous connaissons actuellement. Ses travaux ont notamment été présentés au Massachusetts Museum of Contemporary Arts, Neuer Berliner Kunstverein et aux Rencontres internationales de la photographie à Arles. Elle a aussi fait plusieurs résidences d'artistes et participé à de nombreux festivals internationaux.

At the apex of a new solar activity cycle, after an eclipse during the summer solstice, the members of a family transform into a soap, a plastic bag, a simulated plant, and an electric plug — objects from their domestic environment. While the electronic grid is disrupted by the solar storm. The film depicts a series of irregular structures, from digital models to the electronic system: networks, databases, QR codes, planetary matter, cosmic cycles, and artificial environments. It recreates the eclipse of the summer solstice in 2020 and invokes the deadly relationship between solar activity and electronic systems to touch on the uncertainties in both the digital and physical worlds. In the pre-Internet era, an electronic system collapse caused by a massive solar storm had occurred. Such an event could be catastrophic for today’s world, which heavily relies on electronics, and still remains unpredictable. With computer-generated monologues of an imaginary broken machine, the film itself also explores a deductive working method, using the first shot of the animation as a “seed” which gradually develops into the holistic narrative through mind associations, like a generative process. It was shot in the neighborhoods of the Capital Belt of Beijing, where the artist lived during the COVID lockdown, and engages performance of friends, neighbors, and workers. The audience can scan the QR codes in the film to access additional screen spaces, including a short notice, a digital perfume, and a digital watch. Although the virtual world lacks scent, the watch remains static. The English title, ‘Saros,’ refers to a certain period of time used to predict the cycle of eclipses, where the Sun, Earth, and Moon return to similar corresponding positions, so that almost the same eclipses will occur again.

HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

Random Access (2023) takes the form of a science fiction set in the city of Guiyang and its vicinity, home to the world's largest radio telescope FAST and a “data center cluster” credited with driving the rapid expansion of China’s digital industry. It is also the center of the Chinese Karst landscape, where geological information and meteorological clouds are stored in the mountains. Riffing on her parents’ experience of living in this misty highland technological hub, the artist imagines a narrative unfolding after the unexpected crash of its main data center. In this disordered digital reality, two characters travel through the city filled with flashes of ancient memories and imaginaries of the future. Whether they are encountering information stored in the cloud or expanded versions of themselves, the protagonists must find their way through a rapidly changing world.

HE Zike (b.1990, Guiyang, China) is an artist who works with mediums including video, writing, performance, prints, and computer program. By incorporating personal memories into her research and fieldwork, HE Zike’s practice illuminates the interplay between time, mundane lives and the technological environment. She weaves the disorder beneath the surface of contemporary life through a narrative approach. She was a finalist for the 5th VH Award of Hyundai Motor Group, and was selected in the residency program of Pro Helvetia, the Swiss Arts Council in 2023. From 2021, She has co-initiated the interdisciplinary project “Under the Cloud” which visits and studies the technological infrastructure in Southwest China. Her works have been exhibited in Cosmos Cinema, the 14th Shanghai Biennale (2023), Dream Screen at Leeum Museum of Art (Seoul, 2024) and Beijing Biennale (2022) among others.

Un road movie un soir d’hiver quelque part sur la péninsule arabique. Trois amies, pour tromper leur ennui, se lancent dans une joute verbale qui mènera à une réflexion sur le pouvoir et les interdits.

Né en 1989 à Saint-Avold, diplômé des Beaux-Arts de Nancy, des Arts Décoratifs de Paris et du Fresnoy, studio national des arts contemporains. Il vit et travaille entre Paris et la Lorraine. Son travail qui se traduit à travers l’objet, le son, le film et l’installation a été présenté lors d’événements d’art contemporain et festivals de films tels que FID Marseille, IFFR Rotterdam, Visions du Réel, Paris Nuit Blanche et dans des centres d’art et musées comme le Centre Pompidou, le FRAC Lorraine, le FRAC Grand Large, Les Rotondes.

In an occupied factory in the south of France, a group of workers reactivates discreet movements of past worker resistance. It’s the dance of obstruction.

Paul Heintz is born in 1989 in Saint-Avold (France), a Fine Arts graduate at Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. He is currently living and working between Paris and the Lorraine region. His work goes through object, sound, film and installation has been presented at contemporary art event and film festival such as FID Marseille, IFFR Rotterdam, Paris Nuit Blanche and in art-center and museum as Centre Pompidou, Frac Lorraine, Les Rotondes. In 2019, he won the contemporary art price Révélation Emerige and Artist book of the year of Adagp 2021.