2024.11.30 – 2025.11.30
Tubulus et Syndrome
Experience Pommery #18, Reims, France
2024.10.31 – 2025.01.04
Interior and the Collectors, no. 15
Arles, France
2024.10.04
Tensile Body
Jing'an Sculpture Park, Shanghai, China
2024.09.25 – 2024.12.01
Echoes Among Us
Shanghai, China
2024.09.21 - 2025.01.05
Crossing the water, the 17th biennale d'art contemporain de Lyon
Lyon, France
2024.07.18 – 2024.09.14
Absolute Chairs
Aichi Prefectural Museum of Art, Japan
2024.04.26 – 2024.09.01
Humain Autonome : Déroutes
Musée d'art contemporain du Val-de-Marne, France
2024.01.01 – 2024.06.30
Artist-in-residence at la cité internationale des arts
Paris, France
2022.10.31 Embrase-moi at the Musée d'art de Joliette
Joliette, Québec
2021.11.19. au 2022.02.13
The 5th International Digital Art Biennial (BIAN), organized by ELEKTRA
Arsenal Montreal
2021.05.08 - 2021.06.07
Ruhr Ding: Climate
Urbane Künste Ruhr, Germany
2020.02.09 - 2020.08.30
La main du magicien dans la froide lumière du jour
Musée d'art contemporain des Laurentides, Canada
2020.06.25 - 2020.11.08
Zero Emission
Museum Leipzig, Germany
2020.03.17
Courant Vert
Espace EDF, Paris
2020.02.11 - 2020.05.12
Thresholds
Palais des Congrès de Montréal, Canada
2019.10.31 - 2019.12.08
Montréal ~ Habana : Rencontres en art actuel / Encuentros de Arte Contemporáneo
Havana, Cuba
2019.09.09
Poetry Lies In Between
CityLeaks Festival Center, Cologne, Germany
2019.05.20 - 2019.05.24
CoExistence
2019 ICRA-X Robotic Art Program, Palais des congrès de Montréal, Canada
2019.05.04 - 2019.07.13
Revolution
Biennale d’architecture et de paysage Versailles, Paris
2019.03.08 - 2019.04.13
Salle des maquettes
Galerie de l'UQAM, Montreal
NEWS ARCHIVES

2021.11.19. au 2022.02.13
The 5th International Digital Art Biennial (BIAN), organized by ELEKTRA
Arsenal Montreal
As part of the 5e Biennale d’art numérique Elektra, I present Castles made of sand, for the first time to a Montreal audience. It is an assembly line that rebuilds sand castles destroyed by celestial influence.After having infiltrated the 68th floor of the BMO bank tower in Toronto, the installation “Castles made of sand” had entered the imaginary world of the financial institution. It was like an industrial production line dedicated to the desperate construction of sandcastles. The paradox of production is pushed to its limit: in this line, destruction is an integral part of the process. The machine works in a closed circuit, using the product of its destruction as building material. The sandcastles are made and unmade endlessly, without fatigue.