His installations are elaborated in accordance with the circumstances of exhibition or the nature of places in which he is called on to work. Starting form a basic formal vocabulary, his interventions generate disruption or perceptual disturbance that oscillate constantly between small and spectacular. The different places he invests may be considered both as media of his artworks and as the artworks themselves. He thus intends to extend, re-examine and update the assump- tions of conceptual art about art spaces and its terms of appearance. His work is based on a series of gestures, disturbances or decoys able to make tangible the relationship between art and reality, its friction areas and discontinuities. […]
His installations are elaborated in accordance with the circumstances of exhibition or the nature of places in which he is called on to work. Starting form a basic formal vocabulary, his interventions generate disruption or perceptual disturbance that oscillate constantly between small and spectacular. The different places he invests may be considered both as media of his artworks and as the artworks themselves. He thus intends to extend, re-examine and update the assump- tions of conceptual art about art spaces and its terms of appearance.
His work is based on a series of gestures, disturbances or decoys able to make tangible the relationship between art and reality, its friction areas and discontinuities.
His work has been exhibited at the Palais de Tokyo (Paris), at the Tate Modern (London), and at Winzavod (Moscow). In 2011, the artist opened the “Mosquito Coast Factory,” a workshop of 500 m2 in which he organizes collaborative exhibition projects. In 2012, he completed a research residency in Marfa (Texas).
