从一个故事形式的文字开始，科伦丁·达雷探索虚拟与现实维度如何交织与互动。仿佛从三维世界中逃脱出来，这些雕塑和布景继续在屏幕的数字表面之外创造叙事图像。通过使用古铜色和高光，他赋予这些物体一种奇幻的维度，让人想起玩家任务所需的物品或游戏中的纹理。这些脚本化的作品唤起了与他人关系中的拒绝、爱等复杂情感变量的思考，以及孤独的痛苦和被遗弃的孤立身体。借助塑造我们集体想象的传说和民间故事，科伦丁·达雷的创作旨在质疑当今世界上广泛出现的他者性这一当代议题。
科伦丁·达雷1996年出生于博讷，目前居住和工作于巴黎。他毕业于巴黎-赛尔奇国立高等艺术学院。2022年，他获得第12届圣雷米年轻创作奖评审团奖，2023年获得Enowe-Artagon资助，2021年获得Horizon d'Artagon资助。他曾在Villa Beleville（巴黎）、Consulat Voltaire（巴黎）和Poush Manifesto（克利希）进行过驻留。他的作品曾在东京宫（巴黎）、Confort Moderne（普瓦捷）、Lafayette Anticipation（巴黎）以及作为平行艺术节的一部分在Servière城堡（马赛）展出。2023年，他与SISSI俱乐部画廊参加了Art-O-Rama博览会，他的作品也加入了法兰西岛地区基金会的收藏。（Elise Poitevin & Anne Vimeux，2023年）
Starting with a piece of writing in the form of a tale, Corentin Darré explores the way in which virtual and real dimensions intermingle and interact. As if escaped from 3D, the sculptures and sets continue to create a narrative image outside the digital surface of the screen. Using patinas and highlights, he gives these objects a whimsical dimension, reminiscent of the items needed for a player’s quest or the textures used in gameplay. These scripted works evoke the rejection, love, violence and addiction of relationships with others, as well as the pain of loneliness and the abandonment of isolated bodies. Drawing on the legends and folklore that shape our collective imagination, Corentin Darré points to contemporary issues that question the world’s attitudes to otherness.
Born in Beaune in 1996, Corentin Darré lives and works in Paris. He is a graduate of the École nationale supérieure des arts de Paris-Cergy. He won the Jury Prize at the 12th Prix Jeune Création de Saint-Rémy in 2022, the Enowe-Artagon grant in 2023 and the Horizon d'Artagon grant in 2021. He has taken up residencies at the Villa Beleville (Paris), the Consulat Voltaire (Paris) and Poush Manifesto (Clichy). His work has been shown at the Palais de Tokyo (Paris), the Confort Moderne (Poitiers), Lafayette Anticipation (Paris) and the Château de Servière as part of the Parallèle festival (Marseille). In 2023, he took part in the Art-O-Rama fair with the SISSI club gallery, and his work joined the collections of the Frac Île de France.（Elise Poitevin & Anne Vimeux, 2023）
科伦丁·达雷，水之人，装置，木头、丙烯颜料、芦苇、视频，圣雷米磨坊艺术空间，2023
Corentin Darré, Òme d'Aiga, installation, wood, acrylic paint, reeds, video, Moulin des arts de St-Remy, 2023
在圣雷米的Moulin des Arts的Atelier Blanc驻留期间创作的 Òme d'Aiga，意为“水之人”（奥克语），是一件多媒体装置作品。围绕着一个屏幕，视频中故事的催化剂演变为现场的雕塑组合，仿佛从原来的三维世界中逃脱出来。芦苇被涂上石油黑树脂，让人想到故事中被烧焦的生物的绿色皮肤，甚至散发着幽光。涂了油漆和清漆的木栈道，光亮、水润，踩上去的脚印清晰可见，恍如在屏幕中播放的躲在水下的灵魂偷溜上岸，留下湿漉漉的痕迹。结合了传统故事和数字世界，科伦丁·达雷剧场般的创作在真实与虚拟之间创造了一个永恒的跷跷板游戏，让我们沉浸在另一个维度中。（Elise Poitevin & Anne Vimeux，SISSI俱乐部画廊）
《Òme d'Aiga》
Produced during his residency at Atelier Blanc at the Moulin des Arts de Saint-Rémy, Òme d'Aiga, “man of water” in Occitan, is a multimedia installation. Around a video screen, the catalyst for the story, a sculptural ensemble materializes, as if escaped from the original 3D. The reeds, resinated in petroleum black, reveal the green - almost phosphorescent - skin of the burnt creature whose story is told. On the wooden pontoon, the effects of paint and lacquer give it a shiny, watery texture. Footprints are visible, as if the boy, still wet, had just stepped on them. Combining traditional stories and digital worlds, Corentin Darré's stagings create a perpetual game of seesawing from the real to the virtual, immersing us in another dimension.(Elise Poitevin et Anne Vimeux , SISSI club)
夏洛特·永嘉，©亚历克西斯·奥林
Charlotte Yonga，©Alexis Olin
出生于1985年的法国巴黎，夏洛特·永嘉在西班牙巴塞罗那和法国巴黎之间生活和工作。
作为法属喀麦隆艺术家，夏洛特·永嘉密切关注个人与领土。她的创作方式充满戏剧性，继承了某种纪录片传统，渗透着与个体去地方化及南北交融相关的问题。
她所描绘的对象，主要是特定背景下捕捉到的“普通”人。她让这些人处于中心地位，直面观众。在力量与脆弱的现实结合中，夏洛特·永嘉生动地展现出人物的复杂性。
夏洛特·永嘉毕业于巴黎-赛尔奇国立高等艺术学院。在学习期间，她对肖像产生了特别的兴趣，并逐渐选择了摄影作为媒介。随后，她探索了其它媒介（如视频和声音）的表现特性，以改变她对对象的看法。
夏洛特·永嘉还从事绘画多年，这是一种她展示得非常少的亲密创作。她的绘画作品使用马克笔和彩色铅笔，属于“治疗性草图”，是潜意识的形式。
她的作品曾在巴黎的Circulations Festival、巴黎大皇宫的巴黎摄影展、勒阿弗尔博物馆、德国汉堡的M.Bassy、摩洛哥卡萨布兰卡双年展的项目空间以及尼日利亚的拉各斯摄影节展出。
Born in 1985 in Paris, France. She lives and works between Barcelone, Spain, and Paris, France.
The Franco-Cameroonian artist Charlotte Yonga examines individuals and territories closely. Her approach, impregnated with dramaturgy, inherits a certain documentary tradition and is permeated by questions linked to the notion of individuality subjected to delocalisation and North-South cross-views.
The subjects she depicts, mostly “ordinary” people captured in specific contexts, are central and confront the viewer. In an alchemy that realistically combines strength and fragility, Charlotte portrays tangible personalities in all their complexities.
Charlotte is a graduate of the ENSAPC. During her studies, she developed a particular interest in portraiture and progressively chose the photographic medium. Then, to shift the way she looked at her subjects, she explored the expressive qualities of other media, such as video and sound.
Charlotte has also been drawing for many years, an intimate work that she has shown very little. Her drawings, made with felt pens and coloured pencils, are “therapeutic sketches” and forms from the unconscious.
Her work has been shown at the Circulations Festival, Paris Photo at the Grand Palais, the Museum of Le Havre, M.Bassy Hamburg in Germany, the Project Space of the Casablanca Biennale in Morocco and the Lagos Photo Festival in Nigeria.
夏洛特·永嘉，我渴望你，系列摄影，塞内加尔，2021
Charlotte Yonga, Naam Na La, photography, Senegal, 2021
Naam Na La（2021-）是一组摄影系列，探索爱这一主题，通过人像与风景之间的n视觉对话。由法籍喀麦隆摄影师夏洛特·永嘉在塞内加尔创作，作为布拉谢尔基金会举办的驻留项目的一部分，这些图像带领观众进行一场诗意、近乎梦幻的旅程，展现人际关系和自然之间的关怀与温柔。
在沃洛夫语（塞内加尔的一种语言）中，“Naam Na La”的意思是“我对你的怀念”——通常可以表达为“我想你”或“我渴望你”。
艺术家说：“这些话与爱的概念产生了共鸣，触动了我，同时我无意识地想要揭示它。爱在其广阔和永恒的意义上所经历的，以及它的不足与缺陷。爱可能是不确定的、模糊的、矛盾的，持续存在于身体和动作中，以及通过其空虚和充盈所散发的环境和色彩中……
海洋和植物的景象像氧气般穿插在叙事中，隐喻着希望、丰饶和无限。”
作为2024年兰斯克罗纳摄影节的一部分，这一摄影展览与克里斯汀·艾耶内在兰斯克罗纳艺术中心策划的展览《眼睛该落在哪里》直接相关。它邀请观众在地理上游荡——从瑞典到塞内加尔——体验摄影如何使我们接触到不同的社会背景，并通过我们共同拥有的感情，如爱，创造近距离与远距离、此地与彼地之间的联系。
夏洛特·永加于1985年出生于巴黎，是一位法籍喀麦隆艺术家，现居住和工作于西班牙巴塞罗那和法国巴黎。通过她的创作过程，融合了摄影、视频和绘画，永加邀请我们探索受到现实启发的片段、亲密生活的场景以及她通过这些场景揭示复杂真相的他者或“他性”。在幻想与现实之间的微妙往返中，她让明显之物隐入神秘，模糊了界限，有时揭示出挑战我们集体与个人感知极限的矛盾意义。（克里斯汀·艾耶内）
《Naam Na La》
Naam Na La (2021-) is a photographic series exploring the theme of love in a visual dialogue between portraiture and landscape. Created in Senegal by French Cameroonian photographer Charlotte Yonga, as part of a residency hosted by Fondation Blachère, these images take the viewer on a poetic, almost dreamlike, journey of care and tenderness through depictions of human relationships with one another and with nature.
In Wolof (a Senegalese language), ‘Naam Na La’ translates as ‘I have the nostalgia of you’ – which would be commonly expressed as ‘I miss you’ or ‘I long for you’.
The artist says: ‘These words resonated with the concept of Love as it moved me and as I unconsciously wanted to reveal it. Love experienced in its sense of vastness and eternity, as well as in its shortcomings and flaws. Love potentially uncertain, murky, ambivalent, persisting in bodies and gestures, and in the settings and colors radiating through its emptiness and fullness…
Views of the ocean and vegetation punctuate the narrative like breaths of oxygen, metaphorizing hope, fertility, and infinity.’
Presented as part of Landskrona Foto Festival 2024, this photographic display is directly connected to the exhibition ‘Where to Land the Eye’ curated by Christine Eyene at Landskrona Konsthal. It is an invitation for the eye to wander across geographies – from Sweden to Senegal – and experience how photography enables us to encounter different social contexts, and create links between proximity and distance, here and there, through feelings that we all have in common, such as love.
Born in 1985 in Paris, Charlotte Yonga is a French-Cameroonian artist who lives and works between Barcelona (Spain) and Paris (France). Through her creative process, which integrates photography, video, and drawing, Yonga invites us to explore fragments inspired by reality, scenes of intimate lives, and alterity or ‘otherness’ through which she reveals complex truths. In a subtle back-and-forth between fantasy and reality, she encrypts the obvious and blurs boundaries, revealing at times ambivalent meanings that challenge the limits of our collective and individual perceptions.（Christine Eyene）
卡普辛·维维尔，©萨利乌·纳西鲁
Capucine Vever, ©Saliou Nassirou
卡普辛·维维尔（1986年出生于巴黎，目前生活和工作于博比尼）发展了一种关注隐形、不可触达和微不可察的概念的语境性作品。无论是地理、社会还是文化意义上，领域在她的艺术实践中都是核心。她的创作试图通过利用每个空间的叙事潜力，以一种诗意的关系与之互动。她的作品通过拼贴、类比、现实与虚构之间的永久对话、科学研究与叙事、制图与传说、移动与静止等方式展开。
她的作品在多个机构展出，包括加泰罗尼亚历史博物馆（巴塞罗那）、IMAGE/IMATGE艺术中心（奥尔特兹）、FRAC Grand Large（敦刻尔克）、奥伊龙城堡（德塞夫尔省）、南俊·派克艺术中心（首尔）、拉阿尔德·德·布舍艺术中心（维埃纳）、贝尔维尔双年展（巴黎）、帕斯雷尔当代艺术中心（布雷斯特）以及Instants Chavirés（蒙特吕）。她的作品经常在驻留期间发展，如Kër Thiossane（达喀尔，2021）、Solarium Tournant（艾克斯莱班，2020）、Iconoclasses（伊夫托，2020）、Evry-Courcouronnes（2019）、乌埃桑特灯塔（Finis Terrae，2018）、Eremi Arte（意大利，2017）和马拉科夫艺术之家（2014）。
2021年，她获得了变革艺术协会的艺术与环境奖和法国文化协会的Measure Plus +驻留奖。同年，她获得了艺术家基金会的米歇尔·内西姆·布克里斯2021奖，以表彰她的项目“浸入岛屿”。2019年，她凭借电影《接班人》赢得OVNI视频节一等奖。她的作品被塞纳-圣丹尼斯省委员会、FRAC Grand Large以及多个私人收藏。2022年，她获COAL奖提名。
Capucine Vever (born in 1986 in Paris, lives and works in Bobigny) develops a contextual work interested in the notion of the invisible, the unattainable and the imperceptible. Whether it is geographical, social and/or cultural, the territory is central to her artistic approach. Her practice attempts to engage with it in a poetic relationship by exploiting the narrative potential of each space. Her works proceed by collages, analogies, permanent friction between reality and fiction, scientific research and narration, cartography and legend, displacement and immobility.
Her work has been presented in various institutions, at the Museo d’Història de Catalunya (Barcelona), at the Centre d’art IMAGE/IMATGE (Orthez), at the Frac Grand Large (Dunkerque), at the Château d’Oiron (Deux-Sèvres), Nam June Paik Art Center (Seoul), La Halle des Bouchers Art Center (Vienne), Belleville Biennale (Paris), Passerelle Contemporary Art Center (Brest), Instants Chavirés (Montreuil). Her work is frequently developed during residencies such as Kër Thiossane (Dakar, 2021), Solarium Tournant (Aix-les-bains, 2020), Iconoclasses (Yvetot, 2020), Evry-Courcouronnes (2019), Semaphore of Ouessant (Finis Terrae, 2018), Eremi Arte (Italy, 2017), Maison des Arts de Malakoff (2014).
In 2021, she is a laureate of the Art and Environment Prize of the Art of Change association and of the residency on Measure Plus + of the French Institute. The same year, she is the winner of the Michel Nessim Boukris 2021 Prize of the Fondation des Artistes for the project Dunking Island. In 2019, she won the first prize of the OVNI video festival with her fim La Relève. Her works are part of the collection of the Conseil Départementale de la Seine St Denis, the FRAC Grand Large and several private collections. In 2022, she was nominated for the COAL prize.
卡普辛·维维尔，接班人，视频，2019年
4K影片，15分钟，立体声
©ADAGP，巴黎，2023 / 卡普西娜·韦韦
Capucine Vever, La Relève, video, 2019
Film 4K, 15 min, audio stereo
©ADAGP, Paris, 2023 / Capucine Vever
通过图像与声音空间的分离，电影《接班人》仅从位于乌埃桑岛尽头的克雷克灯塔拍摄，玩味了海洋空间的静谧图像——人们对狂野而真实的海洋的共同视觉——与描述在那里发生的激烈活动的声音之间的对比，而这些活动在海岸上已不再可见。叙述者是无形的，她的存在通过主观相机在建筑物周围徘徊的运动得以暗示，该建筑的功能是传递（照片）信号（灯塔）。
灯塔看守人的再生，这一随着导航方式自动化而消失的人物，只有在电影的声音空间中存在。在灯塔内，它寻求对这片熟悉的景观的不同视角，徒劳地寻找它知道在那里但却被视线遮挡的集装箱船，它们在地平线的另一边隐匿，距离几英里。像一种内心的声音，这些思考被听到并投射到货船上，后者充当了景观的幕外元素。如果在图像中，距离的概念通过看似延展到无尽的地平线而无处不在，那么叙述者的反思让我们考虑距离的不存在，被源源不断且极为廉价的货物流动所消解。
《La Relève》
Through a dissociation between image and sound space, the film La Relève, shot only from the Créac’h semaphore located at the end of the island of Ouessant, plays with the contrast between contemplative images of ocean space - the common vision of a wild and authentic ocean - and a voice that describes the intense activity that occurs there, but that is no longer visible from the coast. The narrator is invisible, her presence is suggested by the movements of a subjective camera that wanders around the building whose function was to carry (photos) the sign (sema).
The reincarnation of the lighthouse keeper, a figure who has disappeared with the automation of navigation methods, such as an acousmeter*, only exists in the sound space of the film. Within the semaphore, it seeks different points of view on this landscape that it knows by heart, it looks in vain for its container ships that it knows are there but which are hidden from its view, moved a few miles away just beyond the horizon. Like an inner voice, these thoughts are heard and projected onto the cargo ships, which function as the off-screen element of the landscape. If in the image the notion of distance is omnipresent through a horizon that seems to stretch to infinity, the narrator’s reflections lead us to consider distances as non-existent, abolished by a ceaseless and very cheap traffic of goods.
卡普辛·维维尔，哦，迪里扬克，视频，2023年
4K影片，22分钟，立体声
©ADAGP，巴黎，2023 / 卡普辛·维维尔
Capucine Vever, Ô Diryanké, video, 2023
Film 4K, 22 min, audio stereo
©ADAGP, Paris, 2023 / Capucine Vever
《哦，迪里扬克》（Ô Diryanké，意为“哦，伟大的女士”）是达喀尔湾一位老渔夫提亚尔瓦对海洋的感性昵称。每次他出海时，都会与这位伟大的女士交谈，她一直在那里！他为她创作了歌曲，日日夜夜注视她在阳光下闪耀，向她讲述他的小独木舟上涌动的波浪舞蹈。
他观察着海平面的上升，目睹戈雷岛被海水吞没。最终，海洋回应了提亚尔瓦，成为了电影的中心角色。它的运动、波浪、流动、声音和记忆陪伴我们进入其浩瀚之中。在他们的对话中，他们重新审视了殖民思维如何彻底改变了莱布斯人与时间、生命和土地的关系。从水面到海底，过去与现在交织融合，在生态和政治寓言的缓慢而不确定的运动中。
电影《哦，迪里扬克》是卡普辛·维维尔视频和声音装置《浸入岛屿》的单屏幕版本（该装置为多屏幕，投影六部不同的影片，时长35分钟，制作于2022年）。
《Ô Diryanké》
Ô Diryanké (which could be translated as Oh Grande Dame) is the affective nickname that Thiarwa, an old fisherman from the Bay of Dakar, has adopted for the ocean. For every time he ventures out to sea, he speaks to her, that great lady who has always been there! He sings to her the song he’s invented for her, he tirelessly looks at her shining in the sun, he tells her about the dance of the swell from his little pirogue.
He observes its rising level as he witnesses the island of Gorée being swallowed up by it. In the end, the ocean replies to Thiarwa and becomes the central character of the film. Its movements, waves, trafics, voice and memory accompany us into its immensity. In the course of their dialogue, they revisit how colonial thinking has completely transformed the Lebous’ relationship with time, the living and the land. From the surface to the seabed, past and present intertwine and merge, in the slow, uncertain movement of an ecological and political fable.
The film Ô Diryanké is the single-screen version for cinema screening of Capucine Vever’s video and sound device Dunking Island (multi-screen device projecting six different films, 35 minutes, produced in 2022).
卡普辛·维维尔，埋藏的景观，摄影，2022年
喷墨打印于哈内姆勒照片纸上
尺寸：53 x 80厘米（单幅）- 56 x 83厘米（带框）
©ADAGP，巴黎，2023 / 卡普辛·维维尔
Capucine Vever, PAYSAGES ENFOUIS, photography, 2022
Inkjet print on Hahnemühle Photo paper
Dimensions: 53 x 80 cm (each image) - 56 x 83 cm (framed)
©ADAGP, Paris, 2023 / Capucine Vever
《埋藏的风景》是一组三幅摄影二联画，拍摄于电影《浸入岛屿》的拍摄过程中，这部电影将公众投射到北大西洋漂流的核心，位于塞内加尔达喀尔湾的戈雷岛边缘。从水面到海底，过去与现在在生态和政治寓言的缓慢而不确定的运动中交织融合。这组摄影系列关注人类活动如何生成/转变海底，这里将海底视为一种独特的风景。
每幅二联画中的图像通过尺度和主题相连，从海洋风景的大尺度视图到物体的更详细视图。可以想象，一个塑料袋缓缓漂流在海洋裂缝中，气泡如同被巨型海轮重量压住的大块金属，甚至还有渔民无法回收的“鬼网”，因为它被岩石卡住了。
《PAYSAGES ENFOUIS》
Paysages Enfouis is a series of three photographic diptychs made during the shooting of the film Dunking Island, a film that projects the public into the heart of a drift in the North Atlantic, on the outskirts of Gorée Island in the Bay of Dakar, Senegal. From the surface to the seabed, past and present intermingle and merge in the slow and uncertain movement of an ecological and political fable. This photographic series focuses on how human activity generates / transforms the seabed, which is considered here as a landscape on its own.
In each diptych, the images are linked by scale and subject, from a large-scale view of the ocean landscape to a more detailed view of an object. One can imagine a plastic bag slowly drifting in an oceanic rift, air bubbles like large expanses of metal trapped under the weight of an ocean liner, or even a «ghost net» that fishermen have not been able to recover because it is trapped by rocks.
出生于1997年，摩根·巴菲耶现居巴黎并在此工作。她于2020年毕业于巴黎-赛尔奇国立高等艺术学院。自那时起，她的作品展出于在第66届蒙特鲁日沙龙（2022年）、巴黎美术学院展览剧院（2023年）、穆尔豪斯双年展（2021年），并于2022年在霍伊尔的谷仓艺术空间举办首次个展。她在2023年获得马尔法奖，2022年获得MAD奖。她的讲座表演曾在多个艺术节上呈现，如根蒂伊的内莫双年展（2021年）和洛桑城市艺术节（2023年），以及法国诸艺术院校（巴黎、阿尔勒、南特、利摩日、鲁昂等）中进行。她还获得在孔多尔塞大学、莫博松修道院、利摩日美术学院等机构研究驻留的机会。
Born in 1997, Morgane Baffier lives and works in Paris.
After graduating from ENSAPC in 2020, her work has since been exhibited at the 66th Salon de Montrouge, Paris (2022), at the Theatre of Exhibitions of the Beaux-Arts of Paris (2023), at the Mulhouse Biennale (2021), and at La Graineterie in Houilles in 2022 for her first solo show. She was awarded the Marfa Prize in 2023 and the MAD Prize in 2022. Her lecture performances have been presented at festivals such as the Nemo Biennale in Gentilly (2021) and les Urbaines in Lausanne (2023), as well as at several art schools in France (Paris, Arles, Nantes, Limoges, Rouen, etc.). The artist has benefited from several research residencies at Condorcet University, the Abbey of Maubuisson, the Beaux-Arts of Limoges, and the AWARE association.
摩根·巴菲耶，危机骑手，互动多媒体装置，2022年 © 摩根·巴菲耶
Morgane Baffier, Crisis Rider, multimedia interactive installation, 2022 © Morgane Baffier
最初是一款iPad游戏，用户可以在自行车上导航危机曲线，摩根·巴菲耶重新定义了原名为《危机骑士》的游戏，创建了一个互动装置，访客可以虚拟体验不同历史危机（以幽默和一定程度的讽刺）。该装置首次展出于法国罗曼维尔的Fiminco基金会，作为摩根·巴菲耶关于危机的讲座表演的预告。
《Crisis Rider》
Originally an iPad game in which the user can navigate crisis curves on a bicycle, Baffier reappropriated the game originally titled Crisis Rider to create an interactive installation where the visitor can virtually experience (with humour and a certain level of derision) different historical crisis. Exhibited for the first time at Foundation Fiminco (Romainville, France), this installation served as a teaser for Baffiers’ lecture performance on the crisis.
摩根·巴菲耶，理论，视频装置，3个屏幕，11分钟，集结号3，南特美术馆，2023年 © 昆廷·博尔德斯
Morgane Baffier, Theories, video installation, 3 screens, 11 minutes, Host Call 3, Galerie des Beaux-Arts de Nantes, 2023 © Quentin Bordes
像《危机骑士》一样，《理论》最初是一个讲座表演，并演变为视频装置。在这件艺术作品中，艺术家探讨了我们知识生产中一个简单但至关重要的主题：理论的创造与发展。通过普及各种理论（从大爆炸理论到涓滴理论再到鸡与蛋悖论），艺术家解构了真理、客观性和权威的概念，同时引用科学概念和大众文化。通过使用各种人工智能（配音、计算机生成的图像和头像），视频的语调保持冷漠和遥远，暗示某种中立性。然而，视频的幽默和模糊特性很快揭示了荒谬的展示以及对经典会议工具——PowerPoint的颠覆，展示了世界上一些不平等现象。
原始视频旁边配有帕里斯·希尔顿的抖音视频，她在其中表示，人们不应该相信互联网上所读的每一句话，还有一个反复说“这就是科学的运作方式”或“但这只是一个理论”的Memoji。
《Theories》
Like Crisis Rider, Theories started as a lecture performance and evolved as a video installation. In this artwork the artist tackles a simple but essential subject in our production of knowledge: the creation and development of theories. By popularising a range of theories, (from the Big Bang theory to the trickle-down theory and the chicken-and-egg paradox) the artists deconstruct the notion of truth, objectivity and authority while referencing scientific concepts and popular culture. Through the use of various artificial intelligences (voiceover, computer-generated images, and avatars), the tone of the video remains cold and distant, suggesting a certain neutrality. However, the humorous and ambiguous nature of the videos quickly reveals absurd demonstrations and the subversion of a classic conference tool: PowerPoint, to present some inequalities in the world.
The original video is here accompanied by a TikTok from Paris Hilton, in which she states that one should not believe everything one reads on the internet, and by a Memoji that repeatedly says phrases like, "This is how science works," or "But it's just a theory."
玛丽·瓦扎尼于1991年出生于法国里尔，毕业于法国尼斯的阿尔松别墅国立高等艺术学院。尼古拉·卡里埃1981年出生于法国布里夫，毕业于巴黎-赛尔奇国立高等艺术学院和索邦新学院的电影系。两人自2015年起共同生活和工作。
玛丽·瓦扎尼与尼古拉·卡里埃创造气候虚构、植物装置和景观浸染。他们的作品构建了与植被、工业废墟以及我们生态系统扰动的新关系，唤起了我们自身的消亡与未来可能的再生。旨在舒缓我们时代的环境焦虑，他们的展览邀请我们进行沉思与反思。
瓦扎尼&卡里埃在国际双年展和机构中展出过，包括美第奇别墅（罗马）、CAC美术馆（诺伊西-勒塞克）、蓬皮杜中心（巴黎）、舒宁根别墅（波茨坦）、近郊之家（阿尔马达的）、第19届媒体艺术双年展（弗罗茨瓦夫）、第二届拉各斯双年展、3 bis f艺术空间（艾克斯-普罗旺斯）、第五届敖德萨双年展、艺术之家（安曼）和第61届蒙特鲁日沙龙展。
该二人组合荣获“变革艺术-21个生态设计艺术”和“行星艺术团结”奖。
Graduated from the Villa Arson National Higher School of Art, Nice, Marie Ouazzani was born in 1991 in Lille, France. Graduated from the ENSAPC and the UFR Cinema of Sorbonne Nouvelle, Nicolas Carrier was born in 1981 in Brive, France. Live and work together since 2015.
Marie Ouazzani & Nicolas Carrier invent climate fictions, botanical installations and landscape infusions. Their works compose new relations with vegetation, industrial ruins and the disturbances of our ecosystems, evoking our own disappearance and possible future regeneration. Conceived to soothe the environmental anxieties of our time, their exhibitions invite us to contemplate and reflect.
Ouazzani Carrier have exhibited at international biennials and institutions including Villa Medici, Rome; La Galerie, CAC Noisy-le-Sec; Centre Pompidou, Paris; Villa Schöningen, Potsdam; Casa da Cerca, Almada; 19th Media Art Biennale WRO, Wroclaw; 2nd Lagos Biennial; 3 bis f, Aix-en-Provence; 5th Odessa Biennale; Darat al Funun, Amman and 61e Salon de Montrouge.
The duo was awarded the Art of Change 21 Eco-Design Art and Planète Art Solidaire prizes.
瓦扎尼&卡里埃，热带之余，2个高清监视器视频，6分钟，2020年，© ADAGP，巴黎，2024
Ouazzani Carrier, Extra tropical, 2 HD video on monitor, 6 min, 2020 © ADAGP, Paris 2024
《热带之余》是一系列在欧洲各港口城市拍摄的短视频。每个视频如同标本馆，拍摄于不同的城市，并专注于与之相关的特定热带植物。通过这些植物及其特性，视频记录了城市的历史、在全球化中的角色，并考虑由于气候变化而发生的演变。
《Extra tropical》
Extra tropical is a series of short videos directed in various port cities in Europe. Like a herbarium, each video is filmed in a different city and focuses on a specific tropical plant that has a connection to it. Through these plants and their characteristics, the videos document the history of the city, its role in globalisation and consider its evolution due to climate change.
瓦扎尼&卡里埃，回声，2张拍立得，框架，44 x 61 cm，2023年© ADAGP，巴黎，2024
Ouazzani Carrier, Echo, 2 instant films, frame, 44 x 61 cm, 2023 © ADAGP, Paris 2024
这两张拍立得照片似乎来自于一个档案，仿佛在预示着一场灾难。它们悬浮着，没有时间或地理的参考点。同样，所有的建筑也都淹没在其中，难以识别。剩下的只有影像的美丽，徘徊在忧郁与沉思之间。（朱莉亚·图拉提）
《Echo》
The two instant photographs seem to emerge from an archive, just as if they were anticipating a catastrophe. They are suspended, with no temporal or geographical reference point. Similarly, all the architecture is submerged and difficult to identify. What remains is the beauty of the image, which oscillates between melancholy and contemplation.(Giulia Turati)
瓦扎尼&卡里埃，山海，展厅空镜，遥远的借用，2023年，© ADAGP，巴黎，2024
Ouazzani Carrier, 山海，exhibition view, Emprunt Lointain, 2023, © ADAGP, Paris 2024
这个装置灵感来源于山水画，展现了一个由水泥砖制成的三块石碑的景观，为游客提供品尝热水与树叶（银杏、桉树和橄榄）的浸泡饮品的机会。通过饮用这些饮料，它们在山、森林和海洋之间建立了一种精神联系，抵抗着我们时代的废墟。
《山海》
Inspired by Shan shui paintings, the installation features a landscape of three steles made of cinder blocks that offer visitors the chance to taste an infusion of hot water and tree leaves: ginkgo, eucalyptus and olive. By drinking the beverages, they create a spiritual link between mountain, forest and ocean that resist on the ruins of our time.
萨拉-阿奈丝·德斯贝诺
Sarah-Anaïs Desbenoit
萨拉-阿奈丝·德斯贝诺是一位视觉艺术家和导演，2020年毕业于巴黎-赛尔奇国立高等艺术学院，以及位于图尔昆的弗雷努瓦国家当代艺术工作室。她的创作受到长期研究的推动，特别是在摩洛哥沙漠的提赫梅特绿洲以及在日本库乔山别墅的驻留经历。她的作品聚焦于图像出现和消失的机制及其对记忆和认知的影响。通过创作微型模型，同时使用视频、投影和声音，她希望创造出邀请人们沉思和放慢节奏的装置作品。
Sarah-Anaïs Desbenoit lives and works in Paris.
Visual artist and film director, she graduated from ENSAPC in 2020, and from Le Fresnoy, national studio of contemporary arts in Tourcoing in 2023. Fueled by long-term research developed during a residency at the Thighmert Oasis in the Moroccan desert and a trip to Japan, her work focuses on the mechanisms of the appearance and disappearance of images and their influences on memory and cognition. By creating miniatures and by using video, projection and sound, she wishes to create immersive environment that encourage meditation and slowing down.
萨拉-阿奈丝·德斯贝诺，落日，视频，循环，2023年
Sarah-Anaïs Desbenoit, Sunset, video, boucle, 2023
萨拉-阿奈丝·德斯贝诺，沉浸式空间装置展厅空镜，银边，个展，YGREC，2023年
Sarah-Anaïs Desbenoit, exhibition view of the immersive installation, Silver Lining, solo show, YGREC, 2023
使用After Effects软件创作的视频装置《落日》配合着两个沉浸式空间装置作品《夜行者》（2023年）和《银边》（2023年），同时展览于两个机构：Ygrec（奥贝维利埃）与弗雷努瓦（图尔昆）。
这段重复的视频描绘了一个红色球体在色彩场中的升起——从蓝紫色逐渐过渡到紫粉色。一个绿色光线在逐渐变黑之前出现，每当这个看似人工的天体消失时，它又循环回归。在这种朦胧的氛围中，所有的图形线条都模糊不清，形成一个科幻景观，其中对每个元素的严格识别让位于暗示的力量。这种唤起感进一步通过奥克塔夫·马热卡斯设计的声音层次增强，使观众处于一种视觉冥想的精确点上，细腻地融入一个我们一无所知的未来世界。其极少主义美学与简约形成了一处隐藏空间，在此外部世界被转换为心理印记。
《Sunset》
The video installation "Sunset," created using After Effects software, has been featured in two immersive installations: "Night Stalker" (2023) and "Silver Lining" (2023), presented simultaneously in two art institutions: Centre d’art Ygrec (Aubervilliers) and Le Fresnoy (Tourcoing).
The looped video portrays the ascent of a red sphere in a chromatic field, transitioning from blue-violet to purple-pink. A green ray emerges before a fade to black, which cyclically repeats with each disappearance of this seemingly artificial celestial body. In this hazy atmosphere, all graphic lines blur, creating a sci-fi and slightly dystopic landscape where the strict recognition of each element gives way to the power of suggestion. The sound designed by Octave Magescas further enhance this evocation, placing the viewer in a state of visual meditation, a delicate immersion into a future world we know little about. The minimalist aesthetic and the simplicity of the video function as a hidden chamber where the external world could become an imprint of a mental image.
自我之沙，展厅空镜，Ygrec-ENSAPC艺术中心，2024年 © Objets pointus
Sands of self, installation view, Ygrec-ENSAPC Art Center, 2024 © Objets pointus
自我之沙，游戏截图，穆尼尔·阿亚奇、纪尧姆·切维隆、杰夫·盖尔斯、阿丽娜·伊兹迈洛娃、埃卢安·勒·巴尔、哈尼耶·耶卡塔和马龙佩罗泰，2024年
Sands of self, video game screenshot, Mounir Ayache, Guillaume Chevillon, Jeff Guess, Alina Izmailova, Elouan Le Bars, Hanieh Yekta and Malone Perrotey, 2024
《自我之沙》是一个合作项目，由纪尧姆·切维隆（ESSEC金属实验室，数据、技术与社会）和杰夫·盖尔斯（巴黎-赛尔奇国立高等艺术学院）主导，特邀艺术家穆尼尔·阿亚奇参与。ENSAPC的学生阿丽娜·伊兹迈洛娃、埃卢安·勒·巴尔、哈尼耶·耶卡塔和马龙佩罗泰创作了展览，并为游戏做了最后的修整，该游戏是对他们紧密关联的赛尔奇这座城市的模拟版本。该游戏设想了一个未来的新城，突出了人工智能在城市生活中的广泛作用。游戏利用生成性AI模型进行设计、编程、配乐和叙述，为玩家创造了一个流动的探索环境，并由全知的声音引导。
《Sands of Self 》
Sands of Self is a collaborative project developed through a course led by Guillaume Chevillon (ESSEC Metalab for Data, Technology & Society) and Jeff Guess (École nationale supérieure d’arts Paris-Cergy), featuring guest artist Mounir Ayache. ENSAPC students Alina Izmailova, Elouan Le Bars, Hanieh Yekta and Malone Perrotey created the exhibition and put the finishing touches on the game, a simulated version of Cergy, a city they are closely connected to. The game envisions a future Ville Nouvelle, highlighting the pervasive role of artificial intelligence in urban life. Utilizing generative AI models for design, programming, soundtrack and narration, the game creates a fluid environment for players to explore, guided by an omniscient voice.
