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Touchless
TOUCHLESS
traditional lanterns - 116x90x40 cm.
Video HD - 8' - sound -
color
Hangzhou (CN), 2016.
In its development of connections between the historicity of new technologies
and ancient myths, the Collectif 1.0.3 this time focuses on traditional flying
lanterns converted to a digital format. Here, it takes the form of the "hand"
pictogram, transitioning from the screen plane to the sky, a poetic metaphor
for ever-greater attempts to conquer space. Accompanied by numerous wishes,
it tries to touch the moon with a fingertip.
Shakunetsu Hadoken
SHAKUNETSU HADOKEN
Shanghai Art Fair (China). 2016 - Resin, 200x100x80 cm
Liangzhu Art Museum collection
(China). 2016 - stereolithography, 20x9,5x32
cm each.
Three periods of residency in China punctuated the collective's work year. It was in this
context that we developed a project of serial sculptures. This "Shakunetsu Hadoken" edition
has several origins, including the buried soldiers of Xi'an and a wide gestural repertoire
belonging to the "trans-generational" video game Street Fighter that appeared in the late 80s.
Timeless cultural vehicles, the two registers meet and combine to give birth to a series of
multiples and giants, one of which is already produced and preserved at Tadao Ando's Liangzhu
Museum (China). The idea here is to draw free inspiration from the soldiers, then reinterpret
them and multiply their figures and gestures.
TRIFRON
TRIFRON
insitu/Fabienne Leclerc gallery, Paris (F),
2008
door handle, genuine Limoges porcelain®,
7x7x7cm>
Beyond our interest in the unique imprints defined by the use of the common
tool 'computer,' we are strongly attracted to the reminiscence of three-headed
bodies in art history. The trifrons, or tricephalic figure, is associated with
various periods and carries a monstrous image. It evokes an astonishingly rich
formal vocabulary, with a range of representations stretching from the Greeks
to the present day. Under this characteristic of partially fused three heads,
we distinguish several expressive currents and sometimes contradictory reasons
for being. It can be an expression of an organization that has reached an ultimate
degree of sophistication in the rules governing a community, or conversely, it
can be the expression of the trinity and the indispensable intermediary balancing
gods and humans.
We worked from the only image, taken in low angle, of the restored triforium
of the Saint-Gemme Abbey, located in Saintonge, to develop this first handle creation,
making us switch from a demonstrative situation to a three-sided domestication experience.
Medusa
MEDUSA
Istanbul (T), 2011
Video installation - 0'38" in a loop -
no sound
38 seconds is the time corresponding to this video capture.
Camera flashes from tourists present at the time reveal a petrified
representation of “the Medusa”, the base of one of the 336 columns
once submerged beneath the waters of the reservoir in Istanbul's
Basilica Cistern, thus reversing the Gorgon's wrath. The intensity
of the light reflects off this mythological figure, creating the illusion
of a scanner passing through the screen. The evocation of an ancient myth
is confronted with the meticulous and insistent documentation of the
visitor to the world, and also proposes a reading of the artist's posture
in the situation of exploring this world.
LA CHOUETTE D'ATHENA
LA CHOUETTE D'ATHENA
Paris (F), 2015
Video projection HD - 45'' in a loop -
no sound
The subject of this sequence is the focus defined, induced and automated
by the video capture tool used. This artificial eye at work attempts to
define precisely what it is given to observe. In this case, the face of
a Greek 1 euro coin.
Like “Medusa”, “Athena's owl” becomes in turn the object of a reversal.
Gifted with exceptional vision, its legendary power is here combined with
the expression of fully automated tooling. Positioned like a moon, the owl
observes us and dominates the exhibition space.
More than a political wink at Europe's precarious economic situation,
this work is a staging of a technological response time and an observation
of the persistence of myths.
ARGOS
ARGOS
Paris (F), 2015
10 LCD screens, 10 mirrors on the floor, no sound, variable durations in a loop
A dozen small screens and their shadows, represented as mirrors on the floor, are concentrated in the space,
and feature the same cross-cutting motif, that of the scanner.
These light sweeps recall the principle of digitization.
This installation functions according to constant rhythms that evoke the autonomy of “machines”.
From computer green to surgical white, the propagated light is representative of a screen genealogy.
FIL D'ARIANE
FIL D'ARIANE
Hangzhou (CHINA), 2015
Printing on photo paper
- 30x21 cm
Collectif 1.0.3 has chosen to represent a historical-technological framework of information storage.
This pictorial proposal takes up the characteristics of a “Torres de ferrite” memory extract. The usual invisibility
of these data carriers becomes here, in a reversal, a kinetic motif implying a perpetual displacement of the gaze.
In keeping with his research into “grand narratives”, the analogy with Ariadne's thread is omnipresent in both conception
and execution.
DU PAREIL AU MÈME
DU PAREIL AU MÈME
MACVAL - Vitry, 2014. - Collaboration with My Name Is
Wendy
Leporello - 300x20 cm - duplex printing Black - 125 ex
-
Printing :
SNEL.
Prod. MAC/VAL, DRAC IDF, Conseil Général du Val de
Marne.
2014
window sign, 11x1,6 m.
Prod. MAC/VAL -
Vitry,
2014.
A meme defines a recognizable cultural element that is replicated and
transmitted through the imitation of one individual's behavior by others.
Examples such as the “Harlem Shake” reveal a collective approach to the web,
the subject of a journey into the heart of digital cultures. When we come into
contact with them, our behavior and sensitivity undergo major changes.
As resident artists invited by the MAC/VAL to produce a work at the heart of
a high school, we have chosen to become aware of these ongoing transformations,
and in some cases to play a part in them.
In this case, it's the “Hadoken” meme that has become the raw material for our project.
This meme introduces gestures from video games into exchanges between students and teachers.
By successive rebounds and different responses induced by the graphic game, each edition
brings together the conditions for the production
of a unique work, which reflects and repackages the meme in a paper universe.
MISMA (2003-...)
MISMA (2003-...)
Eurogroup Consulting, Paris. 2010
diasec® laminated to aluminum, 225x150 cm (Photo credit : Alain Goulard)
or how to deal with the notion of portraiture in the digital age
by
based on the contents of a computer hard disk, a temporary storage surface
(the prism through which we've chosen to approach/study the Other), since the way of archiving
archiving and the naming procedures for each folder and file allow us to generate a singular form
by hand (2D cartographic representation).
Between 2003 and 2024, the Collectif 1.0.3 produced 75 computer maps of individuals, public bodies
and private companies, creating veritable contemporary portraits in which the nature of our files
and the way we file them reveal the structuring of our thinking.
The Planiscope,
2D structure that constructs the image, by hand, from a flattening of scanned information.
This structure states and announces an undertaking whose principle consists in examining a flat
surface - a Planus-Skopeîn, as it were.
Planus-Skopeîn, as it were, the basis of which is to put into image the entirety of what appears
on the desktop of the hard disk of the computers of artists invited to entrust us with the names
of their files and their positions in the tree structure. In the manner of arabesques, Planiscopes
are arrangements that showcase the encounter between the Arab world - as an aesthetic universe of
plant and ornamental development - and a universe generated by the evolution of technology...
CROA CROA CROA
CROA CROA CROA
MAC VAL, Vitry-sur-Seine. 2023
Wall adhesive,
7x3x6m
Collectif 1.0.3 (Anne Couzon Cesca et Arnaud and François
Bernus)
takes a humorous, poetic look at human organization and modes of
subjectivation in the digital age. For “Croa, croa, croa”, the logo
of a famous e-commerce company is hijacked, modified, multiplied and
accumulated. Evoking both “The Birds” (Alfred Hitchcock, 1962) and
« Champs de blé avec corbeaux » (Vincent Van Gogh, 1890),
this mural effectively materializes the threat to humanity posed by the omnipotence of GAFAM.
SUNSET
SUNSET
le Dojo / Festival Indiscipline - Nice. 2010.
Black paint on asphalt,
variable dimensions
It is by shifting our questions to public space that we chose to
focus on the homogenization "by battle" of current parking lot layouts.
Numerous images inform us about what parking spaces used to be, one of whose
functions was to complement the placement of dwellings with patterns that
contributed to the creation of a vast rhythmic language of the city.
The photographer Lucien Hervé left us some records of this variety, notably
in the city of Le Havre after its reconstruction. Similarly, at the port of Nice,
from the already drawn lines of a parking lot, the artists double the guidelines
to deliver an urban fiction.
PRINCIPE D'HOMOGENEITE
PRINCIPE D'HOMOGENEITE
Hangzhou (China), 2015.
Red spray paint and adhesives
Based on
the motif observed on Chinese crosswalks, one of the rigorous forms of human organization,
Collectif 1.0.3 creates an abstract painting composed of 2 intertwined planes. An atmospheric red
pictorial surface covers the canvas, with cadenced lines adding a slight relief, reminiscent of Chinese
ornamentation. The interweaving operates in a play of fades between the two surfaces, the relief
appearing according to viewpoint and light.
TRANSITION DE PHASE #1
TRANSITION DE PHASE #1
le Dojo, Nice (F), 2012
Black adhesives 7 x 5 cm each
In physics, a phase transition is a transformation of the system
under study caused by the variation of a particular external parameter
(temperature, magnetic field, etc.). This transition takes place when
the parameter reaches a threshold value (floor or ceiling, depending
on the direction of variation). The transformation is a change in the
system's properties.
"Transition de phase #1" is an in situ installation that takes space as
its raw material. By affixing adhesives to all corners of the structure,
highlighting its volumes and offsets, the space is redefined and the
black-on-white dashes visually modify its physical properties. A change
of scale takes place, the space becomes a “model”, the walls become
cardboard, potentially divisible and mobile.
The space then plays the card of divided planes, with in-situ intervention
taking it to the gates of virtuality on a territory that is both united
and partitioned, “Phase Transition #1” becomes an augmented reality.
TRANSITION DE PHASE #2
TRANSITION DE PHASE #2
Shanshang gallery, Hangzhou (China),
2015
3D printing, 40x29x6cm
In physics, a phase transition
is a transformation of the system under study caused by the variation
of a particular external parameter (temperature, magnetic field, etc.).
This transition takes place when the parameter reaches a
threshold value (floor or ceiling, depending on the direction of variation).
The transformation is a change in the system's properties.
Gradually developed
in France around the beginning of the 18th century, the cup handle became as much
a functional object as a decorative one. Here, hung on the wall, this oversized
element plays with and on the exhibition space. The relationship of scale changes
the point of view of this architecture, and its potential for displacement.
This insitu work follows on from a piece created in Nice in 2012.
LUNARE SPECTARE
LUNARE SPECTARE
In situ/Fabienne Leclerc Gallery, Paris,
2008
duo
show with Chapuisat brothers.
3000 blank books, nylon cables
and threads, variable size
Lunare Spectare is a
reflection on knowledge, transmission and the path of thought.
A structure-sculpture made up of blank, uninscribed books, these
materials are interwoven and used like tiles to reconstitute a rough,
precariously balanced roof.
Acte I, Scène 1
Acte I, Scène 1
CAC Villa Du Parc - Annemasse, 2003
Carpet painting,
400m2.
At our first solo show at the Villa du Parc in Annemasse, France, in September 2003, we immediately wanted to highlight the playful dimension of our work. “Acte I, scène 1” was the in-situ piece that welcomed visitors. The grids, drawn at the 4 corners of the red carpet that framed the Villa du Parc, were to be read as the definition of our situation within the collective: we were each in our respective boxes, driven by a deep desire to join together but aware of the existence of a perceptible distance that dissociated us.
If we had initially envisaged the possibility of this work revealing a game of conquest between separate characters, the folding of the carpet at the end of the exhibition allowed us to develop a conjectured hypothesis: from now on, we would have to conclude all our oppositions in a way that would reconcile our interests. We achieved this by folding the 400 m2 carpet until its four corners coincided. Today, the red carpet is folded, the four corners are together.
LES HARMONIQUES
LES HARMONIQUES
Eurogroup Consulting, Paris, 2010
10 Digigraphies®, 50x70cm
each one.
Collectif 1.0.3 created ten ephemeral sculptures, one for each
of the floors of the Vista Tower occupied by Eurogroup Consulting.
In addition to the artistic creation, a precise communication
protocol was required. To announce each sculpture, an e-mail was
sent to employees indicating the floor on which it was
order of appearance, its title in a typography echoing Marcel
Duchamp's handwriting, and a photograph of the site before installation.
Characteristic of the practice of Collectif 1.0.3, the white paper,
a symbol of knowledge in the making - strangely similar to the
“eurogroup consulting Methodology” - seemed to function as the collective's
double, impregnating and enriching itself at the same time with the firm's
universe. A material and immaterial occupation of space culminating in the
investment of an entire meeting room during specimen sessions. As for the
titles, borrowed from the register of musical harmony, they sketch out a
poetic sequence that reinforces the mystery surrounding the succession of sculptures.
ROLL’YWOOD 1.0.3
ROLL’YWOOD 1.0.3
Video installation - 5'11'' in a loop - no sound
Geneva (CH),
2002.
Roll'ywood was the first job we associated with “rotary and collaborative”.
The idea was to set up a series of images, all the elements of which would come from
the joint participation of the collective and the guest artists, and to highlight
the whimsy of a device that is singularly defined by its simplicity and the banality
of its system's construction. The general layout of the whole becomes a choreography
whose central movement oscillates between a parody of continuous circulation and
derisory gesticulation. They redouble the instructions to deliver an urban fiction.
ROLL’YWOOD COVERSPEECH
ROLL’YWOOD COVERSPEECH
la maison singulière - Nice. 2016
Video installation - in a loop - no sound
Roll'ywood is the first work we have associated with "rotational and collaborative".
In Jean-Luc Godard's film "A Woman Is a Woman", Anna Karina and Jean-Claude Brialy communicate
by forming sentences from book covers or spines. Collectif 1.0.3 asked participants in workshops
they organized to draw inspiration from this scene and improvise a rudimentary mode of communication
that can be seen as a generational portrait but also as a new artistic proposal. The overall
formatting of the ensemble becomes a choreography whose central movement oscillates between a parody
of continuous circulation and a ridiculous gesticulation.
In this video installation scrolling exquisite corpses in the manner of slot machines, Collectif 1.0.3
presents a status report of a work in progress, ultimately composed of ten reels that will mix and
interact with each other randomly.
ROLL’YWOOD MONEYPICS
ROLL’YWOOD MONEYPICS
Paris (F), 2010
10 LCD screens - in a loop - no sound - DVD
Roll'ywood version moneypics proceeds to draw a comparison between the faces
of the firm's employees - taken from the staff photo directory - and the effigies on
a collection of expired banknotes. Presented in two ways, these banknotes telescope
a real and active population with a demonetized and forgotten population, once glorious,
of conquerors, liberators, and heads of state. In the banknotes arranged on the floor,
each person can try to find their face, discover what physical resemblance led to their
elevation as a symbol of Tonga or Nicaragua, then take "their" banknote and, perhaps,
imagine another life. On the wall, the same banknotes rotate in a loop, randomly, as in a casino.
ROLL’YWOOD DIAPORAMA
ROLL’YWOOD DIAPORAMA
Paris (F), 2010
videoprojection - in a loop - sound
According to les diaporamas of Pierre Leguillon for Mudam
Magazine*, the online review of the Museum of Modern and Contemporary Art of Luxembourg,
2002–2005.
Roll'ywood is the first work we have associated with "rotational
and collaborative". The aim was to create a sequence of images where all elements would
come from the joint participation of the collective and invited artists, and to highlight
the whimsy of a device that is uniquely defined by its simplicity and the banality of its
system's construction. The overall formatting of the ensemble becomes a choreography whose
central movement oscillates between a parody of continuous circulation and a ridiculous
gesticulation. This new opus updates, in concert, Pierre Leguillon's 6 Slideshows present
on the Mudam website in a remixed version.
REFLECTION
REFLECTION
Institut Français, Paris, 2012
Video installation
multi-screens.
Commande publique - Institut Français,
Paris.
Multi-screen video installation positioned above the
reception desk at the Institut Français in Carré Suffren.
It is designed to accommodate the different waiting times
that characterize the influx of workers and visitors to
the site. Broadcast on mini LCD screens, the video loop
is multiplied and randomly arranged at different rates on
each screen. With its nebula of screens, this installation
evokes the multiplicity of the permanent activity of the
Institut Français' 100 branches around the world.
100 TITRES
100 TITRES
Geneva (CH), 2003
Video installation- 5'11'' in a loop -
no sound
This achievement corresponds to a line of 100 scrolling titles,
listed in the order in which they appear on the back of albums we own,
whose sources we deliberately omit. It describes a relationship to sound
through the evocation of track titles. The sequence of 100 titles reveals
the gaps the differences that characterized us in our early days.
COSA MACHINA
COSA MACHINA
Paris (F), 2008
hologram, lenticular technology, 90x90
cm.
The serie of cosa Machina includes on-screen computer
animations when a computer is “working
».These represent the waiting time when loading files.
The user rests while the computer thinks. Here, this waiting
time is transformed into passing time, as the lenticular technology
requires the viewer to pass in front of the visual animation in order
to come to life.
DIALOGUE POUR 2 SURFACES
DIALOGUE POUR 2 SURFACES ou de la contrainte du jeu vers
l'instrumental
HEAD - Geneva, 2003
Multimedia installation
Part digital instrument (sampler), part play object (Memory game),
this installation visually reconstitutes in space the minimal device of
a digital interface. It is played by two players, on either side of a screen.
"Dialogue
pour deux surfaces" allows you to initiate an encounter on the surface of the
screen, using the basic units of language (phonemes of the Roman alphabet,
interpreted in three
languages: French, Arabic and American). Each language is synthesized in a
specific sound format. The “players” can improvise a dialogue made up of acronyms,
cadences and rhythms. This proposition reveals the different ways of approaching
a digital interface, while inviting us to randomly construct a poetic composition.
Du pareil au mème
Du pareil au mème
MAC/VAL - Vitry, 2014. - Collaboration with My Name Is
Wendy
Leporello - 300x20 cm - duplex printing Black - 125 ex
-
Printing :
SNEL.
Prod. MAC/VAL, DRAC IDF, Conseil Général du Val de
Marne.
2014
window sign, 11x1,6 m.
Prod. MAC/VAL -
Vitry,
2014.
A meme defines a recognizable cultural element that is replicated and
transmitted through the imitation of one individual's behavior by others.
Examples such as the “Harlem Shake” reveal a collective approach to the web,
the subject of a journey into the heart of digital cultures. When we come into
contact with them, our behavior and sensitivity undergo major changes.
As resident artists invited by the MAC/VAL to produce a work at the heart of
a high school, we have chosen to become aware of these ongoing transformations,
and in some cases to play a part in them.
In this case, it's the “Hadoken” meme that has become the raw material for our project.
This meme introduces gestures from video games into exchanges between students and teachers.
By successive rebounds and different responses induced by the graphic game, each edition
brings together the conditions for the production
of a unique work, which reflects and repackages the meme in a paper universe.
GENETIQUE DU GENERIQUE
GENETIQUE DU GENERIQUE
"Cathy, Jean-Paul, Peg Entwistle et les autres" by Collectif
1.0.3 &
Stéphanie Cottin at 8 rue Saint Bon à Paris. 2015
Video projection on paper - 8'41" - in a loop - sound
Extract from the video based on Pascal Bircher's exhibition card
“Stately, Yes.” and the light and sound waves produced by Heimo
Zobernig's “Film Titel Video”.
VOYAGE EN URL
VOYAGE EN URL
screensaver
la Synagogue
de
Delme (F), 2006.
"Voyage en URL" is an interactive artwork that invites
viewers to embark on a journey through their own internet browsing history .
The artwork takes the form of a screensaver that generates a chronological list of
all the websites that the user has visited (via Firefox 2.0 et versions ultérieures).
The list is displayed in reverse
chronological order, so the most recent websites are displayed first.
The artwork was created in 2006 and was distributed on 500 USB keys. Each key was
numbered and given to a different person, who was then encouraged to share the key with
someone else. The artwork was intended to encourage people to reflect on their own
internet usage and to consider the impact of technology on our lives.
The artwork "Voyage en URL" was created during two residencies, one in Lindre-Basse and one in Bourges, in 2006.
co-production
and
co-édition: CAC la Synagogue de Delme, la box_ensa de Bourges,
2007
in partnership with Go-----Between, a contemporary art and design production agency.
Creative Commons: Some rights reserved
La conférence équitable mise à nue par ses
consultants,
même
LA CONFÉRENCE ÉQUITABLE MISE Á NUE PAR SES CONSULTANTS, MÊME
Video - 38' in a loop - sound
Paris (F), 2010.
On April 9, 2010, Collectif 1.0.3 proposed its new conférence
équitable, a lecture in which he presents his work and his
collective way of working, incorporating elements characteristic
of his place of residence (extracts from the internal diary, photographs
of the site, etc.).
La
conférence équitable mise à nue par ses consultants,
même
is the film, transforming an oral form into a video work.
Nevertheless, in this transfer, the conference underwent
two post-production phenomena: the first, natural, is editing;
the second, specific to the nature of the firm, is the intervention
of a consultant to “coach” the members of the collective in order
to improve their persuasiveness, their way of expressing themselves
(this is the order expressed in the letter reproduced opposite).
The work, taking its title from Marcel Duchamp's icon,
la Mariée
mise à nue par ses célibataires, même (1915-1923), thus stages
the interplay between the methods of art and those of the firm,
testifying to the way in which eurogroup consulting is “as much a
context for observing the other as a situation influencing our own
mode of operation as artists working within a group”.
UN POINT SANS POINT SAUF SUR LE i
UN POINT SANS POINT SAUF SUR LE i
Evolving text from Marie-José Muller-Llorca
Sound collaboration :
Robert
Rudolf
Realisation : Luc
Dall'Armellina 2009
A tag (or datamatrix) is an
intelligent barcode made up of black and white squares which,
according to an established order, define an access key to a website.
So by photographing it from your cell phone, you're automatically
directed to web content.
Based on this material, Collectif 1.0.3 has devised a program that
randomly generates or suggests that users themselves write cryptographic
patterns, some of which are digital sesames. The composition is enhanced
by a sound score by Robert Rudolf.
Among all the figures executed, one of them happens to correspond to the
access key concealed in the device by Collectif 1.0.3, while others are
nothing more than dead ends...
"Un point sans point sauf sur le i", is also the title of a progressive
text without punctuation, written by Marie-José Muller Llorca since 2004.
The key acts metaphorically here, as the only fixed datum around which the
other parameters (including the authors) are activated.
Acknowledgements : Luc Dall' Armellina
(http://lucdall.free.fr)