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Adieu, me dit cette pensée, je n’irai pas plus loin2018
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Centre d'Art Contemporain de Tours2012
Centre national de la danse, Pantin2016
Chaise Lambert2015
Collection Lambert en Avignon2015
DTAOT: Combine (Don’t Trust Anyone Over Thirty, All Over Again)2006
Descendents of the Eunuch Admiral2010
Don't Trust Anyone Over Thirty2004
Don’t Trust Anyone Over Thirty The Storyboard2010
Douy Delcupe2018
Dr Jekyll & Mr Mouse2008
Drip feed2008
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ESAAA Ecole Supérieure d’Arts Annecy Alpes2017
Fata Morgana2013
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Feuillet d'Hypnos, Unité d’habitation 3 jours2007
Folie L52015
From the sun to the cloud (from 3 000 k to 6 000 k)2014
Galerie du temps2019
Grand Opening2006
Institut Henri Poincaré, Paris2017
Institut pour la photographie, Lille2019
La Densità dello Spettro2012
La Maison des Morts2006
La Maison des grands lacs2009
La Mort de Cleopatre / La Dame de Monte Carlo / Erwartung2014
La nuit est plus sombre avant l’aube2015
Le Jardin des diversions2013
Le Pavillon du mouvement continu (Hypar)2019
Le Violon d’Ingres2018
Le déclin du jour2010
Les couleurs du ciel2016
Mademoiselle Julie2011
Magic carpet2013
Maison de la culture de Seine-Saint-Denis, Bobigny2013
Miss Julie2010
Mo.Co. Hôtel des collections2016
Mucem - Fort Saint-Jean, Marseille2011
No tears for the creatures of the night2017
Notus Loci2012
Par la contrainte2012
Planetarium Sorrow2013
Pompidou Mobile2009
Pompidou Mobile2009
Public spaces and pavilions for the Lausanne EPFL2012
Sans titre2010
Sans titre (Le Jardin des diversions)2013
Sans titre (Vallée de l'Asse)2014
Sommeil Nerveux (icosahedron light balls)2013
The Prophecy2008
Théâtre Nanterre-Amandiers2018
Une clarté artificielle, jaune et pâle2016
Ça va2006
Ça va, a prefabricated movie theater2010
École nationale supérieure d'arts de Paris-Cergy2019

La Densità dello Spettro

Berger&Berger, 2012
Fondazione Pastificio Cerere, Rome
curator : Marcello Smarrelli

The exhibition, entitled La Densità dello Spettro is a work on the material reality of colour (pigment, printing ink, industrial varnish, and so on) as counterposed to the immaterial nature of the constitutive elements of light waves like photons. Colour is in the different works on display interpreted according to the classificatory scheme created in the 19th century by Johann Wolfgang von Goethe, who developed a physiological approach to the subject that rejected pre-existing categories (created by Robert Fludd, Claude Boutet, Isaac Newton), but contrasted to what was to be developed a century later by Johannes Itten (which has determined the contemporary way of perceiving colour).

Sans titre, L'oeil humain
Berger&Berger, 2012
PVC colored adhesives. Dimensions variable. Protocol.

Berger&Berger, 2012
Siporex bricks. Dimensions variable.

White glazed
Berger&Berger, 2012
Micro-granules of glass, white paint. Dimensions variable. Protocol.

Mystère -
Berger&Berger, 2012
Poster. 400 x 300 cm. Edition of 1.

Mystère was supported by the A.P.A (Advertising Postings Agency) of Rome, and printed in their facilities.

Sans titre, L'oeil humain
The three primary colors for additive synthesis are placed over the gallery’s sole bay window, thanks to which the space is naturally lit. Reinforced by electric lighting, the natural light penetrates into the space of the gallery and crosses through this inverted prism. Projected onto the walls, this light in association with the color filters progressively creates a synthetic white that is superimposed over the gallery’s white walls several centimeters away from the bay window.

Placed in the middle of the room, it occupies almost all of the space, leaving a small passageway for the visitor to walk around it. Walls is a minimal form of architecture set into another and into which one cannot enter.

White Glazed is an in situ intervention on the walls of one of the gallery’s rooms through the application of an industrial white paint mixed with tiny glass marbles. In contrast to the initial white conserved on the gallery’s ceiling and ground, the enhanced white constitutes a surface of reflection and diffusion of the gallery’s artificial light. The walls then function as a beaded movie screen, returning most of the light projected onto it back to the direction of its source, that of the spectator.
Paint is applied in the usual manner of a building painter.

Mystère initially spelled mistère (from medieval Latin misterium, "ceremony"), is a theatrical genre that appeared in the 15th century. It consisted of a succession of animated and dialogued paintings written for a very large audience, implementing stories and legends from which the imagination and popular belief had been nourished. Supernatural and realism rubbed shoulders there.
Mystère is composed by a series of thirty-six posters that each constitute a variation and combination of two complementary colors, opposite colors on the color circle defined by Johann Wolfgang von Goethe. Presented on the city’s advertising billboards, the posters display “altered” colors that present the color circle in an undefined way, through a progressive “slide”. An undetermined range of color successively affected by the digital production tool and the traditional procedure for printing in four colors referred to as CMYK (Cyan, Magenta, Yellow, and Key).