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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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When you're logged in, a little sign "add to favorite list" will appear below each video. With the click on it, you add the film to your favorites list. When you have collected all the works, open your favorites list and you can share the list with blinkvideo. We will then receive a message and put the compilation online.
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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Marylène Negro

Works


Galleries

Galerie Joceln Wolff
Jocelyn Wolff
78, rue Julien-Lacroix
75020 Paris
France

Phone: +33 1 42 03 05 65
E-Mail: j.wolff@galeriewolff.com




Biography

Expositions & projections personelles

2013
“Majeur et vacciné”, Festival Côté court 22è édition, les Erans libres, (c. : J. Evrard), Ciné 104, Pantin.
Ulysses, l’autre mer, (c. : J.M. Huitorel), Musée des Beaux-Arts, Rennes.

2012
Sept mondes / Paradise now, Florence Loewy… by artists, Paris.
Daymondes, Festival Côté court 21è édition, les Erans libres, (c. : J. Evrard), Ciné 104, Pantin.
Daymondes, Ton monde à toi, (c. : D. Truco), TAP Cinéma, Poitiers.
Pa, Arte.TV, (c. : S. Schmickl), Lowave.
X+, Internationalist cinema for today (c. : N. Brenez), Anthology Film Archives, New York.

2011
Séance monographique, cinéma Le Kursaal, Frac Franche-Comté, Besançon.
Focus Marylène Negro, Festival Côté court 20è édition, (c. : J. Evrard), Ciné 104, Pantin.
2d festival d’art vidéo en Palestine, Les Instants vidéo, (c. : M. Mercier), Ramallah, Jérusalem Est, Naplouse, Birzeit…
Human Frames, Lowave, (c. : S. Schmickl), Singapore, Düsseldorf.
X+, I.I.F (intempestif /indépendant/fragile), (c. : P. Cassagnau), Cinéma le Cratère, Toulouse.
Plutôt que rien : démontages, (c. : R. Jeune, F. Neyrat), Maison populaire, Montreuil.

2010
X+, Anonymes, USA, (c. : N. Brenez, P. Cassagnau), Cinéma des Cinéastes-le BAL hors les murs, Paris.
Séance monographique, auditorium de Nicéphore Niépce, musée Nicéphore Niépce, Chalon-sur-Saône.
L’Homme Atlantique, “Marguerite Duras, en effet”, (c. : J. Evrard), Ciné 104, Pantin.

2009
Séance Marylène Negro, 22es instants vidéo, Avez-vous vu l’horizon récemment?,(c. : M. Mercier), La Compagnie, Marseille.
Soirée Marylène Negro, galerie Martine Aboucaya, Paris.
Séance monographique, (c. : S. Schmickl), Experimental 3 @ Cine Nouveau, Osaka.
Séance monographique, (c. : P-A. Michaud), Cinéma 1, Centre Pompidou, Paris.
Séance monographique, (c. : N. Brenez), Cinémathèque Française, Paris.

2008
Écrire dit-elle, galerie Martine Aboucaya, Paris.
Paradise Now! Essential French Avant-Garde Cinema 1890-2008, (c. : N. Brenez, M. Temple, M. Witt, P. d’Amerval and . Mannoni en association avec la Tate Modern et la Cinémathèque Française), Tate Modern, Londres.
Vidéos de Marylène Negro, ENSBA, Valence.

2007
Les Biches - La Belle et la Bête, cinéma Plazza Victor Hugo, Besançon.

2006
Seeland, galerie Martine Aboucaya, Paris.

2005
Steve & Alex, (c. : J.-M. Huitorel), Passerelle, Brest.
Encore, Agence Stéphane Ackermann, Luxembourg.

2004
Et toi, École Nationale Supérieure des Beaux Arts, Le Mans.
Viens, Musée d’Art Moderne et Contemporain, Strasbourg.
Marylène Negro, Frac des Pays de la Loire, (c. : J.-M. Huitorel), Carquefou.
Rentrer dehors, Trafic, Frac Haute-Normandie, Sotteville-lès-Rouen.

2003
Eux/Them, L’Entrée sur l’Art Contemporain (c. : B. Zürcher), Le Bon Marché, Paris.
Ni vu – ni connu, Institut Franco-Japonais, Tokyo.

2002
Regarde-moi dans les yeux, Agence Stéphane Ackermann, Luxembourg.
Un signe de vous, Parc du Domaine Départemental de Chamarande, Chamarande.

2001
Eux/Them, Galerie Jennifer Flay, Paris.
La Mouche, Université Paris I Panthéon-Sorbonne (c. : I. Vodjadny), Paris.
Ni vu – ni connu, Neither seen nor heard, Agence Stéphane Ackermann, Luxembourg.

2000
Ici, Agence Stéphane Ackermann, Luxembourg.
Donnez-moi une photo de vous, Galerie Nei Liicht, Dudelange.
Museum, co-réalisation K. Scherübel (c. : M.-N. Semet), Thessalonique.
Pratiques, Biennale internationale de design 2000, Centre de Congrès Fauriel, SaintÉtienne.

1999
Dites-moi quelque chose, Ecole Supérieure des Beaux-Arts, Tours.

1998
I love art, Centre d’Art Contemporain, Vassivière.
Neither seen nor heard, (c. : B. Harte), Galway Arts Festival, Galway.

1997
Une photo de vous, Galerie Paolo Vitolo, Milan.
Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Galerie Erna Hécey, Luxembourg.
Marylène Negro, Galerie Jennifer Flay, Paris.
Ni vu - ni connu, (c. : D. Truco), Le Confort Moderne, Médiathèque François-Mitterrand, Poitiers.
Les Passeurs, (c. : D. Truco), affichage urbain, Poitiers.
Donnez-moi une photo de vous, Le Triangle, Rennes.

1996
Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Frac Languedoc-Roussillon, gare SNCF, Montpellier.

1995
I love art, Galerie Paolo Vitolo, Milan.
The Apartment, co-réalisation K. Scherübel, Ghislain Mollet-Viéville, Paris.
Sport France, Parc Saint-Léger, Centre d´Art Contemporain, Pougues-les-Eaux.

1994
Te Huur, (c. : J. Sans), Warmoesstraat 139, Amsterdam.
Des idées noires, des idées bleues, des idées rouges, des idées jaunes, (c. : J. Sans), École des Beaux Arts, Nancy.

1993
Fax a house, Dennis Anderson Gallery, Anvers.
Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Galerie Karin Schorm, Vienne, Autriche.
Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Austellungsbüro Michael Schill, Stuttgart.

1992
Un peu, beaucoup, passionnément, à la folie, pas du tout, Galerie Jennifer Flay, Paris.

1991
Bonheur du jour, Galerie Jennifer Flay, Paris.
Marylène Negro, Musée Greuze, Tournus.
Mot de passe, Galerie Jennifer Flay, Paris.

1990
Culture, Galerie Pierre Bernard, Nice.

Expositions collectives

2013
In a Sentimental Mood, (c. : V. Desclaux), La Galerie des Galeries, Paris.
Des images comme des oiseaux, (c. : P.Tosani, Pierre Ginner), La Friche la Belle de Mai, Marseille.
Theodolites, (c. : S. Schmickl, K. Chan), Institute of Contemporary Arts Singapore, Singapour.
Inaugruation du nouveau bâtiment de Kengo Kuma, (c. : S.Zavatta), Frac Franche-Comté, Besançon.
Arbre de vie, cinéma, (c. : R.Olcèse), Collège des Bernardins, Paris.
50 ans d’art video (1963-2013) Les Instants Video au Japon, (c. : M.Mercier), Institut Culturel Français, Tokyo.

2012
Situation(s) [48°47’33’’N 2°23’16’’E], (c. : F. Lamy), Mac/Val, Vitry-sur-Seine.
Paysages sonores, (c. : S. Simickl), Église Saint-Merry, Paris.
Les 24es Instants Vidéo, (c. : M. Mercier), Athens Video Art Festival, Grèce.

2011
L’Histoire, Toutes les histoires (Document/Documentaire/Documenter)-History and
stories: documenting documentaries, (c. : P. Cassagnau), Pacific Cinémathèque, Vancouver.
Human Frames - Pain@Kolektiva - video in progress 4 feelings of distress, (c. : S. Simickl), festival by Kolektiva in Lubljana, Slovénie.
Codex, (c. : P. Leguillon), Haute école d’art et de design, Genève.
Les 24es Instants Vidéo, (c. : M. Mercier), Musée Ziem, Martigues.
Pour une République des rêves, (c. : G. Tiberghien), CRAC Alsace, Altkirch.
Itinéraire bis, (c. : F. Lamy), Mac/Val, Vitry-sur-Seine.
Et si l’espace n’était qu’une dimension intérieure, (c. : C. Bissière et J-P Blanchet), Abbaye Saint André, Meymac.
Human Frames, (c. : S. Simickl), KIT Kunst-im-Tunnel Museum, Düsseldorf.
Entre le cristal et la fumée (Part 1), galerie Poggi, Bertoux associés, Paris.
Video, Vidi, Visum # 2, galerie Poggi, Bertoux associés, Paris.

2010
Let’s dance, Mac/Val, (c. : F. Lamy), Vitry-sur-Seine.
Aller savoir Savoir aller, (c. : A. Alessandri), Espace Diamant, Ajaccio.
Gaza's International Festival for Video Art, Gaza's International Festival for Video Art, Gaza, Jérusalem, Jabalia, Bethlehem, Ramallah, Rafah.
Beauté et terreur, (c. : M. Mercier, G. Ayme, S. Bester), Instants Vidéo Numériques et Poétiques, Théâtre des Chartreux (Marseille)
(Conversations intimes), (c. : D. Watteau, E. Artaud), musée départemental de l’Oise, Beauvais.
Narcissa, galerie Martine Aboucaya, Paris.
Photograph[e]s, musée Nicéphore Niepce, Chalon-sur-Saône.
Video, Vidi, Visum, galerie Poggi, Bertoux associés, Paris.

2009
KunstFilmBiennale, (c. : P.A. Michaud), Bundeskunsthalle, Bonn.
Textures argentiques/Matières numériques, (c. : Cinémas différents de Paris), cinéma La Clef, Paris.
Image/Mouvement : Decennalia 1, (c. : N. Brenez, P. Cassagnau), Cinémathèque Française, Paris.
Web-Stalkers, (c. : Cinémas différents de Paris), cinéma Nouveau Latina, Paris.
90’, (c. : V. Souben), Frac Franche-Comté - Saline royale, Besançon.
1er festival /SI:N/ d'art vidéo et performance en Palestine, Ramallah, Jérusalem et Gaza.
Of other spaces, (c. : J. Voorhies), Columbus college of art & design, Ohio.
L’Empathie des parties-Afinitats electives, (c. : M. Mont, N. Tissier, G. Picazo), Centre régional d’Art contemporain Languedoc-Roussillon, Sète.

2008
Afinitats electives, (c. : M. Mont, G. Picazo), Centre d’Art La Panera, Lleda.
Aller à Ouessant - Vidéo sur l'île, (c. : M.Dinahet), Le phare, Ile de Ouessant.
Dreamland, Domaine départemental de Chamarande, Chamarande.
Mondo e terra, Man, Musée d’Art Province de Nuor, Sardaigne.
L’Argent, (c. : E. Lebovici et C. Bourgeois), Le Plateau, Paris.

2007
Joël Bartoloméo und Marylène Negro, Maurus Gmür Büro, Berlin.
Mimetic, (c. : J-M. Huitorel), Centre d’art de l’Yonne, Tanlay.
Close Up, galerie Martine Aboucaya, Paris.
Objectif Lunel, Espace Louis-Feuillade/Abric, Lunel.
Je m’voyais déjà, (c. : P. Leguillon), Passage de Retz, Paris.
La mesure du sensible, Institut français, Budapest.
“T.H.T.” Très Haute Tension, Lycée Mathias, Chalon-sur-Saône.
En quête d’identité, Centre photographique d’Ile-de-France, Pontault-Combault.
Voyage blanc, Frac Franche-Comté, Besançon.

2006
Le reflet le doute la menace, (c. : A. Alessandri, G. Altea, C. Dommino), Villa Costantino, Alghero.
Chauffe Marcel, (c. : E. Latreille), Château de Jau, Cases de Pène.
La force de l’art, (c. : D. Marchès), Grand Palais, Paris.
Magenta éphémères, (c. : N. Viot), Boulevard Magenta, Paris.
I love you I love you really, Agence Stéphane Ackermann, Luxembourg.

2005
Collections sans frontières v. naturalia, Institut culturel français, Prague.
Chambres d’écoute, Villa Savoye, Poissy.
7 à Marie, Chartreuse de Valbonne.
Festival international du documentaire, Buy-Self Art Club, Marseille.

2004
Liaisons, Agence Stéphane Ackermann, Luxembourg.
Sur la terre comme au ciel, (c. : E. Latreille), Espace Paul Riquet, Béziers.
De leur temps, collections privées françaises, Musée des Beaux Arts de Tourcoing, Tourcoing.
Occupations#1, (c. : F. Lamy), Musée d’art contemporain Val-de-Marne/Vitry, Vitrysur-Seine.

2003
Passerelle, (c. : C. Bourgeois), MK2 Bibliothèque XIIIe, Paris.
Falsa Innocència, Fondation Miro, Barcelone.
Faire face, oeuvres de la collection du Frac Bourgogne, Maison pour tous, Châteaud’Aux.
L’art d’être au monde, (c. : D. Truco), Melle.
Singulier/Pluriel, Frac Haute-Normandie, Sotteville-lès-Rouen.
Quelque chose de soi, Galerie Zürcher, Paris.

2002
C’est pas du cinéma, (c. : M. Nuridsany), Le Fresnoy, Tourcoing.
Willst Du mir ein Foto geben?, dans Blick und Bild, Kunstmuseum des Kantons Thurgau, Warth, Suisse.
Le regard de l’autre, Dialogue entre les collections du Frac Haute-Normandie et du Musée des Beaux-Arts de Rouen, Sotteville-lès-Rouen et Rouen.

2001
Somewhere over the rainbow, Frac Haute-Normandie, Sotteville-lès-Rouen.
Miscellaneous landscapes, Agence Stéphane Ackermann, Luxembourg.
Nuit et jour III, (c. : M. Donnadieu), Opéra Léonard de Vinci, Rouen.
Alchimie de la rencontre, Frac Champagne-Ardenne, Reims.
Sculpture contemporaine, oeuvres de la collection Frac Rhône-Alpes, Lyon.

2000
En long et en travers, Frac Languedoc-Roussillon, Montpellier.
Lignes d’horizon, École des Beaux-Arts, Le Havre.
Carnet d’adresses - une oeuvre, un critique, un artiste, (c. : M. Donnadieu), Musée de Louviers, Louviers.
Ne travaillez pas, Atelier Michael Hofstetter, Munich.
L’art dans le vent, Domaine Départemental de Chamarande, Chamarande.
Critique et utopie, (c. : A. M. Delcroix), Château de La Napoule, La Napoule.
La beauté du geste, (c. : J.-M. Huitorel), Centre d’Art Contemporain, Vassivière.
Les trahisons du quotidien, Centre Culturel Français, Luxembourg.
Nuit et jour II, (c. : M. Donnadieu), Opéra Léonard de Vinci, Rouen.
Ces silences ronds…, Agence Stéphane Ackermann, Luxembourg.

1999
Un jardin d’hiver, Collection Frac Rhône-Alpes, Institut d’Art Contemporain, Bourgen-Bresse.
24h deluxe, (c. : V. Hubert, C. Melchior, B. Zieger), co-réalisation K. Scherübel, Hôtel Scribe, Paris.
Rue Louise Weiss, (c. : galerie Jennifer Flay), Centre d’Art Contemporain, Meymac.
In All the Wrong Places, (c. : S. Fortin), The Ottawa Art Gallery, Ottawa.
Le temps libre : son imaginaire, son aménagement, ses trucs pour s’en sortir, (c. : J.- C. Masséra), Deauville.
Drawings that I found, Agence Stéphane Ackermann, Luxembourg.
Premilleniumtension, Agence Stéphane Ackermann, Luxembourg.
The Scream, (c. : L. Hermant, W. Reiff, L. Schouten), Galerie Leerhuys, Brugge.

1998
An idea of art / art and life, Galerie Paolo Vitolo, Milan.
Festival Musiques en Scène, Musée d’Art Contemporain, Lyon.
Do all oceans have walls?, (c. : H. Griese, E. Schmidt), Brême.
Bilan/Actualité 1991-1998, Centre d’Art Contemporain, Vassivière.

1997
Quelques aspects de l’art en France, Magasin, Grenoble.

1996
EV+A (c. : G. Tortosa), Limerick.
Made me soft again, (c. : R. Bier), Galerie Barz, Hannovre.
Galerie du Placard, (c. : G. Mahé), Librairie-Presse Shader, Saint Briac.
Le lundi au soleil - 860m2, une sélection d’oeuvres du Frac Rhône-Alpes, Magasin, Grenoble.

1995
Self Determination, Body Politics, co-réalisation K. Scherübel, Gemeente Museum, Arnhem.
The Apartment, co-réalisation K. Scherübel, Gramercy Hotel, Galerie Jennifer Flay, New York.
Ensayo General, (c. : M. Lapalus), Museo de Arte Carillo Gil, Mexico.

1994
Le saut dans le vide, (c. : N. Descendre), DSDKH, Moscou.

1993
Invisible touch, Galerie Martina Detterer, Francfort.
Galerie Barbara Weiss, Berlin.
Avant le bip sonore, (c. : J. Sans), Galerie Jennifer Flay, Paris.
Eté 93, Nouveau Musée, Villeurbanne.
Nulle part et partout, (c. : A. Barak), Espace Boyer, Sète.
Café de Paris, (c. : A. Barak, H. Legros), co-réalisation K. Scherübel, Remise,Vienne, Autriche.
Viennese Story, (c. : J. Sans), Wiener Secession, Vienne, Autriche.
Eros, c´est la vie, Le Confort Moderne, Poitiers.

1992
Hidden reflections, (c. : S. Landau), The Israel Museum, Jerusalem.
3011 (c. : J. Sans), Galerie des Archives, Paris.
Molteplice Culture, Arte e Critica, (c. : O. Zahm), Villa della Citta, Rome.
Strategy of disappearance, (c. : J. Sans), YYZ, Toronto.
Génériques, (c. : N. Descendre), Hôtel des Arts, Paris.
Spatial drive (c. : L. Trippi), New Museum, New York.
One + One, Galerie du mois, (c. : E. Fleiss), Paris.

1991
Monnaie de singe, (c. : C. Besson), École des Beaux-Arts, Nîmes.
Mouvement 2, (c. : J.-P. Bordaz), Centre Georges Pompidou, Paris.
Chair, Cicero, Paris.

1990
Art et Publicité, (c. : J.-H. Martin, A. Baldassari), Centre Georges-Pompidou, Paris.
Le choix des femmes, Consortium, Dijon.

Residences

2007
Association l'âge d'or, Berlin.
2005
Bourse de la Collectivité territoriale de Corse.
2003
Bourses du Fiacre, de l’Afaa et de la Fondation du Japon, Tokyo.
1996
Chambre de séjour avec vue, Saignon-en-Lubéron.
1990
Villa Arson, Nice.
1989
Fondation d´Art de la Napoule.

Collections publiques

2012
Fonds Municipal d’Art Contemporain, Paris.
2007
Frac Franche-Comté.
Centre d’Art Contemporain de Chamarande.
2006
Musée d’Art Contemporain Val-de-Marne/Vitry.
2005
FNAC, Paris.
Frac Bourgogne.
2003
Frac Languedoc-Roussillon.
2002
Frac Bourgogne.
FNAC, Paris.
1999
FNAC, Paris.
Frac Haute-Normandie.
1998
Centre d’Art Contemporain de Vassivière en Limousin.
1997
Frac Languedoc-Roussillon.
Frac Limousin.
1996
FNAC, Paris.
Frac des Pays de la Loire.
1993
Frac Rhône-Alpes.
1991
Frac Corse.
FNAC, Paris.
1988
Consortium, Dijon.

Oeuvres publiques

2014
1% artistique, Mairie de Saint-Jacques de la Lande
2013
1% artistique, Collège Anita Conti, Saint-Nazaire
2010
1% artistique, École Joséphine Baker, La Courneuve
2004
1% artistique, La Rochelle

Marylène Negro
Expositions & projections personelles 2013 “Majeur et vacciné”, Festival Côté court 22è édition, les Erans libres, (c. : J. Evrard), Ciné 104, Pantin. Ulysses, l’autre mer, (c. : J.M. Huitorel), Musée des Beaux-Arts, Rennes. 2012 Sept mondes / Paradise now, Florence Loewy… by artists, Paris. Daymondes, Festival Côté court 21è édition, les Erans libres, (c. : J. Evrard), Ciné 104, Pantin. Daymondes, Ton monde à toi, (c. : D. Truco), TAP Cinéma, Poitiers. Pa, Arte.TV, (c. : S. Schmickl), Lowave. X+, Internationalist cinema for today (c. : N. Brenez), Anthology Film Archives, New York. 2011 Séance monographique, cinéma Le Kursaal, Frac Franche-Comté, Besançon. Focus Marylène Negro, Festival Côté court 20è édition, (c. : J. Evrard), Ciné 104, Pantin. 2d festival d’art vidéo en Palestine, Les Instants vidéo, (c. : M. Mercier), Ramallah, Jérusalem Est, Naplouse, Birzeit… Human Frames, Lowave, (c. : S. Schmickl), Singapore, Düsseldorf. X+, I.I.F (intempestif /indépendant/fragile), (c. : P. Cassagnau), Cinéma le Cratère, Toulouse. Plutôt que rien : démontages, (c. : R. Jeune, F. Neyrat), Maison populaire, Montreuil. 2010 X+, Anonymes, USA, (c. : N. Brenez, P. Cassagnau), Cinéma des Cinéastes-le BAL hors les murs, Paris. Séance monographique, auditorium de Nicéphore Niépce, musée Nicéphore Niépce, Chalon-sur-Saône. L’Homme Atlantique, “Marguerite Duras, en effet”, (c. : J. Evrard), Ciné 104, Pantin. 2009 Séance Marylène Negro, 22es instants vidéo, Avez-vous vu l’horizon récemment?,(c. : M. Mercier), La Compagnie, Marseille. Soirée Marylène Negro, galerie Martine Aboucaya, Paris. Séance monographique, (c. : S. Schmickl), Experimental 3 @ Cine Nouveau, Osaka. Séance monographique, (c. : P-A. Michaud), Cinéma 1, Centre Pompidou, Paris. Séance monographique, (c. : N. Brenez), Cinémathèque Française, Paris. 2008 Écrire dit-elle, galerie Martine Aboucaya, Paris. Paradise Now! Essential French Avant-Garde Cinema 1890-2008, (c. : N. Brenez, M. Temple, M. Witt, P. d’Amerval and . Mannoni en association avec la Tate Modern et la Cinémathèque Française), Tate Modern, Londres. Vidéos de Marylène Negro, ENSBA, Valence. 2007 Les Biches - La Belle et la Bête, cinéma Plazza Victor Hugo, Besançon. 2006 Seeland, galerie Martine Aboucaya, Paris. 2005 Steve & Alex, (c. : J.-M. Huitorel), Passerelle, Brest. Encore, Agence Stéphane Ackermann, Luxembourg. 2004 Et toi, École Nationale Supérieure des Beaux Arts, Le Mans. Viens, Musée d’Art Moderne et Contemporain, Strasbourg. Marylène Negro, Frac des Pays de la Loire, (c. : J.-M. Huitorel), Carquefou. Rentrer dehors, Trafic, Frac Haute-Normandie, Sotteville-lès-Rouen. 2003 Eux/Them, L’Entrée sur l’Art Contemporain (c. : B. Zürcher), Le Bon Marché, Paris. Ni vu – ni connu, Institut Franco-Japonais, Tokyo. 2002 Regarde-moi dans les yeux, Agence Stéphane Ackermann, Luxembourg. Un signe de vous, Parc du Domaine Départemental de Chamarande, Chamarande. 2001 Eux/Them, Galerie Jennifer Flay, Paris. La Mouche, Université Paris I Panthéon-Sorbonne (c. : I. Vodjadny), Paris. Ni vu – ni connu, Neither seen nor heard, Agence Stéphane Ackermann, Luxembourg. 2000 Ici, Agence Stéphane Ackermann, Luxembourg. Donnez-moi une photo de vous, Galerie Nei Liicht, Dudelange. Museum, co-réalisation K. Scherübel (c. : M.-N. Semet), Thessalonique. Pratiques, Biennale internationale de design 2000, Centre de Congrès Fauriel, SaintÉtienne. 1999 Dites-moi quelque chose, Ecole Supérieure des Beaux-Arts, Tours. 1998 I love art, Centre d’Art Contemporain, Vassivière. Neither seen nor heard, (c. : B. Harte), Galway Arts Festival, Galway. 1997 Une photo de vous, Galerie Paolo Vitolo, Milan. Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Galerie Erna Hécey, Luxembourg. Marylène Negro, Galerie Jennifer Flay, Paris. Ni vu - ni connu, (c. : D. Truco), Le Confort Moderne, Médiathèque François-Mitterrand, Poitiers. Les Passeurs, (c. : D. Truco), affichage urbain, Poitiers. Donnez-moi une photo de vous, Le Triangle, Rennes. 1996 Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Frac Languedoc-Roussillon, gare SNCF, Montpellier. 1995 I love art, Galerie Paolo Vitolo, Milan. The Apartment, co-réalisation K. Scherübel, Ghislain Mollet-Viéville, Paris. Sport France, Parc Saint-Léger, Centre d´Art Contemporain, Pougues-les-Eaux. 1994 Te Huur, (c. : J. Sans), Warmoesstraat 139, Amsterdam. Des idées noires, des idées bleues, des idées rouges, des idées jaunes, (c. : J. Sans), École des Beaux Arts, Nancy. 1993 Fax a house, Dennis Anderson Gallery, Anvers. Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Galerie Karin Schorm, Vienne, Autriche. Sans titre (Les artistes au travail), co-réalisation K. Scherübel, Austellungsbüro Michael Schill, Stuttgart. 1992 Un peu, beaucoup, passionnément, à la folie, pas du tout, Galerie Jennifer Flay, Paris. 1991 Bonheur du jour, Galerie Jennifer Flay, Paris. Marylène Negro, Musée Greuze, Tournus. Mot de passe, Galerie Jennifer Flay, Paris. 1990 Culture, Galerie Pierre Bernard, Nice. Expositions collectives 2013 In a Sentimental Mood, (c. : V. Desclaux), La Galerie des Galeries, Paris. Des images comme des oiseaux, (c. : P.Tosani, Pierre Ginner), La Friche la Belle de Mai, Marseille. Theodolites, (c. : S. Schmickl, K. Chan), Institute of Contemporary Arts Singapore, Singapour. Inaugruation du nouveau bâtiment de Kengo Kuma, (c. : S.Zavatta), Frac Franche-Comté, Besançon. Arbre de vie, cinéma, (c. : R.Olcèse), Collège des Bernardins, Paris. 50 ans d’art video (1963-2013) Les Instants Video au Japon, (c. : M.Mercier), Institut Culturel Français, Tokyo. 2012 Situation(s) [48°47’33’’N 2°23’16’’E], (c. : F. Lamy), Mac/Val, Vitry-sur-Seine. Paysages sonores, (c. : S. Simickl), Église Saint-Merry, Paris. Les 24es Instants Vidéo, (c. : M. Mercier), Athens Video Art Festival, Grèce. 2011 L’Histoire, Toutes les histoires (Document/Documentaire/Documenter)-History and stories: documenting documentaries, (c. : P. Cassagnau), Pacific Cinémathèque, Vancouver. Human Frames - Pain@Kolektiva - video in progress 4 feelings of distress, (c. : S. Simickl), festival by Kolektiva in Lubljana, Slovénie. Codex, (c. : P. Leguillon), Haute école d’art et de design, Genève. Les 24es Instants Vidéo, (c. : M. Mercier), Musée Ziem, Martigues. Pour une République des rêves, (c. : G. Tiberghien), CRAC Alsace, Altkirch. Itinéraire bis, (c. : F. Lamy), Mac/Val, Vitry-sur-Seine. Et si l’espace n’était qu’une dimension intérieure, (c. : C. Bissière et J-P Blanchet), Abbaye Saint André, Meymac. Human Frames, (c. : S. Simickl), KIT Kunst-im-Tunnel Museum, Düsseldorf. Entre le cristal et la fumée (Part 1), galerie Poggi, Bertoux associés, Paris. Video, Vidi, Visum # 2, galerie Poggi, Bertoux associés, Paris. 2010 Let’s dance, Mac/Val, (c. : F. Lamy), Vitry-sur-Seine. Aller savoir Savoir aller, (c. : A. Alessandri), Espace Diamant, Ajaccio. Gaza's International Festival for Video Art, Gaza's International Festival for Video Art, Gaza, Jérusalem, Jabalia, Bethlehem, Ramallah, Rafah. Beauté et terreur, (c. : M. Mercier, G. Ayme, S. Bester), Instants Vidéo Numériques et Poétiques, Théâtre des Chartreux (Marseille) (Conversations intimes), (c. : D. Watteau, E. Artaud), musée départemental de l’Oise, Beauvais. Narcissa, galerie Martine Aboucaya, Paris. Photograph[e]s, musée Nicéphore Niepce, Chalon-sur-Saône. Video, Vidi, Visum, galerie Poggi, Bertoux associés, Paris. 2009 KunstFilmBiennale, (c. : P.A. Michaud), Bundeskunsthalle, Bonn. Textures argentiques/Matières numériques, (c. : Cinémas différents de Paris), cinéma La Clef, Paris. Image/Mouvement : Decennalia 1, (c. : N. Brenez, P. Cassagnau), Cinémathèque Française, Paris. Web-Stalkers, (c. : Cinémas différents de Paris), cinéma Nouveau Latina, Paris. 90’, (c. : V. Souben), Frac Franche-Comté - Saline royale, Besançon. 1er festival /SI:N/ d'art vidéo et performance en Palestine, Ramallah, Jérusalem et Gaza. Of other spaces, (c. : J. Voorhies), Columbus college of art & design, Ohio. L’Empathie des parties-Afinitats electives, (c. : M. Mont, N. Tissier, G. Picazo), Centre régional d’Art contemporain Languedoc-Roussillon, Sète. 2008 Afinitats electives, (c. : M. Mont, G. Picazo), Centre d’Art La Panera, Lleda. Aller à Ouessant - Vidéo sur l'île, (c. : M.Dinahet), Le phare, Ile de Ouessant. Dreamland, Domaine départemental de Chamarande, Chamarande. Mondo e terra, Man, Musée d’Art Province de Nuor, Sardaigne. L’Argent, (c. : E. Lebovici et C. Bourgeois), Le Plateau, Paris. 2007 Joël Bartoloméo und Marylène Negro, Maurus Gmür Büro, Berlin. Mimetic, (c. : J-M. Huitorel), Centre d’art de l’Yonne, Tanlay. Close Up, galerie Martine Aboucaya, Paris. Objectif Lunel, Espace Louis-Feuillade/Abric, Lunel. Je m’voyais déjà, (c. : P. Leguillon), Passage de Retz, Paris. La mesure du sensible, Institut français, Budapest. “T.H.T.” Très Haute Tension, Lycée Mathias, Chalon-sur-Saône. En quête d’identité, Centre photographique d’Ile-de-France, Pontault-Combault. Voyage blanc, Frac Franche-Comté, Besançon. 2006 Le reflet le doute la menace, (c. : A. Alessandri, G. Altea, C. Dommino), Villa Costantino, Alghero. Chauffe Marcel, (c. : E. Latreille), Château de Jau, Cases de Pène. La force de l’art, (c. : D. Marchès), Grand Palais, Paris. Magenta éphémères, (c. : N. Viot), Boulevard Magenta, Paris. I love you I love you really, Agence Stéphane Ackermann, Luxembourg. 2005 Collections sans frontières v. naturalia, Institut culturel français, Prague. Chambres d’écoute, Villa Savoye, Poissy. 7 à Marie, Chartreuse de Valbonne. Festival international du documentaire, Buy-Self Art Club, Marseille. 2004 Liaisons, Agence Stéphane Ackermann, Luxembourg. Sur la terre comme au ciel, (c. : E. Latreille), Espace Paul Riquet, Béziers. De leur temps, collections privées françaises, Musée des Beaux Arts de Tourcoing, Tourcoing. Occupations#1, (c. : F. Lamy), Musée d’art contemporain Val-de-Marne/Vitry, Vitrysur-Seine. 2003 Passerelle, (c. : C. Bourgeois), MK2 Bibliothèque XIIIe, Paris. Falsa Innocència, Fondation Miro, Barcelone. Faire face, oeuvres de la collection du Frac Bourgogne, Maison pour tous, Châteaud’Aux. L’art d’être au monde, (c. : D. Truco), Melle. Singulier/Pluriel, Frac Haute-Normandie, Sotteville-lès-Rouen. Quelque chose de soi, Galerie Zürcher, Paris. 2002 C’est pas du cinéma, (c. : M. Nuridsany), Le Fresnoy, Tourcoing. Willst Du mir ein Foto geben?, dans Blick und Bild, Kunstmuseum des Kantons Thurgau, Warth, Suisse. Le regard de l’autre, Dialogue entre les collections du Frac Haute-Normandie et du Musée des Beaux-Arts de Rouen, Sotteville-lès-Rouen et Rouen. 2001 Somewhere over the rainbow, Frac Haute-Normandie, Sotteville-lès-Rouen. Miscellaneous landscapes, Agence Stéphane Ackermann, Luxembourg. Nuit et jour III, (c. : M. Donnadieu), Opéra Léonard de Vinci, Rouen. Alchimie de la rencontre, Frac Champagne-Ardenne, Reims. Sculpture contemporaine, oeuvres de la collection Frac Rhône-Alpes, Lyon. 2000 En long et en travers, Frac Languedoc-Roussillon, Montpellier. Lignes d’horizon, École des Beaux-Arts, Le Havre. Carnet d’adresses - une oeuvre, un critique, un artiste, (c. : M. Donnadieu), Musée de Louviers, Louviers. Ne travaillez pas, Atelier Michael Hofstetter, Munich. L’art dans le vent, Domaine Départemental de Chamarande, Chamarande. Critique et utopie, (c. : A. M. Delcroix), Château de La Napoule, La Napoule. La beauté du geste, (c. : J.-M. Huitorel), Centre d’Art Contemporain, Vassivière. Les trahisons du quotidien, Centre Culturel Français, Luxembourg. Nuit et jour II, (c. : M. Donnadieu), Opéra Léonard de Vinci, Rouen. Ces silences ronds…, Agence Stéphane Ackermann, Luxembourg. 1999 Un jardin d’hiver, Collection Frac Rhône-Alpes, Institut d’Art Contemporain, Bourgen-Bresse. 24h deluxe, (c. : V. Hubert, C. Melchior, B. Zieger), co-réalisation K. Scherübel, Hôtel Scribe, Paris. Rue Louise Weiss, (c. : galerie Jennifer Flay), Centre d’Art Contemporain, Meymac. In All the Wrong Places, (c. : S. Fortin), The Ottawa Art Gallery, Ottawa. Le temps libre : son imaginaire, son aménagement, ses trucs pour s’en sortir, (c. : J.- C. Masséra), Deauville. Drawings that I found, Agence Stéphane Ackermann, Luxembourg. Premilleniumtension, Agence Stéphane Ackermann, Luxembourg. The Scream, (c. : L. Hermant, W. Reiff, L. Schouten), Galerie Leerhuys, Brugge. 1998 An idea of art / art and life, Galerie Paolo Vitolo, Milan. Festival Musiques en Scène, Musée d’Art Contemporain, Lyon. Do all oceans have walls?, (c. : H. Griese, E. Schmidt), Brême. Bilan/Actualité 1991-1998, Centre d’Art Contemporain, Vassivière. 1997 Quelques aspects de l’art en France, Magasin, Grenoble. 1996 EV+A (c. : G. Tortosa), Limerick. Made me soft again, (c. : R. Bier), Galerie Barz, Hannovre. Galerie du Placard, (c. : G. Mahé), Librairie-Presse Shader, Saint Briac. Le lundi au soleil - 860m2, une sélection d’oeuvres du Frac Rhône-Alpes, Magasin, Grenoble. 1995 Self Determination, Body Politics, co-réalisation K. Scherübel, Gemeente Museum, Arnhem. The Apartment, co-réalisation K. Scherübel, Gramercy Hotel, Galerie Jennifer Flay, New York. Ensayo General, (c. : M. Lapalus), Museo de Arte Carillo Gil, Mexico. 1994 Le saut dans le vide, (c. : N. Descendre), DSDKH, Moscou. 1993 Invisible touch, Galerie Martina Detterer, Francfort. Galerie Barbara Weiss, Berlin. Avant le bip sonore, (c. : J. Sans), Galerie Jennifer Flay, Paris. Eté 93, Nouveau Musée, Villeurbanne. Nulle part et partout, (c. : A. Barak), Espace Boyer, Sète. Café de Paris, (c. : A. Barak, H. Legros), co-réalisation K. Scherübel, Remise,Vienne, Autriche. Viennese Story, (c. : J. Sans), Wiener Secession, Vienne, Autriche. Eros, c´est la vie, Le Confort Moderne, Poitiers. 1992 Hidden reflections, (c. : S. Landau), The Israel Museum, Jerusalem. 3011 (c. : J. Sans), Galerie des Archives, Paris. Molteplice Culture, Arte e Critica, (c. : O. Zahm), Villa della Citta, Rome. Strategy of disappearance, (c. : J. Sans), YYZ, Toronto. Génériques, (c. : N. Descendre), Hôtel des Arts, Paris. Spatial drive (c. : L. Trippi), New Museum, New York. One + One, Galerie du mois, (c. : E. Fleiss), Paris. 1991 Monnaie de singe, (c. : C. Besson), École des Beaux-Arts, Nîmes. Mouvement 2, (c. : J.-P. Bordaz), Centre Georges Pompidou, Paris. Chair, Cicero, Paris. 1990 Art et Publicité, (c. : J.-H. Martin, A. Baldassari), Centre Georges-Pompidou, Paris. Le choix des femmes, Consortium, Dijon. Residences 2007 Association l'âge d'or, Berlin. 2005 Bourse de la Collectivité territoriale de Corse. 2003 Bourses du Fiacre, de l’Afaa et de la Fondation du Japon, Tokyo. 1996 Chambre de séjour avec vue, Saignon-en-Lubéron. 1990 Villa Arson, Nice. 1989 Fondation d´Art de la Napoule. Collections publiques 2012 Fonds Municipal d’Art Contemporain, Paris. 2007 Frac Franche-Comté. Centre d’Art Contemporain de Chamarande. 2006 Musée d’Art Contemporain Val-de-Marne/Vitry. 2005 FNAC, Paris. Frac Bourgogne. 2003 Frac Languedoc-Roussillon. 2002 Frac Bourgogne. FNAC, Paris. 1999 FNAC, Paris. Frac Haute-Normandie. 1998 Centre d’Art Contemporain de Vassivière en Limousin. 1997 Frac Languedoc-Roussillon. Frac Limousin. 1996 FNAC, Paris. Frac des Pays de la Loire. 1993 Frac Rhône-Alpes. 1991 Frac Corse. FNAC, Paris. 1988 Consortium, Dijon. Oeuvres publiques 2014 1% artistique, Mairie de Saint-Jacques de la Lande 2013 1% artistique, Collège Anita Conti, Saint-Nazaire 2010 1% artistique, École Joséphine Baker, La Courneuve 2004 1% artistique, La Rochelle

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