You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (b0mb, 2018)

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Ce que nous avons perdu dans le feu, 2022, group show, Villa Arson, Nice, FR (Fireplace, 2022)

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You should only have eyes for me, 2018, solo show, Villa du Parc, Annemasse, FR (c) Aurélien Mole (Sextape, 2018)

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A truly shared love, 2018, UHD video, 4’ 30’’, produced by La Villa du Parc, Annemasse

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Ce que nous avons perdu dans le feu, 2022, group show, Villa Arson, Nice, FR (A Truly Shared Love, 2021)

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génériq, 2021, solo show, 22,48 m2, Paris, FR (A Truly Shared Love, 2021)

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Around Video, 2021, solo show, Hôtel Moxy, Lille, FR (A Truly Shared Love, 2021)

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Return of the Broken Screens, 2015, installation, videos, damaged screens, durations and dimensions variables (with the support of SCAM)

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Oasis Max Life, 2016, tablet computers in floral foam, videos, steel pedestal, 15,7 x 15,7 x 19,7 inches

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Quickening, 2017, solo show, 22,48 m2, Paris, FR (Lightning Ride, 2017; Oasis Max Life, 2017)

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Nakamoto (the proof), 2014 - 2018, pigment printing on backlit paper, scanner HP N6350, leds, text on paper, 35,4 x 19,6 x 3,9 inches

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b0mb, 2018, website, online generative video, 9' 58''

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Lightening Ride, 2017, full HD video, 7'40''

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♥ Paintings (wheresaddie), 2017, oil on Acer Liquid Jade Z, twisted silk cord 5,6 x 2,7 inches

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Deliverance, 2017, solo show, Steve Turner, Los Angeles, USA (Lightning Ride, 2017; Denim, 2017; Chien-Loup, 2017; Oasis Max Life, 2017; Return of the Broken Screens, 2015 - 2017)

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♥ Paintings (tconch), 2017, oil on Samsung Galaxy S4, 5,3 x 2,7 x 0,3 inches

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Return of the Broken Screens, 2015, installation, videos, damaged screens,durations and dimensions variables (with the support of SCAM)

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Collapsing New People, 2019, solo show, La Chaufferie, HEAR Strasbourg, FR (c) Antoine Lejolivet (b0mb, 2019; Fireplace, 2019)

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Quickening, 2017, solo show, 22,48 m2, Paris, FR (Lightning Ride, 2017)

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Denim (serie), 2017, found jeans, with holes, vacuum packaging, wall tablet holder, variable dimensions

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USB Key Received by Mistake Containing the Artwork "La Liberté en écorchée" from ORLAN" and artificially frozen by Laurent Pernot via www.matchart.net, USB key, key ring, artificial snow and ice, documents 1,6 x 1,7 x 0,9 inches

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Untitled SAS, 2015, custom installation, neon light (47,2 x 17,7 inches), faux marble, official documents (articles of constitution, share ledger, K-Bis, official publication, share certifcate/certificate of authenticity...), video Full HD 4/3 (2’30’’)

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Untitled SAS, 2015, custom installation, neon light (47,2 x 17,7 inches), faux marble, official documents (articles of constitution, share ledger, K-Bis, official publication, share certifcate/certificate of authenticity...), video Full HD 4/3 (2’30’’)

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Les Nouveaux chercheurs d'or, 2015-2016, free golden samples, print on Awagami bamboo 170 g, variable dimensions

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Les Nouveaux chercheurs d'or, 2015-2016, free golden samples, print on Awagami bamboo 170 g, variable dimensions

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Les Nouveaux chercheurs d'or, 2015-2016, free golden samples, print on Awagami bamboo 170 g, variable dimensions

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Nakamoto (The Myth), 2015, HD video, 4'40''

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Ghosts of your Souvenir, 2014-2016, series of selfportraits, installation, collection of photographs found online, performance, digital print under Plexiglas, Dibond, 5,1 x 5,1 inches, 5,1 x 7 inches

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Clichés, 2014, generative film, website, 3'50''

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Dérives, 2011-2014, installation, generative film, extract from "La piscine"of Jacques Deray, 1968

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Dérives, 2011-2014, Generative video installation, From Steven Spielberg's "Jaws", 1970

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Google Earth Movies, 2013, HD video, 23’40’’

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Le Tour du monde en instantané - Tropique du Capricorne, 2013, digigraphs, Hahnem paper

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Bliss (La Colline verdoyante), 2013, lenticular print, light box, 19,7 x 15,7 inches

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Google Earth Movies, 2009 - 2013, Video, Reconstruction of "Fellini Roma" by Federico Fellini, 1972

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Ô Boulot, 2018, group show, MAIF Social Club, Paris, FR (c) Marie-Amélie Tondu

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West Side Story 2, 2009 - 2013, Video, Reconstruction of Robert Wise's "West Side Story", 1960

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Cutting Grass, 2013, Site web, video

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Great Stories Start Here, 2019, solo show, 22,48 m2, Paris (b0mb, 2018 and Untitled, 2019)

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Me, Myself and I, 2019, group show, Biennale de l'image possible, La Menuiserie, Liège, BE (sextape, 2018)

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Artist duo, French & French-Luxembourgish, born 1984 & 1982, live and work in Paris

Émilie Brout & Maxime Marion began their collaboration at the École Nationale Supérieure des Arts Décoratifs in Paris. Their work has been included in collections such as the FRAC Ile-de-France and the François Schneider Foundation, has been featured in numerous media outlets including Le Monde, Art Press, Art Viewer, New York Observer, Tracks and BBC.

It has been shown at the Palais de Tokyo, the Gaîté Lyrique, the BANFF Centre for Arts and Creativity and the Louvre auditorium, and has also been presented at the Young Art Triennale of Casino Luxembourg (2021), the 5th Moscow Biennale for Young Art (2016) and numerous group exhibitions, including BPS22, Brussels; Villa Arson, Nice (2022): Supercollider, Los Angeles; Granit - Scène Nationale de Belfort (2021); Haus der Kulturen der Welt, Berlin; Centre Culturel Canadien, Paris; Centre d'art contemporain de Malakoff (2020); Sciences Po Prize for Contemporary Art, Paris; MAC VAL, Vitry-sur-Seine (2019); Redline Contemporary Art Center, Denver; Maison Populaire de Montreuil (2018); Le Loft - Collection famille Servais, Brussels (2017); OCAT Shenzhen; IAC Villeurbanne; Carroll/Fletcher, London (2016); MAC Créteil; Seongnam Art Center (2015).

They have had solo exhibitions at 22,48 m², Paris (2013, 2015, 2017, 2019, 2021); La Chaufferie, HEAR, Strasbourg; Pori Art Museum (2019); Villa du Parc, Annemasse (2018); Steve Turner, Los Angeles (2017).

The approach developed by Émilie Brout & Maxime Marion for the past ten years is largely based on links and encounters between archetypes from art history (from the Pre-Renaissance to cinema) and contemporary visual culture - particularly that of the web. This practice is based on a thorough work of research and iconography that nourish pieces that are both critical and emotional, and that integrate in their very modalities of production the economic, political and social specificities induced by the different aesthetic registers they call upon. They aim to inscribe embodiment in their fields of intervention, most often through open, non-linear and non-heroic narrative approaches. With video as medium of choice, they seek to push the limits of the formats they manipulate, and even to invent new ones. Their pieces often have a hybrid, ambiguous dimension, as much in terms of their content as their materiality or their multiple contexts of reception: a crisis of the image, provoking a sensitive dissonance between narrative power and the perceptible unveiling of the mechanisms of production at play.

VIDEOS

(selection)

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Lightning Ride, 2017, 4K video, 7’40’’

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Lightning Ride, 2017, HD video, 7’40’’