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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.



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

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

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