sous le bitume



20 m x 15 m x 3 m

with Léa Uguen, Estelle Roussel

projet Cuisinons le PAV

(heaps and blue boxes)

photography© Lost&Find

event EXPLORE, the transition

Sicli pavilion, Geneva


“Under the bitumen” takes into account the quantity of new materials and waste used to artificialize and naturelize a surface of 25 m². The heaps of aggregates and earth are supplemented by information panels conveying extracts from official Swiss documentation. 


l'origine du monde


art installation

3 m x 2 m x 2m

with Léa Uguen, Estelle Roussel

(peinted advertising tarpaulin)

photography © Lost&Find

project Cuisinons le PAV


residency Art&Territory

Embassy of Foreign Artist, Genève

"The Origin of the World", as an entrail in levitation, invites to tilt the gaze towards what lies under our feet. It highlights the relationship to the subsoil and the geological origin of minerality.

Installed next to a tower construction site, it questions the way generic buildings are built, without consideration for whats tooks millions and millions of years to appear.




series of vidéos

video © Jade Apack

project Cuisinons le PAV


residency Art&Territory

Embassy of Foreign Artist, Genève


Choreography with a thousand dancers. Precise, energetic, tireless dance. The decor changes, the gestures are repeated, tirelessly.

Until exhaustion - of the natural resources.

Shooted during the first part of the residency art&territory, while we aimed to discover the producers of the materials we use for our buildings, this videos shows the ballet of the machines of all the construction chain.




workshop in the city of Slavutych, Ukraine

curated by SESAM Poliklinika

co-created with Perrine Cariou

co-tutored with Alexandre Garbati

students : 

Katia Bukata, Olena Shykina, Maryia Karaliova, Elisabet Gritskevich, Denys Lanko, Tymur Hismatulin

photographies © Jade Apack


Instead of focusing on the negatives symptoms, acupuncture stimulates positives key points of the body, in order to restore a circulation of vital energy between them. In a way, Slavutych is the body, and the workshop explores and stimulates its key points.

After having explored the city through a maximum of differents actions -  mind mapping, interview, drawings, gathering, automatics writings, body feelings - and having shared daily discussions, clouds of words, and debates, the participants get their own imagination free and created utopian futures for Slavutych. The narrative were translated into several micro-interventions scattered in the city. At the end the whole process was showed throught a global exhibition in Polyklinika, and everyone was invited to circulate between the micro-interventions, as if they were the vital energy between the key points of Acupuncture.


several landscapes installations and performances

(variable dimensions and media)

co-created with Alexandre Garbati, Katia Bukata, Olena Shykina, Maryia Karaliova, Elisabet Gritskevich, Denys Lanko, Tymur Hismatulin

photographies © Jade Apack, Lorentz Krauth

Swimming fountain : USE IT

Water is vital for healthcare and physical activities ; the one of Slavutych is clean.


Falling pine cone : DRINK IT

As water for the body, pine cone and nature are the main element of the city of Slavutych.


Tea ceremony : STOP HERE

Social interaction is crucial for happiness, let’s bring it back to the heart of Slavutych.


Hanging intimacy : TAKE CARE

Relationship and trust in between people of Slavutych benefits to the city : public spaces are shared and maintained.


Portal : GO THROUGH 

Slavutych is a bubble itself made from a series of bubbles that forms a diversity of atmospheres and contrats.




landscape intervention

variable dimensions

with Léa Uguen, Benjamin Sauviac, Benoît Marcou

(weighted pvc roll)

photography and video © Jade Apack


Similar to a cutting line, Languette highlights the breaks in the natural geological mechanisms. By underlining human interventions, it questions the artificialization of nature to answer anthropic needs (moving, eating, producing energy, etc.) and the resulting impacts: sedimentation, plant development, displacement beaches, etc. 


bain de foule


performative installation

variable dimensions

(lack box, projector, gelatin filters, buoy, swimsuit, camera, visitors, blue clothes)

photography © Jade Apack


"It is not given to every man to take a bath of multitude; enjoying a crowd is an art; and only he can relish a debauch of vitality at the expense of the human species, on whom, in his cradle, a fairy has bestowed the love of masks and masquerading, the hate of home, and the passion for roaming."


"The crowds", Charles Beaudelaire, Le Spleen de Paris


Before entering the installation, the public is invited to put on clothes with bluish tones. Once inside, a long shot photograph transcribes the movement of its wanderings under the form of a blurry blur enveloping the space. The public has become one of the essential components of the photography: it is subject, even matter.
This fuzzy material envelops the body of the person lying on the ground, which appears more clearly since it did not move during the taking. This person finds himself “drowned” in this vagueness, in this crowd. All that remains is the buoy, not submerged, surfing on this breaking wave of people.


s'inviter dans les impasses


multimedia installation in an industrial wasteland

with Hadrien Hadgers ; Clément Godry ; Jennifer Colman ; Manon Sendecki, Théo Phélippeau ; David Delph ; Vladimir Jamet

curated by FRAC Centre Museum for the #1 Orléans Architecture Biennale : "Walk into somenone's dream"

exhibited at Vinaigreries Dessaux, Orléans

projectors, gelatins filters, sod rolls,  wood pannels, video projection, glass bottles, rails, speakers, gopro)

photography and video © Hadrien Hatgers

Noise of vinegar bottles chocking. Shadows of ghosts passing through the walls. Visions of the inside of the building transmitted from cameras sliding on railways.

The industrial wasteland of Vinaigreries Dessaux, transformed into a utopian and wonderful garden, offers residents one last walk before its inevitable rehabilitation. This installation follows a reflection on how we can position ourselves facing the renovation of such an emblematic building of a city, and more broadly industrial wasteland. Through fictional means, we wanted to open the debate and initiate a reflection on what these spaces are and could be.


prendre corps


performative installation

with Mathilde Simonnet


(papers, ropes, wood sticks, projectors, speakers)

photo © Jade Apack

A staging of a spatial sequencing marked with paper suspensions. By playing with notions of field and out of visual field, the idea is that each element of space is a dramaturgical component, not a decorative one. These caches, taking turns the functions of walls, seating, clothing... delimiting the voids, in and with the bodies moving to the rhythm of the poem by Ghérasim Luca, "Prendre Corps". Thus activated, the space presents itself as a real protagonist of performance.




urban installation over the Dead Canal, Rječina river, Rijeka,  Croatia

10 x 20 x 20 m

Dušan Stojanović, Marina Urošević ; Miloš Jokić ; Andrejs Sokolovs, Arya Kaushik, Barbora Výborová, Beatrice Aimée, Dominika Jenova, Eddie Sardeng, Jack O’Hagan, Jakob Schmitt, Jay Kiernan, Jiaqi Wang, Kateryna Rybenchuk, Maija Malmivaara, Maruša Mali, Roman Hartmann, Sara Delgado, Sara Stojkanovik 

Curated by RE:EASA 

(ropes, knots,  strength and collective energy)

photo © Alexandra Kononchenko , Jakob Schmitt

Re:built a link in between the industrial part of the city of Rijeka, Croatia, and its city center.

The bridge was built in order to draw a new connection with one of the main pedestrian streets. Its rope structure and knots are directly inspired by the city's marine context.