The villagers from Fiesch valley, Switzerland, dependent on nature and tourism, make arrangements with God, with the spirits and with scientific projects. Each plays an essential part in order to maintain the basis of their community in terms of identity as well as economy, the heart of their existence: the Aletsch glacier.
In this valley at the end of the world, between myths and sciences, ecology and tradition coalesce into one relentless motion towards the future. 

WHITE - OUT | video 8min 23 | 2017

In the video, the artist intervenes by painting directly on the rock of a Swiss glacier. The purpose of white paint is to change the albedo - the re-heating power of a surface - in order to lower

the temperature of the stones exposed to the sun, a project as committed as it is absurd and infinite. This practice, which seems incredible to put in place, has already been used, particularly in Peru.

These simulacra of ice and snow, a sort of trompe l'oeil intended for the sun, act as memories of a bygone era.


In the video MOVE AGAINST NOISE, the artist films boxers from the suburb of Paris, who are practicing their sport in a public space, chosen by the boxers. The different “spots” are linked through a slow travelling. The control of violence is channeling, and made visible in the urban or semi-private space, where the tension of this repression has its origin.

The outside becomes an extension of the private inner conflict in a city, and vice-versa and points the question: What are we doing with the noise in us?

Cañada Real Galiana passing through Madrid, runs from the town of Coslada to the municipality of Getafe, along which the houses were built deemed illegal. Cañada Real has around 8,000 people of 40 nationalities. The video installation was born out of the need to provide an accurate picture of the houses that cluster of 15 km length. The existing images, made through the opportunistic prism of the media, contribute to the stigmatisation of those who live there.

Juxtaposed irregular images show only the walls. First in concrete and brick, then more irregular, until there are just huts and tents left: The result of the lack of the political will.

The slow travelling plays with the aesthetic of the "Google Street View", which does not exist of this place.

The absence of human presence intensifies the curiosity of the spectator who is watching, taking in every detail that comes before him (a few drawings on the wall, a broken window, the bright orange of the garbage cans ...); an effect which is accentuated by the slow flow of images. From the appearance, the images on the walls act as an indirect and subtle denunciation of the reality behind them.


SCRATCHED AND ENGRAVED  - REVISITED | video 6min 30 | 2016









There is visible violence in each city, but also the potential of hidden aggression, loneliness, and stress related to the confined spaces within the city. In the work SCRATCHED AND ENGRAVED, the walls of public spaces are represented as the skin of a neighborhood.
Violent, racist, and sexist, political utterances as well as love stories are written on walls, trees and phone booths.

These statements, reflecting the atmosphere of a location, are projected on the human body and transformed into scars and brandings.

Credits | Ronan Prigent  

Sciéntifiques et artistes de la Casa Vélazquéz 2016 

BOREI KEILA, OK | video 52 min  | 2013

After three decades of civil war, serious poverty in Cambodia is widespread. Under the Khmer Rouge period from 1975 to 1979 private land ownership rights were abolished. Today, a large number of the cambodian population is alienated from their land and homes as the elites and foreign investors plunder the country for private profit.The films follows the evolution of Borei Keila a slum in the center of Phnom Penh. It shows through architecture the eviction of the people, the relocation sites outside of the city and the struggles of the victims. In Phnom Penh, there are 410 slum communities. 170 of them get already eviction letters. Borei Keila, that should be an example for fair developing became the example of cruel land grabbing in Cambodia.

Credits | Fondation Nationale des Arts Graphiques et Plastiques | Le Fresnoy - studio national |Artists-in-Resindence Suisse  | UBS Kulturstiftung Schweiz


Just behind the Railway station of Phnom Penh Cambodia people are living on the traks or in abonded wagons.A few times a week, a train is passing by, it's never sure at which time. People are removing their affairs from the tracks to let the train passing through their living space, their houses.

Credits | Alain Arnaudet | Martin Tillman

SINGLE SPEED FLOATING ACTION | video 7 min  | 2009

Adolescents from Roubaix are dancing on a frame filling big wall. The red brick is representing the past of the region, the typic stone used for the  housing of the workers of the coal mines and textile factories. But the wall is also representing the hard condition of life the kids are dealing with.Using just their body, the teens are fighting against the wall, are dancing on it, flying.

A dream of freedom, success and recognition.

Credits | UltimeStreetParkour59  

ENSAD | Le Fresnoy | Jeremy Courmont

CRUMBLING, PAST DAYS IN SYRIA | 35mm copie 2K HD 9min | 2012

The architectural heritage in Syria is particularly impressive. It evokes the feeling that each site has its own importance in terms of historical architecture and is filled with memories. The proximity of ruins everywhere, modern buildings, abandoned construction sites and squatted ruins gave me the feeling of living in a world where the concept of time as we know it does not applyThe sound of DAVID TRESCOS is the story of this film: a story of crumbling,  falling apart and, in the end, the story of new birth. Shot on the bench-title with a high contrast black/white film, each image is corresponding to a specific sound. The pictures consist of re-filmed architectural photographs shot in Syria: Palmyra, Malula, Bosra, and Damascus.A journey through the first civilisations, in the strict sense of people living in cities. The film is dedicated to Tamer al-Awam, a Syrian filmmaker and activist I had the chance to meet in Berlin. He was killed in 2012 during while working in Aleppo.

Credits | Le Fresnoy | Jeremy Courmont  | Jean René Lorand | The United Clutch Fondation | Cultures France






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