TOUCHLESS
traditional lanterns - 116x90x40 cm.
Video HD - 8' - sound - color
Hangzhou (CN), 2016.


In its development of connections between the historicity of new technologies and ancient myths, the Collectif 1.0.3 this time focuses on traditional flying lanterns converted to a digital format. Here, it takes the form of the "hand" pictogram, transitioning from the screen plane to the sky, a poetic metaphor for ever-greater attempts to conquer space. Accompanied by numerous wishes, it tries to touch the moon with a fingertip.

SHAKUNETSU HADOKEN
Shanghai Art Fair (China). 2016 - Resin, 200x100x80 cm
Liangzhu Art Museum collection (China). 2016 - stereolithography, 20x9,5x32 cm each.

Three periods of residency in China punctuated the collective's work year. It was in this context that we developed a project of serial sculptures. This "Shakunetsu Hadoken" edition has several origins, including the buried soldiers of Xi'an and a wide gestural repertoire belonging to the "trans-generational" video game Street Fighter that appeared in the late 80s. Timeless cultural vehicles, the two registers meet and combine to give birth to a series of multiples and giants, one of which is already produced and preserved at Tadao Ando's Liangzhu Museum (China). The idea here is to draw free inspiration from the soldiers, then reinterpret them and multiply their figures and gestures.

TRIFRON
insitu/Fabienne Leclerc gallery, Paris (F), 2008
door handle, genuine Limoges porcelain®, 7x7x7cm>

Beyond our interest in the unique imprints defined by the use of the common tool 'computer,' we are strongly attracted to the reminiscence of three-headed bodies in art history. The trifrons, or tricephalic figure, is associated with various periods and carries a monstrous image. It evokes an astonishingly rich formal vocabulary, with a range of representations stretching from the Greeks to the present day. Under this characteristic of partially fused three heads, we distinguish several expressive currents and sometimes contradictory reasons for being. It can be an expression of an organization that has reached an ultimate degree of sophistication in the rules governing a community, or conversely, it can be the expression of the trinity and the indispensable intermediary balancing gods and humans.
We worked from the only image, taken in low angle, of the restored triforium of the Saint-Gemme Abbey, located in Saintonge, to develop this first handle creation, making us switch from a demonstrative situation to a three-sided domestication experience.

MEDUSA
Istanbul (T), 2011
Video installation - 0'38" in a loop - no sound

38 seconds is the time corresponding to this video capture.
Camera flashes from tourists present at the time reveal a petrified representation of “the Medusa”, the base of one of the 336 columns once submerged beneath the waters of the reservoir in Istanbul's Basilica Cistern, thus reversing the Gorgon's wrath. The intensity of the light reflects off this mythological figure, creating the illusion of a scanner passing through the screen. The evocation of an ancient myth is confronted with the meticulous and insistent documentation of the visitor to the world, and also proposes a reading of the artist's posture in the situation of exploring this world.

LA CHOUETTE D'ATHENA
Paris (F), 2015
Video projection HD - 45'' in a loop - no sound

The subject of this sequence is the focus defined, induced and automated by the video capture tool used. This artificial eye at work attempts to define precisely what it is given to observe. In this case, the face of a Greek 1 euro coin.
Like “Medusa”, “Athena's owl” becomes in turn the object of a reversal.
Gifted with exceptional vision, its legendary power is here combined with the expression of fully automated tooling. Positioned like a moon, the owl observes us and dominates the exhibition space.
More than a political wink at Europe's precarious economic situation, this work is a staging of a technological response time and an observation of the persistence of myths.

ARGOS
Paris (F), 2015
10 LCD screens, 10 mirrors on the floor, no sound, variable durations in a loop

A dozen small screens and their shadows, represented as mirrors on the floor, are concentrated in the space, and feature the same cross-cutting motif, that of the scanner.
These light sweeps recall the principle of digitization. This installation functions according to constant rhythms that evoke the autonomy of “machines”. From computer green to surgical white, the propagated light is representative of a screen genealogy.

FIL D'ARIANE
Hangzhou (CHINA), 2015
Printing on photo paper - 30x21 cm

Collectif 1.0.3 has chosen to represent a historical-technological framework of information storage. This pictorial proposal takes up the characteristics of a “Torres de ferrite” memory extract. The usual invisibility of these data carriers becomes here, in a reversal, a kinetic motif implying a perpetual displacement of the gaze. In keeping with his research into “grand narratives”, the analogy with Ariadne's thread is omnipresent in both conception and execution.

DU PAREIL AU MÈME
MACVAL - Vitry, 2014. - Collaboration with My Name Is Wendy
Leporello - 300x20 cm - duplex printing Black - 125 ex - Printing : SNEL.
Prod. MAC/VAL, DRAC IDF, Conseil Général du Val de Marne. 2014
window sign, 11x1,6 m.
Prod. MAC/VAL - Vitry, 2014.


A meme defines a recognizable cultural element that is replicated and transmitted through the imitation of one individual's behavior by others. Examples such as the “Harlem Shake” reveal a collective approach to the web, the subject of a journey into the heart of digital cultures. When we come into contact with them, our behavior and sensitivity undergo major changes. As resident artists invited by the MAC/VAL to produce a work at the heart of a high school, we have chosen to become aware of these ongoing transformations, and in some cases to play a part in them.
In this case, it's the “Hadoken” meme that has become the raw material for our project. This meme introduces gestures from video games into exchanges between students and teachers. By successive rebounds and different responses induced by the graphic game, each edition brings together the conditions for the production of a unique work, which reflects and repackages the meme in a paper universe.

MISMA (2003-...)
Eurogroup Consulting, Paris. 2010
diasec® laminated to aluminum, 225x150 cm (Photo credit : Alain Goulard)

or how to deal with the notion of portraiture in the digital age
by based on the contents of a computer hard disk, a temporary storage surface (the prism through which we've chosen to approach/study the Other), since the way of archiving archiving and the naming procedures for each folder and file allow us to generate a singular form by hand (2D cartographic representation). Between 2003 and 2024, the Collectif 1.0.3 produced 75 computer maps of individuals, public bodies and private companies, creating veritable contemporary portraits in which the nature of our files and the way we file them reveal the structuring of our thinking.
The Planiscope, 2D structure that constructs the image, by hand, from a flattening of scanned information. This structure states and announces an undertaking whose principle consists in examining a flat surface - a Planus-Skopeîn, as it were. Planus-Skopeîn, as it were, the basis of which is to put into image the entirety of what appears on the desktop of the hard disk of the computers of artists invited to entrust us with the names of their files and their positions in the tree structure. In the manner of arabesques, Planiscopes are arrangements that showcase the encounter between the Arab world - as an aesthetic universe of plant and ornamental development - and a universe generated by the evolution of technology...

CROA CROA CROA
MAC VAL, Vitry-sur-Seine. 2023
Wall adhesive, 7x3x6m

Collectif 1.0.3 (Anne Couzon Cesca et Arnaud and François Bernus) takes a humorous, poetic look at human organization and modes of subjectivation in the digital age. For “Croa, croa, croa”, the logo of a famous e-commerce company is hijacked, modified, multiplied and accumulated. Evoking both “The Birds” (Alfred Hitchcock, 1962) and « Champs de blé avec corbeaux » (Vincent Van Gogh, 1890), this mural effectively materializes the threat to humanity posed by the omnipotence of GAFAM.

SUNSET
le Dojo / Festival Indiscipline - Nice. 2010.
Black paint on asphalt, variable dimensions

It is by shifting our questions to public space that we chose to focus on the homogenization "by battle" of current parking lot layouts.
Numerous images inform us about what parking spaces used to be, one of whose functions was to complement the placement of dwellings with patterns that contributed to the creation of a vast rhythmic language of the city.
The photographer Lucien Hervé left us some records of this variety, notably in the city of Le Havre after its reconstruction. Similarly, at the port of Nice, from the already drawn lines of a parking lot, the artists double the guidelines to deliver an urban fiction.

PRINCIPE D'HOMOGENEITE
Hangzhou (China), 2015.
Red spray paint and adhesives

Based on the motif observed on Chinese crosswalks, one of the rigorous forms of human organization, Collectif 1.0.3 creates an abstract painting composed of 2 intertwined planes. An atmospheric red pictorial surface covers the canvas, with cadenced lines adding a slight relief, reminiscent of Chinese ornamentation. The interweaving operates in a play of fades between the two surfaces, the relief appearing according to viewpoint and light.

TRANSITION DE PHASE #1
le Dojo, Nice (F), 2012
Black adhesives 7 x 5 cm each

In physics, a phase transition is a transformation of the system under study caused by the variation of a particular external parameter (temperature, magnetic field, etc.). This transition takes place when the parameter reaches a threshold value (floor or ceiling, depending on the direction of variation). The transformation is a change in the system's properties.
"Transition de phase #1" is an in situ installation that takes space as its raw material. By affixing adhesives to all corners of the structure, highlighting its volumes and offsets, the space is redefined and the black-on-white dashes visually modify its physical properties. A change of scale takes place, the space becomes a “model”, the walls become cardboard, potentially divisible and mobile.
The space then plays the card of divided planes, with in-situ intervention taking it to the gates of virtuality on a territory that is both united and partitioned, “Phase Transition #1” becomes an augmented reality.

TRANSITION DE PHASE #2
Shanshang gallery, Hangzhou (China), 2015
3D printing, 40x29x6cm

In physics, a phase transition is a transformation of the system under study caused by the variation of a particular external parameter (temperature, magnetic field, etc.). This transition takes place when the parameter reaches a threshold value (floor or ceiling, depending on the direction of variation). The transformation is a change in the system's properties.
Gradually developed in France around the beginning of the 18th century, the cup handle became as much a functional object as a decorative one. Here, hung on the wall, this oversized element plays with and on the exhibition space. The relationship of scale changes the point of view of this architecture, and its potential for displacement. This insitu work follows on from a piece created in Nice in 2012.

LUNARE SPECTARE
In situ/Fabienne Leclerc Gallery, Paris, 2008
duo show with Chapuisat brothers.
3000 blank books, nylon cables and threads, variable size

Lunare Spectare is a reflection on knowledge, transmission and the path of thought. A structure-sculpture made up of blank, uninscribed books, these materials are interwoven and used like tiles to reconstitute a rough, precariously balanced roof.

Acte I, Scène 1
CAC Villa Du Parc - Annemasse, 2003
Carpet painting, 400m2.

At our first solo show at the Villa du Parc in Annemasse, France, in September 2003, we immediately wanted to highlight the playful dimension of our work. “Acte I, scène 1” was the in-situ piece that welcomed visitors. The grids, drawn at the 4 corners of the red carpet that framed the Villa du Parc, were to be read as the definition of our situation within the collective: we were each in our respective boxes, driven by a deep desire to join together but aware of the existence of a perceptible distance that dissociated us. If we had initially envisaged the possibility of this work revealing a game of conquest between separate characters, the folding of the carpet at the end of the exhibition allowed us to develop a conjectured hypothesis: from now on, we would have to conclude all our oppositions in a way that would reconcile our interests. We achieved this by folding the 400 m2 carpet until its four corners coincided. Today, the red carpet is folded, the four corners are together.

LES HARMONIQUES
Eurogroup Consulting, Paris, 2010
10 Digigraphies®, 50x70cm each one.

Collectif 1.0.3 created ten ephemeral sculptures, one for each of the floors of the Vista Tower occupied by Eurogroup Consulting. In addition to the artistic creation, a precise communication protocol was required. To announce each sculpture, an e-mail was sent to employees indicating the floor on which it was order of appearance, its title in a typography echoing Marcel Duchamp's handwriting, and a photograph of the site before installation. Characteristic of the practice of Collectif 1.0.3, the white paper, a symbol of knowledge in the making - strangely similar to the “eurogroup consulting Methodology” - seemed to function as the collective's double, impregnating and enriching itself at the same time with the firm's universe. A material and immaterial occupation of space culminating in the investment of an entire meeting room during specimen sessions. As for the titles, borrowed from the register of musical harmony, they sketch out a poetic sequence that reinforces the mystery surrounding the succession of sculptures.

ROLL’YWOOD 1.0.3
Video installation - 5'11'' in a loop - no sound
Geneva (CH), 2002.

Roll'ywood was the first job we associated with “rotary and collaborative”. The idea was to set up a series of images, all the elements of which would come from the joint participation of the collective and the guest artists, and to highlight the whimsy of a device that is singularly defined by its simplicity and the banality of its system's construction. The general layout of the whole becomes a choreography whose central movement oscillates between a parody of continuous circulation and derisory gesticulation. They redouble the instructions to deliver an urban fiction.

ROLL’YWOOD COVERSPEECH
la maison singulière - Nice. 2016
Video installation - in a loop - no sound

Roll'ywood is the first work we have associated with "rotational and collaborative". In Jean-Luc Godard's film "A Woman Is a Woman", Anna Karina and Jean-Claude Brialy communicate by forming sentences from book covers or spines. Collectif 1.0.3 asked participants in workshops they organized to draw inspiration from this scene and improvise a rudimentary mode of communication that can be seen as a generational portrait but also as a new artistic proposal. The overall formatting of the ensemble becomes a choreography whose central movement oscillates between a parody of continuous circulation and a ridiculous gesticulation. In this video installation scrolling exquisite corpses in the manner of slot machines, Collectif 1.0.3 presents a status report of a work in progress, ultimately composed of ten reels that will mix and interact with each other randomly.

ROLL’YWOOD MONEYPICS
Paris (F), 2010
10 LCD screens - in a loop - no sound - DVD

Roll'ywood version moneypics proceeds to draw a comparison between the faces of the firm's employees - taken from the staff photo directory - and the effigies on a collection of expired banknotes. Presented in two ways, these banknotes telescope a real and active population with a demonetized and forgotten population, once glorious, of conquerors, liberators, and heads of state. In the banknotes arranged on the floor, each person can try to find their face, discover what physical resemblance led to their elevation as a symbol of Tonga or Nicaragua, then take "their" banknote and, perhaps, imagine another life. On the wall, the same banknotes rotate in a loop, randomly, as in a casino.

ROLL’YWOOD DIAPORAMA
Paris (F), 2010
videoprojection - in a loop - sound

According to les diaporamas of Pierre Leguillon for Mudam Magazine*, the online review of the Museum of Modern and Contemporary Art of Luxembourg, 2002–2005.
Roll'ywood is the first work we have associated with "rotational and collaborative". The aim was to create a sequence of images where all elements would come from the joint participation of the collective and invited artists, and to highlight the whimsy of a device that is uniquely defined by its simplicity and the banality of its system's construction. The overall formatting of the ensemble becomes a choreography whose central movement oscillates between a parody of continuous circulation and a ridiculous gesticulation. This new opus updates, in concert, Pierre Leguillon's 6 Slideshows present on the Mudam website in a remixed version.

REFLECTION
Institut Français, Paris, 2012
Video installation multi-screens.
Commande publique - Institut Français, Paris.

Multi-screen video installation positioned above the reception desk at the Institut Français in Carré Suffren. It is designed to accommodate the different waiting times that characterize the influx of workers and visitors to the site. Broadcast on mini LCD screens, the video loop is multiplied and randomly arranged at different rates on each screen. With its nebula of screens, this installation evokes the multiplicity of the permanent activity of the Institut Français' 100 branches around the world.

100 TITRES
Geneva (CH), 2003
Video installation- 5'11'' in a loop - no sound

This achievement corresponds to a line of 100 scrolling titles, listed in the order in which they appear on the back of albums we own, whose sources we deliberately omit. It describes a relationship to sound through the evocation of track titles. The sequence of 100 titles reveals the gaps the differences that characterized us in our early days.

COSA MACHINA
Paris (F), 2008
hologram, lenticular technology, 90x90 cm.

The serie of cosa Machina includes on-screen computer animations when a computer is “working ».These represent the waiting time when loading files. The user rests while the computer thinks. Here, this waiting time is transformed into passing time, as the lenticular technology requires the viewer to pass in front of the visual animation in order to come to life.

DIALOGUE POUR 2 SURFACES ou de la contrainte du jeu vers l'instrumental
HEAD - Geneva, 2003
Multimedia installation

Part digital instrument (sampler), part play object (Memory game), this installation visually reconstitutes in space the minimal device of a digital interface. It is played by two players, on either side of a screen. "Dialogue pour deux surfaces" allows you to initiate an encounter on the surface of the screen, using the basic units of language (phonemes of the Roman alphabet, interpreted in three languages: French, Arabic and American). Each language is synthesized in a specific sound format. The “players” can improvise a dialogue made up of acronyms, cadences and rhythms. This proposition reveals the different ways of approaching a digital interface, while inviting us to randomly construct a poetic composition.

Du pareil au mème
MAC/VAL - Vitry, 2014. - Collaboration with My Name Is Wendy
Leporello - 300x20 cm - duplex printing Black - 125 ex - Printing : SNEL.
Prod. MAC/VAL, DRAC IDF, Conseil Général du Val de Marne. 2014
window sign, 11x1,6 m.
Prod. MAC/VAL - Vitry, 2014.


A meme defines a recognizable cultural element that is replicated and transmitted through the imitation of one individual's behavior by others. Examples such as the “Harlem Shake” reveal a collective approach to the web, the subject of a journey into the heart of digital cultures. When we come into contact with them, our behavior and sensitivity undergo major changes. As resident artists invited by the MAC/VAL to produce a work at the heart of a high school, we have chosen to become aware of these ongoing transformations, and in some cases to play a part in them.
In this case, it's the “Hadoken” meme that has become the raw material for our project. This meme introduces gestures from video games into exchanges between students and teachers. By successive rebounds and different responses induced by the graphic game, each edition brings together the conditions for the production of a unique work, which reflects and repackages the meme in a paper universe.

TOUT POUR L'INSTALLATION
Rue de Panama, Nuit Blanche, Paris. 2006.
Gold paint on existing lettering

Gold paint on the lettering of an abandoned shopfront illuminated by car headlights.
Collaboration with Mark Geffriaud

GENETIQUE DU GENERIQUE
"Cathy, Jean-Paul, Peg Entwistle et les autres" by Collectif 1.0.3 & Stéphanie Cottin at 8 rue Saint Bon à Paris. 2015
Video projection on paper - 8'41" - in a loop - sound

Extract from the video based on Pascal Bircher's exhibition card “Stately, Yes.” and the light and sound waves produced by Heimo Zobernig's “Film Titel Video”.

ONE DINAR BABY
18 x 24 cm / Ink jet print on glossy paper
Paris (F), 2009.

VOYAGE EN URL
screensaver
la Synagogue de Delme (F), 2006.

"Voyage en URL" is an interactive artwork that invites viewers to embark on a journey through their own internet browsing history .
The artwork takes the form of a screensaver that generates a chronological list of all the websites that the user has visited (via Firefox 2.0 et versions ultérieures). The list is displayed in reverse chronological order, so the most recent websites are displayed first.
The artwork was created in 2006 and was distributed on 500 USB keys. Each key was numbered and given to a different person, who was then encouraged to share the key with someone else. The artwork was intended to encourage people to reflect on their own internet usage and to consider the impact of technology on our lives.
The artwork "Voyage en URL" was created during two residencies, one in Lindre-Basse and one in Bourges, in 2006.
co-production and co-édition: CAC la Synagogue de Delme, la box_ensa de Bourges, 2007

in partnership with Go-----Between, a contemporary art and design production agency.
Creative Commons: Some rights reserved

LA CONFÉRENCE ÉQUITABLE MISE Á NUE PAR SES CONSULTANTS, MÊME
Video - 38' in a loop - sound
Paris (F), 2010.

On April 9, 2010, Collectif 1.0.3 proposed its new conférence équitable, a lecture in which he presents his work and his collective way of working, incorporating elements characteristic of his place of residence (extracts from the internal diary, photographs of the site, etc.). La conférence équitable mise à nue par ses consultants, même is the film, transforming an oral form into a video work. Nevertheless, in this transfer, the conference underwent two post-production phenomena: the first, natural, is editing; the second, specific to the nature of the firm, is the intervention of a consultant to “coach” the members of the collective in order to improve their persuasiveness, their way of expressing themselves (this is the order expressed in the letter reproduced opposite). The work, taking its title from Marcel Duchamp's icon, la Mariée mise à nue par ses célibataires, même (1915-1923), thus stages the interplay between the methods of art and those of the firm, testifying to the way in which eurogroup consulting is “as much a context for observing the other as a situation influencing our own mode of operation as artists working within a group”.

UN POINT SANS POINT SAUF SUR LE i
Evolving text from Marie-José Muller-Llorca
Sound collaboration : Robert Rudolf
Realisation : Luc Dall'Armellina 2009

A tag (or datamatrix) is an intelligent barcode made up of black and white squares which, according to an established order, define an access key to a website. So by photographing it from your cell phone, you're automatically directed to web content.
Based on this material, Collectif 1.0.3 has devised a program that randomly generates or suggests that users themselves write cryptographic patterns, some of which are digital sesames. The composition is enhanced by a sound score by Robert Rudolf.
Among all the figures executed, one of them happens to correspond to the access key concealed in the device by Collectif 1.0.3, while others are nothing more than dead ends...
"Un point sans point sauf sur le i", is also the title of a progressive text without punctuation, written by Marie-José Muller Llorca since 2004. The key acts metaphorically here, as the only fixed datum around which the other parameters (including the authors) are activated.
Acknowledgements : Luc Dall' Armellina (http://lucdall.free.fr)

Manifeste: l'unpointzéropointroisien

25 images/statements - dimensions and variable media
Paris - november 2003.

Fragmented text by Jean-Paul Jainsky in the form of 25 images/vignettes