This piece questions the digital representation of the body and the concept
of avatar, alternative version of the self, through the metaphor of birth and by extension, of the Creation. Mixing different issues such as life, religion
and capitalism, the installation immerses the viewer to the very core of human existence, within the material hyperreality of the body, creating confusion about the reality of the avatar, reality of the digitally-constructed image and reality of the divine. The work highlights the promotion of human life as a commodity in the age of late capitalism, and the irruption of economy into the last stronghold that was resisting so far which is human life. The choice of confronting a commercial aesthetic to mystical or religious references highlights the cynicism of this situation. Coming alive thanks to 3D animation and motion capture technologies, I was able to embody my own alter ego.

ΩSERIES is a limited-edition multiple gathering artists and designers’ pieces commissioned for each issue. This #0 is based on the interpretation of the keyword MORPH. It features a series of 3 graphic visuals, 1 essay, 1 photo poster, 1 photo card, 1 audio K7 (overview here) and 1 3D print, all clasped together into a black latex enveloppe. The contributors for this release were: Maria Guta, M-O-R-S-E, Emma Panchot and Nicolas Garner.

This work is a triptych of light boxes resulting from an exploration of the virtual environment. Indeed, I wandered into different video games and captured images of the edges of the space or of imperfections of this entirely set up world. Distorted shapes, pixelated stretched out surfaces and battered structures are notable. The idea was to highlight its falseness and somehow feel like getting back to the Creation, owing to the absence of any living presence. It depicts a minimal world almost apparently made out of paper cuts, a dystopian vision of a desert earth where the time seems suspended.

This project is the result of one week in Berlin with Taiyo Onorato (of Taiyo Onorato & Nico Krebs) and MAAD students. The main subject is the architecture of the city, from landmarks to anonymous constructions. The buildings should be approached from a level of abstraction, and result in
an interpretation rather than a documentation. Selected pictures are gathered in a collector’s edition printed and bound directly at the Helmut Newton Foundation during the C/O Berlin Book Days. The cover concrete-like visuals are done manually with silicone material, and paintbrush touches are added
on the pages which make every copy unique.

This project is a mirror of our staged and improved self online. Hyper-individualism and religion of ego promoted by our modern show-societies, with social networks, etc, tend to create a second version of each one of us: a virtual one. Anyone can now build their own virtual identity, somehow giving birth to oneself again, a bit like this Second Life online platform. Cult of the body, cult of the performance, self-improvement, almost self-erotism are directly linked to this topic. The point was to confuse the public by staging unreality in what should be the most authentic situation: nudity, intimacy, promiscuity of the skin, without artifice, using photorealistic 3d features.

This book was designed to accompany the launch of Tim Bruening’s photography exhibition at Galerie Ame Nue in Hamburg, Germany.

A 13-volume set of Marcel Proust’s collected works was published in Yugoslavia in 1967. This edition, in the Latin alphabet, was highly valued by Yugoslav intelligentsia for its elegant translation from French by the
poet Tin Ujević. During the Bosnian civil war, these Proust sets fetched up to the equivalent of a full year’s salary in the Belgrade black markets. They
were frequently looted together with other valuables from Bosnian homes.
The set exhibited in Irena Haiduk's “Seductive Exacting Realism” was
seized by local police from Belgrade Kalenić Market in 1995. It was acquired at a public auction in 2014. It is missing volume number 12. Co-published by Sternberg Press and Renaissance Society on the occasion of Irena Haiduk, “Seductive Exacting Realism”—a two-part project that was presented as parallel exhibitions at the Renaissance Society and the 14th Istanbul Biennial—this volume features contributions by Ivo Andric, Hannah Feldman, Irena Haiduk, Monika Szewczyk, Marina Vishmidt, and Solveig Øvstebø.
Get it here: www.sternberg-press.com

This series is inspired by failures and bugs in video games. Staging unnatural poses and distorsion / collision between body and space, those visuals question the realness and how trustworthy computer-generated-images are in the context of our post-photographic time.

The subject of this series is the interpretation of human body by technology,
a kind of post-organic body. Using photography as a basis and a 3D-facial recognition app (diverted from its usual aim), the body positions, face expres-
sions and lights were editable artificially, eliciting the digital malleability of the body. The concept of uncanny valley is also notable according to which, humans feel a revulsion towards objects or robots that look and move almost but not exactly, like a natural being. In the same way, it can be a struggle for
the viewer trying to distinguish if the models are humans or not.

Against Translation is an unreleased essay by Kenneth Goldsmith. Published
by Jean Boîte Éditions in eight languages, presented in a boxset which consists of eight books – English, French, Spanish, German, Chinese, Japanese, Russian and Arabic. The author discusses the impasses and shortcomings
of translation, this “approximation of discourse that produces a new discourse” and he opposes the notion of displacement, a phenomenon born of globalization: if people and objects are moved, so it will for language.

This project is a karaoké-like video for Anohni’s song «Crisis» realized with found footage of wildlife documentaries highlighting the gap between troubles caused by the human race and the Earth that keeps on turning.

‘Access Point’ is the result of the reading and interpretation of a building's architectural critique. The archival publication documents all of the visual material generated through the CGI process of creating the posters.

‘It was never real’ highlights the cultural environment and the different types of inspirations that accompanies the creation of an image, a typeface, an object. The collective source cloud initiated a self-reflective dialogue on its own, and combined with the work images it constituted an encyclopedia of influences in which the original works and their references blended together, whether they were classic or contemporary, direct or abstract. As a result, a publication and an exhibition were developed. Entitled "It was never real", the exhibition was conceived as a scenography implementing the visual content into a three-dimensional space.