A teenage girl tries to escape her reality using an Instagram filter.
The desire to be free by existing as an image collapsed after losing
control over her avatar.
From a distance, Anhar casts family and friends shooting and
acting for the movie as fictionalized versions of themselves,
exploring and hovering between private and public life in Saudi
(Doody, the protagonist, passed away on the 13th of March 2022)

The Landscapes series transcribes the contemplation of an internal landscape 

into video and painting. The eye is the filter through which signals are sent and translated to the brain. What do we see if we have our eyes closed? What do 

we contemplate if not the world translated into feelings, pure sensations, in 

bursts of sensitive, moving and vibrant colours, an inner regeneration of the perceptive world. These works highlight two fields in the history of art that are 

too often placed in opposition: figuration and abstraction. Abstract forms and 

colours, but all equally figurative because biological. “Nature is inside “* said Cézanne, and this is the leitmotiv of the work I propose, to understand “the 

things that never cease to appear to us and that are in perpetual movement, 

briefly: to experiment with nature. In pictorial perception, time occurs in the 

same way as in the perception of all things. The eye as a translation tool, to be 

considered as much as the paintbrush, thus allows us to take the time 

necessary to assimilate “the sensitive space in the heart “* and finally 

apprehend “the imaginary texture of reality “*. The video installation here offers 

the spectator an anechoic experience: the work must be seen with anti-noise headphones, a way for the artist to extract the spectator from an environment saturated with sounds and images, thus inciting him or her to slowness, to a connection to his or her emotions, to contemplation.

*Lambert Dousson, in Les chemins de la philosophie, Maurice Merleau-Ponty, 

L’œil et l’esprit. France Culture, 2018.

L’Echappée is a modern tale. A short documentary film. An artist’s
film directed by Justine Pluvinage and Philémon Vanorlé. It is the
story of a meeting, that of two men, that of a coffin that meets its
hearse. It is the story of a son still looking for a father, and of a
father still looking for his childhood. It is the story of death inviting
itself into life, or perhaps of life inviting itself into death.
This meeting follows an ad on leboncoin:
“Solid oak coffin, varnished. Excellent condition. Large size. Its
particularity is to have the space for the legs spread. It is not
padded inside. Does not fit in an oven, a hearse or a traditional
vault. Difficulty to get through the doors (…)”


The film addresses the cultural legacy of serfdom in the Baltics.
Set in various Estonian manor houses that prior to the collapse of
the Russian empire used to belong to the German-speaking
nobility that had dominated the Baltics for centuries, Rip-off
explores the complicated relations between the colonizer and
the colonized. One of its first scenes documents the discovery of
Baltic German historical mural paintings beneath the layers of
paint and post-Soviet decay. The film also points to the fragility of
heritage, as it shows the explosion of a manor due to the
extension of a NATO military base.
In Rip-off, the privilege of the Baltic upper class is not associated
with leasure, but with women’s artistic aspirations. The main part
of Rip-off follows the dynamic relations between a lady and her
servant keen to mimic her mistress. The performance of the two
Doppelgängers becomes increasingly intimate, embodying and
eroticising the tension between the colonizer and the colonized
and the entanglement of their fantasies and desires. The
whiteness of the rooms of privilege in this film problematizes the
tradition of botanical illustration, referring not only to racial and

Yo MoMA is a video of about five minutes that takes up the
concept of an American MTV reality show, Yo momma, in which
two people are invited to “clash” over their mothers.
Alongside this evocation of ‘mass culture’, the dialogues make
reference to the history of art. The protagonists throw highly
referenced jokes at each other with great naturalness, creating a
humorous and and disturbing.
For example, two guys from the New York ghetto might say “your
mother is so fat she sued Rubens for inciting anorexia” or “your
mother is so ugly Baldessari painted two circles on her head”.
two circles on her head’. These ultra-anecdotal jokes put culture
into perspective and put art connoisseurs and MTV fans on an
equal footing.


Founded in 2016 in Paris in the Marais, the Anne-Sarah Bénichou gallery
represents 14 artists from different generations, French and foreign, emerging
and established. The great diversity of practices and origins of these artists
contributes to promoting individuals endowed with a singular view of the
world, and to establishing a dialogue between different periods and various
forms of art (painting, photography, sculpture, performance, installation and
The result of a filmed meeting with students from a secular college and a
Jewish school in Sarcelles, Quatrième Sarcelles by Valerie Mejren collects
testimonies from teenagers about their relationship to this multicultural city,
their dreams, or even their relationship to religion.

In Island Flyer: A Postcard from the Isle of Wight (2022), the artist
takes us on a journey to an island in the English Channel in search
of summertimes gone by. The images, filmed using a Super 8
camera, take on a nostalgic aura where the boundaries between
reality and childhood fantasy are constantly disrupted. The faded
colours, slight defects in the film and handheld shots give the whole
work an aged and familiar tone. The film’s assumed slowness
conveys the languid moments of holidays when time stands still,
when the smells of iodine, the backwash of the sea and the sounds
of jazz become the centre of the world. In the film by Rebecca Jane
Arthur, the Isle of Wight is discovered in fragments which everyone
is free to piece together to create their own travel
narrative.(Charlotte Doyen, Le Musée de la Photographie,

Reliefs is a video work that combines a documentary approach with a
story-like narrative. It focuses on spaces shaped by various human
activities of extraction and production, with particular emphasis on
landscapes made up of slag and other residues. Among the places filmed
with a drone are the vast expanse of agricultural greenhouses around
Almeria (ES), the gigantic coal mines south of Cologne (DE), slag heaps
in the Pas-de-Calais (FR), salt pans in Occitanie (FR), a landfill site for
bauxite residues in Provence (FR) or a seawater desalination plant in
Andalusia (ES).
These images are complemented by studio shots where models represent
other inaccessible places. A scrolling text tells the story of the evolution of
a living, mystical and superstitious species, increasingly greedy and
self-satisfied. Through the text, the functions and symbolism of the filmed
places are reassigned. This obvious parable with the human species
allows us to explore these fascinating and terrifying sites, to rediscover
those areas on which our food and comfort depend and which we would
like never to see. The pulsating music composed by percussionist Will
Guthrie accompanies this frenetic progression of the story to the point of
saturation, bordering on implosion.
From samples of an increasingly rapidly depleted planet, Reliefs offers a
fantastic vision teeming with references to the ecological catastrophe we
are experiencing.

Nothing really survives here.
The bottom is so deep that no light ever reaches it.
Very few boats go through.
It is unknown when the falls will take place.
This experimental documentary portrays a space object and its fall
into the darkness of a space cemetery. A woman scientist reveals
her attachment to this object and the absence of images
documenting this mysterious place. As a reverse sci-fi journey, this
essay mixes real and fictional archives to guide us, like a stalker, to
the outskirts of an invisible place.