Long time since I haven’t posted anything as last year we launched Kareron to distribute exhibitions, artists (Shulea Cheang, Nicola Mai &…) as well as other exhibitions: Kareron is now in charge of Moving Beyound Borders created by Migreurop with the help of Etrange mirroir.

A busy year with many machinima workshops but also a very creative year as well. It began with Egypt and our machinima tour with Ahmed El Shaer and went on with my first artistic residency in Brazil invited by Ruralscapes at Santa Tereza Fazenda, a wunderful place with amazing people where I stayed 2 weeks.

This is a place where everything began for me, artistically speaking I mean…

Of course in 2007, Anne Roquigny my dear friend offered me the occasion to work as a performer with her project WJ-s but for me it was an other way of netart curation through the idea of public performances.

I consider that creating an artwork is something different even if I was performing a narration through the wj-s device … I am used now to do machinima workshop, often I am considered as an artist but I don’t think to myself as an artist. Being an artist represents for me a lot of work, time and dedication.

In Brazil when I finally had some time between 2 workshops to create for myself, I was quite feeling awkward, looking how the other artists were doing, trying to imitate them in a way (mainly by recording surrounding sounds of the famr and nature) taking pictures, etc… to finally produce something that is a beginning of an artwork: videos of glitches in 3D representations of the mountains and rivers surrounding us. Also trying to make collaborations with other artists getting their sound recordings as well.

However, I only spent 2 days on these creations, which is very short compared to the time the other artists spent on their residency. This question of time is fundamental for me and I know that most of my time is used to curate, thing, do workshops but not used to create. What is strange is that following this residency, I got 3 other artistic residencies after the one in Brazil.

2 residencies are related to machinima workshops with youngsters – with the non profit cultaral organization Electronik in Rennes and the other with CLEA during 4 months in Dunkerque – while the last one will be a danse and machinima residency in order to produce a new creation titled Bazin, with the choregrapher and dancer Tidiani N’Diaye.

2016 is just beginning but already seems under the sign of creation;)

When we first met with the other CLEA artists, I got the awkward feeling again that I am not totally an artist, having difficulties to understand what people want from me: artistic gestures. I really had hard time to get what it is and how I can answer to that, but slowly, slowly I am getting it. Slowly, slowly, I begin to accept this new status, even if it still looks like a new challenge for me. We’ll see at the end of the year what will get out of it, really curious myself anyway.