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BIO
Artist duo, French & French-Luxembourgish, born 1984 & 1982, live and work in Paris
Émilie Brout & Maxime Marion began their collaboration at the École Nationale Supérieure des Arts Décoratifs in Paris. Their work has been included in collections such as the FRAC Ile-de-France and the François Schneider Foundation, has been featured in numerous media outlets including Le Monde, Art Press, Art Viewer, New York Observer, Tracks and BBC.
It has been shown at the Centre Pompidou, the Palais de Tokyo, the Gaîté Lyrique, the BANFF Centre for Arts and Creativity and the Louvre auditorium, and has also been presented at the Young Art Triennale of Casino Luxembourg (2021), the 5th Moscow Biennale for Young Art (2016) and numerous group exhibitions, including BPS22, Brussels; Villa Arson, Nice (2022): Supercollider, Los Angeles; Granit - Scène Nationale de Belfort (2021); Haus der Kulturen der Welt, Berlin; Centre Culturel Canadien, Paris; Centre d'art contemporain de Malakoff (2020); Sciences Po Prize for Contemporary Art, Paris; MAC VAL, Vitry-sur-Seine (2019); Redline Contemporary Art Center, Denver; Maison Populaire de Montreuil (2018); Le Loft - Collection famille Servais, Brussels (2017); OCAT Shenzhen; IAC Villeurbanne; Carroll/Fletcher, London (2016); MAC Créteil; Seongnam Art Center (2015).
They have had solo exhibitions at 22,48 m², Paris (2013, 2015, 2017, 2019, 2021); Villa du Parc, Annemasse (2018); Steve Turner, Los Angeles (2017).
Lightning Ride, 2017 - Video UHD, 7'40''
Photo : Courtesy of the artists and 22,48 m², Paris
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Lightning Ride is made up of amateur material found online of Taser certifications, training courses whose purpose is to obtain the right to use the weapon in question. Focusing on the moments where people have to experience being "tasered", the video presents many analogies with religious iconography (trance figures, prayer or evangelical baptism positions, stigmata, etc.). It thus seems to set up a kind of fiction around a futuristic cult where humans and mass control weapons would unite in a ritualistic way for the time of a flash of electricity. Each image of the final video is further processed via the famous Photoshop "oil painting" effect, an imitation of an analog and organic gesture whose imperfection leaves no doubt about its algorithmic nature.
In collaboration with the Nemo Biennial
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With the support of the Fonds franco-québécois pour la coopération décentralisée (FFQCD) and la Délégation Générale du Québec
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