Fabien Giraud et Raphaël Siboni

Artist

Solo shows – selection
2018

  • La forme du non – Fondation d’entreprise Ricard, Paris.
  • The Unmanned – MONA, Australia.
  • 2045-1542 (A history of computation) –  Casino Luxembourg, Luxembourg.

2015

  • Une Machine Simple – Netwerk/Centrum voor hedendaagse kunst, Aalst, Belgique.

2014

  • The Unmanned – Centre Pompidou, Prospectif Cinema cycle, Paris, France.
  • The Unmanned – Centre International de l’Art et du Paysage, Île de Vassivière, France.
  • The Unmanned – VOX Centre de l’Image Contemporaine, Montreal, Canada.
  • The Unmanned – Casino Luxembourg – Forum d’Art Contemporain, Luxembourg.

2010

  • La Condition / Le Barrage – Loevenbruck gallery, Paris, France.
  • Et si quelque part quelque chose se mettait simplement à vous remplacer – Loevenbruck gallery, Paris, France.

2009

  • Les choses qui tombent – Gertrude Contemporary Art Spaces, Melbourne, Australie.
  • Calculating Infinity – CAN, Neuchâtel, Suisse.

2007

  • Superdôme – Last Manoeuvres in the Dark –  Palais de Tokyo, Paris, France.

 
Expositions collectives et projections – sélection
2018

  • Electric Coma – VAC foundation. Venise

2017

  • Le Rêve des Formes – Palais de Tokyo, France
  • Open Codes – ZKM, Karlsruhe.

2016

  • Liverpool Biennal –  Tate Liverpool, Liverpool, Royaume Uni.
  • Soft Crash – GAMeC, Bergano, Italie.
  • Parallel Lines – CCA, Glasgow, Ecosse
  • Diorama – FRAC, Angoulême, France
  • El mundo fue plano, ahora es redondo y será un holograma – MAZ, Guadalajara, Mexique

2015

  • La Vie Moderne –  Biennale de Lyon, France.
  • Nel Mezzo del Mezzo – Museo Riso d’Arte della Sicilia, Palerma, Italie.
  • Disappearing Acts – LIAF, Lofoten Islands, Norvège.
  • Systémique – CEAAC, Strasbourg, France.
  • La Souris et le Perroquet – Villa Arson, Nice, France.
  • Videonnale – Festival for Contemporary Video Art, Bonn, Allemagne

2014

  • Concrete – Monash University Museum, Melbourne, Australiie.
  • Pierre Huyghe’s Cine Club – Anthology Film Archive, New York, Etats Unis.

2013

  • I look to you and I see nothing – Sharjah Art Foundation, Sharjah, Emirats.
  • Beam In Thine Own Eye – Museum of Old and New Art, Hobart, Tasmania , Australie.
  • Festival Hors Pistes – Centre Pompidou, Paris, France.

2012

  • The Lewton Bus – Vitrine, London, Royaume Uni.

2010

  • Repetition Island – Centre Pompidou, Paris, France.
  • Performing Arco – Madrid, Espagne.
  • Res Publica – Moscow Museum of Art, Moscow, Russie.
  • Dynasty – Palais de Tokyo & MAMVP, Paris, France.
  • Collective Body – Vienna, Autriche.
  • The Moving Index – Honor Fraser Galery, Los Angeles, Etats Unis.

2009

  • Radiografías, Mitomanía e Identidad – Centro de Cultura Antiguo Instituto, Gijón, Espagne.
  • La Force de l’Art 02 – Grand Palais, Paris, France.
  • Against Exclusion – Moscow Biennial, Garage, Moscow, Russie.

2008

  • Lucky Number Seven – Site Santa Fe Biennial, New Mexico, Etats Unis.

2007

  • 00’s – L’histoire d’une décennie qui n’est pas encore nommée –  Biennale de Lyon, France

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www.theunmanned.com
https://vimeo.com/user4718662
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Image : Fabien Giraud et Raphaël Siboni, 1922 – The Uncomputable. The Unmanned saison 1 épisode 4. Vidéo HD, 26 min. 2016. Courtesy les artistes.

Giraud & and the Fondation

Exhibition

theoutlawed.jpg
theoutlawed.jpg

La forme du non

from 15 May to 7 July 2018

For the past years, Fabien Giraud and Raphaël Siboni have been working on a protean opus recounting in reverse a history of technology. This exhibition takes shape at the crossroads between the three cycles of works that compose it, reflecting on the recently completed first season The Unmanned, a history of computation in eight films, and prefiguring the trajectories of further seasons, which research notions and narratives of value and negativity.
A new cycle of works titled The Everted Capital debuts here with a thermal camera film and a daily performance that interrogate different modes of accumulation, the reciprocal consolidation between what is held to be valuable and invaluable at different historical junctures. Another new project, The Form of Not is introduced through a sculptural installation, which draws equally on algorithmic calculus and anthropological diagrams to compute the form of the ‘first blade’, around whose action the inaugural event of a ‘first cut’ would have taken place.
Value and negativity, transformation and recursion also underpin The Outlawed, only episode of The Unmanned presented at Fondation d’entreprise Ricard. The film centers on the last part of Alan Turing’s life, enduring an enforced hormonal treatment and undertaking morphological explorations in Greece. It visualizes ‘the cut’ as the negative, reversed form through which politics and bodies, biographies and abstractions, natural and technological becomings both maintain a semblance of separation and are agonically hybridized.

Curator
Mihnea Mircan