L’inconscient des GAFAM, Turbulence, Marseille

Demain mardi 14 mars 2023, je parlerai de “L’Inconscient des GAFAM”, invité par @damienbeyrouthy dans le cadre de
Épistémologies pour médium saison 2 – 2e séance.

Mardi 14 mars 2023 – 16h-18h
Turbulence – 3, place Victor Hugo,
Campus St Charles, Marseille


Xanadu opening, Iméra, Marseille

Xanadu presents:

The agents
Gwenola Wagon et Pierre Cassou-Noguès

Installation and performance

Iméra, 2 place Leverrier, 13004 Marseille

Thursday 2 March 2023 ::: Opening 6pm – 8pm, Performance at 6:30pm
Friday 3 March 2023 ::: Exhibition open from 10am to 6pm
Saturday 4 March 2023 ::: Exhibition by appointment

The agents (2023) is a work that questions the contemporary machine for living. In a near future, real estate ads are generated by Artificial Intelligences. Descriptions and photographs are repeated and merged in a uniform cocoon fantasy. Digital filters transform the faces of real estate agents, who take on the stereotypical appearance of animated characters. The cocoon is so soft and colorful that it turns into a nightmare.

More info on: http://www.xanadu.institute
Facebook: https://www.facebook.com/events/749711536555510

Gwenola Wagon and Pierre Cassou-Noguès are on a micro-residency at Alphabetville in Marseille, for their project Habiter les écrans, from 25 February to 4 March 2023.

Xanadu is a curatorial project by Christophe Bruno and Jeff Guess, artists in residency at Iméra, the Institute for Advanced Study of Aix-Marseille University from September 2022 to July 2023.

Xanadu is located next to the Parc Longchamp, in the heart of the gardens of the Institute.



Comment hacker les Gafam à l’ère de la post-vérité?

My work is featured in writer Christian Salmon’s column on the French magazine Slate.fr.
BackStage – Ep. 14:
Comment hacker les Gafam à l’ère de la post-vérité?


Ambivalences #3 – Mutations politiques, Ch. 1 – Hacktivismes, Rennes


6 octobre au Tambour (Université Rennes 2) :
Au programme de cette troisième édition intitulée “Mutations politiques” et de son premier chapitre “Hacktivismes” : il s’agira de nous questionner plus précisément sur les liens entre art et activisme en donnant à voir artistes qui font “œuvre de hacking” et nous invitent à repenser nos rapports à la technique et à notre écosystème numérique à travers l’art.

• 14:30 > 14:35 : Ouverture par Luc Brou (Oblique/s) et Samuel Arnoux (Electroni-k)
• 14:35 > 14:45 : Introduction par Pauline Briand (FR)
Journaliste, rédactrice et consultante
• 14:45 > 15:30 : Art et hacktivisme technocritique par Jean-Paul Fourmentraux (FR)
Socio-anthropologue et critique d’art, professeur à l’Université d’Aix-Marseille
• 15:45 > 16:55 : Table-ronde avec Gwenola Wagon, Christophe Bruno, Julie Morel & Jean-Paul Fourmentraux

Les conférences se dérouleront le 6 octobre au Tambour (Université Rennes 2)


Residency @ Institute for Advanced Studies Aix-Marseille

From September 2022 to beginning of July 2023, I’m in residency at IMéRA, the Institute for Advanced Studies Aix-Marseille. I’ll be expanding and reactivating an old project of mine, from 2003, Dreamlogs. The ultimate goal is to make a topography of the unconscious of Big Tech (GAFAM as we say in Europe).


Atelier Numéro 20, Agde

Pour joindre l’agréable à l’agréable, ce vendredi 22 avril à 18h30 à Agde : expo à l’Atelier numéro 20 + vernissage à l’Atelier numéro vin 😉

Je présente une sélection d’une douzaine d’œuvres issues de mon projet “L’être, la machine et le néant” (notamment exposé en 2019 à la Cité Internationale des Arts, Paris – avec le soutien d’Arcadi Île-de-France et du DICRéAM).

L’Académisme Artificiel est en marche. Il est urgent d’apprendre à désapprendre aux machines !

Vernissage le vendredi 22 avril à 18h30, en présence de l’artiste.
C’est au 24 Rue Honoré Muratet, 34300 Agde.

“À l’heure où l’Intelligence Artificielle est capable de produire un Rembrandt avec virtuosité, Christophe Bruno la confronte à des tableaux célèbres et crée des peintures d’un nouveau genre. Une manière de dénoncer avec humour l’académisme froid du Deep Learning et de revisiter l’histoire de l’art à l’ère du tout numérique.”


Planck Pixel

Today I minted a new NFT called “Planck Pixel”, which is defined as the smallest possible SCAM you can buy on a NFT platform: https://rarible.com/token/0xc9154424B823b10579895cCBE442d41b9Abd96Ed:58727675758041423256340162348757380850844420513095450253614757717091649847297?tab=details

“Planck Pixel” is a transparent pixel in PNG format. It is the smallest possible visual NFT (hence it is invisible).
It is for sale as a testimony to the unstable foundation of the NFT universe: if all NFT platforms disappeared, you would lose the digital object (the pixel) and you would only be left with the proof, on the blockchain, that you bought “something” from “someone” at a “certain price”.
But this disappearance of the platforms would be of minimal importance since:
1) This “something” is minimal, the smallest possible visual digital object (a transparent pixel is like the Planck length of the visual digital universe);
2) The “someone” is a minimalist artist, whose identity will disappear in the limbo of history anyway;
3) The “certain price” is arbitrary as are the prices on the now obsolete contemporary art market or in former capitalism as we knew it.
NB: here, the price in ETH is arbitrarily set to the size of the PNG file in KB.

This new work was inspired by the following FB thread, about NFT as SCAM:

The aura of the art object cannot decay beyond this irreducible stage, it is the end of Walter Benjamin’s wandering!

“Planck pixel” claims a paradoxical threefold unicity:
1) As any cryptographic token, it is supposed to be non duplicable.
2) As any NFT, it is supposed to be non fungible.
3) It is the one and only digital object below which the very notions of digital and value collapse.

Finally, real NFT art that critically reflexes and subverts technology, rather than follows common craze.” Alexei Shulgin


Hacking Google / Against Algorithmic Governmentality, zerodeux.fr

This summer, my work is featured in the French contemporary art magazine zerodeux.fr thanks to Jean-Paul Fourmentraux’ article “Hacking Google / Against Algorithmic Governmentality” (there is a French and an English version)


The article is a lighter version of the one published in
“Hacker Google / Contre la gouvernementalité algorithmique”par Jean-Paul Fourmentraux

Here is the original article in French


THE_OGRE.NET, Galerie Suzanne Tarasieve, Paris

One of my very first art pieces, The Google Adwords Happening, is exhibited from July 3 to July 24, 2021, at Galerie Suzanne Tarasieve, Paris, Le Marais, in the collective exhibition THE_OGRE.NET curated by Lucien Murat & Clément Thibault.

On this occasion you can get the artwork as a NFT on my @rarible showroom.

Opening of the exhibition: July 3, 2021 from 16h to 21h.

THE_OGRE.NET: Une exposition-conte pensée par Lucien Murat & Clément Thibault.

Artistes : Linus Bill + Adrien Horni · Alexandre Bavard · Arno Beck · Agathe Brahami-Ferron · Christophe Bruno · Dylan Cote + Pierre Lafanechere · Fleuryfontaine · Julius Hofmann · Antwan Horfee · Margaux Henry-Thieullent · Hervé Ic · Jordy Kerwick · Lek · Albertine Meunier · Lucien Murat · Jon Rafman · Elsa Rambaud · Sabrina Ratté · Céleste Richard-Zimmermann · Safkteur · Lise Stoufflet · Tyler Thacker · Adrien Vermont · Paul Hamy · Richard Vijgen · Anatoly Shabalin · MOA (Charles Ayats, Franck Weber, Alain Damasio et Frédéric Deslias)

Dossier de presse


Non-Fungible Non-Essential Art

Since a few weeks, you can buy some of my works as auratic crypto-art, a.k.a. NFTs (Non-Fungible Tokens), on my showrooms @rarible.com or @hicetnunc.xyz.

NFTs offer the possibility of collecting and reselling artworks in digital format, in limited numbered series or unique pieces, while being harmless for planet Mars.

This way you can keep me alive, speculate on my death and remember Walter Benjamin.

NET.art had promoted infinitely reproducible art, NFT.art closes the loop by mining digital scarcity.

NB: Fees on Hicetnunc are lower. Here is a small disclaimer I had wrote for my Rarible Showroom where fees are quite expensive: “It’s well known, however, that the cryptographic aura of NFTs massively contributes to the decay of our planet Ponzi. The price to pay for maintaining security and unicity by proof-of-work is huge. Strangely enough, it has now become more expensive to produce uniqueness than to re-produce ad libitum! Shouldn’t uniqueness be the simplest and most natural thing of all?” 


antiDATA de Jean-Paul Fourmentraux, aux Presses du réel

antiDATA. La désobéissance numérique
Art et Hacktivisme technocritique


Editions Les Presses du réel, Coll. Perceptions
ISBN :  978-2-37896-185-5
Format : 15 x 21 cm – 232 pages  (51 ill. coul.)

Lire le chapitre concernant mon travail

Pour acheter le livre :

Une analyse des actes technocritiques d’artistes, hackers et activistes de l’ère (post-)numérique.

Contre l’hégémonie de l’innovation, ces derniers invitent à « mordre la machine », ré-ouvrir les boîtes noires, reprendre la main, transformer l’imaginaire technique. Leurs différentes approches – sous-veillance, médias tactiques, design spéculatif, statactivisme, archéologie des médias – explorent et expérimentent le hardware des machines, les coulisses de l’intelligence artificielle, les algorithmes de surveillance, la reconnaissance faciale, la visualisation des données.

Ces actes de désobéissance numérique prennent le contre-pied de la gouvernementalité et souveraineté des plateformes (GAFAM). Ils réinscrivent l’histoire du code, du cryptage et du calcul dans une critique de la culture contemporaine et ré-ouvrent des voies d’émancipation citoyenne. « Faire œuvre de hacking » recouvre ici des enjeux sociaux et politiques autant qu’esthétiques : réflexivité (critique), autonomie, indépendance, réappropriation des cultures matérielles (contre l’obsolescence et contre l’opacité des systèmes). La question du détournement y est centrale, l’humour et la parodie y occupent une place de choix.

En proposant de « penser par l’art », l’ouvrage aborde différentes figures de cette désobéissance numérique à travers les œuvres de plusieurs artistes internationaux : Trevor Paglen (USA), Paolo Cirio (Italie, USA), Julien Prévieux, Benjamin Gaulon, Christophe Bruno, Samuel Bianchini (France), Bill Vorn (Canada), Disnovation (France, Pologne, Russie), HeHe (France, Allemagne, Royaume-Uni). 

*Jean-Paul Fourmentraux, socio-anthropologue (PhD) et critique d’art (AICA), est professeur à l’Université d’Aix-Marseille et membre du Centre Norbert Elias (UMR-CNRS 8562) à l’École des Hautes Études en Sciences Sociales (EHESS). Il est l’auteur de plusieurs ouvrages sur les (contre-)cultures numériques, dont Art et Internet (2005), L’Ère Post-media (2012), L’œuvre Virale (2013), Identités numériques (2015).


English Abstract

antiDATA, digital disobedience. Art and technocritical hacktivism
An analysis of the technocritical acts and strategies by artists, hackers and activists in the (post-)digital age.

Against the hegemony of innovation, they invite citizens to “bite the machine”, reopen the black boxes, regain control, transform the technical imagination. Their different approaches – under-surveillance, tactical media, speculative design, statactivism, media archeology – explore and experiment with machine hardware, behind the scenes of artificial intelligence, surveillance algorithms, facial recognition, data visualization.
These acts of digital disobedience deploy antidots against the platform governmentality and sovereignty (GAFAM). They re-inscribe the history of code, encryption and calculation in a critique of contemporary culture and re-open avenues for citizen emancipation.
“Doing a work of hacking” here covers social and political issues as much as aesthetic ones: reflexivity (criticism), autonomy, independence, reappropriation of material cultures (against obsolescence and against the opacity of systems). The question of diversion is central to it, humor and parody occupy a prominent place.

By proposing to “think through art”, the book addresses different figures of this digital disobedience through the works of several international artists: Trevor Paglen (USA), Paolo Cirio (Italy, USA), Julien Prévieux, Benjamin Gaulon, Christophe Bruno, Samuel Bianchini (France), Bill Vorn (Canada), Disnovation.org (France, Poland, Russia), HeHe (France, Germany, United Kingdom).


Melting Point, Le Bel Ordinaire, Pau

From October 8th, my new project, The Breath of History, is exhibited at Le Bel Ordinaire, Pau, during the Acces)s( Festival. The exhibition “Melting Point* le carrefour des internet)s(” is curated by J.J. Gay with Agnès de Cayeux and Thomas Cheneseau.


Digital Icons, Festival Transnumériques, La Louvière

From March 03 to August 30, 2020: exhibited at Digital Icons, Festival Transnumériques, La Louvière, Belgique.


Conférence à la Cité Internationale des arts, 26 nov. 2019 à 18h30

Mardi 26 novembre 2019 à 18h00 à l’auditorium de la Cité internationale des arts (18 Rue de l’Hôtel de ville, 75004 Paris) : je présenterai mon nouveau projet, Machine, Being and Nothingness (L’Être, la Machine et le Néant), autour des questions d’IA et d’anti-académisme. Celui-ci est exposé à ‘Autonomie Zéro‘, Cité internationale des arts, Paris.

Le projet a été réalisé en collaboration avec l’historienne de l’art Chrystelle Desbordes et avec la participation de diverses Intelligences Artificielles
Avec le soutien d’Arcadi Île-de-France
Avec la participation du DICRéAM


Autonomie Zéro, Cité Internationale des Arts, Paris

My new project: Machine, Being and Nothingness (L’Être, la Machine et le Néant), is exhibited at ‘Autonomie Zéro‘, Cité internationale des arts, Paris.
Vernissage le jeudi 21 novembre 2019 à 18h00 à la Cité internationale des arts (18 Rue de l’Hôtel de ville, 75004 Paris).
Vernissage en présence des commissaires Gilles Alvarez (LE CENTQUATRE-PARIS / Biennale des arts numériques Némo) et Dominique Moulon (commissaire associé à la Biennale des arts numériques Némo).

Le projet a été réalisé en collaboration avec l’historienne de l’art Chrystelle Desbordes et avec la participation de diverses Intelligences Artificielles
Avec le soutien d’Arcadi Île-de-France
Avec la participation du DICRéAM


Chaosmos, Mécènes du sud, Montpellier

Du 28 juin au 29 septembre 2019, ma pièce Fascinum, est exposée à Chaosmos X. Se souvenir de demain.
Collection Famille Servais. Commissariat Nicolas de Ribou.
Espace de Mécènes du sud Montpellier-Sète, 13 rue des Balances, Montpellier.
Eva & Franco MATTES, Heather DEWEY-HAGBORG, APPARATUS 22, Yoon Ji SEON, Daniela ORTIZ, Jon RAFMAN, Regina Jose GALINDO, Shirin FAKHIM, Christophe BRUNO, Roger BALLEN, Ariel OROZCO, Mickalene THOMAS, Melissa ICHIUJI, Cindy SHERMAN, Loretta LUX, Lucas SAMARAS, Makoto AIDA, Bjarne MELGAARD, Robert MAPPLE­THORPE, Andres SERRANO.


Es Baluard, Museo de Arte Moderno y Contemporáneo de Palma de Mallorca

From 31st January 2019 to 29th September 2019: exhibited at Es Baluard Museo de Arte Moderno y Contemporáneo de Palma de Mallorca.

Artists: Jordi Abelló Vilella, Marina Abramović, Pilar Albarracín, Marcel·lí Antúnez, Manu Arregui, Miquel Barceló, Pep Bonet, Christophe Bruno, Daniel Canogar, Toni Catany, Paolo Cirio, Analivia Cordeiro, Evru, FakeShop, Roland Fischer, Anaisa Franco, Alberto García-Alix, Domenico Gnoli, Eduardo Kac, Wifredo Lam, Jana Leo, Solimán López, Rafael Lozano-Hemmer, Lugán, Antoni Miralda, Joan Miró, Amedeo Modigliani, Shirin Neshat, Marina Núñez, Andrés Pachón, Pablo Picasso, Jaume Plensa, Charles Sandison, Christa Sommerer & Laurent Mignonneau, Antonio Saura, Eulàlia Valldosera, Marie-France Veyrat and Darío Villalba.

Roberta Bosco and Stefano Caldana

Es Baluard Museu d’Art Modern i Contemporani de Palma and Colección BEEP de Arte Electrónico


Museo Salvador Vilaseca de Reus, Spain

From November 2017 to March 2018: exhibited at Museo Salvador Vilaseca de Reus, Spain / ARCO Madrid BEEP collection,  curated by Roberta Bosco and Stefano Caldana.



Residency at Maison du Consul de France, San Francisco

July 3rd to August 1st, 2017: we are in residency for our project Semiography, with art historian Chrystelle Desbordes, at the Maison du Consul de France, San Francisco, CA


Human Browser at transmediale 2017, Berlin

March 4, 2017. transmediale 2017 | closing weekend: Technology Languages of the Past, Present, and Future,  with Friederike Anders, Laurie Anderson, Emilien Awada & Constanze Ruhm, Christophe Bruno, Florian Cramer, Valie Djordjevic, Rotraut Pape and Caspar Stracke.


Human Browser allows a human to embody the web. Actress Manon Kahle, who performed Human Browser in transmediale 2006, will be using the system anew, allowing the audience to experience an unusual competition between user and machine.


Electronic Timing, València

Del 27 de octubre de 2016 al 3 de marzo de 2017 : exhibited at Electronic Timing.

Colección Beep de Arte Electrónico. Caso de Estudio
Facultat de Belles Arts, Universitat Politècnica de València

Arte enchufado


Workshop at CESTA, Stanford University

January 10-13, 2017: Chrystelle Desbordes and myself were invited by Dan Edelstein and Catherine Nicole Coleman to a workshop about FI:BRA (Toward a Humanistic Analysis of Research Networks), where we presented our project Semiography.

Stanford’s internationally-renowned Center for Spatial and Textual Analysis (CESTA) is a pioneering research hub, where they use and critique digital tools and methods to create new knowledge in cross-disciplinary humanistic inquiry.


The Purple State, Techne Institute, Center for the Arts, SUNY at Buffalo, NY

November 8, 2016, on Election Night: exhibited at The Purple State, Techne Institute for Art and Emerging Technologies, Center for the Arts, SUNY at Buffalo, North Campus. Artists: Eli Commins, Christophe Bruno and the Yes Men, curated by Franck Bauchard.


Conférence, Collège de France, Paris

May 27, 2016: talk at the Collège de France in Paris, during the symposium “Arts et sciences, de nouveaux domaines pour l’informatique” organized by Gérard Berry.



Culture Station 284, Seoul

From April 29 to June 26, 2016: Peach Blossom is BloomingGroup show at Culture Station 284, Seoul – South Korea.

My installation WiFi-SM (2003-2006) has been restored by Stéphane Bizet and Morgane Stricot (PAMAL Prod) and is exhibited there.


ARCOmadrid/BEEP art collection

Featured for the 10th anniversary of the ARCo Madrid Beep art collection


HORS SITU 6 – Chapelle du Quartier-haut, Sète

Du 5 au 10 mars 2016 :  HORS SITU 6 – Chapelle du Quartier-haut, Sète. Exposition de la classe préparatoire de l’école des beaux-arts de Sète, suite à l’atelier/workshop avec Christophe Bruno et Chrystelle Desbordes.


ArtJaws, Galerie Vanessa Quang, Paris

Launch of «ArtJaws Collectors», Galerie Vanessa Quang, Paris. Curated by Anne-Cécile Worms, Art2M and Anne & Julien, HEY! modern art & pop.

Yann Black / Chistophe Bruno / Sunny Buick / Magali Daniaux et Cedric Pigot / Reynald Drouhin / Easy Sacha / Catherine Ikam et Louis Fléri / Just / Julien Levesque / Christophe Luxereau / Karl Marc / Albertine Meunier / Mikael de Poissy / Rude / Laura Satana / Scenocosme / Yom


Frankenstein Media, Freesson, Avignon

Dec. 7 to  18, 2015: Scrumology Prod @PAMAL/ESAA exhibited at Frankenstein Media, Freesson, Avignon.


Temps et Temporalités du Web, CNRS, Paris

2 décembre 2015 : Conférence de Christophe Bruno, intitulée « Art, bugs et temporalities on the network », au colloque international « Temps et Temporalités du Web », organisé par l’équipe du projet ANR Web90 1er-3 décembre 2015. CNRS/Paris-Sorbonne/UPMC, Institut des sciences de la communication


Variation Media Art Fair, Paris

Oct. 20 to 25, 2015: new works exhibited at Variation Media Art Fair, Paris.


Villa Medicis Hors les Murs, 2016


Christophe Bruno and Chrystelle Desbordes are laureate of the artistic residency Villa Medicis Hors les Murs 2016, The French Institute, for their project Semiography #2 (CA, USA, 2016)

Continue reading “Villa Medicis Hors les Murs, 2016”


Portes ouvertes, ateliers Victor Hugo, Sète


3, 4 octobre 2015: accrochage dans mon atelier, à l’occasion des portes ouvertes des ateliers Victor Hugo, Sète.


Tam-tam show project, S01-E01, Sète

July 9 to 12, 2015: exhibited at tam-tam show project, S01-E01, curated by Chrystelle Desbordes. Ateliers Victor Hugo, Sète. With Laurence Broydé, Christophe Bruno, Guillaume Pinard, Marianne Plo, Guillaume Poulain, Babeth Rambault, Agnès Rosse, Sébastien Taillefer.


Entre archéologie et histoire du Web, PAMAL & WEB90 (ANR), Avignon

30 juin 2015 : Entre archéologie et histoire du Web – Journée d’études PAMAL/ESAA & WEB90 (ANR).


His Master Voice, La Panacée, Montpellier

June 17 to September 20, 2015 : my performance Human Browser is exhibited at His Mas­ter’s Voice,  La Panacée, Montpellier. Curator : Inke Arns

With Christophe Bruno, Erik Bünger, William Burroughs & Antony Balch, Aslı Cavu şoğlu, YOUNG-HAE CHANG HEAVY INDUSTRIES (YHCHI), Jakup Ferri, Jochen Gerz, Richard Grayson, Asta Gröting, Daniel Hofer, Anette Hoffmann / Matei Bellu / Andrea Bellu / Regina Sarreiter, International Institute of Political Murder, Ignas Krunglevicius, Stefan Panhans, Laure Prouvost, Kathrin Resetarits, Peter Rose, Manuel Saiz, Anri Sala, Richard Serra & Nancy Holt, Katarina Zdjelar, Artur Zmijewski.


Archéologie des média, Seconde Nature, Aix-en-Provence

Du 20 mai au 28 juin 2015 : Archéologie des média – Exposition-recherche du PAMAL – Seconde Nature, Aix-en-Provence
Invité comme commissaire d’exposition, le PAMAL, une unité de recherche de l’École Supérieure d’Art d’Avignon composée d’artistes, d’ingénieurs et de conservateurs-restaurateurs, mène une réflexion sur la durée de vie des œuvres d’art numériques, sur leur émergence et leur obsolescence, sur leur préservation, leur restauration et, parfois, leur disparition…

Avec et autour de : angelino (Albertine Meunier), ∼bbgirl21 (or the declin of the unicorn) (Emilie Gervais), counter (Grégory Chatonsky), doek (Annie Abrahams & Jan de Weille), fascinum (Christophe Bruno), .jpg printing (Jacob Riddle), les secrets (Nicolas Frespech), re-funct media (Benjamin Gaulon & al.), sprint#1 (Pamal & Scrumology Prod), videotext animated poems (Eduardo Kac).


Global Snapshot, La Panacée, Montpellier

15-24 of may, Fascinum exhibited at Global Snapshot, La Panacée, Montpellier. Curated by Franck Bauchard.


L’ère du paléo-digital, BnF/ENSBA, 6 et 7 mai 2015

Journées d’études : L’ère du paléo-digital, BnF/ENSBA, 6 et 7 mai 2015.
Organisées par Christophe Bruno, Chrystelle Desbordes et Emmanuel Guez sur une invitation de Marie Saladin.
En partenariat avec MCD, le Magazine des Cultures Digitales.

Programme en PDF

mercredi 6 mai 2015 | Bibliothèque nationale de France | Archéologie des média et des savoirs
jeudi 7 mai 2015 | Ecole Nationale Supérieure des Beaux-Arts | Humanités et atlas à l’ère post-digitale

Avec Dominique Allios, Nathalie Boulouch, Lionel Broye, Christophe Bruno, Bureau d’Études, Yves Citton, Vuk Ćosić, Chrystelle Desbordes, Louise Fauduet, Benjamin Gaulon, Emmanuel Guez, Kapwani Kiwanga, Marie Koch, Marie Lechner, Annick Le Follic, Vincent Rioux, Anne Roquigny, Marie Saladin, Nicolas Thély.


ENS rue d’Ulm, Paris

17 avril 2015 : conférence de Christophe Bruno intitulée « Art, Internet et utopies », à l’Atelier Internet de l’ENS (Paris). À partir de son oeuvre, il nous montrera comment peuvent s’entrecroiser, dans le contexte de l’internet, technique, imaginaires et critique politique. Organisation Eric Guichard (Ens-Enssib-CIPh).


Image et temps réel, Obs/IN, Marseille

20 & 21 Novembre 2014: Colloque de l’Obs/IN (Observatoire Image Numérique), Image et temps réel. Auditorium de la Villa Méditerranée, Marseille.


Atelier Internet Lyonnais (ENS – ENSSIB – CIPH)

19 novembre 2014 : Conférence de Christophe Bruno du laboratoire PAMAL à l’Atelier Internet Lyonnais (ENS – ENSSIB – CIPH) ,  sur le thème « Art, réseau et cartographie ».
L’Atelier Internet est un séminaire fondé en 1995 à l’ENS (rue d’Ulm) par Éric Guichard. Il a son pendant lyonnais depuis 2006 (à l’ENSSIB) : l’AIL (Atelier Internet Lyonnais).


MCD #75 Archéologie des média

L’archéologie des média a produit (et continue de produire) des effets majeurs dans le champ de la création, de l’exposition, de la médiation, de la conservation et de la théorisation des œuvres médiatiques et numériques. Héritant d’esprits indisciplinés, de Marshall McLuhan, de Michel Foucault et de Friedrich Kittler, l’archéologie des média est multiple, inter- et a-disciplinaire. Ce numéro MCD #75 est à son image. Au sommaire : ARCHÉOLOGIE / RECYCLAGE / VINTAGE / EXPOSITION / MÉDIATION / ÉCOSYSTÈME / CONSERVATION / PRÉSERVATION / INGÉNIERIE

Les rédacteurs : Andrés Lozano, Annick Bureaud, Annick Rivoire, Cécile Dazord, Clarisse Bardiot, Emmanuel Guy, Gwenola Wagon, Igor Štromajer, Jussi Parikka, Serge Hoffman, Morgane Stricot et les enseignants-chercheurs de l’ESAA : Christophe Bruno, Lionel Broye, Lucille Calmel, Line Herbert-Arnaud, Prune Galeazzi, Emmanuel Guez, Pierre Lagrange, ainsi que les étudiants : Coline Bourgouin, Laura Garrassin, Rémy Geindreau, Sylvain Goutailler, Tiphaine Vialle, Marie Bastard. Avec des entretiens de : Dragan Espenschied, Johannes Gfeller, Cyril Jarton, Anne Laforet, Douglas Edric Stanley, Mathieu Triclot.

Une publication MCD (Directrice : Anne-Cécile Worms ; rédacteur en chef : Laurent Diouf). Rédacteur en chef invité : Emmanuel Guez et PAMAL.


City Art Gallery, Ljubljana

Net.art Painters and Poets, collective show curated by Vuk Ćosić and Alenka Gregorić at the City Art Gallery, Ljubljana (June 19. 2014 – August 31. 2014).

With !MEDIENGRUPPE BITNIK, 0100101110101101.org, Cory Arcangel, Kim Asendorf, Aram Bartholl, Mez Breeze, Christophe Bruno, Heath Bunting, Shu Lea Cheang, Paolo Cirio, Vuk Ćosić, Constant Dullaart, Lisa Jevbratt, JODI, Justin Kemp, Olia Lialina, Alessandro Ludovico, Mouchette, Mark Napier, Evan Roth, ®TMark, Eryk Salvaggio, Alexei Shulgin, Teo Spiller, Igor Štromajer, Thomson & Craighead, Ubermorgen, Young Hae Chang Heavy Industries, Jaka Železnikar


Festival Composite, Compiègne

From March 25, 2014: my performance Human Browser is exhibited at Festival Composite, Espace Jean Legendre, Compiègne.

Curated by Emmanuel Guez and Éric Rouchaud. With Marc Wyseur as the Human Browser. Video available soon…


Edith-Russ-Haus for Media Art, Oldenburg

07 March 2014 – 21 April 2014: exhibited at NET.ARTography, Edith-Russ-Haus for Media Art, Oldenburg.

The works shown in this exhibition of the internationally most relevant net artists belong to the collection of NETescopio, iniciated in 2008 and since then constantly developed by the Spanish Museum of Contemporary Art of Extremadura and Latin America – MEIAC, Badajoz. With NETescopio, the MEIAC is a pioneer in the availability of an Internet accessible art collection beyond the physical presence of the actual Museum. A selection of 120, partly no longer accessible, key works covers the panorama of net art production from the 1990s until today. This exhibition is in this sense a unique opportunity to gain an insight into the net art tendencies and their aesthetics. The main objective of the NETescopio archive, which makes also a historical classification of the collected works, is the preservation of the works, characterized by the incorporation of a large numbers of Spanish and Latin American net artists.

Curated by Gustavo Romano


Post-digital research, Transmediale, Berlin

Feb. 1st, 2014: I’m invited to present my work at Transmediale, Berlin.

Post-digital research, Afterglow, Transmediale, Berlin: the event asks how to formulate research questions, research methods, and research dissemination under post-digital conditions. How does the post-digital become a research topic? How are research practices affected by the post-digital? How is research organised, visualised, and put into processes of management? And, how do we respond to this?

Following an experiment of performing research under such conditions, presented in the Peer-reviewed Newspaper Post-Digital Research, launched at transmediale, the participants will focus on systems of valorisation within research and the control mechanisms through which it is measured.

With an introduction by Christian Ulrik Andersen (Associate Professor at Aarhus University), artist Christophe Bruno will launch his new project Psycho-academic Dérive, an academic mapping of highly organized academic networks and citation patterns. Invited respondents will help to generate discussion around post-digital conditions of research, and understandings of how knowledge disseminates, and of possible ways to critically engage with this.

Video of the conference (my own talk is at the end of the video).


Show-Off, Paris

Information Tragedy, a new project in collaboration with Cécile Noguès, exhibited at Show-Off Paris, from oct 21th to 23rd, 2013.


Ce qu’il reste à détourner, France Inter

25 juin 2013: Interview sur France Inter par Thomas Baumgartner.


Observatori, Valencia

May 11-13, 2007: as winner of the ARCO new media prize 2007, Fascinum is exhibited at Observatori, 8º Festival Internacional de Investigación Artística de Valencia.

Fascinum is an Internet installation that shows the pictures from the daily news that are the most viewed (ranked from 1 to 10) on different national Yahoo websites, in real time. The viewer surfs on the infotainment tsunami and experiences the paradoxes of global thinking in a blink.

Continue reading “Observatori, Valencia”


Dreamlogs in “Réseaux”, an article by E. Candel

My piece Dreamlogs is featured in an article by Etienne Candel entitled “Miracles and mirages of self publishing. The case of Christophe Bruno’s Dreamlogs”, published in the French review Réseaux.

Abstract: In this article the author considers the concept of disfiguration, a process of transformation of the pagination, formatting and editorial characteristics of an on-line text, that is, what Yves Jeanneret calls its textualisation. The concept of disfiguration is used to highlight the semiotic impact of editorial enunciation on the Internet. The work studied here, the Dreamlogs of Netartist Christophe Bruno, subverts a canonic form of the blog in a practice of distorted self-publishing. It thus manipulates the Internaut’s cognitive routines and, by disfiguring the texts, questions the common practices of writing, reading and interpretation.


Neterotopia, Palais de Tokyo, NICC and Careof

From 16th to 31st of March 2006 at physical spaces: Palais de Tokyo (Paris), NICC (Antwerp) and Careof (Milan). Curated by Daniele Balit and Pierre Mertens. Supported by NICC, Love Difference et Cittadellarte-Fondazione Pistoletto.


The project is inspired by Michel Foucault’s concept of heterotopia.

In opposition to the non-places of utopy, the heterotopies (literally: places of diversity), are defined by Foucault as “other spaces” capable to receive diversity and possibility, without disconnecting from the real world. Neterotopies are thus inserted in the media communication system, respecting its rules and limits, at same time attaching a new significance to advertising spaces.

Artists and websites: Christophe Bruno (liberation) – Ghazel (sortiraparis.com) – Susan Hefuna (movies.tenuae.com) – Nathalie Hunter (google.com) – Yuji Oshima (arman.fm) – Peter Lemmensand Eva Cardon (wunderground.com) – Adam Vackar (inrockutibles.com) – Stephen Vitiello (villagevoice.com) – Luca Vitone (viamichelin.it) – Version (Gabriela Vanga, Ciprian Muresan e Mircea Cantor) (corriere.it) – 0100101110101101.ORG (film.it).

Communications, Uncategorized

Empyre / Documenta 12

Invited on Empyre – soft_skinned_space for March 2006. Guest are: Christophe Bruno (FR), Erik Kluitenberg (NL), Christiane Paul (US), Dirk Vekemans (BE), and as moderator/guest, Christina McPhee (US)

The topic, “Is modernity our antiquity?”, is proposed by Roger Beurgel, artistic director for Documenta 12.

“It is fairly obvious that modernity, or modernity’s fate, exerts a profound influence on contemporary artists. Part of that attraction may stem from the fact that no one really knows if modernity is dead or alive. It seems to be in ruins after the totalitarian catastrophes of the 20th century (the very same catastrophes to which it somehow gave rise). It seems utterly compromised by the brutally partial application of its universal demands (liberté, égalité, fraternité) or by the simple fact that modernity and coloniality went, and probably still go, hand in hand. Still, people’s imaginations are full of modernity’s visions and forms (and I mean not only Bauhaus but also arch-modernist mind-sets transformed into contemporary catchwords like “identity” or “culture”). In short, it seems that we are both outside and inside modernity, both repelled by its deadly violence and seduced by its most immodest aspiration or potential: that there might, after all, be a common planetary horizon for all the living and the dead.”

-Roger Beurgel, artistic director, Documenta 12

This topic is one of three leitmotifs to be brought into a world wide discussion that will occur throughout 2006 in advance of Documenta 12, in 2007. Documenta, the festival of art that occurs every five years in Kassel, has invited all of us at the -empyre- list to participate in a formal discussion around three questions, or leitmotifs, throughout this year. This month is the launch of our participation in this project, which will continue in July and November 2006, again with topics selected by the Documenta team. All over the world, some seventy online and print journals will initiate dialogue around three core questions; the results will integrate into Documenta 12 itself next year in Kassel ( 2007). -empyre- ’s archives for this month will find their place in print and / or online with the Documenta Magazine project in 2007 when the festival opens.



Human Browser at EU constitution vote

Paris, Sunday, May 29, 2005 : Jérôme Piques v1.0, the first Human Browser, created by net artist Christophe Bruno, was experimented nearby a Parisian polling station.

Watch the video broadcast on LeMonde.fr

This piece is a wireless Google hack : as I enter keywords in a Wi-Fi pda, to briefly describe the actor’s context, a program on a laptop uses these keywords as search strings in google. Then the laptop sends a text-to-speech audio of the search to an actor who then repeats what he’s getting via the headphones.


As a new epidemic of Turing Syndrome is spreading in France, unable to decide of its own future, the Human Browser offered to help the nation. During a few hours, thanks to its brand new Wi-Fi connection and its amazing ability of real-time Web-mining, the Human Browser tried to invest on language derivative by-products, in a deflationary global semantic market.


P0es1s.net, Festival of digital poetry, Berlin

Feb 13 – Apr 4, 2004: GogolChat exhibited at p0es1s.net, Festival of digital poetry, Kulturforum, Potsdamer Platz, Berlin, curated by Friedrich W. Block.

Exhibitions, Uncategorized

Honorary mention at the Prix Ars Electronica

Honorary mention for the Google Adwords Happening at the Prix Ars Electronica (Net Vision / Net Excellence).


Read_Me 2.3 Software Art Festival, Helsinki

GogolChat featured at Read_Me 2.3 / runme.org, Software Art Festival, Helsinki, curated by Alexei Shulgin, Olga Goriunova et al.


Machinista 2003

GogolChat awarded at Machinista 2003, category: machine as the artist’s co-author.


Javamuseum.org: Actual Positions of French Net Art

Dec 9, 2002: exhibited on javamuseum.org, Actual Positions of French Net Art, curated by Agricola de Cologne.


Microwave International Media Art, Honk-Kong

Nov 8 – Dec 15, 2002: the Google Adwords Happening exhibited at the Microwave International Media Art Festival 2002, Honk-Kong , Temporal Being, Net Art in Exhibition curated by Vuk Cosic.


Vidarte 2002, Mexico City

Aug. 27 – Sep 7, 2002: Non-weddings exhibited at Vidarte 2002, Mexico City. Database Desire, curated by Rudolf Frieling (ZKM).

Statement by Rudolf Frieling:

« (…) Another net based project in search of our relationship towards images as a cultural code, more humourous, yet at the same time deeply philosophical, is Christophe Bruno’s Non-weddings which makes use of the ubiquitous Google-apparatus as a search-engine. It employs this tool for a net-based dyptich that is based on the supposed dualism of two keywords that serve as a search tool. The play is, as the author states, on the linguistic set of signifier and signified, on a secondary level on the reading of this set by Jacques Lacan, and on a third level on the friction between language and a mere trace of an image that is only in some arbitrary way related to the search word. Deconstruction, here, is coined “non-wedding”, i.e. the matching of things that do not belong together. The friction is the infinite source of “jouissance”, as the French theorist says. We rejoice in the multiple shifts of meaning that occur between a preconceived notion of a term/image relation and the non-wedded results. We begin to wonder how a term can possibly be related to an image at all. »

Rudolf Frieling


Furtherfield.org, London

Jul 1, 2002: Fascinum exhibited on furtherfield.org, London/Online, curated by Marc Garrett.