Gregory Chatonsky

Hypersalon @ MAM, Dec 17 + 19

15 December 2015

The Hypersalon™, conference returns for its second iteration in Paris, running at the Musée d’Art Moderne on December 17 and December 19.

The event, organised by Philippe Riss of XPO Gallery and Mathieu Merlet-Briand, explores the implications of networked culture and runs in conjunction with the Musée d’Art Moderne’s current Co-Workers exhibition.

The conference brings Gregory Chatonsky with ‘Deep Dream: Does the network dream of humans?’ (which takes the 2015 Google release of fantastical images of fish and dogs as its starting point for the exploration of network memory and our “hallucinatory vision of the human world”) on December 17 and a conversation with Christiane Paul and Clément Valla called ‘New Materialities of Digital Art’ on December 19.

See the FB event page for details. **

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Oxi More On @ XPO / Espace Verney-Carron, Sep 8

7 September 2015

XPO gallery is hosting a new exhibition titled Oxi More On at Espace Verney-Carron, opening at the Lyons art space on September 8.

George and Archibald Verney-Carron let xpo gallery take over with a new exhibition featuring Angelo PlessasPierre ClémentJulieta ArandaAram BarthollVincent BroquaireGrégory ChatonskySara LudyPaul SouvironKatie Torn and Clément Valla.

The exhibition, curated by Alexis Jakubowicz and Philippe Riss, is caught in the fiction of a long-sacrificed miracle, somewhere between “torpor and life”, inspired by a poem by Charles Baudelaire, a famous painting by Watteau, and “the eternal residence of love”.

See the exhibition page for details. **

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Paul Souviron, ‘Civilisation’ (2014).

Header image: Sara Ludy, ‘Dream House’ (2014). Video still. 

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Gregory Chatonsky @ Art Taipei, Nov 8 – 1

5 November 2013

Paris-based net-art pioneer, Gregory Chatonsky, will be showing The Survival of the Object solo exhibition at Art Taipei 2013, running in the Taiwanese capital from November 8 to 1.

With a practice that centres on “fiction flows and destruction” Chatonksy takes form and fetishism to next-level artistic obsession, here, by exploring the endless production of objects and our desire  for them. Along ideas of industry, obsolescence and fossilisation as an ongoing cycle of excavation questions the feeling that “this world, which is still our world, is yesterday’s” already. **

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