Ignacio Acosta (CL)

Ignacio Acosta is a Chilean-born, London-based artist and researcher working with photography and the moving image to explore geopolitical power dynamics around minerals, their geographies and historical narratives. His interconnected research projects involve extensive fieldwork, investigative analysis, visual documentation and critical writing on sites and materials of symbolic significance. He works with places made vulnerable through the exploitation of ecologies by colonial intervention and intensive capitalisation. Acosta focuses upon resistance to the extractivist industrial impact on valuable natural environments and, through technologies of seeing, he develops work towards the generation of meaningful visual narratives.

His doctoral study Copper Geographies (2018) was published by Editorial RM. It was produced as part of Traces of Nitrate, a research project developed in collaboration with Art and Design historian Louise Purbrick and photographer Xavier Ribas, based at the University of Brighton and funded by the British Arts and Humanities Research Council (AHRC). In 2017 he received a Project Realisation Award from the Hasselblad Foundation / Valand Academy, Sweden, as part of the project Drone Vision led by Dr. Sarah Tuck.

Ignacio Acosta

Florencia Aspèe (CL)

Florencia Aspee holds a Bachelor of Visual Arts and a Masters degree in Research and Photographic Creation from the Finis Terrae University in Santiago de Chile. In parallel to her artistic work, she works as an exhibition producer for the Santiago Media Art Biennial. 

Her practice combines sculpture, collage and narrative writing in an attempt to describe fictitious landscapes, the actions and memories associated with them as well as their unrealized potential. The various elements she conjures converge in editorial products that aim to contain and transmit the information drawn from these fictional environments – found files and photographs that attempt to reconstruct events that were deliberately left out of history or simply forgotten, and assemble different times and realities into a single object. 

Florencia Aspèe

Felicia Atkinson & Bartolomé Sanson (FR)

Bartolomé Sanson (b.1984) is an independent publisher, founder of artist fanzine Kaugummi Books (2005 – 2011) and a freelancer for various publishing houses. Félicia Atkinson is an artist and musician (b.1981) who graduated from the School of Fine Arts in Paris. Together they created Shelter Press, an independent publishing house, record label, and research platform dedicated to establishing dialogues between contemporary art, poetry and experimental music.. Born during an artist residency in Ohio in the summer of 2012, Shelter Press now has more than a hundred titles to its catalogue and participates in fairs around the world, supported by a solid network of international distributors. At La Becque, based on among others on research around British composer Daphne Oram, Atkinson and Sanon will develop a multifaceted project (combining publishing, sound and visual arts aspects) that will build a critical exploration of certain esoteric and naturalistic strands of sound composition of the 20th century.

Félicia Atkinson & Bartolomé Sanson

Brandon Covington Sam-Sumana (US)

Brandon Covington Sam-Sumana was born in Fayetteville, North Carolina during the mid-1990s. They work to interrogate matters related to currency, transience, narratology, and system metabolism. Their interrogations have spawned sound projects, objects of generative design, forays into speculative finance, video, text, and visual art. Covington has presented works of music composition, performance, and installation at institutions such as The ICA London, The New Museum, Tate Modern, and The Atlanta Contemporary. In 2019 they released their first collection of essays,  i was born in ww3: the exorcism of Kaye – fifteen laws of virtuality, violence, and asymmetry told in fifteen awful phrases.


Brandon Covington


COYOTE is a multifaceted collective, a co-operation between beings and affects, the crystallisation of certain zones of affinities. Each year since 2015, COYOTE follows the trail of one of its members to explore new territorialities (Paris, Lisbon, Athens, Barcelona). The collective takes intersectionality as a method and subject, working at the crossing of experimental and conceptual forms (printed matter, radio, conversations, critical meals). It was founded by Tristan Bera, Elida Høeg, Nuno da Luz, Clémence Seurat and Ana Vaz, following their joint experience at the École des Arts Politiques (SPEAP) under the tutelage of Bruno Latour. The collective has presented its work in cultural institutions throughout Europe: Théâtre Nanterre-Amandiers, Khiasma (Paris), Syntax (Lisbon), BAR Project (Barcelona) and CCS – the Centre Culturel Suisse in Paris. In 2019, COYOTE also took part in the Contour Biennale 9: Coltane as Cotton (Belgium), curated by Nataša Petrešin-Bachelez.

At La Becque, COYOTE will pursue work on its Environments project, an open-ended environmental lexicon in the form of a collection of visual signs that stand as propositions for thinking, acting and holding on in an increasingly devastated and contaminated world.

Photo credit: John Bowman


D. Denenge Duyst-Akpem (US)

D. Denenge Duyst-Akpem is a space sculptor whose visual art, writing, performance, and teaching bridge disciplines of site-specific and public art, ritual, interior design, ecology, and Afro-Futurism. She meticulously constructs fantastical interactive Afri-sci-fi environments and performances that interrogate, titillate, decolonize, and empower, rooted in Sun Ra’s transformational legacy and asking « Who controls the future? » She is Assistant Professor, Adjunct, at the School of the Art Institute of Chicago, and founder of Denenge Design and In The Luscious Garden, focused on holistic and conceptual approaches to human-centered design. Exhibition, performance, and writing selections include: U.S. Library of Congress, Arts Club of Chicago, Museum of Contemporary Art Chicago, Red Bull Arts NY, ArtNews, Newsweek, Chicago Tribune, Theaster Gates: How To Build a House Museum, and essays on Afro-Futurism and design for Kunsthaus Zurich, Berlin Kunstgewerbemuseum. She is the recipient of numerous awards including a 2018 Marion Kryczka Excellence in Teaching Award, an inaugural 2016 Teaching Award for Excellence in Diversity and Inclusion, and a 2014 National Endowment for the Humanities (NEH) Fellowship.

Photo credit : R.J. Eldridge

D. Denenge Duyst-Apkem

Caroline Etter & Laura Spozio (CH)

Caroline Etter’s practice takes shape in a series of reflections that aim to take advantage of existing structures to modify their organization, form or materiality in order to induce critical reflection. The installations she draws from the process allow her to generate frameworks for the perception, understanding and representation of the world – perspectives which, because of their subjectivity, can only be fragmented. 

Mainly through video, writing and performance, Laura Spozio explores non-spectacular activities, as well as intra- and interspecific relationships, observed mainly through the prism of non-verbal language. The artist also infiltrates given contexts and generates, through actions, a displacement of perspective for the users of a venue, or the public of an event. She is currently taking part in the multidisciplinary research project Action 2 – Observer, led by Manufacture-Lausanne and HEAD-Geneva. 

Etter and Spozio formed their duo in 2018, out of a common desire to question the relationship between scientific knowledge and individuals, through the misuse of objects, the collection of anecdotes or by means of props or devices that superimpose glances, thus introducing gaps in the practice of observation. Nourished by continuous verbal exchange, the two artists, much like Bouvard and Pécuchet, explore observation techniques specific to the fields of human sciences, the environment and ethology.

Caroline Etter &
Laura Spozio

Adam Gibbons & Eva Wilson (UK)

Adam Gibbons and Eva Wilson are the commissioning editors of “ ”, a series of conversations between artists and the editors or invited respondents, published by NERO, Rome.

The books focus on practices at the intersection of publishing and exhibition-making: operating through circulation, dispersion, spamming, print, data, sound, language, infection, fashion, networks, disturbance, myth, parasiting, or infiltration.

Adam Gibbons is an artist, lecturer, writer, and founding member of the artist group Am Nuden Da, who have been exhibiting internationally since 2008. He teaches at London College of Communication on BA (Hons) Design for Art Direction and completed an MFA in Fine Art at Goldsmiths College, University of London in 2017.

Eva Wilson is a writer and curator who is currently working on a doctorate thesis at Freie Universität Berlin, researching the concept the virtual image in the 19th century. She was part of the editorial team of documenta 14 in Athens and Kassel, director of Schinkel Pavillon Berlin and curator at Thyssen-Bornemisza Art Contemporary (TBA21), Vienna.

Adam Gibbons &
Eva Wilson


Through long-lasting processes, the artist duo GIDEONSSON/LONDRÉ search for a dissolved state in between paralysis and ecstasy. Their practice involves performances, installations and interventions that consist of different forms of highly regulated everyday activities, in relation to different experiences of time. How changes in rhythms and time flows open up other positions and temporary detachment from established ideas about subjectivity.

At La Becque, they plan to research how different time-measuring techniques and devices have influenced and shaped human experience of natural processes, and work on alternative proposals for time-keeping that are in closer relationship to climate, weather and other natural factors, rather than sociological or philosophical elements.

GIDEONSSON/LONDRÉ live and work in Kallrör, Sweden, and received an MFA from The Royal Institute of Art in 2014. Recent exhibitions includes Change, Havremagasinet Sweden (2019), I am vertical, ESPAI 13 Spain (2018) and the Swamp Biennial, Art Lab Gnesta Sweden (2018).


Andreas Greiner (DE)

Andreas Greiner is a graduate of both the University of Fine Arts in Berlin and Olafur Eliassons’ Institute for Spatial Experiments. After studying medicine, anatomy and sculpture, he now focuses on time-based and digital art works. His creative practice pushes the boundaries of classical parameters in sculpture. The content of his work focuses on the anthropogenic influence on nature’s evolution and form. He is part of the artist collectives A / A and Das Numen.

Photo credit: Theo Bitzer

Andreas Greiner

Voldemàrs Johansons (LV)

The work of Voldemars Johansons merges his interests in visuality, sound and science. He creates  experimental projects that synthesise art, science and technology to explore diverse phenomena and represent the experience through environments assembled from the visual, acoustic and spatial structures. His research interests address the organic combination of acoustic information and spatial forms in creation of sonic environments and sculptures, examining the joint morphology of acoustic, visual and spatial domains. In his work borders between the perception of the visible, the invisible and the audible dissolve to create a unified perceptual situation. “Art has the privilege of being able to reflect about the unproven, the unrecognised, thus broadening the horizons of  thinking,” comments the author.

Johanson’s work has been presented at diverse venues and events internationally: the Venice biennial of Architecture, Ars Electronica Center (Linz), BOZAR (Brussels), Ruhrtriennale (de), TodaysArt (The Hague), STEIM (Amsterdam), Sound Forest (Riga), Unsound Festival (Krakow), CAC Vilnius, Concertgebouw Brugge, WRO Media art biennale (Wroclaw), Kochi biennial (India) and elsewhere. Since 2009 he works as a researcher at the Art Research Laboratory at the Liepaja University and teaches at department of New Media Studies.

Voldemàrs Johansons

Eglė Kulbokaitė (LT) & Dorota Gawęda (PL)

Dorota Gawęda (b. 1986, Lublin, PL) and Eglė Kulbokaitė (b. 1987, Kaunas, LT) are an artist duo founded in 2013, based in Basel (CH). Both are graduates of the Royal College of Art, London (2012). They work in a variety of media spanning performance, video, installation, sculpture and scent. They are the founders of YOUNG GIRL READING GROUP – YGRG (2013- ), named in correspondence to writer collective Tiqqun’s Preliminary Materials For a Theory of the Young-Girl, but organised around feminist and queer thought, both historical and contemporary.  For the first two years YGRG was ran on a weekly basis, becoming a community that looked for a horizontal way of approaching text and reading, and sharing of knowledge, providing an intimate discursive space within the experience of collective reading. The project became the basis of the duo’s continuous collaboration and still frames the conceptual core of their artistic practice. Currently YGRG exists as a serial performative project, through which Gawęda and Kulbokaitė examine the relationships between reading, affect, distraction, bodily and virtual presence, togetherness and disunity, live action and documentation. 

Their research within this field  is continuously supported by International Flavors and Fragrances Inc. The duo are also the creators of the post-body avatar Agatha Valkyrie Ice (2014- 2017), under whose name they co-curated OSLO1O project space in Basel (2015-2017). Gawęda and Kulbokaitė have exhibited their work internationally.

Eglė Kulbokaitė & 
Dorota Gawęda

Virginie Laganière &
Jean-Maxime Dufresne (CA)

Jean-Maxime Dufresne and Virginie Laganière are research-based artists whose investigations deal with transformations of urban and social territories, as well as phenomena related to built and natural environments, with a recent emphasis on speculative futures, the human psyche and sociopolitical climates. Drawing from architectural inquiry, field explorations and anthropology, their work experiments with the multifaceted means of installation, photography, video, sound and sculptural devices. Blurring fictional and documentary strategies, unforeseen narratives generate new interpretations of reality where other forms of imaginary coalesce. In addition to their individual practices, they have been collaborating for more than fifteen years.

Their artistic output has focused lately on the life cycles of Olympic venues in Athens, Beijing, Montreal, Munich, Sarajevo and Tokyo, as well as the exploration of geological landscapes with the collaboration of musicians in Finland. Recent residencies include TOKAS (Tokyo Arts and Space) to delve into social futures related to technological coexistence, and the Quebec Studio in Rome to inquire on heliotherapeutic architecture, complex ecologies and atmospheres of power in Italy. Supported by the Canada Council for the Arts and the CALQ, their work has been exhibited and developed through residencies in Canada and internationally, including Optica, the Galerie de l’UQAM and the Darling Foundry (Montreal), The Quebec City Biennial / Manif d’art at VU Photo, HIAP (Helsinki International Artist Programme), Inside-Out Art Museum (Beijing), Titanik Gallery (Turku), Homesession (Barcelona) and the Christoph Merian Stiftung (Basel).

Virginie Laganière &
Jean-Maxime Dufresne

Valle Medina (ES) & Benjamin Reynolds (AU)

The works of Valle Medina and Benjamin Reynolds can be considered « conceits »: they are comprised of numerous independent media that furnish spaces and thus inherit architectural character to elaborate a single idea.

Medina and Reynolds direct the studio CHRONOCOPIA at the Royal College of Arts in London, and are the co-founders of Pa.LaC.E. ( Their work has been shown in locations such as the Van Abbemuseum (NL), Basis voor Actuele Kunst – BAK (NL) and Centre de Cultura Contemporània de Barcelona (ES). They won the 50th Shinkenchiku/Central Glass Award in Tokyo among other international prizes. Their first major monograph Paris Hermitage— was released in early 2017 with Cooperative Editions (New York).

Benjamin Reynolds graduated with honours from the Architectural Association, London and was an Art Fellow at the Van Eyck Academie in Maastricht.

Valle Medina was an Art Fellow at the Van Eyck Academie in Maastricht and a Geisendorf Fellow at the Department of Architecture (D-ARCH) of ETH Zürich, where she graduated summa cum laude from the Laboratory for Applied Virtuality.

Valle Medina & Benjamin Reynolds

Pierre Paulin (FR)

Through poetry, essays, translation, publishing and ready-to-wear, Pierre Paulin’s artistic work is deeply inscribed in today’s visual culture. The use of the term « look », whether in the description of his poetic work or of the clothes he produces, is the common denominator of a writing and art practice based on the combination and translation of cultural formats and signs. From clothing to text, from body to words, Pierre Paulin does not separate the written word from the representation or the image from the speech. The text is omnipresent, whether in his clothes (pockets and linings), in his videos, in his books and his editions. 

Pierre Paulin is also the co-founder of an independent publishing workshop with Alex Balgiu, Clémentine Rougier and Roman Seban, the purpose of which is to publish poetry, art essays and translations. 

Pierre Paulin

Florence Peake (UK)

Florence Peake is a London-based artist who has been making work since 1995. She makes solo and group performance works intertwined with an extensive visual art practice, presenting work internationally in galleries, theatres and outdoors. She is known for an approach which is at once sensual and witty, expressive and rigorous, political and intimate. 

Peake’s performance practice uses drawing, painting and sculpture combined with found and fabricated objects placed in relation to the moving body. Her work explores notions of materiality and physicality; the body as site and vehicle of protest, and political concerns around freedom, the Anthropocene and the commodification of art. By encouraging chaotic relationships between the body and material, she creates radical and outlandish performances, creating temporary alliances and micro-communities within the audience. Following on from performances she often creates sculpture and painting; these artworks serve as documentation but also as ways of processing the experience of the performance itself, relationships with dancers, audiences and sites.

Her work has been presented at the Venice Biennale 2019 with Eve Stainton, the CRAC Occitanie, Färgfabriken Stockholm, Sweden, the London Contemporary Music Festival, Palais De Tokyo, the Hayward Gallery, Serpentine Gallery, the Whitechapel Gallery, the ICA London, Frieze and the Yorkshire Sculpture Park. She has an upcoming two-person show with Tai Shani at Centro Cento, Madrid.

Photo credit: Anne Tetzlaff

Florence Peake


Mathias Ringgenberg aka PRICE was born in 1986 in Rio de Janeiro and now lives and works in Zürich. For Mathias Ringgenberg, performance – including the rigors of rehearsal and physical discipline – provides a necessary corrective at a moment when the Internet has enhanced the cultural dominance of the image, now more easily produced and disseminated than ever before. The presence of the artist’s body not only acts as a crucial point of orientation for navigating the practice but also serves as a reminder of the material register crucial to identity, emotion and communication. Mathias Ringgenberg studied at the Gerrit Rietveld Academy Amsterdam before receiving an MA Performing Arts and Theater from HKB, Bern in 2015.

In his current performative works called Melodies are so far my best friend, Where Do You Wanna Go Today (Variations), Can’t say much about anything that’s new and the associated debut album Greatest Hits or its video performances A: I am impressed B: Well – I am in love, Home is a place we all have to find or You don’t touch it, it touches you, Mathias Ringgenberg has developed the fictional character PRICE. PRICE is a hybrid fictional character born from the sea of information, who explores the emotional disorientation of a generation having grown up with mass culture, neoliberalism and the omnipresence of the internet. By probing the mechanisms of pop, PRICE’s musical stories evoke instability, fear, and romantic disillusion.

Photo credit: Senta Simond


James Rushford (AU)

James Rushford is an Australian composer-performer. His work is drawn from a familiarity with specific concrète, improvised, avant-garde and collagist languages. Currently, his work deals with the aesthetic concept of musical shadow – a notion he will continue to explore at La Becque, through practice and research as well as through commissioned radiophonic work developed with Geneva’s Ensemble Vortex. 

As a composer, James has been commissioned by the BBC Scottish Symphony Orchestra (Glasgow), Melbourne Symphony Orchestra, Ensemble Neon (Oslo), Speak Percussion (Melbourne), Ensemble Offspring (Sydney), Decibel (Perth), Melbourne International Arts Festival (2006/2008), Norway Ultima Festival (2011), Unsound Festival (New York 2014) and Liquid Architecture Festival (2010).

As a performer, he has presented work at STEIM Institute (Amsterdam), Logos Foundation (Ghent), Issue Project Room (New York), Instants Chavirés (Montreuil), Constellation (Chicago), Café Oto (London), Super Deluxe (Tokyo), Blank Forms (New York), Monday Evening Concerts (Los Angeles), Cave12 (Geneva), Send & Receive Festival (Winnipeg), WORM (Rotterdam), Centre for Contemporary Art (Warsaw), Only Connect Festival (Oslo), Supersense (Melbourne 2019), Now Now (2011/2012), Adelaide Festival (2014), Melbourne International Jazz Festival (2011) and the Tectonics Festival (Adelaide 2014, New York 2015, Tel Aviv 2015). He has also performed as a soloist with the Krakow Sinfonietta, Australian Art Orchestra, Michel Pisaro, Eyvind Kang, David Behrman and Jon Rose. 
James holds a Doctorate from the California Institute of the Arts, and was a 2018 fellow at Akademie Schloss Solitude in Stuttgart.

Photo credit: Robert Szolnicki

James Rushford

Yves Scherer (CH) & Broderick Shoemaker (US)

Yves Scherer (b. 1987, Solothurn) is a visual artist based in New York City whose work deals with questions of gender, celebrity and mediated realities. Working mainly in sculpture and installation, he creates immersive environments that combine personal narratives with fan fiction to offer the viewer an often romantic lens or perspective on the self, relationships and the everyday. His work has been shown internationally in galleries and institutions like the ICA London, Kunsthalle Basel and the Swiss Institute. He is a Swiss Art Awards recipient (2015) and was listed on Forbes’ “30 under 30 – Art & Design” class of 2017.

Broderick Shoemaker (b. 1984) is a New York City-based visual artist whose work seeks essential actions and forms that grapple with our technological moment. Using installation, sculpture and painting, his practice engages with social media and the bodies relationship to human technology. He graduated from City University’s new media MFA program in 2018. Recent shows include an installation at the Sheridan in Bronx, NY and an immersive installation performance with SHED collective under the Queens Council’s inaugural artist commissioning grant.

Yves Scherrer &
Broderick Shoemaker

Steven Pippin (UK)

Steven lives and works in South London. He is known for his sculptural interventions and his photographic work, stemming from the 1997 work Laundromat-Locomotion (Walking in Suit) which was the culmination of a ten year period focused on adapting different objects as photo cameras. Over the last twenty years he has delved deeper into understanding the mechanics of our world, pursuing function over form and focusing on the world we inhabit, adjusting and re-appraising everyday objects and machines, taking them to the limit of philosophical comprehension. The proposal for his work at La Becque surpasses considerations on aesthetic value, centring around the idea of optimising how we harness natural energy, with the lightest of touches and the maximum of efficiency. His work is present in the world’s major art collections, from Tate in the UK to the MoMA, NYC. He has exhibited at Art Basel’s Unlimited and was the first Artist in Residence at the Potsdam Institute for Climate Research in Germany.

Steven Pippin

Andrew Norman Wilson (US)

Andrew Norman Wilson is a visual artist, filmmaker and curator based in Los Angeles. His videos are possessed by digitally animated, hyperreal entities that dwell in the gray area between human, animal, and machine. About his art he says: « In my current work I combine scientific and narrative techniques to create effects through which the historically delineated practices of ‘science’ and ‘culture’ become indistinguishable. By harnessing certain formal and conceptual potentials from each domain, technical materials become illusory while cultural material is opened up for analysis. Rather than communicating anything specific to viewers, I seek to guide their attention towards their own experiences of (partial) sensing, (limited) thinking, and (dis)identification. »

Solo exhibitions include the Kunstverein Braunschweig (2019), the Fotomuseum Winterthur (2019), Center for Contemporary Art Futura (2018), and the Broad Art Museum in Michigan (2017). Recent group exhibitions include Picture Industry at Luma Arles (2018), Techne and the Decency of Means at the Künstlerhaus Stuttgart (2017), Dreamlands at the Whitney Museum of American Art (2017), the Gwangju Biennial (2016), and the Berlin Biennial (2016). He has lectured at Oxford University, Cambridge University, Harvard University, Yale University, and UCLA, where he is now visiting faculty. He has published writing in Artforum, e-flux, DIS. He is the recipient of a Dedalus Foundation Fellowship and an Akademie Schloss Solitude Fellowship.

Andrew Norman Wilson


'An invitation to disappear'
Film de Julian Charrière, 2018


Friday 14: 21:00-22:15
Saturday 15: 20:00-22:00

In spring 1815, Indonesian volcano Tambora erupts - a deflagration equal to 170’000 Hiroshima bombs, and the onset of a drastic disruption of global climate change: Europe, notably, suffers a significant drop in temperature in the years that follow, with chain reactions being felt all the way to the Alps. When artist Julian Charrière climbs Tambora with a new project in mind, the vast palm tree plantations below caught his attention. Indeed, the area is now home to the world’s biggest palm oil production. The forests that originally made up the area have been replaced by a natural factory, one that generates important greenhouse emissions. In this mock-natural ecosystem, Charrière stages and films a human, technoid intervention - a rave party that the films slowly circles in and out of. “An Invitation to Disappear” stages a pagan rite amidst a nature permanently hybridized. Shown at Art Basel’s Art Parcours in June 2018 and since then at the Musée de Bagnes, “An Invitation to Disappear” will be screened at La Becque two weeks before the release of Charrière’s collaborative LP with electronic producer Ed Davenport (Inland), who also performs during our opening weekend. Born in Morges and based in Berlin, Julian Charrière is a French-Swiss artist whose work bridges the realms of environmental science and cultural history. He is a graduate of ECAV (Ecole cantonale d’art du Valais) and the Institut für Raumexperimente in Berlin, where he studied under the guidance of Olafur Eliasson. Marshaling performance, sculpture and photography. His projects often stem from fieldwork in remote locations with acute geophysical identities – such as volcanoes, ice-fields and radioactive sites. To date, his works has explored post-romantic constructions of ‘nature’, and staged tensions between deep or geological timescales and those relating to mankind.

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