Open Studios Summer
26.07.2025
For the summer session of the Open Studios, Invernomuto presented a lakeside sound intervention developed during their residency, combining generative music, live video feed, and narrative fragments. The Triton project merged mythology and technology through a portable sculpture emitting sound, light, and scent.
Gary Zhexi Zhang presented Notes on Si(g)nification), a project combining a radio performance, screenprints, and a zine. It explored China’s role in a shifting multipolar world through the lens of temporal crosshatching.
Sorour Darabi shared a work-in-progress stage of MAJNÛN, accompanied live by Pablo Altar, blending trance states, poetic excess, and embodied memory. The piece wove together mystical traditions and contemporary ritual practices, inhabited by ambivalent, haunted figures.
Diambe presented excerpts from Bzzbzzz, cire perdue (working title), a video installation developed in collaboration with local beekeepers. The work captured a silent choreography between melting beeswax sculptures and the murmurs of bees, alongside tempera paintings.
Phoenix Atala composed a living archive with Vaporous Tactics, between speculative fiction and utopian sound experiment. The installation, inspired by a fictional queer Moroccan café, blended mist, sound, and dissident memories.
Amor Muñoz developed several projects including ANFIBIA, a low-tech sound exploration device, and CYBORG CORN, an immersive sound sculpture in augmented reality. Her research bridged traditional craft, emerging technologies, and speculative ecology.
alfatih presented Music for Horses on the G String, a project rooted in the site’s equestrian history. The artist deepened this exploration through regular horseback riding at a nearby ranch.
Loucia Carlier created a series of paintings with ambiguous textures, exploring the relationship between image, object, and domestic space. Her residency inspired an intimate, fictional body of work merging self-portraiture with fragments of daily life.
Open Studios Summer, La Becque, 2025, photo Aurélien Haslebacher