Team

Alexandre Gurita is an invisual artist, Director of the Biennale de Paris, founded by André Malraux, and Director of ENDA (École nationale d’art de Paris), the first school dedicated to artistic research. In 2004, he invented the concept of invisual art, a genre of art that exists in forms other than material or immaterial artworks. According to art historian Éric Monsinjon, invisual art is defined by what it is not. By separating art from the artwork, invisual art heralds a Copernican revolution in twenty-first-century art. The artist considers the art system itself as a field of practice. Art no longer exists within the artwork, but at a systemic level, across the art field as a whole. He works through collective intelligence to bring about a substantial transformation of art. His approach is structured around two main axes: asymmetry and the water strategy. The artist practices institutional capture, which consists in creating or capturing institutions in order to transform them into critical institutions of change. Quotes by Alexandre Gurita: “Art is the art of art.”, “Art is the shortcut between the impossible and the essential.”, “We have no serious evidence that art is dependent on the artwork, and for this reason we may assume the contrary.”, “Thinking about art is dangerous; being thought by it can prove fatal.”

Alexandra Péron is an artist of benevolence and a traveller. She was born before the Chernobyl disaster and after Afrika Bambaataa’s Planet Rock. She develops her practice wherever the wind takes her. Her strength lies in her ingenious ability to resist being confined within a definition. Breton, of mixed French-Algerian heritage and a nomadic alchemist, Freedom and Emancipation are driving principles behind her modes of operation based on active benevolence. Little interested in the mechanisms of recognition associated with contemporary art ecosystems and the cultural industry, she focuses not on form itself but on the experience of it, whether through the making of everyday objects such as jewellery or through her work as an assistant to artists as diverse as Laura Henno and Alexandre Gurita. She is co-founder of the laboratory and collective Le pasLab, where she works as an artist and researcher in curaction. She is an artist of operational kindness and a craftsperson of beneficial dispositifs for those around her.

Elisa Bollazzi is considered one of the first invisual artists. She is Director of MicroCollection. Her artistic practice began in 1990 and consists in stealing tiny fragments of artworks from museums, galleries and exhibitions. Her approach is resolutely ecological—she adds nothing to what already exists, but works with it—and is based on the appropriation and collection of what she calls micro-elements. She operates like a silent parasite, producing nothing, while transforming the gesture itself into an artistic act. The artist installs Cabinets de Regard and invites the public to observe these micro-elements through a microscope. Today, MicroCollection comprises more than 2,000 fragments of works by artists from around the world, both famous and anonymous, classified alphabetically. Each sample is carefully archived. Operating in the shadows, Elisa Bollazzi works on the margins of the traditional art system, challenging it peacefully and constructively without ever leaving the game.

Ricardo Mbarkho is an invisual artist, Assistant Professor, Director of Research, and Director of the Centre for Research and Creation at the Lebanese Academy of Fine Arts (ALBA, University of Balamand). The artist explores and theorises the aesthetic, economic, political and social conditions of an art emancipated from the notions of artwork and audience: a post-immaterial art, without either a material or immaterial object. He conducts research-creation into an art without art, in which the medium of artistic practice becomes the socioeconomic model itself. He holds a PhD from Université Sorbonne Paris Nord. His recent conferences include Aix-Marseille Université, ANdEA, Ars Electronica, Jeu de Paume, MUCEM, Transmediale, UNESCO, and the World Summit Contributory Conference on ICT & Creativity. He initiated ARCAI (Atelier de Recherche et Création Art Invisuel) and the Collection Art Invisuel, the first collection of invisual art, which radically redefines the notion of an art collection. The artist has given lectures and led workshops at institutions including Aix-Marseille Université, ANdEA (Strasbourg), Ars Electronica (Linz), Biennale de Paris, École nationale d’art de Paris (ENDA), ENSBA, Jeu de Paume (Paris), MUCEM (Marseille), Transmediale (Berlin), and UNESCO (Paris).

Mariem Memni is an invisual artist and migrologist, and Director of the European School for the Integration of Migrants through Art (EEIMA). EEIMA was founded in 2021 and is based in Brussels. She holds a Master’s degree from ISBAS (Institut Supérieur des Beaux-Arts de Sousse, Tunisia), as well as a DNREA (Diplôme National de Recherche et d’Expérimentation en Art) from ENDA (École nationale d’art de Paris), obtained in 2021. She develops chata, an invisual practice that she initiated and defines as a process for converting negative energy into positive energy, thereby ensuring harmony within a group. She considers life as a continuous performance, an artistic process she calls lifeformance. The artist also created migrology, a creative science that approaches migratory phenomena as artistic processes, in which every migrant is considered a potential artist. EEIMA is based on the conviction that art can be a factor in the integration and emancipation of migrants. The artist has also developed an adaptation scale, an assessment framework that measures both the migrant’s adaptation to their host context and the reciprocity of this integration.

Yosr Mahmoud is an invisual matriartist. She holds a Master’s degree from ISBAS (Institut Supérieur des Beaux-Arts de Sousse) and is a graduate of ENDA (École nationale d’art de Paris), Paris. She develops the Aesthetics of Hospitality, a set of practices centred on welcoming and conviviality. This aesthetic transcends the artwork and lays the foundations for a distinct category within invisual art based on hospitality. The artist introduced the term matriartist to gender authorship and foreground women artists who are mothers in a world dominated by patriarchy. She demonstrates how matrilineal traditions of hospitality, such as el walima, a Tunisian ritual of sharing, possess an aesthetic potential that can be reactivated in a contemporary context to counter individualism and hostility. The Aesthetics of Hospitality redefines art as an inclusive process in which sharing and conviviality are essential to creation. In this way, the boundaries between ethics and aesthetics, and between art and everyday life, are dissolved.

Invisual artist. Initiator of the Biennale de Paris in Luxembourg. Active contributor to the Biennale de Paris. Considered one of the first invisual artists, Gary Bigot develops an artistic approach based on the principle that everything is made, produced and installed without any intervention on his part. His practice is governed by the following radical resolutions: no self-production, no self-promotion, no profit for oneself, and no personal ownership. Since 1985, his principle of hygrometry has been considered his work. Its specific mode of operation refers back to each of us as sensitive, productive, knowing and communicative beings. He considers it his self-portrait, or even the “portrait of everyone”. This liberating act-position enabled him to take the radical view that all his works are produced and installed, produce themselves and install themselves without his intervention. Producing more became, for him, superfluous and artistically unworthy. The opening created by this extreme and definitive attitude has revealed unsuspected possibilities and encourages reflection and creation. What happens afterwards no longer concerns him. He positions himself as an involved observer of a work that is finished but not closed. He sets his concept and his attitude free and, if an external need arises, authorises anyone to use them to create works, exhibitions, discourses, and so forth, including commercial ventures for their own benefit. The artist has given lectures at the École nationale d’art de Paris (ENDA) and the University of Belval (Luxembourg). Gary Bigot initiated the Biennale de Paris in Luxembourg (2018–2020), which took the form of an application enabling public-users to geolocate themselves by blowing onto a smartphone.

Artist, director of IAPI (Institut d’Art Philosophique et Invisuel), researcher in Philosophical and Invisual Art and a philosophale artist. She is currently pursuing a Master’s degree in Aesthetic Research (Philosophy and Psychoanalysis of Art) at the University of Montpellier, France. A graduate of the École nationale d’art de Paris (ENDA), she proposed the creation there of a Research and Experimentation Line (LDRE), “Theoretical and Philosophical Foundations of Invisual Art”. Previously, she taught contemporary dance at the Conservatoire de Tarbes in France before turning to the visual arts, including tattooing and illustration, in 2016. In 2018, she became fully involved in the visual arts, deepening her research while continuing to develop her philosophical thinking. Her approach had already led her to begin a degree in philosophy in 2013, with the aim of combining artistic practice and philosophical reflection. In 2023, Roxane Vidalon decided to set aside the production of artworks in order to devote herself to an in-depth study of art, matter and its abstraction. In March 2024, she founded the Institut d’Art Philosophique et Invisuel (IAPI), which was publicly launched later that year. Her latest article, L’Œufre au Rose, was published in Revue de Paris (No. 54) in February 2024. Her most recent lecture on invisual art, entitled L’art est-il faux ? L’art invisuel comme réponse, took place in July 2024 during the Semaine des Arts de Soueich (Haute-Garonne, Occitanie, France). More recently, an article discussing the artist’s work, Roxane Vidalon, l’art invisuel pour repousser les limites, by Stéphane Boularand, was published in La Dépêche in May 2024.

Philosopher and art historian. He originated the theory for creating new arts and is a major contributor to the Biennale de Paris in the field of art history. An art historian and philosopher, Éric Monsinjon specialises in twentieth-century artistic avant-gardes and experimental contemporary art. His research focuses in particular on French avant-garde movements such as Lettrism and the Situationist International. As a professor, he teaches art history at the Académie de la Comédie-Française in Paris, the École nationale d’art de Paris (ENDA), and various art schools in France. He is also the founder of L’Anti-Esthétique, a blog on Mediapart devoted to experimental research in art for a general audience. He is currently developing a general theory on the formation and formalisation of new arts. Through appropriate actions and methods, this involves consciously and methodically transforming certain human activities or non-artistic fields of knowledge into autonomous arts. He considers that the act of creation should not be limited to the scale of an artwork, but should also extend to the scale of an art. In 2023, together with José Manrubia and Alexandre Gurita, he participated in the foundation of a new art: Corrida Etica.

Jérémie Pujau is a French artist and filmmaker based in Berlin, and the founder and director of the Institut de Donbat. He has been Director of the Biennale de Paris in Berlin since spring 2026. His practice develops through situated interventions within the social field, at the intersection of image, politics and public space. He is interested in collective behaviour, narratives of power, social structures, colonial continuities, nationalism and the political economy of art. Heis work long took the form of performances, videos, sculptures, photographs and installations before evolving towards an invisual approach. He joined the École nationale d’art de Paris (ENDA) in 2025. In 2016, he participated in the filming of Ai Weiwei’s Human Flow. He works for ARTE on the series Unhappy. Within the Institut de Donbat, he develops the Donbat methodology, its action-research projects, intervention frameworks and forms of transmission.

Rose Marie Barrientos holds a doctorate in argumentation. She is a contributor to the Biennale de Paris, particularly on a theoretical level. She explores the possibility of art as argument, based on a conception of art as a form of thought, discourse and knowledge. More specifically, she is interested in artists’ organisations, known as “critical enterprises”, which constitute the central focus of her research. As an argumentation historian, she has formulated a methodology based on argumentation that makes it possible to write art history using tools borrowed from this discipline. Her approach focuses on analysing the argumentative strategies employed by artists to give meaning to their work, rather than on their production of artworks, whether visual or invisual. She privileges argumentative elements and the dynamics of argument over the form and content through which they are conveyed. She regularly participates in the activities of the Biennale de Paris.

Art agent and adviser, art critic, honorary expert to the Paris Court of Appeal, and member of the International Association of Art Critics (AICA). Active contributor to the Biennale de Paris. Ghislain Mollet-Viéville is one of the most active collaborators of the Biennale de Paris and the Revue de Paris. To support artistic practices that move beyond traditional frameworks, he initiated the profession of art agent, whose purpose is to manage art in its relationship with society. Since 1994, his apartment on rue Beaubourg, which he occupied between 1975 and 1992, has been identically reconstructed and permanently displayed, together with his collection of Minimal and Conceptual art, at the Musée d’Art Moderne et Contemporain de Genève (MAMCO). Ghislain Mollet-Viéville brings different sectors of society into play in order to update the methods of production, dissemination, acquisition and actualisation of works whose originality requires unprecedented principles of presentation and activation. With him, the art object is no longer the object of art. In his activities, the status of art, both materially and intellectually, is extensively considered in interpreting works according to a given time and place.

Ralf Porzel is an artist and founder of CoSAA (Constellation des Structures d’Accueil d’Art), whose motto is: “Seek what connects us!” The artist practices générosagesse, a form of invisual art that elevates generosity to the status of wisdom and optimism to the status of virtue, with the aim of bringing people together around joy, courage, sharing and meaning. CoSAA makes available to invisual artists places where life has gradually faded away, with the aim of bringing these places back to life and promoting these artistic practices. CoSAA provides resources for the artistic dynamics it supports and takes responsibility for logistics and planning, as well as for archiving the content developed during events. Ultimately, CoSAA’s purpose is to bring joy into our lives. The artist believes that being able to devote one’s life to a cause is an opportunity, because it is an expression of greatness and freedom, and a source of pleasure.

Specialist in the application of invisual art to music. Contributor to the Biennale de Paris. Raised in a family of composers, Loli Tsan is a classical pianist with a Piano degree from the École Normale de Musique de Paris, as well as a postgraduate doctorate from Paris IV and a PhD in Romance Linguistics and Literatures from UCLA. She is Professor of Medieval Literature at the State University of New York. She is the author of a dissertation entitled Fragmentation et Écriture du Corps au Moyen-Âge, numerous articles on the reception of globalisation in France and on twelfth-century Romance literature, and a book entitled L’Art à l’épreuve de la singularité. Loli Tsan has presented various aspects of her research at numerous conferences and universities in the United States, China, Brazil and Tunisia, as well as across Europe, including France, Greece, Italy and Belgium. Her current research focuses on Music Beyond Sound and the parallels between invisual art and sonic disintegration in music. In collaboration with Alexandre Gurita, she is working on recording a series of courses on the dematerialisation of music for ENDA Autonome, the online version of the École nationale d’art de Paris.

Artist and founder of the Musée des nuages, notably responsible for extending the duration of an edition of the Biennale de Paris to two years. The Musée des nuages is interested in technologies that reduce carbon or radioactive emissions: wind power, tidal power, photovoltaics and embodied energy. The mobilisation of human energy is itself a resource that the Musée des nuages seeks to enhance by transforming the perception of works into works of perception. In the 2000s, the artist introduced ecology into art.

Invisual artist who considers laziness a form of art. Initiator of the International Day of the Art of Laziness, of which the Biennale de Paris is a partner. Working under the pseudonym Im-another Lazyartist, in other words “the Lazy Artist”, she keeps a journal in which she explains why she does not produce artworks. Each time, the reasons are different, forming a wealth of possibilities for what may come after the artwork. Here are a few examples: “I will not create an artwork today because I have the right not to. I am exercising my freedom as an artist.” “I will not create an artwork today because an artwork has to be titled in English in order to exist within the contemporary art market, and my English is approximate because it is not my native language.” “I will not create an artwork today because I am a woman artist and I have the Origin of the World between my thighs. I will not create an artwork today because I have already created life and now I have to feed it, rock it, change it, wash it, listen to it scream for hours without throwing it out of the window and, of course, love it. And because, like too many women—whether single or not—I do all this alone, I certainly do not have time to create an artwork.” “I will not create a new artwork today because everything has already been done; no creation can truly be ‘new’, everything is merely recycling in this postmodern and post-industrial era.”

Urban invisual artist, member of the Board of Directors of the Fédération de l’Art Urbain, and educational practitioner. Initiator of Biennale de Paris projects relating to intellectual property, education and perturbation. He holds a DNREA from ENDA (École nationale d’art de Paris), obtained in 2021, and is president of Éditions L’Armée Recrute. In Nancy in 2021, the artist inaugurated the C.D.R.A.O. (Centre Documentation, Recherche, Application des Offensives), a centre dedicated to creating, developing and promoting “perturbation” and “offensive” as artistic actions. Perturbationism constitutes the first invisual art movement in history. It was officially launched on 1 November 2021 in Nancy. For the artist, perturbation constitutes an artistic language. It is defined as an action intended to disrupt the reality of a public space or the perception of its users. A group of perturbations constitutes an “artistic offensive”. The purpose of an artistic offensive is to produce results in reality, within public space. Perturbationism has strong links with urban art and art in public space. Its principal objective is to engage with reality and attempt to modify it through perturbation. A perturbation is systematically critical because it challenges the established order.

Contemporary art historian, art critic and curator. Active contributor. Paul Ardenne is devoted to exploring contemporary art, with a particular interest in the interactions between art, society and the environment. The author of numerous influential books, he explores subjects including environmental aesthetics, public art and the relationship between art and ecology. His publications include Art, l’âge contemporain (1997), L’Art dans son moment politique (2000), Un Art contextuel (2002), Extrême – Esthétiques de la limite dépassée (2006), Images-Monde. De l’événement au documentaire (with Régis Durand, 2007), Art, le présent. La création plastique au tournant du 21e siècle (2009), and Un Art écologique (2018). His forthcoming book, Hors de vue – De l’invisuel et de la minoration physique de l’art, is scheduled for publication at the end of 2024. Paul Ardenne has curated numerous exhibitions, including Micropolitiques (Magasin, Grenoble, 2000), Expérimenter le réel (Albi-Montpellier, 2001 and 2002), Working Men (Geneva, 2008), La Force de l’art at the Grand Palais in Paris (2006), and the Luxembourg Pavilion at the 56th Venice Biennale (2015). He actively collaborates with the Biennale de Paris and ENDA. He was the first art theorist to write about the Biennale de Paris under the direction of Alexandre Gurita, in 2000, with his text Expérimenter une biennale, published as the preface to the catalogue of its 14th edition in 2004.

Writer, artist and art critic, former Dean of the Yale University School of Art, and member of the Art Advisory Council of the International Foundation for Art Research. Co-organiser of the Biennale de Paris in New York. Robert Storr was the first American director of the Venice Biennale. He served as Senior Curator in the Department of Painting and Sculpture at MoMA, New York, from 1990 to 2002. He has written for numerous newspapers and journals, including Art in America, Artforum, Art Press, The New York Times, The Washington Post, The Village Voice, Interview, Parkett, and Frieze magazine. Selected publications include In direzione ostinata e contraria: scritti sull’arte contemporanea (2011), September: A History Painting by Gerhard Richter (2009), and Gerhard Richter: The Cage Paintings (2009). He states: “Today, what artists do is so varied and so widely dispersed that it is truly futile to concern ourselves, as we once did, with a major artistic trend. If, like me, one thinks of art as a vast estuary composed of numerous channels of different widths, depths and currents, the conclusion is that we should not follow only the widest and fastest channels. We must also explore the narrower and slower ones, sometimes the deepest ones, or those that take surprising and mysterious directions. Since there are many ways of mapping such a space, but no way of travelling through it in its entirety, my strategy has been to try to follow one current after another, in a way that provides a glimpse of the overall landscape while focusing my attention on particular regions. I simply no longer accept the idea that there is a mainstream of art.”

Éric Létourneau Dumaine has been a transfinite-scale extradisciplinary artist since the late 1980s. He is a professor at the Université du Québec à Montréal and Director of the Laboratoire Musiques cachées within the Groupe de recherche-création en médiatisation du son. Heis work focuses on the relationship between art and life, the sonification of reality, the common good and the dematerialisation of art. He produces podcast and radio-art series for various public radio stations and online platforms, notably with WRC. He has presented and developed his practice in more than fifteen countries around the world. He has written on art as action, sound and digital practices, and intangible cultural heritage for Inter, Les Presses du réel, Éditions de l’immatériel, Esse, TOPO, The Thing, Recherches en esthétique, Non-Grata, New Star Books, Lux, PUM and PUL.

Historian specialising in art collecting from the seventeenth to the twenty-first century. Co-coordinator of the Biennale de Paris in Poland. Tomasz de Rosset is a specialist in the history of art collecting from the seventeenth to the twenty-first century. He explores the notion of the art collection in its most classical sense while also taking an interest in invisual art, which radically challenges the traditional conception of an art collection. In particular, he examines the possibility of collecting forms of art that appear, by their very nature, to be uncollectable, such as invisual practices.