Amarrage #2 RADIO Externationale pirate SALÉ - #Radio Dopo #Institut Français de Palerme

He lives and works in Brussels. He holds a master’s degree from the École nationale supérieure de la Villa Arson (Nice, France), which he earned with honors. In his practice, he is particularly interested in new technologies, both from a formal and theoretical perspective. He creates robotic sculptures and installations that explore the use of robotics in our daily lives and in our production systems. His technical approach leads him to challenge dominant technologies and the monopolies surrounding contemporary technologies. This research-oriented dimension permeates his entire practice and is also evident in the sharing and exchange of knowledge during the workshops he leads at art centers and art schools, as well as in his management of the iMAL fablab (Brussels). Élie Bolard develops a practice centered on contemporary technologies; he is interested in how they function and in the monopoly of technical knowledge. His installations, sculptures, and videos blend clumsy DIY techniques with an industrial language in their formal repertoire. All of these installations are motorized and inherently sound-based: the electronic components are visible, and the mechanisms are audible. These machines echo a standardized world where the gesture is omnipresent. Automation occupies a central place in his work, both from a theoretical and critical perspective and on a visual level. These machines, endowed with their own intelligence and reactions, lead the viewer to regard them as beings in their own right. Everything is in motion, everything is alive, but humans are no longer present; their existence is merely suggested. His work has been exhibited in France (CWB/Paris, KAB, Espace de l’art concret, etc.), in Belgium (Art au Centre, KBK, Biennale de L’image possible, etc.) and internationally (TINC Seoul, Klex Festival Kuala Lumpur). He has received several grants and awards from the Wallonia-Brussels Federation, the City of Liège, and the Seoul Cultural Foundation. He also won first prize at the Tremplin Festival in Besançon.

​​​​Lou Fauroux, b. 1998 (Mulhouse) lives and works in Seine-Saint Denis near Paris (France).
Lou Fauroux made her first moving images from videos produced by the adult film industry in LA. She studied at the ECAL and graduated from ENSAD in 2022. Using video, sculpture, installation and 3D animation / game engines, she fluidly interrogates the ethical issues surrounding artificial intelligence and the influence of technology on humans, looking to decipher the social structures of power through pop culture and through media including music and video games references. Incorporating her queer experience into multiple layers of narrative and representation, she poetically re-appropriates the images she grew up with to construct new mythologies shifting perception of innovation.
Raised on blogs, Tumblr and The Sims, Lou Fauroux’s education in images is strongly marked by the digital culture of the 1990s. She has an equally keen awareness of the blind spots of this Web 2.0 culture, whose emancipatory potential has been perhaps too readily assumed by her post-Internet elders. While in the 2010s social networks promised to liberate society from dominant power structures and dissolve social inequalities into the ether, Lou Fauroux’s position responds to the current decade, driven by the conviction that fluidity is not inscribed in technological systems but must instead be conquered by force. What she proposes is a direct and poetic attack on Big Techs, a queer approach to question digital sovereignty.
In 2022, after graduating Lou Fauroux integrated Artagon residency (Pantin), and presented their first solo show WhatRemains, which was a finalist for SCAM Emergence award. Beforehand, the short film ThisIsHowTheWorlEnds (2020) received a Prize from MK2/ Trois Couleurs and her work TakeMe2UrDreamz joined the collection of the FRAC Poitou-Charentes (2021).
In 2023, they created a multimedia sound platform named FÆRIES alongside French DJ Jen Cardini.
Lou Fauroux has presented her installation works and films at institutions such as MoMA and Film Lincoln Center (New York) ; Centre Pompidou (Paris), FRAC Poitou-Charentes ; Forde (Geneva) ; Fondation Pernod-Richard, and in various film festivals (Cinéma du Réel„ LFF..). K-Detox recently premiered at FIFIB.
In 2023, she was part of group exhibitions at Chantal Crousel, Paris ; Exo Exo, Paris ; Centre Wallonie-Bruxelles, Paris. She is laureate for FoRTE Île-de-France for her series The Internet Collapse (2024).
In 2024, she presented her solo show K-Detox as part of Exo Exo booth in Art Basel Paris, and exhibited in Palais de Tokyo and in Salle 37 after a residency onsite.
In 2025, she participated in group shows at gallery Marcelle Alix, Carré de Baudoin, FRAC île-de-France, alongside the “First Leg” 18th Istanbul Biennale curated by Christine Tohmé with an installation based the Third chapter of her film To Whom It May Concern, There Will Be Tears in My Hennessy.
In 2026, she’s been a resident of Villa Albertine (AI & Arts) to begin working on Diamonds and Dust. WhatRemains, Genesis integrated both Paris contemporary and KADIST collections and K-Detox joined FRAC Île-de-France.
Continuing WhatRemains, it is part of the group show “Chambres, ghost and digital” curated by Elfi Turpin at FRAC Meca.
K-Detox was presented at Basel Social Club (Office) along as “Wake Me Up Inside” in a group show curated by Rip Space and Supercollider in LA (Vera Petukohva). The third chapter of To Whom It May Concern, There Will Be Tears in My Hennessy is on display at bitforms gallery in New York.
She’s the laureate of Prix Eco-conception (Palais de Tokyo & Art of Change 21) and of the Visual Art Prize of Fondation Bernard de Launoit.

A sound and radio artist who explores the materiality of sound waves in their many forms. After studying at IRCAM, he conducted research in musical acoustics. At the same time, he contributed to the development of Pure Data, an open-source multimedia creation software, before devoting himself to artistic creation. For the past twenty years, he has been designing systems that explore the poetic, physical, and political essence of sound waves, adopting a critical approach to the relationships between sound, time, and listening. His work focuses on the materiality and processes specific to sound and electromagnetic media: resonance in spaces, the vibration of materials, the richness of invisible radio landscapes, listening to cosmic waves, the musicality of interference, antenna sculpture, the territory of transmission, and the politics of broadcasting. His experiments aim to shed light on the conditions of existence of sound and radio, the ways in which they are perceived, and their social and technical implications. He creates his works in the form of performances, installations, recordings, and compositions, both solo and in collaboration with others. He has formed several duos—notably Radio Insomnia, chdh, Art of Failure, as well as with Pali Meursault and Cécile Beau—and is actively involved in artistic collectives.
He has formed several duos—including Radio Insomnia, chdh, Art of Failure, as well as with Pali Meursault and Cécile Beau—and is actively involved in artistic collectives. He is a co-founder of the radio art collective Πnode and has collaborated with Les Sons Fédérés, Jef Klak, l’Acentrale, and La Dispersion. In 2017, he created a permanent public commission for the Bordeaux tram network. His works have been featured in over a hundred exhibitions, and his performances have been staged at more than two hundred venues worldwide, ranging from iconic international festivals (CTM – Berlin, On Site – Taipei, Tsonami – Valparaíso, Nemo – Paris) to art centers, museums, concert halls, and self-managed venues. Since 2008, he has been teaching sound and multimedia creation at the ENS Louis-Lumière.