Catégorie : Artistes 2026

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Trained as a geographer, Julien Discrit explores the representation of space, real or imagined, through various media—sculpture, installation, video, photography, and painting. Inspired by geomorphology and neuroscience, his work seeks to describe physical and biological processes, as well as to examine their visual representation. Often relative or fragmentary, his representations explore the relationships between human beings and the world around them, grasp the connections between the visible and the hidden, and evoke a memory that is both collective and personal.

www.instagram.com/juliendiscrit

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« Through my work, I seek to defamiliarize the world. Through manipulation, reproduction, and extensive molding, I question familiar things, pushing them towards the absurd, the poetic, or the whimsical. My sources come from everyday life, science, the arts, or simply from collected familiar objects to which I apply processes of my own invention: transformation, inversion, changes in materials, scale, and substance, to question their status, value, function, and very existence. I seek paradox, the emergence of unexpected meanings. » After studying biology, Christian Gonzenbach (born in 1975) graduated from the Geneva University of Art and Design (now HEAD), spent a year studying ceramics in Japan, earned a Master of Fine Arts in London (Chelsea College), had two children, completed a residency at CERN, and currently teaches sculpture at HEAD, in addition to his artistic practice, which includes about ten exhibitions a year in Switzerland and elsewhere. Constantly questioning our material culture, our relationship to objects and their manufacturing techniques, Christian Gonzenbach has developed a space for experimentation closer to a laboratory than a workshop. He resembles an alchemist searching for that point where everything suddenly reverses, where values ​​are inverted and we finally see clearly, or nothing at all.
For over twenty years, Christian Gonzenbach has pursued a plastic and poetic quest, manipulating and transforming objects and materials, gestures and concepts. His work has been the subject of numerous solo exhibitions in institutions in Switzerland and abroad. His work is part of important public and private collections, such as the Victoria & Albert Museum in London, the Essl Collection in Vienna, the Musée de la Chasse et de la Nature in Paris, the MUDAC in Lausanne, and the FMAC in Geneva.

www.gonzenbach.net

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Élie Bolard (Pontarlier, 1999) develops a practice centered on contemporary technologies, questioning their operation and the monopoly of technical knowledge. His installations and sculptures blend artisanal and industrial styles. All of these installations are motorized and inherently sonic: the electronics are visible and the mechanisms audible. These machines echo a standardized world where gesture is omnipresent. Automation plays an essential role in his work, from a theoretical, critical, and visual perspective. Endowed with their own intelligence and reactions, these machines invite the viewer to consider them as beings in their own right. Everything is in motion, everything is alive, but the human being is no longer invited, or is reduced to the role of producer.

eliebolard.net

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Denis Roueche works through reverie and fantasy. He looks at things for what they are not and what they could be… and puts his inventiveness to work. He quickly understands how to take advantage of the smallest object and its form, while subverting its function or abandoning it entirely. There is a genuine adult pleasure in this, seeking to maintain a playful and stimulating relationship with the world around him. The artist does not operate with naive spontaneity, but with full awareness. The imagination he deploys in his artistic work stems from « memories and visions of adventures that nourished his childhood and are consciously used. » While he plays with the public’s perception, prompting them to identify familiar motifs in objects that imitate them by lending them their characteristics, these are indeed intentional images and not visual pareidolia. These shifts, reuses, and plays on scale never fail to spark a twinkle of amusement in the eye of the observer.

fromnewithlove.ch/artiste/roueche-denis

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Marina Zindy explores the relationship between humanity and the living world through a variety of artistic mediums. In her ceramic sculptures, she evokes the human footprint on the planet. She offers a refuge for coral fragments, fragile yet bearers of hope. After working on this project, entitled « A Message in a Bottle, » she continues her research and collaborates with various museums and scientific research centers.
She uses plastic waste to create installations and a photographic series called « Island of Uncertainty. » She highlights contemporary environmental challenges. In 2025, she was invited to work with the team of geologists from the École Normale Supérieure (ENS) in Paris, notably during the NODSSUM oceanographic mission, which mapped the drums containing radioactive waste dumped in the Atlantic. The artist placed these sculptures at depths of over 4,000 meters. Her work invites profound reflection on our relationship with nature and our impact upon it.

ecerfvelee.com

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Born in 1989 in Nancy, France. Currently lives and works in France. After a Master’s degree at ENSAD Nancy, she graduated with a Master’s degree in Critical Theory (CCC) from HEAD Geneva; she was awarded the Gianni Motti Prize (2014) and the Edward Steichen Prize (2024). In the shared space, her approach seeks tipping points in order to: reverse power dynamics; make margins/biodiversity perceptible. This leads her to create compositions of contextual and ephemeral situations. Discreet yet engaging, her interventions offer a double-edged interpretation. At first glance, the gesture seems playful, light, even superficial, only to then confront us.

mariannevilliere.net

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Born in 1997 in Agen. Lives and works between Moncrabeau and Marseille.
«…Following the artist’s journey, his travels and digressions, sometimes detours; clinging on like the rapae and letting himself be carried away to germinate elsewhere, or following the song of a nightingale to change course, leaving room for the unexpected but also for the encounters one might have along the way. Moreover, it is often thanks to the fleeting experiences made in these unexpected contexts that Théophile Peris encounters new techniques and know-how. So many techniques, so many ways of being in the world. Earth, bones, thistles, pebbles, fleeces, iron, wood, horns, ready-mades… Between sculpture and functional object, his tools are also often made – or adapted – on site, with the means and resources offered by the immediate environment. Everything in Théophile Peris’s work is material to be sculpted, assembled, transformed. Carding, dyeing, carding again, treading the wet wool for hours, assembling, gathering, leaving and returning, rolling, starting all over again. These are the actions that follow one another and repeat like a dance, in a kind of ritual. His practice stems from his observations transcribed into drawings in his notebooks, echoing the objects he collects and accumulates in his bag or meticulously arranges on tables in his studio. These are like bestiaries where ideas, motifs, and strange creatures take shape. »

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François Génot lives and works in a rural area of ​​eastern France. Active on the international scene since 2005, he has undertaken numerous residencies and exhibitions in France and abroad. In 2020 and 2021, his work entered the collections of the Museum of Modern and Contemporary Art in Strasbourg and the FRAC Alsace. A founding member and active participant in numerous community-based projects, he contributes significantly to the development of culture in rural areas. He has taught drawing at the École Supérieure d’Art de Lorraine in Metz since 2016.
François Génot draws his attitude and the driving force of his approach from the resilience and proliferation of life. Travel, collecting, and a particular attention to materials, forms, and natural phenomena nourish his practice. The processes he develops according to the seasons and the different environments he frequents allow him to maintain an active collaboration with the living world. In 2023 he collaborated with the LMNO gallery in Brussels, developed a large-scale project with the FRAC Alsace around ferality (dedomestication of nature) as an artist and curator, carried out a residency at the Ferme Asile in Sion in the Valais Switzerland and exhibited in Quebec and at the HBK in Saarbrücken, Germany, participated in the Luxembourg Art Week with the Octave Cowbell gallery and in the Fertile à Par exhibition project.

www.francoisgenot.com

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A graduate of the Geneva University of Art and Design (HEAD), Pauline Cordier has for several years focused her research on the specificity of places, considering sculpture and installation as mediums for expressing their own context. In her practice, she challenges notions of perception and temporality, exploring the interdependence between a form and its location by placing matter at the heart of this relationship.
Pauline Cordier has presented her work in solo exhibitions at Standard/Deluxe (Lausanne, Switzerland), Andata Ritorno Gallery (Geneva, Switzerland), Espace Contact (Neuchâtel, Switzerland), Galerie A.ROMY (Geneva, Switzerland), Salle Crosnier at the Palais de l’Athénée (Geneva, Switzerland), and Kunstkasten (Winterthur, Switzerland). She has also participated in numerous group exhibitions in Switzerland and internationally, including at the Circuit Contemporary Art Centre (Lausanne, Switzerland), Art Genève (Geneva, Switzerland), Art au Centre (Geneva, Switzerland), the Walgreens Windows project space (Miami, USA), REA Art Fair (Milan, Italy), Espace d’art contemporain Les Halles (Porrentruy, Switzerland), the 64th Salon de Montrouge (Paris, France), Jungkunst (Winterthur, Switzerland) and Inchon Art Platform (South Korea).

paulinecordier.com

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Claire Hannicq is a visual artist and coordinator of the Faires Workshop in the Vosges region of France. She is a graduate of HEAR Strasbourg and ESAL-Épinal.

Her practice oscillates between sculpture and image. She works with wood, glass, and metal to evoke notions inherent to the immaterial: the flow of thoughts, relationships, and feelings. Hannicq’s work has been exhibited in Canada at the Optica art center in Montreal and the Galerie Engramme in Quebec City; in Switzerland at the Kunsthalle, Salon Mondial, and Projektraum M54 in Basel; in Germany at the Saarländisches Künstlerhaus and the Moderne Galerie in Saarbrücken, as well as the Kunsthaus L6 in Freiburg; in Estonia at the EKA Gallery in Tallinn and the Tartu Art House; and in Sweden at the Galerie Grafik i Väst in Gothenburg. In France, she has exhibited at the MAC VAL, the FRAC Alsace and the FRAC Franche-Comté, the Kunsthalle in Mulhouse, the Synagogue of Delme, the Museum of Fine Arts and Archaeology of Besançon, the Museum of Images in Épinal, as well as the Printing Museums of Nantes and Lyon. Claire Hannicq has participated in residencies at the Darling Foundry in Montreal, the Grafikwerkstatt in Dresden, in Spain, Sweden, and France.

clairehannicq.com

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Céline Notheaux is a graduate of the Institut Supérieur des Beaux-Arts in Besançon and the Universitat de Bellas Artes in Valencia. Drawing initiated her practice, which has unfolded into bodies of work of diverse natures. Painting, printmaking, ceramics, video, and performance are employed in installations conceived as intellectual games, symbolic journeys to be deciphered. The imagery associated with the agricultural world, fields of knowledge, and class society informs her research. Furthermore, a textual output subtly permeates her practice, making the mediation and reception of her works a carefully considered aspect of her studio work. Through formal and aesthetic experimentation, she seeks to negotiate a space for thought at the intersection of the poetic, documentary, and existential realms; in this sense, her practice is embodied. Since 2014, with the W collective, between 2022 and 2025 at the Vauban Workshops and then since 2026 with Gynettes, she has been leading curatorial, co-creation and educational projects.

celinenotheaux.fr