Nicolas Boillot is an artist and researcher in digital art since 2001.
Franco-Swiss, he lives between Nice (F) and Berlin (D).
His work fall within four topics of the digital age:
- The critical perspective of the abundance of offline and online information flows (as intention)The critical perspective of the abundance of offline and online information flows (as intention)
Saturation and overinformation are favorite topics for artists before or after the Internet, especially with respect to the critical artistic remix. Two of Nicolas Boillot's first works deal with the criticism of television media, outside the Internet: The advertising lyre denounces the saturation of advertising information imposed by the vertical diffusion of the mass media and their importance at the heart of our daily lives. SamplTV tries to disrupt the attractiveness and the lack of reflection of the spectators in front of the surge of information delivered by the diffusers television. This critical posture also inhabits two other works related to the Internet. They seek to highlight the significant shift in the publication, consultation, archiving and exposure brought by the Internet. They are taking advantage of the unprecedented potentiality created by the inflation of content and their availability via constantly evolving broadcasting platforms. Thus, .urler is a work of Net Art whose very foundation is based on the saturation and the 'infobesity' present on the Web and on the ease of access to the media that are present. Similarly, Plagiairc questions the modes of consumption and appropriation of the content of others from a device that exploits the exponential amount of textual communications made and accumulated on the network IRC
- The collection (as intention and principle of creation)The collection (as intention and principle of creation)
. The interest for abundance, but also the fact that the principles of fragmentation and recomposition are at the heart of the remix practices, explain why the collection is so present in the work of Nicolas Boillot. The collection as artistic practice is here, a source of inspiration and materials (collection of objects, images, sounds, use of the collection potential of IRC, Google images and Internet Archive) and a source of creation (as a collector and curator, he groups, sorts, re-arranges according to an intention). His early works are based on personal recordings (everyday objects for Re-initialized space, images and sound recording from a place for The resonant mosaic, from television spots for The advertising lyre). Initially, this constitutes small collections, except in the case of The advertising lyre which required the capture of 250 slogans from the sound recording television. This type of long and tedious work of capture also marks an era; the transition to digital will greatly facilitate it. In two more of his works, the collection is simply inherent in the flow of selected media: the potential flow of the television program (SamplTV) or a movie (Spoiler) that will be exploited by the device and the user. On the other hand, the Internet allows him the constitution of considerable collections (80 000 sentences in French and English from IRC for Plagiairc). Or to delegate the constitution of the collection to content platforms (Google Images for .urler). But above all, it is the collection that is at the heart of the intention of these two works. They seek, in fact, to question, in the case of .urler, the effects of the absurdity and serendipity of our navigation in the 'infobesity' of the Web and in the case of Plagiairc, the way in which the textual data are used, collected, archived and made available on the Internet.
- The scrutiny of copyright (as intent)The scrutiny of copyright (as intent)
The question of copyright is at the heart of Nicolas Boillot's work. It is also closely associated with the principle of remix since the relationship to the original is essential. His first two works (Re-initialized space and The resonant mosaic) are based on materials of which he is the author. Spoiler uses a royalty-free movie. In doing so, it illustrates the contribution to the creation and the heritage role of online archival sites such as Internet archive. On the other hand, in his other works, the question of infringement of copyright is central. Either because it stems from a critical intention, the denunciation of the media in The advertising lyre and SamplTV, where the referential scope of the exhibited sound and images have been kept intact, and this, despite the fact that its contents are linked to an economic sphere where an Anglo-Saxon vision of copyright prevails. Or because it constitutes the very intention of the work, the work Plagiairc placing it at the center of the denunciation of the public and private use of our personal data. The question here is to ask from what criteria we can consider that a word still belongs to its author, according to the moral authorship right (droit moral) in French law. The artist here explicitly experiments with plagiarism and the limits of copyright, thus doubling the intrinsic questioning of the remix principle. In doing so, it raises the question of its trivialization which is at the heart of the evolution of practices related to Web 2.0. Because the culture of sharing operates to the detriment of the culture of property. Moreover, the specificity of his works also leads him to lose control of their broadcast and associated copyright. Be that as it may, he testifies here to the difficult double constraint thus imposed on the artist, the infringement of copyright also being an integral part of the principle of remix, in the sense of E. Navas. On another level, Nicolas Boillot has long been very sensitive to the intrusion of the "giants of the Web" (GAFAM) in our lives. This also explains why this question of copyright or its transgression is so important to him. The following figure shows the diversity of questions over his works. It also marks the place of the latest works Lambeaux, Loops and Wall trope developed during his research creation Ph.D.
- The relationship to time (as intention and principle of creation).The relationship to time (as intention and principle of creation).
The digital artwork breaks with the linear flow of time usually perceived and makes several temporalities coexist. And the digital artist "destabilizes and recomposes time - instantaneity, simultaneity, incompleteness - to the point of making it a perspective" (Sauvageot, A. et L'église, M., 1999) by creating the specific conditions of an interactive work. This creative time is very present in the work of Nicolas Boillot: the concept of circular time appears with The advertising lyre and is very developed then in SamplTV and .urler. For example, SamplTV brings simultaneously into play a triple temporality: the temporality of the television broadcast in real time; the cumulative and retroactive temporality of the fragments in motion, reinterpreted and replayed unceasingly by the artistic device; and the temporality of the flow of the superimposed fragments diffused in loop and refreshed during this circular time. Moreover, time can be the very intention of the work. This is the case of Spoiler who proposes an unusual possession of space and time by bringing into play two temporalities from the hijacking of the film Night of the Living Dead: the temporality of the "actual" film (the action in real time) and the temporality of the "spoiled" film (the action, ten minutes later). The artist invites the spect'actor to be the trigger of this trip to the future; then to be the "revealing body" of the future of the event lived in the present. Spoiler thus questions our desires for anticipation, the fact that being able to guess the future can solve certain questions, but also suddenly annihilate all the tension and the hope of the present. As we can see, the relation to the spectator's time is fully summoned, according to a co-creation mode. Interactivity is therefore at the heart of the relationship to the artist's time, and this, in most of his works. Because only, Re-initialized space and SamplTV can exist without the intervention of the spectator. All other works require interaction. His works also attenuate the vertical distance with the audience by referring to a familiar framework (advertising, mass media, popular content platform, triviality of chat on IRC) and by proposing simple interfaces, familiar or fun (lyre, microphone, mirror effect of the cut-out figure, etc.). Note that Plagiairc is a particular work. If as in The advertising lyre or .urler, the familiarity of the device (here, the computer and Facebook / Google), the triviality of the subject (here, the interpersonal communication in its simplest form: the instantaneous exchange, the phatic link) and the conditioning of the work to the action of the spectator deliberately intended Plagiairc to an uninitiated public, Plagiairc goes much further. It engages the public in its private space (at home, facing her computer, interacting with her own contacts). Finally, note that interactivity also depends on the types of interfaces used by the device. The interfaces of Nicolas Boillot are here relatively simple, even familiar; but, his works linked to the Internet also bring into play the interactions identified by Jean-Paul Fourmentraux in the works of Net art (Fourmentraux, J.P., 2008) : "the interactions of contribution" (.urler and Plagiairc) and "the interactions of alteraction" (Plagiairc) because here, "collective action in real time" is the heart of his artistic project.
Nicolas Boillot also places the question of the artistic device at the centre of his approach.The question of the artistic device.
In fact, "the artwork for the Internet no longer corresponds to the concept of a completed object, but is more a process, an open and interactive collective device" (Fourmentraux J.P., 2003) and "the partial loss of control and choice, this indiscriminate acceptance of the effects that result from the use of coercion, allows the artist to construct a way of "withdrawal", to which various articles define the content." (Corbel L., 2012). Thinking of digital creation is therefore equivalent to exhibiting the question of artistic devices, devices that "materialize constraint factors as much as they generate appropriations, interpretations and actions. ". Devices that "lead to no longer separate producers and recipients, constraints and resources, by considering all the material, technical or symbolic mediations that are at work and that participate in the coordination of creative activities. "(Fourmentraux J.P., 2010). This opens up many questions, for example, about the link between technical knowledge and creation; on the level of technical acculturation of the artist and on the organization of indispensable hybrid skills implemented by the artist with or without a creative collective; on the reconfiguration of the artist's profession; on the mobile and reconfigured status of the creator, author and viewer ...
His work focuses on the digital remix and its referential and critical potentialities. He confronts with the definition of remix by varying the medium used, the source material, the predominance of a sound, visual or textual form or the diversion practices, creating ‘selective’ or ‘reflexive’ remixes. During his Ph.D in research creation, three of his works push the limits of the remix allowed in favour of a remix ‘distanced’, with a purpose more experimental than critical. This work, in constant evolution, has been the subject of several residences (Chile, Spain, France, Quebec) and individual and collective exhibitions in many countries (Germany, England, Belgium, Brazil, Chile, China, Spain, France, Greece, Iran, Italy, Japan, Quebec, Switzerland, USA, Taiwan, Czech Republic).
2019 Framed - Kandid2, LaLaport, Yokohama, Japan (upcoming)
2019 Framed - Cenotaph, Poly Art Centre, Yiwu, China (upcoming)
2019 Framed - Sylphe, LaLaport, Yokohama, Japan (upcoming)
2019 Framed - Sylphe, Dong Gallery, Taipei, Taiwan (upcoming)
2019 Framed - Caldeira, LaLaport, Yokohama, Japan
2019 Framed - Palette, Dong Gallery, Taipei, Taiwan
2018 Framed - Kandid2, Dong Gallery, Taipei, Taiwan
2018 La nuit de la Roquette, Arles, France
2018 48h Neukölln, Berlin, Germany
2017 Improvisationskonzert, Leipzig, Germany
2017 The Bomb, OKK/Raum29 Gallery, Berlin, Germany
2017 Capital Lumière 1, Maison Victor Hugo, Besançon, France
2017 48h Neukölln, Berlin, Germany
2016 Micro-cinema of Attractions | GIF art imageries and creative techniques, Nicosia, Cyprus
2016 VIRAL ART - The New Imageries of GIF Culture, Bologna, Italy
2016 Fantoche festival 14, Baden, Switzerland
2016 Back To The Future, Papay Gyro Nights 2016, Hong Kong
2016 Video Capital 2016, Champlitte, France
2015 Transnumeriques Awards - Digital Art Festival Taipei Taipei, Taïwan
2015 Transnumériques 2015 - Biennale of digital cultures, Mons, Belgium
2015 Poétiques des flux, Le Tube, La Fabrique, University of Toulouse 2, Toulouse, France
2015 Fantoche festival 13, Baden, Switzerland
2015 Vidéoforme 2015 – 30e festival international d’arts numériques, Clermont-Ferrand, France
2015 Jiggling Golems / GIF art exhibition, Goethe-Institut Athen, Iris cinema, Circuits and Currents, Athens, Greece
2014 GifBites, Gray Area Art, San Francisco, U.S.A.
2014 Virtual relocation, Goethe-Institut, San Francisco, U.S.A.
2014 Fantoche festival 12, Kino Sterk, Baden, Switzerland
2014 GifBites, Bitrates, Shiraz, Iran
2014 I Five U, Cloaque.org 2nd Anniversary, Madrid, Spain
2013 Fach & Asendorf screening, PAF in Olomouc, Czech
2013 Video Capital 2013, Fresne-Saint-Mamès, France
2013 This is not a protest song. Ästhetische Interventionen jenseits des Immer-Gleichen, Berlin, Germany
2013 Festival Vision'R #8, Paris, France
2013 #UPLOAD, San Francisco, U.S.A.
2013 Diesel Reboot, Galerie Lafayette, Paris, France
2013 FILE 2013 - Electronic Language International Festival*, São Paulo, Brazil
2013 (n)on site, Km Temporaer, Berlin, Germany
2013 Festival Emergence, La Fabrique Culturelle, Toulouse, France
2013 Lieux dit, L'Appart, Poitiers, France
2013 DVD DEAD DROP Vol. 5, BEST OF curated by Fach & Asendorf, Museum of Moving Image, New York, U.S.A.
2012 RE/Mixed Media Festival, Brooklyn Lyceum, New York, U.S.A.
2012 Géographies variables, La Chambre Blanche, Quebec city, Canada
2012 Born in 1987, The animated gif, The Photographers' Gallery, London, UK
2009 Norapolis VII, Les Trinitaires, Metz, France
2009 Spoiler, Mix'Art Myrys, Toulouse, France
2008 Norapolis VI, Les Trinitaires, Metz, France
2007 8th Video, Art and New Media Biennial of Santiago, Museo de Arte Contemporaneo, Santiago, Chile
2007 Les bourgeons numériques, The municipal theatre, Castres, France
2006 Le temps des appareils - Part 2, Le Cube, Issy Les Moulineaux, France
2006 Le temps des appareils, Faux-Mouvement, Metz, France
2006 25th Viper : International Film, Video & New Media Festival, [plug.in] gallery, Basel, Switzerland
2005 Symbiosis : Zones of Contact, Luarca, Spain
2005 Dipsomania, Les abattoirs - Toulouse, France
2017 Remixs, Metaxu galery, Toulon, France
2013 ORi Galerie, Berlin, Germany
2013 L'Appart, Poitiers, France
2013 Bato Fou, Plaine des Cafres, La Réunion
2012 Espace culture multimedia La Gare, Coustellet, France
2012 Le Hublot, Nice, France
2010 La Chambre Blanche, Quebec city, Canada
2009 Espace culture multimedia La Gare, Coustellet, France
2009 La Bande Video, Quebec city, Canada
2013 Gif Wrapping, Internet
2013 Update Statut / The Wrong Biennal, Internet
2012 Abécédaire du Web, Laboratoire NT2 (UQAM), Montréal, Canada
2012 Fach & Asendorf Gallery, Internet, Stuttgart, Kassel, Allemagne
2007 Transmediale.07 / TM20 / Web-based Entries, Akademie der Künste, Berlin, Allemagne
2006 Art Tech Media, Presidencia Gobierno de Canarias, Tenerife | Museo de Arte Contemporáneo Unión Fenosa - MACUF, A Coruña | Museo Vasco Artium, Vitoria | Museo Da2, Salamanca | Centro Párraga, Murcia | BilbaoArte, Bilbao | Casa Asia, Barcelona | CCCB, Barcelona | Museo Nacional Centro de Arte Reina Sofía, Madrid, Espagne
2013 L'Appart, Poitiers, France
2010 La Chambre blanche, Quebec city, Canada
2009 Espace culture multimedia La Gare, Coustelet, France
2009 La Bande Video, Quebec city, Canada
2007 Museo de Arte Contemporaneo, Santiago, Chile
2016 Doctor in visual studies (18e section - Art), LARA (Laboratoire de Recherche en Audiovisuel) - University of Toulouse II Jean Jaures, Ecole supérieure en audiovisuel, Toulouse, France (2011-2016)
2004 Master Degree in Digital Arts (D.E.A.) - University of Poitiers/La Rochelle - Art School of Poitiers / Angoulême, France (2003-2004)
2003 National Superior Art School Diploma (D.N.S.E.P.) - option Art - Art School of Aix en Provence, France (2001-2003)
2001 National Art School Diploma (D.N.A.P.) - option Art - Art School of Montpellier, France (1998-2001)
Publications, conferences and workshops
2016 The implications of remix in the art field within the digital dematerialization era., Ph.D research thesis, University of Toulouse II Jean Jaures, Ecole supérieure en audiovisuel, Toulouse, France
2013 Le phénomène d’émergence, principes, tensions et enjeux, dans les œuvres de remix réflexif, Scientific conference, Les processus de création comme phénoménes d’émergence, Université de Toulouse 2 Jean Jaures, Toulouse, France
2012 Pratiques appropriatives et plaisirs des artistes numériques : l’exemple des remix multimédias, Scientific conference, Ludovia 2012, Ax les Thermes, France
2009-2013 Intervention on digital interactive video. ITIN, Cergy Pontoise, France
2007 Workshop with art and virtual reality students on the creation of interactive projects and real time installations with EyesWeb. ITIN / National Art school of Cergy Pontoise, Cergy Pontoise, France
2004 The attractiveness of television and its manipulation by interactive interfaces.
Master Degree research thesis, University of Poitiers/La Rochelle - Art School of Poitiers / Angoulême, France
2004 Seminar Explore the memory : Art / Cognition / Technology / Handicap, Cypres Association - Marseille, France