Just as a biologist in his lab, Mathieu Merlet Briand collects his raw material on the internet before he starts cultivating it. Rather than just being put back into circulation, the pictures, words and sounds of the digital ecosystem undergo a truly transforming operation. After the protocols and algorithms invented by Mathieu Merlet Briand sifted through the indistinct swarming of these raw data, something resembling a new perceptual texture arises. Indeed the approach he has retained from his studies at the Arts Décoratifs is more of a reflexion on matter than on image. Born in 1990, he de facto belongs to the generation of digital natives for whom the digital environment never meant a network of cables or screen-interfaces. In the absence of visible hardware that is exactly what the digital world is: an immersion in an ecosystem which surrounds us and conditions us but that we do not notice, just as the air we breathe. But this detail regarding generations also reveals a threshold issue. If he takes after his predecessors from the postinternet and the postdigital movements, it is also safe to say that Mathieu Merlet Briand comes after them, not by much indeed, thus proving that time really is accelerating. Rather than frantically celebrating brighter horizons (with WiFi) or than expressing a Luddite criticism of technology, the artist takes a realistic stance. 

Exhibits such as #iceberg (2017) or Environnement (2017) derive from this attachment to reality. In modelizing the outcome of the data cultivation in the form of sculptures, these installations make us physically close to the deterioration of the planet due to the impact of supposedly dematerialized technologies. For some years now, the artist has been focusing exactly on showing how the idea of the Cloud and its representation as a gaseous nebula is a matter of belief. At the center of one of the artist’s most recent works, #Red-Screen Temple, are these remnants of archaic systems which are now relying on technologies and the fact that they are back in modern rationality when they were supposed to have been overcome by it. In 1952, Jacques Ellul was already saying in The Technological Society that in each period of history, the media created their own specters and myths. We can almost hear him or a distant ghost that came back to haunt the work of Mathieu Merlet Briand declaiming: “In the world in which we live, technique has become the essential mystery […]. They can have faith in it because its miracles are visible and progressive”. 

Ingrid Luquet-Gad


  • EXHIBITIONS expand_more expand_less
    2018, 6.07 – 22.09 « La synchronicité des éléments » group show curated by Bertrand Riou, 

      CACN, Centre d’Art Contemporain de Nîmes.

    2018, 21 – 27.05 « Kerkennah 01 » curated by Olfa Feki - Kerkennah island, Tunisie. 

    2018, 20.04 – 26.05 « M@terial » solo show, Galerie Alexandra de Viveiros Hosted by Galerie Mhaata - Brussels.

    2018, 30.01 - 24.02 « Digi-Poesie » group show curated by Mireille Ronarch, Under Construction Gallery, Paris 3.

    2018, 21.01 - 8.02 « What about 2222? » group show curated by Andy Rankin, 73 rue Philippe de Girard, Paris 18. 

    2017, 18.09 - 18.01.18 « 7th International Moscow Biennale of Contemporary Art » curated by Yuko Hasegawa, New State Tretyakov Gallery, Moscou. 

    2017, 12.10 - 12.01.18 « #iceberg », solo show, Playground for All, Paris.  

    2017, 15 - 25. « Variations », group show curated by Dominique Moulon, Cité Internationnal des Arts, Paris. 

    2017, 22 - 28.05 « OffPAC 2017 », curated by Paul Paillet et Jonathan Vidal - Marseille. 

    2017, 08.04 - 12.05 « Environnement », solo show, Invitation by Hugues Leblond, collector, 8 rue du Foin- Paris 3.

    2017, 23 - 28.05 « Two Pages Exhibition », group show curated by Tow Pages, Silo Auto - Porto. 

    2017, 21.04 - 25.06 « Understand what we know » curated by Jerome Pierre, La Couleuvre - Saint-Ouen.

    2017, 26 - 29.01 « Art Genève » with collectionair, curated by Martin Guinard - Genève, Suisse. 

    2017, jan. « Maison & Objet 2017 » with collectionair, curated by Martin Guinard - France.

    2017, jan. « Google Matter » solo show on collectionair.com, curated by Martin Guinard. 

    2017, 14 - 19.01 « MOMENTS » group show curated by Artplateforme, 12 Rue de Thorigny - Paris 3.

    2016, 21.11 - 11.12 « Duo » group show curated by Early Work - Paris 3. 

    2016, 6 - 23.10 « Parallel Call », Musée des Arts et Métiers, YIA ArtFair#7 - Paris. organized by Lechassis, curated by Romain Semeteys and Marianne Derrien. 

    2016, 18 - 26.10 « Relève », group show, Crédit Municipale de Paris, by Marty de Montereau,   curated by Irène Karabayinga et Laure Wauters - Paris. 

    2016, 18.04 - 15.07 « memories memories », solo show, Les vitrines de l’Espace Pierre Gilles de Gennes - Paris.   

    2016, 30.06 « Take A Risk », net.art group show curated by Artplateforme, Galerie Nery Marino - Paris. 

    2016, 21 - 24.03 « Tandem » The Prix Dauphine for Contemporary Art 2016, Université Dauphine - Paris. group show of the 5 nominees. Exhibition project « non-site » with Anaïs Lerendu.

    2016, 28.01 « BYOB#2 » group show, galerie le Huit - Paris.

    2016, 15.08 « Progression », solo show, performance multimédia, à La Ferme du bonheur - Nanterre.

    2015, 26 - 31.03 « Capture » group show, curated by Ethan Assouline, galerie le Huit - Paris.

  • PRIZES expand_more expand_less
    2016, 21 - 24.03 The Prix Dauphine for Contemporary Art 2016, «Tandem», among the 5 nominees.

      We won with Anaïs Lerendu, curator, the Lechassis prize.

    2013, juin 1st Prize of the Jura International Lunetiers Competition. 

  • PRESS expand_more expand_less
    2018 « #Red-screen temple, Kerkennah01 Tunisie » Point Contemporain

    2018 Revue Point Contemporain #9, on the cover and a double page of interviews, June 2018

    2018 Capgemini « Mathieu Merlet Briand is the artist chosen by Capgemini to illustrate its 2017 Annual Report. » 23 May 

    2018 For « M@terial » solo show, Galerie Alexandra de Viveiros - Bruxelles.

    Publication sur ArtJaws, Revue Point Contemporain. 

    2018 Manifesto XXI « 10 Artistes à suivre en 2018 » 15 Jan. 2018. 

    2017 Publication in Revue Point Contemporain [Entretiens] 27 Sept. 2017

    2017 For 7th International Moscow Biennale of Contemporary Art My work has been selected to represent the biennale. 

     Publication in e-flux.com, Institut Français, artandyou.ru, tretyakovgallery.ru, Tokyo University of the Arts, afisha.ru, ... 

    2017 Broadcast on the channel Souvenirs from earth, sfe.tv, 16.07.17

    2017 Publication in the Quotidien des Arts, page 3, 20 jan. 2017 about Art Genève. 

    2017 Interview with Collectionair. https://journal.collectionair.com/discover/featured/mathieu-merlet-briand-internet/

    2016 Interview with Emmanuelle Oddo about The Prix Dauphine for Contemporary Art.  https://www.emmanuelle-oddo.com/work/#/mathieu-merlet-briand/

    2016 Publication by Lechassis about The Prix Dauphine for Contemporary Art.http://lechassis.fr/prix-dauphine-pour-lart-contemporain-notre-coup-de-coeur/

    2016 Interview with Lisa Toubas for Early Work. http://www.early-work.com/fr/blog/focus/numerical-matter

    2013 Double page in intramuros n°168 for 1st Prize of the Jura International Lunetiers Competition. 

  • EDUCATION expand_more expand_less
    2013 - 2016 Post-diplôme en cycle de recherche à EnsadLab

    2013 Master de l’École nationale supérieure des Arts Décoratifs de Paris, section Design Produit.

    2011 - 2012 Erasmus à l’ECAL, École Cantonale d’Art de Lausanne - Suisse. 

    2008 - 2013 Etudiant à l’EnsAD section Design Produit.

    2005 – 2008 Bac STI Arts Appliqués, Lycée Blanche de Castille (78).

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