Festival GAMERZ 11


"Playing is a serious business".
According to Johan Huizinga, Dutch historian, who wrote Homo ludens, playing is the essence of all cultures, as genuine civilizations can only exist because of ludic elements.

Today, the global social gamification phenomenon also impacts education, consumption and life. This gamification, supported by emerging digital technologies, has gradually associated video games and their processes with “our own lives” regarding various fields including advertising, architecture, fashion, medecine and art.

How do these game processes influence our desires? Is there a secret power that uses games as a tool to alienate our free will?

With its development, the video game industry has helped to introduce and share new technological interfaces. The use of keyboards and mice is now being altered, allowing the human body and its movements to become the interface. Many control systems (Wiimote, Kinect, Leap motion, Oculus…) are using scientific and research advanced technologies, which later became consumption products.
These new interfaces are available for everyone, and have inspired new generations of artists who use these mass technologies with fun and spontaneity. The artists are therefore involved in creating the “Digital homo ludens”, a new human species that turns these products into creation tools.
How is the relationship between men and machines driven by these original interfaces?

Rapidly promoted by different military-industrial complexes, the video game industry often provides a subjective vision of the world using low-cost entertainment production. This could suggest that video games now act as a “show”, one of these “propaganda devices of capital control in our life”, as previously described by Guy Debord.

These virtual technological locations have become territories to be artistically conquered and implemented to support a sort of “technological sovereignty” as defined by Alex Haché. Video game technologies provide a “providential manna” of creation tools and techniques for the artists. While this toolkit is continuously being developed, a number of hardware and software devices are made available and can be reused for artistic purposes.

This mass media is captured and altered by the artists to create a new meaning. The “technological sovereignty” concept here involves a type of technological independence to be reflected in the art productions. As with most art media, these hijacked technologies gives you the opportunity to learn and build your own world. The urge to understand goes along with the urge to recapture the technological future in our society through art.

These artists highlight and criticize the potential impact of these technologies in our life, as opposed to the overwhelming techno-positivism, which praises its various curative, educational, sports functions, etc.
The art pieces and installations presented during this edition are “contextual” as defined by Paul Ardenne. With their unique art practices and forms as well as revolutionary transfigurative abilities, the artist is a social actor with troublemaking tendencies. The art piece status is being altered and reflects problematic issues that are highly connected with today’s world, beyond the concept of interactivity. The relationship between creativity, imagination and games will be featured in these art installations during this 11th festival edition. The emergence and development of communities, networks, new production and broadcasting sites is reflected in these installations. The artistic creativity here embraces many impulses including sharing, freedom and utopia.

The concept of games (Homo ludens) combined with digital technologies questions the future of human beings beyond the concept of knowledge (Homo sapiens) and work (Homo faber).

During this 11th Edition of GAMERZ Festival, 40 international artists will be playing and hijacking these new technological dimensions and their development.
This year’s festival will focus on creations that have been currently partially archived or hardly ever been seen, giving an overview of these new art devices which are closely related to video games universe and technologies. The audience will be invited to immerse themselves into the work of these artists, through the prism of this new species named Digital Homo Ludens.

Quentin Destieu








Conferences - Meetings


Video - Meeting - Performance







Live and performance night
La Nébuleuse



Group visits by appointment
For further information, please contact the festival organization.

M2F Créations – Lab GAMERZ

Patio du Bois de l’Aune
1 place Victor Schoelcher
13090 Aix-en-Provence

Tél. : +33 (0) – +33 (0)
Email : contac[at]

Fondation Vasarely

1, Avenue Marcel Pagnol
13090 Aix-en-Provence
Tel : +33 (0)4 42 20 01 09


Ecole Superieure d Art

Rue Émile Tavan
13100 Aix-en-Provence
Tel : +33 (0)4 42 91 88 70


Bibliothèque Méjanes

8-10, rue des Allumettes,
13090 Aix-en-Provence.
Tel : +33 (0)

Office du Tourisme

Les allées provençales
300 avenue Giuseppe Verdi
13100 Aix-en-Provence
Tel. +33 (0)4 42 161 161


Quentin Destieu - Sylvain Huguet
Isabelle Goeury
Gisela Dorado Guerrero - Claire-Marine Parodi Cortès
Bastien Vacherand
Lisyane Mercadier - Le Poisson de Babylone
Myriam Boyer
Courant d’Art
Yann Goulm - Benjamin Giustiniani - Antoine Brice
Colson Wood
Fanny Desvignes - Cecily Chambon
Dolls in the Kitchen

M2F Créations – Lab GAMERZ
Patio du Bois de l’Aune
1 place Victor Schoelcher
13090 Aix-en-Provence

Tél. : +33 (0) – +33 (0)
Email : contac[at]


The festival is supported

Philippe Boisnard et Arnaud Courcelle

Shape_of_Memory, 2015
Production : Lab Gamerz / M2F Créations
What would be the memory of networks if humanity disappeared?
The will of men to keep their infinite visual and audio memory has become one of the main intentions of our contemporaries. This conservation is no longer made in physical albums, but in realtime thanks to image sharing sites like Flickr photos or clouds. However, all these photos are piling up in a list, forgotten as soon as it has been downloaded, it vanishes in the flow of memorization. Gradually they dissolve in internet deposits, if they are not regularly reactivated by queries. Internet becoming a bitumen pit to the memory, everything engluant in its layers. How can the machine alone give back this memory from what has been programmed? Shape_of_Memory is a generative work, operating in real time with the web, which puts into perspective the flow of images, videos, text and logic of oblivion that characterizes them. The work is presented like flows, remixing thousand of images (taken from, video and texts, from what determines the nature of the digital memory of visibility criteria: the hits.

Paul Destieu

Archive d'une frappe
Modèle #1 (Damien Ravnich, solo pour caisse claire, tom alto et charleston)
Impression 3D PLA, 2014/2015

Cycle de recherche réalisé au sein du Lab Gamerz - M2F Créations
Production : Lab Gamerz / M2F Créations, OTTO-Prod, DICREAM
Développement : Damien Ravnich, Lab Gamerz, Bastien Vacherand, Gonzague Defos Du Rau, Guillaume Stagnaro

Archive d’une frappe (Archive of a hit) is a research cycle questioning the materialization of sound and musical forms.
The project undertakes several collisions between physical and sound structures, calling visual practices and contemporary media for a sensitive interpretation of music languages.
The project gathers a serie of polymorphous creations, resulting from the capture and the motion analysis of a drummer, focusing on the emerging tensions between the musician and his instrument. This experiment enables the unfolding of a given gesture in space and time; drumsticks sequencing time through the performed rythm and sound through its physical output. Each of the successive steps along the production process proposes a digital appropriation from a unique gesture.
Once captured, synthetized and 3D printed, the hit is extracted as a physical counter-form both from the interpreter and the instrument. The archive gathers a serie of these shifting processes, between listening and sight.

The Superusers - Scott Sinclair & Pierre-Erick Lefebvre

Anaglyph 3D performance, 2015
Production : Lab Gamerz / M2F Créations
The Superusers present an immersive multi-projector installation to be viewed in 3D space. Each screen shows the creation, propagation, and destruction of a separate digital cosmos. Faceless satellites gracefully dance and sing atop an alien landscape in a disturbed sense of synaesthesia. These objects are then pushed through a flowering of 'trailspace' where they meet and bind to highly mutated versions of themselves, starting them on a path to overpopulation and Designed-To-Fail ruin. Like a self-sabotaging assembly line, depictions of smooth geometry continually commit suicide in their failed in their efforts to surpass the complexity of natural forms. AO: Artificial Obstinance.

Viewers should be aware that the multi-projection is configured as to not repeat itself for the duration of the installation.

Bastien Vacherand

Syndrome de la turret, installation 2015
Production : Lab Gamerz / M2F Créations
The installation consists in an automatic machine gun from the famous Half-Life 2 video game, that was 3D printed, and a CCTV screen where the vistor virtually triggers his own death. Developed during a residency at Lab GAMERZ, the turret is made of fifty-four different parts that were assembled to form a full scale model. Between sculpture and interactive installation, Bastien Vacherand presents a raw tridimensional model of the weapon, seizing its ludic and symbolic strength. The spectator, when he enters the room, triggers his avatar spawning in the same modelised space and his sudden execution.

Turret Syndrome proposes to bypass the video game space and the opportunity of a virtual tour by restraining interaction to a simple triggering action with a violent and baneful ending.

Pippin Barr

Let's Play: The Shining
All work and no play makes Jack a dull boy! All work and no pllay makes Jack a dull boy! All work and no play makes Jaca dyll boy! All work and no play makes Jack a dullboy! All work and no plaay makes Jack a dull boy!

The Junior Mint
Imagine Seinfeld was never canceled and still NBC comedy program today?! Could there be a webgame about the Junior Mint episode?! Could you play as Jerry or Kramer?! Yes! A thousand times yes!

Pippin Barr is a video game maker, educator, and critic who lives and works in Montréal. He is a prolific video game maker, producing games addressing everything from airplane safety instructions to contemporary art and has collaborated with diverse figures such as performance artist Marina Abramovic and Twitter personality @seinfeld2000. Pippin is a well-known figure in the independent games world, serving as a judge or juror for many festivals, and his games have been covered in publications from the New York Times to Slate to Kotaku. He is a scholar-in-residence in the Department of Design and Computation Arts at Concordia University of Montréal and a visiting lecturer in the Institute of Digital Games at the University of Malta. He holds a Ph.D. in Computer Science from Victoria University of Wellington, New Zealand on the subject of "videogame values". Pippin also writes a blog of game and game design criticism at and his book, How to Play a Video Game, introduces the uninitiated and culturally curious to the world of video games.

Cheng Guo

Mouth Factory, installations, videos, 2012
Mouth Factory consist in a series of functional machines specifically designed to be operated by the mouth. Extending the capabilities and versatility of the mouth - a wonderfull organ, it creates a cyborg that combines the producer and tool of production and ways of manufacture in fiction scenarios. As a comment on human enhancement, Mouth Factory reveals the aesthetics of manufacturing through a series of performative devices and it is trying to explore a new mode of production. By focusing on the mouth, these manufacturing apparatus become an embodiment that renders and amplifies the interrelation between human body and tools.

Cheng Guo's work mainly focuses on exploring the interrelation between mainstream/emerging technologies and individuals under the context of social life, culture and ethic, and uses speculation as a way to create fiction within alternative/future scenarios through installation, object and video. Cheng Guo obtained his BE from Tongji University, Shanghai, and MA from Royal College of Art, London. He lives in Shanghai, serves as Executive Director at Chronus Art Center and Visiting Lecturer at College of Design and Innovation (Tongji University). His work is exhibited and projected internationally at STRP Biennial (Eindhoven), Digital Art Center (Taipei), UCCA (Beijing), OCAT (Shenzhen), Salone del Mobile (Milan) and “Get it Louder” (Beijing).

Emilie Gervais

*So Happy I Could Die (Lady Gaga cover)*, site web interactif, XIV
*So Happy I Could Die (Lady Gaga cover)* is about the framing properties of web browsers. Its borders are the piece. Everything else are add-ons to make users believe they have a certain power over the artwork because of
interactivity: you could easily kill it if pressure is too heavy.


Emilie Gervais lives & works in Marseille/FR. She holds a DNSEP (aka master) from ESAAix. Her work focuses on languages, game and network culture. Past recent exhibitions of her work include the Scotiabank Nuit Blanche. The Drake Hotel, Toronto/CAN; Porn to Pizza. DAM Gallery, Berlin/DE; ITAF 2015. Online & Linz/AU; David (Hugs N Kisses XOXO). Link Cabinet, Online; #IRL. Art15, London/UK.

Balint Bolygo

Trace II, 2012
Trace II is a generative work of art that uses the technology of the past to evoke current technological trends. The work is a kinetic sculpture that is principally a mechanical 3D scanner that produces a 3D mapping of objects placed on it – in this case it is a plaster cast of the artist’s head. The device is a mechanical computer that is distilled down to its bare essentials. The code or program is a 3D plaster object, the mechanical parts are the hardware and the screen takes the traditional form of paper and pen. The piece has an open structure where the workings are visible and can be deciphered - showing all the forces behind the process in its entirety. Trace II generates topographical mappings that evoke images that are more akin to high technologies – MRI scans, 3D scanning/printing. As the drawings can take many hours to complete the viewer is confronted with process of making as the work of art.

The ‘Da Vinci – like’ structure of Trace II is open and the workings are transparent and tangible so the viewer is free to discover the process visually. The mechanism alludes to our advancing technology whilst it looks back in time, when technology was less alienating and closer to the human condition.

Lucien Gaudion

O, installation, dimension variable, 2015.
Two loudspeakers are suspended by metal cables at the centre of the room named Point O, which refers to a point of origin within a geometrical space. Micro piezoelectric materials capture the vibrations of the loudspeakers into the taut cables and turn them into audio signals within the loudspeakers, generating audio feedbacks.
The installation is significantly connected to the architectural tension.

Jonah Brucker-Cohen

Alerting Infrastructure!, 2003
Alerting Infrastructure! is a physical hit counter that translates hits to the web site of an organization into interior damage of the physical building that web site or organization represents. The aim of the artwork is to amplify is to amplify the concern that physical spaces are slowly losing ground to their virtual counterparts. The amount of structural damage to the building directly correlates to the amount of exposure and attention the web site gets, thus exposing the physical structure’s temporal existence. The project has been active in 10 countries (Ireland, Peru, Brazil, France, USA, Spain, Canada, Belgium, Germany, The Netherlands) to date.

Jonah Brucker-Cohen, Ph.D., is an award winning researcher, artist, professor, and writer. He is an Assistant Professor of Digital Media and Networked Culture in the Department of Journalism, Communication, and Theatre, at Lehman College, CUNY. He received his Ph.D. in the Disruptive Design Team of the Electronic and Electrical Engineering Department of Trinity College Dublin. His work and thesis is titled "Deconstructing Networks" and includes over 100 creative projects that critically challenge and subvert accepted perceptions of network interaction and experience. His work has been exhibited and showcased at venues such as San Francisco Museum of Modern Art, MOMA, ICA London, Whitney Museum of American Art (Artport), Palais de Tokyo, Tate Modern, Ars Electronica, Transmediale, and more.


Unmanned (by Molleindustria and Jim Munroe), 2012
Now you get to play the newest kind of soldier: one who remotely drops bombs on foreign soil during the day, and at night goes home to his family in the suburbs. In Unmanned, the conflict is internal — the only blood you’ll shed is from shaving cuts. But is there collateral damage in this new way of waging war?

Molleindustria [soft industry/soft factory] is a project of reappropriation of video games, a call for the radicalization of popular culture, an independent game developer.
"Since 2003 we produced homeopathic remedies to the idiocy of mainstream entertainment in the form of free, short-form, online games. Our products range from satirical business simulations (McDonald's Video game, Oiligarchy) to meditations on labor and alienation (Every day the same dream, Tuboflex), from playable theories (the Free Culture Game, Leaky World) to politically incorrect pseudo-games (Orgasm Simulator, Operation: Pedopriest).
Molleindustria obtained extensive media coverage and critical acclaim while hopping between digital art, academia, game design, media activism and internet folk art."

Robin Moretti et Yohan Dumas

Blockbuster, Installation, web, 2015
Blockbuster in an interactive artwork about the conflict in Iraq. It uses a Google map, fed by Wikileaks Iraq, showing with little red points the improvised explosive devices that exploded in this country since 2004. Each time the visitor click on a point, a video of explosion from a movie is played. The name "blockbuster" means literally to blow up the neighborhood, and was the most powerful bomb used by americans during the second world war, before becoming a cinematographic class. The goal is to give to the spectator access to a journalistic data map with a ludic and funny game; by its severity, the map is impressive and destabilizes the spectator by a contrast of feelings.


La Course de cri pédo-nazi
Considering Internet is only used by two kinds of people - paedophiles and Nazis - visitors are given the opportunity to choose their side and shout as loud as they can to prove they hold the truth and conquer the Internet.
We simply reproduced the late nineties Microsoft Internet logo which appeared on every Windows Desk following the Company requirements given to computer manufacturers. Other web browsers were therefore put out of business (i.e. Netscape).
Not to mention that Microsoft had the brilliant idea to name its web browser “Internet Explorer”. If you cannot make the difference between the Web and the Internet, now you know who is to be blamed.

At last, sweet and kind Pedobear and tiny cute Kitler clearly embody the dark relevant motives used by politicians to go against the Internet neutrality and turn it into a large well-maintened commercial space.

One Life Remains

A Constant Move Forward, 2013-2015
A Constant Move Forward is an avoider game taking place in a constantly evolving world. The game starts in an almost motionless white empty state but then quickly evolves towards a maze of strangly shaped obstacles. This project is a work in progress aimed to be played on a PC and performed in front of an audience.

One Life Remains is a french experimental game collective. Based in Paris, France, One Life Remains develops weird games, produces events and try to host a blog – not the easiest part.


PerlinRocks, 2015
Perlin Noise is a versatile Algorithm , originally created in 1983 for the movie Tron to add video noise to the 3D layers, it is now used in a big variety of creative coding applications and games . This algorithm is one of the few that represents, or is well suited for representing nature effects because it has an analogic look, and an analog feel to it.
It can go to the creation of generative terrains, (like here) rocks, it can be used as noise, or any possible way imaginable by the coder.

The work focuses on the algorithm, and generativity. Here with this piece, we can obtain an infinity variation of rocks, but somehow identical to one another, the same style of rock. It is the kaleidoscope paradox, where while the infinity of images are obtainable, the brain understand in a few seconds the "mechanic algorithm" behind.

The name of the piece could be "this is not a sculpture (but an algorithm)" as a reference that the emphasis of the piece is not about showing the result, because it could take many different form, but the fact that behind any generative work there is an algorithm, and here I took Perlin Noise, one of the most versatile, well known, and most used Algorithm, a algorithm so great that we could from times to times swear that it is actually the algorithm that orchestrate some parts of the nature around us.

Florent Deloison

When Hamsters ruled the Earth, 2013
When Hamsters ruled the Earth is a set of installations staging Olympic competitions between real animals and humans. In this fictional world, hamsters have taken over the planet and enslaved Humans.
Hamster Olympics is an athletic game, as with the antique Track n’ Field installation which confronted a hamster with a human player. The hamster runs inside a wheel that is equipped with sensors which will record motions and transpose them on screen. The player will have to run on a mat used for collecting movements.
Our culturally-established anthropocentrism is being sharply questioned with this playful device which is turned into a communication device as animals are given game controllers, and become as efficient as joysticks. Men and animals now speak the same language through a playful and sporty performance, a competition that turns into total nonsense.


Monkey Turn
Sarumawashi (猿回し) - monkey performances or monkey showman - is a Japanese old tradition where trained monkeys, sometimes disguised as men, are exhibited in the show. This has inspired NAO for the conception of his work MonkeyTURN, comparing these monkeys manipulated by their master to humans today whose behaviors and emotions are completely conditioned by the information available on computer networks.
But who manipulates them?
The installation and the performance MonkeytTURN is a project using projection mapping on the body of a remote-controlled robot. The image fragment projected on the surface of this material describe what we might call new digital identities. That is to say, a reality undermined by unreality. The robot is driven by servo motors, the noise gradually produces a musical space. MonkeyTURN was born from a reflection on the human and his double, the man and his social representation, with an open question: Are we only monkeys manipulated by ourselves?

Emmanuelle Grangier

Link Human / Robot
The concept of machine is often used in literature and cinema as a mirror to human behavior.
But imitating is also resonating, interacting.
An autopoietic machine constantly generates and specifies its own organization because it is constantly subjected to external perturbations. A lab, a ring, some languages, two bodies, mechanical and organic, building impermanent topologies, concrete and virtual. Between composition and improvisation, between the line and the network, they’re continuously experiencing and adjusting their distance one to another until they find the one that leads to autonomy, perhaps allowing the emergence of a new form of otherness.
Link Human/Robot is a choreographic performance for a dancer and a robot. This project is the result of a collaboration between an artist and a researcher in robotics, it also resulted in a book that crosses different visions of contemporary robotics and the evolution of this unique relationship between human and robot.

Jean-Paul Fourmentraux

Net art : l’oeuvre virale
Création numérique et médiactivisme

Net art: The Viral Art Piece
Digital Creation and Mediactivism

Net art has been developed aside from the real world, mimicking media institutions, modes of diffusion and reception in contemporary art. Its events and online subscriptions have promoted unique modes of demonstration and diffusion of art pieces. The goal of this conference is to describe the underlying countercultural motives and dilemmas, including network occupation modes, media strategies and art hijacking devices which promote an emerging Internet-oriented art dimension.
At the crossroads of technical anthropology and art science, these digital practices and their connecting modes will be questioned during this conference. Art pieces, including amateur productions are highly connected to political and critical reflections on digital technologies.

Emmanuelle Grangier, Elise Aspord, Patrick Vandieren
Emmanuelle Grangier was born in Paris, lives in Brusc and works between Marseille and Brussels. She is an artist and she has a PhD in art and science of art (The bug: an aesthetic of accident). She crosses different writings, film, video, performance, choreographic, dramatic, interactive, generative and different spaces such as installation and stage. She is interested in the emergence of new forms of otherness and the unique relationship that they generate. His work has been exhibited at the Centre Georges Pompidou (cycle "Cinema of Tomorrow"), the “Instants Video“ festival, the festival of Contemporary Dance in Chamberry, short film festival in Aix-en-Provence, the “Vision in the Nunnery“ festival in London, the “Symposium Computationnal Aesthetics“ in Lisbon, “Bains numérique“ festival in Enghien-les-Bains, the 104 in Paris, “Scopitone“ festival in Nantes, VIA 2014 festival, the Cube…
Aesthetics à Lisbonne, au festival Bains Numériques d’Enghien-les-Bains, au 104 à Paris, au festival Scopitone à Nantes, au festival VIA 2014, au Cube...

Philippe Boisnard

Born in 1971. Lives and works in Paris and Angoulême.
Boisnard is an artist, poet, writer, and philosopher active on the French literary underground scene (JAVA, DOC(K)S, EvidenZ, Fusées). He is a contributor to the daily newspaper Libération, to Revue d'Esthétique and Le Philosophoire.
For more than 10 years he has been investigating the relationship between literature and specifically poetry and new media. He has in this research created specific internet performances like WAR(Z) ACTUALITE.
His main interest is to understand how far it is possible to give birth to a media democracy that would be able to get rid of any institutional or revolutionary hegemony in the field of political or social representations.

Since 2000, he has created poetic video performances that have been presented in many institutions, museums, festivals and art galleries such as : Centre Pompidou in Paris, Musée d’Art Moderne de St. Etienne, Musée d’Art Moderne de Strasbourg, L’Arsenal de Metz, Université d’Arras, Université de Dunkerque, Ecoles des Beaux-Arts, festival Norapolis (Metz), Ile / danse (Ajaccio), Passion d’Avril (Lille), Les instants video, Galerie Eof (Paris), Galerie Artcore (Paris), Galerie 9 (St Etienne) and Infr’Action – festival international d’art performance.

His activity as a video poet has been highligthed on many occasions in the French press like by Nova Magazine, Libération, and many other contemporary art magazines and periodicals).

Emmanuel Guez

Media Archaeologism.
The artists gathered in this collection named “media archaelogism” for the online sales platform of artworks are resolutely anchored in the present. Their art captures the present, deconstructing and foiling the mainstream opinion of high technologies and innovation, as well as the strategies of digital industries. It investigates their artistic, ecological, economic, financial and scientific effects. At odds with obsolescence, henceforth calculated, and with the ideology of novelty, the artists investigate the materiality of machines, recycling the old ones to question the new ones, tactically infiltrating bot traders, inventing with joy and humour alternative histories of the media and future histories of the art world.
Going through the deepest layers of their materialities (hardware, network architecture, manufacturing methods, the raw material of components rather than the image and sound interfaces), they meet a subjectivity now computational and contribute to the invention of a new materialism.
Their art is action: it confronts the spectator/consumeR, the user/client, made comfortably numb by Bill Gates’s, Steve Jobs’s, Larry Page’s and Mark Zuckerberg’s user-friendly software.
Their economics is nothing like the great contemporary art fairs, ornamental and weary, neither digital art that seems more and more spectacular. In short, they are outsiders of the market. Tomorrow, they will have told the story of our world that we don't know yet because it's being built by the machines

Emmanuel is artist, theorist, curator and professor at École Supérieure d'Art in Avignon. He supervises the PAMAL (Preservation & Art - Media Archaelogy Lab) research unit at ESA Avignon.

Florent Deloison

Florent Deloison was born in northern France in 1983. He studied at the Art School of Aix-en-Provence, to the School of the Art Institute of Chicago and the Ecole Nationale Supérieure des Arts décoratifs. He lives and works in Paris where he teaches digital code and design at ENSCI – Les Ateliers.
He is interested in flux, data transformations and the materialization of information. He questions, puts together and handles spaces and temporality, while drawing his references in popular culture, video games, movies, or contemporary history.

The Wa

The most common relationship we are likely to have with the work of The Wa is with hindsight or through hearsay. Its critical, subversive provocations resist a lengthy duration in the public arena that would afford one the opportunity to experience it first hand. The lifespan of the artworks vary in public exposure, installation and removal. Therefore, it is the temporality of his work that is crucial to its reading.
The sub-divisions in the work are not expressly representative of different lanes in The Wa’s work. Rather use these titles to allude to a post-production thematic that has evolved. Far from dictatorial, these passions entice his creative curiosity into hidden, often forbidden areas of ‘pubic’ life. Relatable, multi-lingual and often comic in execution, the work of the Wa encourages an empathetic scepticism for modes of societal control and comment. The relationship between the artist and the urban space are pertinently and inextricably linked. Some works have their own strong and clear voice; others require a little contextualisation to allow for layers of meaning to peal off and for you as viewer to enter the work.
The fluency with which The Wa adopts the visual and political landscapes of the locations of his installations is a curious and inevitable result of his creative experiences and collaborations with an extraordinary array of artists. 

The originals of these works are almost all removed from their initial site, and the attempt to evoke the relational elements of their installation only serves to highlight the inadequacy of the written word. To experience The Wa’s work first hand is an endeavour of the brave, the quick and the curious.

Alexandra Ross

Lucien Gaudion

TOC, 2015 - installation/performance
The initial loudspeaker diaphragms are replaced with custom designed 3D-printed strikers. These strikers hit on the architecture’s elements. Space is turned into a percussion instrument.

Ateliers Impression 3D et scan 3D

Fondation Vasarely
Mercredi 11 from 2 p.m. to 5 p.m. and saturday from 10 a.m. to 1 p.m.

The workshop is dedicated to 3D printing as an overview of this present technic's potential and limits.
The workshop proposes an introduction and an experimentation time based on 3D modeling an printing tools.

Collapsologie Evening

This evening focuses on the concept of "collapsologie" based on the book of Servigne & Stevens, This evening will be based on the concept of "collapsologie" based on the book of Servigne & Stevens, published in 2015.

A friendly and willingly unformal kind of event, made to exchange freely about serious issues i.e our uses and practices of digital tools, discoveries made on the internet (both audio and video), and exchange viewpoints and ideas about distribution, copyright and creation.

Adapted from the original idea by Labomédia, Orléans, “Get your links over here”.

La Nébuleuse

La Nébuleuse (Nebula) is a sort of pastis and prawn conga!
This mishmash of artists from Marseille goes beyond music-related or music-unrelated practices using identity haziness as their favourite topic...

La Nébuleuse has been invited by GAMERZ to organize the festival closing party that will also be named “La Nébuleuse”. The artist collective will be in Aix-en-Provence for the first time on Saturday 14 November – and this could be the last. They will be performing for the very first time with some artistic deficiencies.
Consequently, they will be supported with the following projects.

Concerts: La Chasse + James P Honey + Poborsk
Boom: Surprise Dj set
Designed by: Mahatsanga

A “Surprise Party” will conclude this musical preciousness. We shall be as one until space-time is reversed and when the world has collapsed!

La Chasse

La Chasse (Gloomy Diane celebration)
La Chasse was born in a forest of Camargue, a place where bear garlic meets salt marsh.

La Chasse coshes imaginary animals with a crash of cymbals.

La Chasse expiates twin flesh sins with bass riffs which could make a one-legged person dance.

La Chasse looks like a sort of dark post-punk who had metal for dinner.

La Chasse is beautiful.


Poborsk lives in marseille and has been making music under this moniker since 1999. His music mixes shades of classic "IDM" with synthetic computer funk, depth charge bass drops, steel plated beats and concrete sound manipulation.

James P Honey

James P Honey (anti-rap alternative folk)

James P Honey is the cult leader of anti-rap alternative folk band Buriers. He doesn't rap - he just talks fast.

"Like a modern day Leonard Cohen" (Volume Magazine)


"Partition urbaine#2"
A synesthesic experience of urban planning, a physical perception of music created by dynamic relations between the architecture and the human body, considering the esthetical sensibility of this moving body.

A musical fascination for the scrolling road layout. Searching to experience the rhythmic perception of urban space.

Dj set surprise

The GAMERZ Festival is run by M2F Créations - Lab GAMERZ.

It takes place in the frame of e-topie, cultural event dedicated to digital creation in the fields of art, sciences, technologies and music in Aix-Marseille.

Following successful beginnings in 2013 within Marseille-Provence European Capital of Culture, the founding organizations modeling e-topie invite you to a series of events taking place all through 2015 and preparing for the Fall 2016 international biennale.

E-topie organizers dedicate personally and collectively this edition to the memory of Ivan Chabanaud.

Dolls in the Kitchen

Dolls in the Kitchen collective was founded in2010 by two students from École Supérieure d’Art d’Aix-en-Provence, Marion Bonnefoy and Leslie Dorel who wanted to combine cooking and art.

Art, cooking, art and cooking, cooking art…?

They question Daniel Spoerri and Eat Art’s heritage with a contemporary vision and an esthetic of food and meal through several critical and plastic aspects.
The collective initiates and spreads original artworks. Dolls in the Kitchen also shows scenographies and culinary installations during cultural events.