Portrait Justine Emard par Fisheye immersive

 

Presse, podcasts & interviews (sélection)


2025

2024

2023

2022

2021

2020

2019

2018

2017  

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Textes (sélection)

2024 – Hyperphantasia, des origines de l’image, par Justine Emard
« Recherche et intelligence artificielle » Culture et Recherche n°147, automne-hiver 2024
Revue du Ministère de la Culture, de l’enseignement et de la recherche 

2019 – De l’âme des robots, Pascal Beausse
Catalogue de l’exposition « Consciência Cibernética » au Centre Itau Cultural, Sao Paulo, Brazil

2017Exovisions, texte de Stéphanie Vidal
Catalogue de l’exposition « En fuyant ils cherchent. une arme : des horizons et le départ »

2011 – Texte de Gallien Déjean
Exposition « Première »,Centre d’Art Contemporain de Meymac, France


CATALOGUES & LIVRES (sélection)

Catalogue « Le monde selon l’IA »
Coédition JBE Books × Jeu de Paume
Exposition au Jeu de Paume du 11 avril au 21 septembre 2025.
Sous la direction d’Antonio Somaini, commissaires associés : Ada Ackerman, Alexandre Gefen, Pia Viewing
Avec des textes de Ada Ackerman, Noam Elcott et Tim Trombley, Alexandre Gefen, Nick Monfort, Fabian Offert, Antonio Somaini, Joanna Zylinska
Design graphique : Atelier Pierre Pierre / Couverture souple et texturée, impression argentée
304 pages / 15,5 × 21,5 cm / 200+ illustrations


Catalogue Mondes souterrains Louvre-LensCatalogue « Mondes Souterrains »
Louvre Lens
Liénart / Louvre-Lens,  année de publication 2024
Dimensions 23,5 cm × 29,7 cm × 3,5 cm – 400 PAGES


Catalogue « Surreal Futures »
Exhibition catalogue Max Ernst Museum Brühl of the LVR, edited by Madeleine Frey & Patrick Blümel, Brühl 2023 (Wienand Cologne)
203 pages with numerous illustrations, edition in two languages (German/English), museum edition 29 €

https://maxernstmuseum.lvr.de/en/
E-mail: shop.mem@rheinlandkultur.de


Superluminal, Light Art Museum Budapest, 2023-2024

Through the works of more than 40 internationally renowned artists, the exhibition seeks to present light as a physical and natural phenomenon, an indicator of technological progress and a cultural construct endowed with symbolic meaning, in evergreen spaces, through light-installations and projections. The introduction to the publication is written by the curators Barnabás Bencsik and Borbála Szalai, while Sándor Hornyik was commissioned to write the essay. This exclusive catalogue, printed in 300 copies, is available in the museum shop.
https://lam.xyz/


« Sorry, Frankenstein » Exhibition Catalogue, Jeonbuk Art Museum, South Korea

Sorry, Frankenstein

Whenever we encounter something new or unfamiliar, curiosity and fear intersect. Especially with the advancement of science and technology, whenever something new appears, mankind strives to get used to it, and we are witnessing the materialisation of substances and creatures that existed only in our imagination. Today, when the scope of discourse is expanding to include not only human life but also the reorganisation of the species surrounding humans, « Sorry, Frankenstein » is accompanied by works that create a kind of ontological rift between the expectations and anxieties of change in the post-COVID-19 era.

The exhibition looks at the world as a web of intertwined beings like a fabric, and attempts to break down the dichotomy between human and non-human by recognising the world not as a subject and object, but as a network of objects and their relationships. It is about looking differently at the behaviour of objects and organisms, material and immaterial, or beings that cross the boundary between them, from everyday mechanical devices, picture frames, or potted plants to dogs and rivers, and it is also about looking deeply into the way power works in this network of relationships. Therefore, it is not just a humanistic reflection or ethical reflection on beings in the position of the other, but a fundamentally different perception and practical sharing.

The lesson of the first science fiction novel, Frankenstein (Mary Shelley, 1818), is the tragedy of the fear of the unknown and the oppression that stems from it, behind the enthusiasm for technological novelty. But once we set aside the monstrous forms that were considered a threat to humans, we see a being that was simply ‘there’. Just as looking at something, whether it is familiar or not, can suddenly trigger a strange and uncanny emotional response, we are all a little bit of Frankenstein.


BioMedia | ZKMBio Media, The Age of Media with Life-like Behavior | ZKM Center for Art and Media Karlsruhe, 2023

Exhibition catalog, Anthology
Author / Editor Peter Weibel (ed.) Publishing house, place Spector Books, Leipzig
2023

The nineteenth century was the era of moving machines, based on wheels (cars, trains, bicycles). The twentieth century was the epoch of moving images – which also started out being produced with wheel-based machines (film camera, film projector): the first steps towards the imitation of life by movement, sound, and color. With the subsequent introduction of the computer as a universal medium, media systems are characterized by the virtuality of information storage, the variability of image content, and the viability of image behavior. Therefore, the twenty-first century will see the rise of BioMedia. The term BioMedia or biomimetic media does not refer to Bio Art – art made with organic or biological material – but to art made with inorganic material that exhibits organic features: media that show life-like forms of behavior. The research exhibition »BioMedia. The Age of Media with Life-like Behavior« at ZKM | Center for Art and Media Karlsruhe presented dynamic media systems ranging from computer-generated and computer-simulated systems to complex adaptive robots and interactive installations which simulate various aspects of life beyond movement. These media systems are not living machines, but by virtue of their inputoutput relation and their reactions to the interactions of human and non-human entities, they act as living organisms in artificial and natural ecosystems. Over sixty artists and institutions have contributed works to the exhibition laying out these paradigmatic shifts in society and the arts. This book focuses on these artworks, which are described in detail in richly illustrated texts, presenting an overview of current developments of algorithms, artificial life, and artificial intelligence in art, but also features scientific essays by Peter Weibel, Samuel Bianchini and Emanuele Quinz, and Ingeborg Reichle.
Production / Corporation / Exhibition ZKM | Center for Art and Media Karlsruhe Organization / Institution ZKM | Center for Art and Media Team Project Management: Ulrike Havemann Design: Matter Of, Stuttgart. https://zkm.de/en/publication/biomedia


FUTUR 21 | Catalogue for the conference and festival of the Landschaftsverband Rheinland/ Landschaftsverband Westfalen-Lippe 2022
  • herausgegeben von Ulrike Lubek, Landschaftsverband Rheinland, Landschaftsverband Westfalen-Lippe, Georg Lunemann
  • Beiträge von Ulrike Lubek, Lea Althoff, Cornelia Bauer, Kirsten Baumann, Stefan Berger, Patrick Blümel, Joachim Breuninger, Corinna Franz, Manuel Grogos, Konrad Gutkowski, Walter Hauser, Milena Karabaic, Mischa Kuball, Matthias Löb, Rita Müller, Corine Pelluchon, Barbara Rüschoff-Parzinger, Petra Schaper-Rinkel, Thomas Schleper, Nada Schroer, Peter Paul Schwarz, Marion Steiner, Clemens Walter, Gabriele Zipf
  • 256 Seiten, mit 134 farbigen und 28 s/w Abb, 28,0 cm x 21,0 cm
  • Softcover, Deutsch / ISBN 978-3-86832-689-5
    https://www.wienand-verlag.de/Programm/Zeitgenoessische-Kunst/FUTUR21-kunst-industrie-kultur.html

Art in the Age of Machine Learning | The MIT Press, 2021.

By Sofian Audry
Foreword by Yoshua Bengio

An examination of machine learning art and its practice in new media art and music.
Over the past decade, an artistic movement has emerged that draws on machine learning as both inspiration and medium. In this book, transdisciplinary artist-researcher Sofian Audry examines artistic practices at the intersection of machine learning and new media art, providing conceptual tools and historical perspectives for new media artists, musicians, composers, writers, curators, and theorists. Audry looks at works from a broad range of practices, including new media installation, robotic art, visual art, electronic music and sound, and electronic literature, connecting machine learning art to such earlier artistic practices as cybernetics art, artificial life art, and evolutionary art. https://mitpress.mit.edu/books/art-age-machine-learning


Chefs-d’œuvre du XXIe siècle, Dominique Moulon, Nouvelles éditions Scala, 2021.

Si les artisans du Moyen-Âge s’accomplissaient dans la production d’un chef-d’œuvre, au XIXe siècle, avec l’avènement du musée, le chef-d’œuvre prend toute sa dimension pour qu’enfin les avant-gardes de l’art moderne ne s’en détournent. Cette notion ré-émerge pourtant en ce premier quart du XXIe siècle sur lequel on peut déjà porter un regard critique au travers des créations contemporaines qui l’illustrent si parfaitement. Les cinquante chefs-d’œuvre rassemblés dans cet ouvrage sont abordés par le prisme des problématiques contemporaines que soulèvent, entre autres, notre cohabitation avec les robots, la relation que nous entretenons avec l’intelligence artificielle, le flux des images et le traitement de nos données. Car les chefs-d’œuvre de la troisième révolution industrielle, ceux-là mêmes qui émergent tant de l’usage que de la critique des sciences et des technologies de l’innovation nous offrent autant de lectures du monde du tout digital d’aujourd’hui. Chaque création analysée permet de considérer ce qui, possiblement en elle, fait chef-d’œuvre !


L’énigme autodidacte – The self-taught enigma, Musée d’art moderne et contemporain de Saint Etienne, 2021
Essais de Charlotte Laubard, Hélène Bézille, Lynne Cooke et Christophe Kihm, notices pour chacun des 44 artistes
exposés rédigées par Marie Applagnat, Arthur Dayras, Alexandre Quoi et Elsa Vettier. Bilingue français – anglais. Coédition avec avec les Éditions Snoeck.

Georges Adéagbo, Horst Ademeit, Raymonde Arcier, Marcel Bascoulard, Ben, Adelhyd van Bender, Guillaume Bijl, Irma Blank, Alighiero Boetti, Christian Boltanski, Marcel Broodthaers, Frédéric Bruly-Bouabré, Sophie Calle, Maurizio Cattelan, Ferdinand Cheval, Roberto Cuoghi, Henry Darger, Justine Emard, Robert Filliou, Richard Greaves, Chauncey Hare, Seydou Keïta, Bodys Isek Kingelez, Yves Klein, Emma Kunz, Jean Le Gac, Gianni Motti, Tania Mouraud, Arnold Odermatt, Francis Palanc, Présence Panchounette, Gianni Piacentino, Carol Rama, Jean-Pierre Raynaud, Carole Roussopoulos, Jean-Michel Sanéjouand, Judith Scott, Ceija Stojka, Miroslav Tichý, Jeanne Tripier, Wendy Vainity, Galaxia Wang, George Widener, Adolf Wölfli.

340 pages. Prix : 45 euros.


2020 – « Real Feelings. Emotion and Technology », Catalogue of the exhibition, HEK, Basel

Christoph Merian Verlag, 2020
Sabine Himmelsbach, Ariane Koek, Angelique Spaninks (eds.)
Our everyday life is determined by digital technology in all areas of life: Human-like robots are used in health care, sex robots compensate for the deficits of human relationships, intelligent devices listen to our conversations and take care of our needs – we communicate more with our technology than with other people. The publication Real Feelings examines the rapidly changing relationship between technology and emotions and presents works by 20 international artists. They explore how technology today represents, manipulates and changes the way we feel.
With contributions by curators Sabine Himmelsbach, Ariana Koek and Angelique Spaninks as well as António Damásio, neuroscientist and bestselling author and artist Cécile B. Evans. Price:  29 CHF (zzgl. Versandkosten)


2020 – « FUTURE AND THE ARTS », Mori Art Museum, Tokyo
Exhibition’s Catalogue
Essays by: Nanjo Fumio (Director, Mori Art Museum)
Igarashi Taro (Architectural Critic / Professor, Tohoku University)
Kubota Akihiro (Professor, Tama Art University / Artist)
Marie-Ange Brayer (The Head of the Design and industrial Prospective Department at Centre Pompidou, Musée National d’Art Moderne / Centre de Création Industrielle, Paris)
Honor Harger (Executive Director, ArtScience Museum, Singapore)
Kate Crawford (Director of Research, AI Now Institute at New York University; Distinguished Research Professor, New York University)
Price: 3,520 yen (incl. tax), date of Issue: December 27, 2019
Edited & Published by: Mori Art Museum, Tokyo; Bijutsu Shuppan-Sha Co., Ltd.


2019 – « DESIRE: A REVISION FROM THE 20TH CENTURY TO THE DIGITAL AGE »
Modern Art Museum, Dublin, Ireland
This publication accompanies the exhibition, Desire: A Revision from the 20th Century to the Digital Age, featuring contributions from the exhibiting artists, co-curators and key contemporary thinkers from a variety of fields, ranging from poetry and philosophy to architecture and performance, including Sasha Bonét, Vaari Claffey, Pádraic E. Moore, Yuko Hasegawa, Johanna Hedva, Jonah King, Aidan Mathews, Eddie Peake, Mario Perniola, Jennie Taylor and Nathalie Weadick.


2019 – « AI MORE THAN HUMAN » Barbican center, London, UK
« The AI: More than Human » catalogue considers the philosophical, scientific and artistic approaches to artificial intelligence; exploring and expanding on the themes and content of the exhibition.
With 250 pages of illustrated content, the catalogue features introductions by the exhibition’s curators, and essays and conversations from key figures and thinkers in the field.
The exhibition AI: More than Human is at the Barbican from 16 May to 26 Aug 2019.


2019 – Exhibition’s Catalogue « Roppongi Crossing 2019: Connexions », Mori Art Museum, Tokyo
Essays by: Tsubaki Reiko (Curator, Mori Art Museum), Tokuyama Hirokazu (Associate Curator, Mori Art Museum), Kumakura Haruko (Assistant Curator, Mori Art Museum), Ozaki Tetsuya (Journalist, Art director), Clélia Zernik (Art critic; Professor, L’École Nationale Supérieure des Beaux-Arts; Philosopher), Hasegawa Arata (Independent curator)
Date of Issue: March 19, 2019
Edited & Published by: Mori Art Museum, Tokyo and Bijutsu Shuppan-Sha Co., Ltd.


Fukami2019 -Catalogue d’exposition « Fukami, une plongée dans l’esthétique japonaise, » Hôtel Salomon de Rothschild, Yuko Hasegawa
Avec les essais (Commissaire: Yuko Hasegawa, Philosophe: Christine Buci-Glucksmann, Historiens d’art: Nobuo Tsuji, et les autres)
Edité par Editions Flammarion
À paraître le 24/04/2019 


2019 – BONDING. Intimacy, Relationships, New worlds
Fotografia Europea 2019 catalogue
Publisher: Gli Ori

Italian / English
Format 24 x 17 cm
256 pages
251 color photographs Price 28 €

Essays in the catalog by: Walter Guadagnini, Vanni Codeluppi
Solo exhibitions: Horst P. Horst, Larry Fink, Vincenzo Castella, Giovanni Chiaramonte, Michele Nastasi, Francesco Jodice, Vittorio Mortarotti, Jacopo Benassi, Pixy Liao, Kenta Cobayashi, Ryuichi Ishikawa, Motoyuki Daifu, Samuel Gratacap, Justine Emard, Pietrfrancesco Celada, Jaakko kahilaniemi, Lucie Khahoutian


2019 Catalogue d’exposition – « En fuyant, ils cherchent une arme » Stéphanie Vidal
Maison Populaire de Montreuil, France
« En fuyant ils cherchent une arme » est un cycle de trois expositions qui propose de montrer comment des artistes contemporains exposent, à travers leurs gestes, des modes de résistance. Engagées, activistes, militantes, ces actions ne peuvent qu’être revendiquées ; la résistance comme pratique clandestine n’est plus : nous entrons dans l’époque des résistances ouvertes. Si l’art c’est ce qui résiste, alors nous pouvons nous demander ce qu’est résister, en art, aujourd’hui. Quelles sont les conditions d’émergence et de puissance d’un art en résistance maintenant que la consistance du monde a changé ? Selon Deleuze, ce serait sur les ruines, sur la panique et sur les lignes de fuite que la création adviendrait. Les oeuvres présentées dans l’ensemble de ce cycle sont nées de cette agitation. En prise avec l’époque, elles prennent toutes la forme du désir impérieux de créer des ensembles inédits en prenant en compte les singularités. Cet ouvrage fait la synthèse de l’exposition en trois temps présentée tout au long de l’année à la Maison Populaire de Montreuil.

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