A large bioplastic membrane whose lighting varies according to the residual energy captured on the Centre Pompidou building (Fossilation, 2021), a cable that moves like a snake, reacting to the rhythm of the images it is supposed to carry (Snakable, 2020), a sculpture that breathes, deforming itself in relation to its audience (RÉESPIRATION, since 2019, in process), steles on which drops of water fall, forming the image of mourners or the text of an epitaph (At Present and Mourners, 2010-2017), a large monolith and an application for smartphones to share rhythms and messages in Morse code across the city (Overexposure, 2014-2016), a robotic ball that plays against the players (The 23rd player, 2012), a dispositif for partying while putting computerised control systems to the test (Discontrol Party, 2009-2018), a wall of counters reporting on the activities of the public in front of it (Valeurs croisées, 2008), an illuminated sign searching for its words (Sign, 2012), a video of golfers getting down to work after being shouted at by the public (Free Time, 2004), pictures of traders and demonstrators changing to the rhythm of the stock market indices that make them up and break them down (All Over, 2009), a large distance meter that encourages people to get closer to the place where it is installed in the showcase (À Distances, 2012), a crowd that comes to life to salute a spectator's gesture (What's more with many, 2001), …
Samuel Bianchini creates artistics dispositifs that take the form of installations, scenographies, events or on the internet. What these dispositifs have in common is that they operate, they interact, they produce in an effective relationship with their context, with the public, the network or sometimes with themselves. What is going on is anchored in the present, in a process that involves us when it is not carried out with our participation. These processes are both very concrete - they operate right before our eyes - and at the same time symbolic - they make sense, in the plural, they are polysemic. The operative and symbolic dimensions combine and reinforce each other to produce the conditions for aesthetic and practical, affective and effective experiences, encouraging us to contemplate, reflect and act.
