édition 2026
Discover below the new media jury of this edition 2026 !
Conceptual artist working between Paris and New York. Observer-artist at the United Nations, researcher at the Sorbonne, and president of Ouest-Lumière, he began in the early 1990s by repurposing symbolic networks and industrial infrastructure using materials from the former electricity company Ouest-Lumière. His work explores the connections between energy, networks, and ethics.
His projects experiment with redistributing artistic energy between the artist and the public, often resulting in participatory works embedded in communities. He has been an artist-in-residence at the Maison Française of New York University and is the permanent curator of the Sorbonne Artgallery. He also serves as a university professor at Paris 1 Panthéon-Sorbonne, supervising doctoral research in arts, politics, and society (EAS) and directing the Master in Arts & Vision (MAVI).a
Art historian focusing on the intersections of the arts, cultural exchanges between Europe, the United States, and the former USSR, as well as the entanglements between human and non-human actors. She has curated several exhibitions, including: Golem! Avatars of a Clay Legend (MAHJ, Paris, 2017); The Ecstatic Eye: Eisenstein, Filmmaker at the Crossroads of the Arts (Centre Pompidou-Metz, 2019); Mirabil-IA: When AI Transforms Creation (Centre des Arts, Enghien-les-Bains, 2024); and The World According to AI (Jeu de Paume, Paris, 2025).
French artist and internationally acclaimed artistic director, Yacine Aït Kaci has been a pioneer in digital arts for over 25 years, creating immersive works, experiences, and narratives that use technology to envision the future.
Co-founder of the pioneering collective Electronic Shadow, he is recognized as the originator of video mapping and has produced shows and immersive experiences worldwide. He is also the creator of ELYX, a fictional character interacting with real-world contexts whose diplomatic engagement led to the establishment of a foundation of the same name. In the era of AI and post-truth, he is developing ARCHIPEL, an immersive, evolving “world-metaphor” that connects local narratives with ecosystem protection models.
Art historian, she has served as curator at the Fondation Cartier and the Collection Lambert, Avignon, before becoming director of MIAM. Attentive to emerging creation, she has initiated numerous cross-disciplinary artistic projects in France and abroad, aiming to expand the boundaries of contemporary art.
Recognized among the “100 Women in Culture” for her commitment to promoting equality and diversity in the arts and for engaging audiences often excluded from the cultural sphere, she has directed Le Grenier à Sel in Avignon since 2017, a center exploring collaborative artistic practices that intersect art, science, and digital technologies.
For over 30 years, she has combined intellectual engagement, attentive listening, and a deep passion for contemporary art.
Co‑founder of the Art [ ] Collector Prize, now in its 20th edition, she consistently works to promote the French contemporary art scene and foster dialogue between artists, collectors, and institutions.
She develops a hybrid artistic practice combining pigment and pixel. Since 2015, she has conducted interdisciplinary research integrating augmented reality, AI, QR codes, and mapping, leading to the theorization of augmented painting (augmentism).
This movement, launched in 2019 with a manifesto and a continuously expanding collective of artists, questions the transformations of creative processes and the future of life itself. With a background in journalism, curating, and research, ABK approaches her work as a laboratory where art and science merge in the post-digital era.
Author, editor, and exhibition curator based in London. As founder and editor-in-chief of Right Click Save, he develops critical and inclusive approaches to emerging technologies. He is also a visiting researcher at the Department of Computing, Goldsmiths, University of London.
A contributor to publications ranging from Artforum to Financial Times, he is the primary author of the first theorization of crypto-art aesthetics. His collective work, Right Click Save: The New Digital Art Community, was published by Vetro. In 2025, he was listed in Monopol’s “Top 100,” recognizing the most influential figures in the art world.
Since 2018, she has led Pôle PIXEL, a 32,000 m² center dedicated to supporting organizations and professionals in cinema and the moving image sector, including audiovisual, video games, immersive creation, and digital environments.
She regularly teaches at Sciences Po Grenoble and Lyon 2 University and serves as an expert advisor to companies, municipalities, and cultural organizations on the challenges of digital transitions within public policy. From 2012 to 2018, she directed Shadok, a third-place for discovery, experimentation, and sharing around digital cultures, launched by the Eurometropolis of Strasbourg in 2015.
Graduated in Fine Arts, Art Sciences, and Game Studies, she has worked at the Musée Français de la Carte à Jouer and the Musée du Quai Branly. She directed Nunc Gallery Paris (2012–2014), organizing over 50 events and curating several exhibitions and festivals.
She is also President of Doggy Art Bag, an association promoting contemporary art. Active in higher education, she has taught cultural communication and arts project management. As an author and journalist, she serves as editor-in-chief of It Art Bag and has contributed to numerous specialized media outlets.
She is dedicated to digital art and the intersections between art, technology, and science, operating spaces in Paris and Tel Aviv. An active figure in the field, she serves on the committees of Festival Nemo and SIGGRAPH Paris, and has received the Samuel de Champlain Prize.
Her expertise has led her to collaborate with major institutions such as the Centre Pompidou and ZKM, and to speak at international conferences.
Mihaela Ion is a curator, cultural manager, and art researcher based in Bucharest. She has been a member of AICA since 2021 and was elected Vice-President of AICA International in December 2025. Over the past 19 years, she has participated in major art conferences across Europe, presenting papers on communist-era art, cultural conflicts, and contemporary art practices.
She collaborates with numerous galleries, art publications, and museums, primarily in Europe but also in the Americas. Her doctoral research focused on the artistic legacy of Romania’s communist period. Mihaela Ion considers herself fortunate to have received a cultural management fellowship in London at body>data>space, as well as the Courants du Monde program fellowship in Paris, Sélestat, Strasbourg, and Nancy, awarded by the French Ministry of Culture.
With 26 years of experience in audiovisual production and fiction, she currently leads the development of immersive and interactive formats at France Télévisions, implementing a multi-platform distribution strategy.
By exploring immersive storytelling, she contributes to expanding creative imaginaries and fostering new narrative forms. Her approach combines the editorial rigor of public service with emerging technologies to renew the audience experience, through high-end co-productions widely recognized internationally, including two Lions at the Mostra.
Co-founder of Éditions Volumiques, a laboratory dedicated to inventing hybrid books and games that reconcile paper and screen. Teaching at ENSCI‑Les Ateliers, he has been exploring new forms of narrative and tangible interaction since the 1990s.
His work focuses on playful and editorial innovation, pushing the boundaries of the physical book by integrating digital technologies. He is currently dedicating significant research to the impact of generative artificial intelligence on creative processes.
She analyzes institutional appointments, museum strategies, and contemporary art trends on a daily basis.
She leads a team of specialists to provide in-depth coverage of national and international art news. Her expertise also regularly positions her as a moderator for conferences on the economic and structural challenges of the art world.
For over a decade, Linda Rolland, known as Kalon Glaz, has been creating works in AI-driven new technologies, combining NFTs, 3D, interactive installations, and digital environments.
Committed to increasing the visibility of New Media artists—particularly those recognized internationally but still underrepresented in France—she works to build bridges between artistic scenes, institutions, media, and audiences. In this spirit, she joined the OPLINE PRIZE International, following it since 2018, the year she represented the artist Pia Myrvold, nominated by Julio Le Parc.
Founder and CEO of Metahaus (@meta_haus), she curates exhibitions specializing in geometric abstraction and kinetic art.
A Chevalier des Arts et des Lettres, she is also a collector and patron, bringing together over 27 artists for each exhibition organized under the Metahaus banner.
Digital artist whose works have been exhibited across Europe, as well as in Japan, Taiwan, South Korea, Brazil, the United States, and Canada. He is the founder of two major events in Montréal: the ELEKTRA Festival, established in 1999 and dedicated to performance, and the International Digital Art Biennale, launched in 2012.
His most recent exhibition, ILLUSION, was presented at Arsenal Contemporary Art Montréal during the 7th Elektra Biennale in 2024.
Co-director of CHRONIQUES, designated as a resource hub for creation in digital environments by the French Ministry of Culture. For nearly 30 years, Chroniques has been committed to contemporary artistic creation at the digital age.
As Artistic Director of the Biennale des Imaginaires Numériques and as a curator, Mathieu Vabre develops multidisciplinary programming, combining public space installations, exhibitions, performances, shows, and meetings, and has contributed to numerous international exhibitions.
Eva L’Hoest (Liège, 1991, Belgique – vit et travaille à Bruxelles ) explore les façons dont toutes les natures d’images mentales, en particulier le souvenir et la réminiscence, trouvent à se re–matérialiser dans une forme technologique. Elle poursuit avant tout l’exploration de la mémoire et de son infime et étrange réalité subsistante. Pièces après pièces, l’artiste s’approprie les technologies de son contemporain pour révéler à la fois leur nature de prothèses d’appréhension du monde et leur potentiel en tant que médium artistique.
Son travail a été récemment présenté à la quinzième Biennale de Lyon, Lyon (France) curaté par le Palais de Tokyo, la Triennale Okayama Art Summit 2019 “IF THE SNAKE” curaté par Pierre Huyghe, Okayama (Japon), « Suspended time, Extended space » Casino Luxembourg (Benelux), « Fluo Noir » (BIP2018, Liege, BE), « WHSS » (Melange, Koln, DE), Mémoires (ADGY Culture Development Co. LtD., Bejing, CH), Trouble Water (Szczecin Museum, Szczecin, PL), « Now Belgium Now» (LLS358, Antwerp, BE), « Chimera : Marcel Berlanger, Djos Janssens et Eva L’Hoest» (Meetfactory, Prague, CZ), « Marres currents #3:Sighseeing » (Maastricht, NL).
Ses films ont été programmés récemment sous la forme d’une performance à la dernière édition du IFFR à Rotterdam, ImagesPassage à Annecy, le MACRo Museum à Rome, les Rencontres Internationales Paris–Berlin en 2018 ainsi que le Visite Film Festival à Anvers.
Mélodie Mousset (*1981, Abu Dhabi, vit à Zurich) utilise son propre corps pour cartographier, indexer et narrer un « soi » qui semble en métamorphose permanente, lui échappant dès qu’elle cherche à en prendre possession. Elle s’intéresse aux processus d’individuation biologiques, techniques, culturels, individuels et collectifs qui forment le corps. Ces questions anthropologiques et philosophiques prennent forme dans des vidéos, sculptures, installations, performances ou de la réalité virtuelle.
Dans le film Intra Aura Mélodie Mousset entreprend une recherche intense et de longue durée pour approfondir cet intérêt pour le corps, son intériorité phsychique et organique. Elle s’approprie des technologies de visualisation médicales (IRM, impression 3D), les met en rapport avec des rites chamaniques des « curanderos » Mazatèques qu’elle rencontre au cours d’un voyage au Mexique et les combine avec un travail plastique et filmographique.
Avec HanaHana, Mélodie Mousset prolonge cet intérêt pour une narration onirique, une curiosité pour la perméabilité des limites corporelles et un détournement artistique des technologies de pointe. En empruntant la forme du jeu interactif et collaboratif, cette œuvre de réalité virtuelle constitue un environnement fantastique immersif. Chacun.e peut générer des formes et laisser des traces de son passage dans ce désert habité par des sculptures archaïques où fleurissent des mains humaines de toutes tailles et couleurs. Les joueuses et joueurs peuvent se téléporter et multiplier leurs corps à l’extérieur d’eux mêmes et, en version connectée, interagir avec des joueurs qui se trouvent à d’autres endroits. L’espace d’exposition devient ainsi un espace partagé, à la frontière de l’intime et du public, virtuel tout autant que réel.
La combinaison de la musique envoûtante avec l’audio interactif, généré en temps réel par les activités et gestes des joueuses et des joueurs, est également une composante essentielle de cet environnement multi-sensoriel. Dernièrement, Mélodie Mousset fouille particulièrement l’aspect interactif et musical de la réalité virtuelle et cherche à développer un nouveau langage de programmation et d’expérience musicale.
La pratique de Mélodie Mousset s’inscrit profondément dans l’expérience d’un monde contemporain déroutant, défini par ce contraste entre le numérique et le corporel. Avec ses œuvres nous sommes amenés à nous questionner comment se positionnent, dans cet environnement de plus en plus dirigé par les technologies numériques, les corps humains physiques, réels, opaques, vivants, remplis d’organes, porteurs d’une intériorité mentale et psychique, avec des recoins riches d’imagination. Comme le dit l’écrivain et vidéaste américaine Chris Kraus : « Mousset’s associative process is so rich. She fully believes in her own imagination and the logical or alogical digressions that shape an inner life. » (424 mots)
– Claire Hoffmann
Justine Emard (née en 1987) explore les nouvelles relations qui s’instaurent entre nos existences et la technologie.En associant les différents médiums de l’image – photographie, vidéo, réalité virtuelle et performance -, elle situe son travail dans un flux entre la robotique, les neurosciences, la vie organique et
l’intelligence artificielle.
De la création d’un dialogue entre un robot androïde et une psychologue (Erika, film de recherche,2016), à la matérialisation de rêves en impressions 3D (Dance Me Deep, 2020), en passant par une performance avec un moine bouddhiste (Heavy Requiem, 2019), ses œuvres tissent de nouveaux récits, issus d’interactions humains-machines et de l’incarnation de données. Dans Co(AI)xistence (2017), elle met en scène une première rencontre entre deux formes de vies différentes : un danseur/acteur, Mirai Moriyama, et le robot Alter, animé par une forme de vie primitive basée sur un système neuronal, une intelligence artificielle (IA) programmée par le laboratoire de Takashi Ikegami (Université de Tokyo), dont l’incarnation humanoïde a été créée par le laboratoire de Hiroshi Ishiguro (Université d’Osaka).
Grâce à un système d’apprentissage profond, l’IA apprend de l’humain, comme l’humain apprend de la machine, pour tenter de définir de nouvelles perspectives de coexistence. Une esquisse des possibilités du futur apparaît dans Soul Shift (2019) et Symbiotic Rituals (2019), lorsque différentes générations de robots commencent à se reconnaître. Leur apparence minimale autorise une projection émotionnelle, en ouvrant un espace pour l’imagination. Le Japon, que l’artiste a découvert en 2012 et où elle continue de se rendre régulièrement, a sensiblement marqué son travail. Au cours de ses multiples séjours, elle a exploré les connexions entre sa pratique des nouveaux médias et la philosophie japonaise ; en particulier le shintoïsme, qui confère un caractère sacré à la nature. Cette pensée animiste, encore vivace à l’époque des technologies connectées, affleure dans Exovisions (2017), une installation composée de pierres, de bois pétrifiés, d’argile prise dans la roche et d’une application de réalité augmentée. Depuis 2016, elle élabore sa série photographique La Naissance des Robots (2016-2020), dans la perspective anthropologique de l’évolution humaine, entre archéologie du futur et robotique androïde. Depuis 2011, elle montre son travail lors d’expositions personnelles en France, Corée du Sud, Japon, Canada, Colombie, Suède et Italie. Elle participe également à des expositions collectives : 7ème Biennale internationale d’Art Contemporain de Moscou, NRW Forum (Düsseldorf), National Museum of Singapore (Singapour), Moscow Museum of Modern Art (Moscou), Institut Itaú Cultural (São Paulo), Cinémathèque Québécoise (Montréal), Irish Museum of Modern Art (Dublin), Mori Art Museum (Tokyo), Barbican Center (Londres).
