Since the early 2000s, Loris Gréaud has been following an atypical trajectory on the international contemporary art scene. He produces unique environments that often make use of disruptive elements and follow the thread of an ambiguous narrative that tends to abolish all boundaries between fiction and reality.

Rumours, poetry, viruses, architecture and demolition, academism and self-negation are all regularly invoked in his work, which strives to bring together physical and mental spaces on a single surface.

Loris Gréaud’s works can be found in numerous public collections, including: the Centre Pompidou (FR), LACMA (US), the Musée d’Art Moderne de Paris (FR), the François Pinault Collection (FR and IT) amongst others.

Uncomfortably occupying the space between tangible and virtual, THE RESIDENTS, “a rock band from San Francisco,” have long confused both critics and supporters. Since they claim to play no instruments, how can they possibly be a rock band? Since their videos are in The Museum of Modern Art, does that mean they are actually video artists? Are they the mysterious and faceless performance artists some have claimed, ...or are THE RESIDENTS nothing more than an overly self-conscious version of the ARCHIES, who don’t know when to quit?