Virgile Fraisse

Born in 1990 in Paris (France)
Lives and works in Paris (France)

Virgile Fraisse studied at Otis College (Los Angeles, MFA) and graduated from École Nationale Supérieure des Beaux-Arts in Paris with jury honors (FR, MFA, 2014). 
He has taken part in many exhibitions including Hors Pistes Traversées, Centre Pompidou (FR); SEA-ME-WE, Clark House Initiative (IN); Hotel Europa, Art Vilnius (LT); Tarmac, Palais de Tokyo (FR); Instatata, Kunsthal Aarhus (DK); Clips Claps, Caro Sposo, Cinematheque Robert-Lynen (FR); LABOR ZERO LABOR, Triangle France (FR); 61e Salon de Montrouge (FR); Mad#2/#3, Maison Rouge (FR) ; Wicked Problem, Triangle France (FR); LOOP Festival Discovery Award (SP); Les Voyageurs, Palais des Beaux-arts (FR). He is the recipient of the Video Prize from Beaux-arts Foundation, Mécènes du Sud, ADAGP and CNC DICRéAM grants. Virgile Fraisse has also authored numerous performances, including A Cables Dialectic performed at the Palais des Beaux-arts (FR); Occupancy Scenarios (I, II, III) at Arnaud Deschin Gallery (FR), at Triangle France, Friche Belle de Mai and Beffroi of Montrouge; SEA-ME-WE, Chapter Two at Centre Pompidou - Hors Pistes Festival. Virgile Fraisse is resident at Cité Internationale des Arts de Paris (FR) and will be part of KHOJ-Coriolis Effect program (IN) in September 2017.

Virgile Fraisse has an installation on view at KB17 that explores geopolitical questions surrounding the Internet. He writes of his process: “In response to an anthropologist method, Virgile Fraisse’s work invests communication’s protocols by film and installation. By criticising neoliberal strategies, his films investigate cultural influences of transcontinental relationships, for example through the image of a submarine fibre optic cable’s deployment (SEA-ME-WE, 2015-2018), or through absorption mechanisms and extension of occidental patterns (as in Prédiction/Production, 2016, or in Situations Suivantes, 2014, with the South African community’s Americanisation process). Therefore, how to measure possibilities to counter the colonisation of image circulation? With a pastiche tone, parodying the film format becoming then playgrounds, characters embody contradictory positions one after the other. Pursuing this dialectical logic with an in situ dimension, the installations convoking architectural gestures shape our physical access to information; the installations require the audience to take a stand.”