@ ADAGP Alizée Armet 2019









   ° Quitterie Charpentier,
   Mediation and communication officer at Accès(s) Electroniques
Alizée Armet is a French artist based in the Basque Country (FR) and Paris. 
An image that attracts the eye: a thick flyer on which we see a kind of Komondor, haired dog Long 
(here in the photo, they are mops arranged like a dog) on ​​a background of blue fabric at the Way 
of a Screen Motion, which could be replaced by another background image via a computer software. 
When you enter the anti white cube exhibition space by Different proposals of Alizée Armet, one 
is at first subjugated by the meticulous work that is embroidery. These fabrics & napperons obviously 
evoke the traditional art of textile. Then, little by little, one discovers the diversion of these objects, 
one finds several indices of the World Wild Web: computers, DATA & embroidered HTML. Even the scenography 
of the exhibition Allows the works to interact with each other like a spider web extending over the network 
Internet. Everything can be linked, any dialogue. 
The art of embroidering, this patient craft, contrasts with our way of surfing the web, reading the 
Information without retaining them. Here, embroidery is a kind of memory, that of Alizée but also the our. 
Our memories of the network are there, delicately transcribed on canvases (real fabrics) By cross stitches,
 stem stitches, stitches, etc., such as pixels forming a digital image, And marked concretely, manually 
in this space. Alizée explores the metavers, flows and throws them on matter. 
It reappropriates the use of Embroidery, it makes a new interpretation.  

° Maylis Doucet, contributeur à 10point15

Alizée Armet invents here a virtual reality device connected to our brain.
His neuroscience helmet takes us to a Frankfurt marketplace, where a digital beacon is located in
the centre. With this device, Alizée Armet tries to escape from a fixed and immobile architecture in
which art sometimes gets entangled.
We take our place in the Alizée Armet system as we take our place in a video game arena where
each vibration of our being is transcribed live before our eyes, eager for intensity. The result: 3D
canvases created by photogrammetry and frozen in weightlessness like artifacts petrified in the air.
These canvases therefore show the complexity of the vision of the machines and not that of the
men coming from the algorithmic codes created thanks to the software used by Alizée Armet.
To realize this device, the artist's studio quickly transformed into a programming and neurology
laboratory in which she learned to play with data. Detached from scientific fears where art is a
dangerous discipline, she seeks aesthetic answers where artists no longer venture: neurological
science and the challenges of deep learning.
Alizée Armet's work also takes into account the Promethean shame that humans feel the
weakness of their human biological condition, their sufferings and limitations compared to the
omnipotence and perfection of technology.