Erwan Sene

b.1991 Paris, France

Lives and works in Paris, France

The work of Sene is based on a sculptural corpus that extends over several levels and is composed in the future perfect tense. Letting himself slide along the slope of a multidimensional everyday life that he reimagines in all kinds of enigmatic tales, his practice reconsiders his own way of living and digesting the objects around him. He creates staging with a vast array of materials, between baroque remanence and day-to-day surrealism, and broaches the themes of language and science fiction. He develops strange ecosystems, a set of vibrant, dystopian and interconnected urban furniture that communicates through a language devised by the artist. 



Instagram : @erwansene
Email : erwansene@gmail.com  


Sene has exhibited work at Aranya Art Center China, Collection Lambert Avignon,  City SALTS Birsfelden Switzerland, Frac des pays de la Loire Nantes, Liebaert Project Kortijk Belgium, MoCo Montpellier, COUNCIL+ Berlin, Espace Niemeyer Paris, Balice Hertling Paris, High Art Paris.

As Musician he release his first album JUnQ on PAN (2023) and performed music in venue like Berghain Berlin, Nuits Sonores, Kanal Centre Pompidou and composed the soundtrack for the ballet Drip Tekhne (Choreography Adam Linder, 2024) at The Royal Danish Playhouse in Copenhagen.

Checked or four attacks that will never happen
Conditions / Bonny Poon, Toronto, Canada

April 2 - May 9 2026


With Checked or four attacks that will never happen, Erwan Sene, artist and musician, presents four Delsey suitcases from the 1970s, connected to one another by a network of cables running from one element to the next according to the cold structure of an infrastructure. The cables conceal nothing.
They expose the connection itself as a form, as if the work’s nervous system refused to lie beneath the surface. It is the definition of spectacle applied to the suitcase: not to hide, but to reveal to the point of opacity.
Each piece is an autonomous sculpture. One half is cast in industrial ABS polycarbonate, a material designed to withstand the impacts and ordinary stresses of transport—the commercial promise of indestructibility that only late capitalism could transform into an aesthetic. The other half is excavated, hollowed out, inhabited. Inside are infrasound antennas devices operating below the threshold of human hearing - and leather high-heeled shoes from the 1960s brand François Villon, understated, bourgeois, unwittingly bearing the name of a poet who invented a coded language so his accomplices could speak to one another without being understood. The whole is precise, perfectly coherent, and yet without any assignable function. The question is not whether the artifact is real. Rather, it is whether the distinction between the real and its simulacrum still has any operational meaning.


excerpt from the text by Pierre-Alexandre Mateos