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.

Datacomb Area
Liebaert Project, Kortrijk, Belgium

17.Sep - 29.Oct 2023


In his exhi­bi­tion ​‘Datacomb Area’, Erwan Sene lays seems to have entered into con­ver­sa­tion with hawk­ish rulers, who have told him of their hatred for poet­ry; with those who man­age the levers of pow­er and use their con­trol mech­a­nisms to plan the final assault on the last remains of free­dom. Here and there they have plant­ed strange-look­ing machines, like beasts made of met­al and fit­ted with plas­tic cables, lurk­ing on us from rusty street fur­ni­ture.

However, these sur­veil­lance tech­nolo­gies appear to be get­ting increas­ing­ly lost in their own dis­course. They seem to be able to talk only about the milieu of wide­spread fraud, the arti­fi­cial and of pol­lu­tion, which they them­selves have spread and in which they bathe them­selves. They are qui­et­ly becom­ing exhaust­ed, even despite their abil­i­ty to imi­tate the kind of bio­lu­mi­nes­cence found only in the deep­est seas. The flash­ing lights that are the sign of their pow­er and pres­ence grow dim every day.

With this, a dead­ly tri­umph sud­den­ly changes course as the path towards a vibrant life becomes pass­able again. Where con­trol and sur­veil­lance try to make their mark, the pos­si­bil­i­ty of a game always remains, even if it is hide-and-seek. Through his inter­ven­tions, Erwan Sene reveals an amuse­ment park that could well be a memo­r­i­al to the bygone dreams of a tech­ni­cal utopia. It could also be a place for cel­e­bra­tion, where the col­lec­tive sen­sa­tion of redemp­tion con­tin­u­al­ly re-enchants the taint­ed sur­face of life. —
 Guillaume Blanc-Marianne.