Gregory Chatonsky
Since the beginning
Works in Montreal Canada

Grégory Chatonsky is a French artist based in Montreal and Paris.

He has received awards and grants including Dicream (2014), CAC (2013), CALQ (2012), CRSH (2011), Cap Digital (2010), Arcadi (2010), CNAP (2008). In 2013, he launched TELOFOSSILS, a project at Museum of contemporary art (Taipei). A second version was showed in Beijing (2015). In 2014, his solo exhibition CAPTURE at CDA (Enghein-les-bains), is about a surproductive netrock band. In 2015, EXTINCT MEMORIES was showed at IMAL (Brussels). He has participated in group exhibitions such as Erreur d'impression, Jeu de Paume (Paris), The Beginning of The End (Timisoara), Mois de la Photo (Montréal), Extimitat (Palma), Der Untergang – Doomsday (Berlin), Connect the doct and see the unseen (Roma), Interlife Crisis (Seatte), The Radius (Chicago), Il Pardosso Della Rupetizone (Roma), Augmented Senses (Shanghai), Biennale d'art contemporain (Montréal), etc. A number of residencies such as Unicorn (2015), Villa Kujoyama (2014), UQAM (2007), Abbaye de Fontevraud (2006), Le Fresnoy (2004).

He works on the relationship between existence and technology, digital ideology and digital materialism, and the dislocation that haunts the production apparatus.
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Tue Oct 12, 2004 00:00 - Sun Apr 25, 2004

How to produce, and think, of the fragments which have between them reports of difference in so much than such, which have for reports between them them clean difference, without reference to an even lost original totality, nor with a resulting totality to even come?

(Maurice Blanchot, L'Entretien infini, Gallimard, 1969, pp.451-452)

The engine of the interactive fiction is not the action, that it is the action on the screen or the action of the user.It would be naive to think that this one becomes "the hero of the history", that the principle of action refers on him.
Indeed it is very difficult, as author, initiator, programmer of the project, to then incorporate the events in the form of actions bus one reduces the possible ones, one limits them to what is registered.All this master key like if that, which occurs, cannot be registered.And there is a major paradox:the new non-linear storage mediums tells stories by what is in the defect even of the inscription.One will not name that the ininscriptible one, because that will sound like new a innefable, but the defect even of the memory.
All then occurs like if the various plans of the interactive fiction, actions, events, motivaions, etc could not never meet, to merge in a definite form.It is perhaps for this reason that the numerical fiction is in continued training, always and still.It resoud not existential flow in a catch of form (a history coherent and structured) but in a formation (of the hardly started stories and structurables, in structuring).
To continue in this infinite doubt, in this ontological disorder, it is to hold the gained step.


Gregory Chatonsky exhibition on March. 13 at OPERA NATIONAL DE LYON (PLACE DE LA COMEDIE 69001 LYON )

Thu Mar 13, 2003 00:00 - Fri Jan 30, 2004




The New York's Revolution is a real-time generated fiction of the flow of the network. A generator for text that produces an indefinite novel in the style of a book by Robbe-Grillet, "Project for a Revolution in New York" written in 1970.

Ben Said walks the streets of an American metropolis. What will be remembered is that the story that was told us was not of the account itself. Some words are associated fragments of video and sound, images are turning into "Manhattan" while walking toward Ground Zero, sounds are coming from sources of the account itself. Other words are being translated into images through Google ( Associations of all those elements, produces a flowing narration, a narrative.

One often say that our hyper-industrialized societies are entirely visual, but with the Internet the text is dominating the image. Existing entirely because of numerical support, each image has a name for indexing, and the search engine, which access the numerical-textual data, force the image to appear only after is was sort by the title. This domination, brings about questions of a complex relation between the two modes that are always interlock, historically, but, and at the same time, creating a space, a no man's land between the alpha-numeric and the icon.Today's question is not about producing new images but it is about finding it in an existing stock


Gregory Chatonsky to Lecture and Performance on Feb. 6 at T.N.T, MANUFACTURE DE CHAUSSURES (226,BD ALBERT 1ER 33800, BORDEAUX)

Thu Feb 06, 2003 00:00 - Fri Jan 30, 2004

Intentionnalite et fonctionnalite

Si la technique est ideologiquement et fonctionnellement fondee sur l'instrumentalite, l'ordinateur a quelques difficultes a comprendre l'intentionnalite de l'utilisateur, sa visee. Cet ecart entre deux modes de la finalite produit l'esthetique technologique, c'est-a-dire une incomprehension transcendantale.


Gregory Chatonsky to Lecture on Feb. 5 at CARRE DES JALLES (PL. DE LA REPUBLIQUE BP 22 33165 ST MEDARD-EN-JALLES)

Wed Feb 05, 2003 00:00 - Fri Jan 30, 2004

En effet, une image etant donnee vous pouvez la diviser, si loin que vous alliez vous la divisez en parties, vous pouvez la retourner. Combien elle a de faces ? petit n ! Elle a petit n faces. Je ne me donne encore aucune dimension de l'espace. Je ne sais pas, je par de ca. Vous me direz : facile. Non, pas facile. Pourquoi est-ce que je pars de ca ? On ne pourra le comprendre qu'apres. Je me donne un ensemble a n dimensions et a n termes, que je definis par un ensemble de choses, c'est le mot le plus vague, un ensemble de choses qui varient perpetuellement, continuellement les unes par rapport aux autres sur toutes leurs faces et dans toutes leurs parties. Un tel sensemble, je l'appelle Plan. Vous me direz, mais Plan ? plan ca veut dire deux dimensions ? Non ca ne veut pas dire deux dimensions . Je dirais aussi bien, j'avance, je pose des conventions : je dirais que c'est un plan a n dimensions. Bien plus, je dirais a la rigueur qu'il a une dimension si vous faites abstraction et vous ne considerez qu'une image, mais il a autant de dimensions que vous distinguerez d'images. Le PLAN je le definis par cet ensemble infinis de choses qui varient les unes en fonction des autres, sur toutes leurs faces et dans toutes leurs parties. En d'autres termes ca n'arrete pas de bouger. Je les appelle images parce que image c'est la ou coincident l'etre et l'apparaitre. (...)

Donc puisque ces images ne cessent pas de varier les unes par rapport aux autres, je dirais que c'est des images-mouvement. Elles sont perpetuellement en mouvement, ca n'arrete pas de bouger. Les variations de ces images s'etendent aussi loin que leurs actions et reactions. C'est un syteme d'actions et de reactions. Une image est inseparable de l'action qu'elle exerce sur toutes les autres images, et des reactions qu'elle a vis a vis de l'action qu'elle subit, c'est a dire elle envoit des actions sur toutes les autres images, elle subit des actions venant de toutes les autres images. C'est un systeme d'actions et de reactions.

Gilles Deleuze