La Plateforme Intermédia, Nantes (April – May 2026)

A collective exhibition at the heart of living systems. “Cartographie Sensible” proposes a sensitive, embodied mapping of territories — ecological, bodily, sonic and relational — through installation, sound art and digital works. The exhibition brings together children's sound pieces documenting their neighbourhood, a student collective work mixing felt, sound and cartography developed during a residency in Cyprus, and video works by artist Riccardo Martinez exploring landscape, memory and identity.

La Plateforme Intermédia, Nantes (June – August 2025)

Facing the rise of fascist ideologies in Europe, this exhibition asserts what persists, what resists, what will not be silenced. Presented as part of Electropixel Festival 15, the show gathers works from radical, feminist, electronic, decolonial and collective practices — concrete strategies of self-defence, listening, memory and the subversion of dominant technologies. With works by Marie-Laure Dupont, Na/Da, Eduard Sufrin and Sonia Saroya.

University of Washington, Seattle, USA (June 2025)

An exhibition, workshop and concert programme developed during a residency at the University of Washington, bringing together installation works, invented instruments and live performance by Solar Return and the Apo33 collective, as part of the group's extended West Coast USA tour.

La Gaterie, La Roche sur Yon (10–16 March 2025) & Les Ateliers de Bitche, Nantes (20–29 March 2025)

A double-venue collective exhibition bringing together recent works by Julien Ottavi, Jenny Pickett and the Apo33 collective, shown simultaneously in two complementary spaces in the Pays de la Loire region.

Online Diffusion (December 2024)

A sonic journey through the wetlands of Norfolk, UK, diffused publicly online. Field recordings of marshland environments — birds, wind, water, insects — are composed into an immersive listening experience. Part of Apo33's ongoing research into ecological listening and the sonic documentation of threatened landscapes.

Plateforme Intermédia, Nantes (October – November 2024)

An exploration of the duality between calm and danger inherent to water. Through sound and interactive installations, the exhibition navigates between the serenity of still waters and the turbulence of abyssal depths. Apo33 Collective, Andreas Monopolis and Thanos Vozikis capture the tension between surface and depths, proposing immersive works that reveal the complexity of aquatic waves and invite visitors into an extra-sensory journey at the edge of the abyss.

CCBT (Cyber-Arts Center), Tokyo, Japan (June 2024)

A silent installation — no sound, only the visual residue of electromagnetic phenomena made perceptible. The work renders invisible signal fields as image, presenting electromagnetic noise as a visual experience stripped of its acoustic dimension. Shown as part of an international group exhibition at CCBT alongside works by European and Japanese artists, with roundtables and workshops.

Plateforme Intermédia, Nantes (April – May 2024)

An installation combining video works by Katherine Liberovskaya and Phill Niblock with a generative AI layer developed by the Apo33 collective — “Niblock AI – Infinite Memory v1 for 16 Karplus Strong Strings”. Produced as a tribute following Phill Niblock's death in January 2024, the work proposes an infinite machine-generated memory of his sustained-tone music practice through AI-generated sound structures and a 16-channel spatialized configuration.

Plateforme Intermédia, Nantes (October – November 2023) — Festival WAVE, Biennale des Arts Visuels

An interactive video installation exploring the artists' long relationship with trees and forests. Drawing on years of practice listening to inaudible natural phenomena — rivers, trees, stars, insects — this work focuses on the sonic landscape of Białowieża, the last primeval forest in Europe, on the Belarus border: a place where military forces mass while refugees attempt to cross into Europe through what locals call “the jungle”. The forest is simultaneously friend and enemy, a source of tranquillity and agitation, healing and horror.

Les Ateliers de Bitche, Nantes (March 2023)

An exhibition placing noise music and experimental sound practice in dialogue with natural processes — field recordings, plant-based electronics, environmental listening and ecological research. With works by Anna Greenwood, Nathalie Plantin, Madeleine Anna Pickett, Gabriel Vogel, Rhys Trimble, Jenny Pickett and Julien Ottavi.

La Plateforme, Paris (September – October 2022)

An exhibition as part of Electropixel Festival 12, gathering an international collective including Solar Return (Jenny Pickett & Julien Ottavi), Ben Owen, Nikki Lindt, Seth Cluett, Heidi Neilson, Amble Skuse, Gaël Segalen, Marinos Koutsomichalis, Dinah Bird and Jean-Philippe Renoult around the Horspiel Machine — a collective radio art project drawing on the tradition of German experimental Hörspiel radio.

Governors Island, New York City, USA (August 2022)

As part of Electropixel 12's international programme, Solar Return and the Apo33 collective participated in an exhibition hosted by Harvestworks at Nolan Park on Governors Island, New York — part of a sprawling international iteration of the festival spanning NYC, Paris, Nantes and beyond.

Plateforme Intermédia, Nantes (October – November 2022)

A collective exhibition exploring the biology, metaphor and radical potential of fungal life. From John Cage's writings on mushrooms to the Mycelium Network Society project, the show brought together works by John Cage, Michael Prime, Collectif Apo33, Romain Le Badezet and Oscar Santis — positioning mycelium networks as models for collective organisation, distributed communication and non-hierarchical living systems.

As If Radio / COP26, Glasgow, UK — Online Transmission (November 2021)

A radio and online transmission installation produced in the context of COP26, diffusing recordings of underwater acoustic pollution — engine noise, sonar, industrial discharge — as both documentary and aesthetic object, transmitting a portrait of oceanic environments under industrial pressure.

Plateforme Intermédia, Nantes (October – November 2021)

Borrowing its title from J.G. Ballard's novel, “Concrete Island” is an installation examining ecological collapse, carbon cycles and the brutality of urban concrete environments through sound, visual matter and data, at the intersection of environmental research and noise aesthetics.

STWST, Linz, Austria (September 2021)

Concluding the Electropixel residency in Linz, Apo33 presented several new works during STWST48x7 and Ars Electronica festival, including Babble v1 by Solar Return — a work developed during an extended residency at the STWST venue exploring transmission, signal and collective radio practice.

La Plateforme Intermédia, Nantes (May – June 2021)

An exhibition presenting a collection of invented and modified instruments developed by Solar Return over several years of research and performance practice, exploring the boundaries between acoustic, electronic and electromagnetic sound production.

Les Ateliers de Bitche & Live Internet, Nantes (March 2021)

A sound installation and online diffusion project drawing on field recordings made underwater along the French Atlantic coast, presenting inaudible sonic environments beneath water surfaces both physically in the gallery space and simultaneously as a live internet stream.

Les Ateliers de Bitche, Nantes (February 2020)

A collective exhibition bringing together works around the shared community and creative space of Les Ateliers de Bitche.

Plateforme Intermédia, Nantes (April – May 2019)

(The Languages of Trees)

For several years the artists of Solar Return have been seeking to unlock the language of trees. They have recorded trees across several continents and assembled a library from which they weave guttural sounds produced with their own voices. Built on a foundation of borborythmes and throat sounds inspired by the recorded voices of trees, these wooden voices create a space for dialogue — a sound poetry diverted from the intimate act of listening to trees. The core, the inner structure of these ancient trees amplified, becomes crackling sonorities through their fragile fingertips, to which contact microphones are attached. When we listen to these trees, we have the impression of accessing hundreds of secrets and stories hidden within the rustling leaves and the deep growls emanating from their trunks. The trees speak to us — we just need to listen.

Plateforme Intermédia, Nantes (October – November 2018)

An installation exploring the viral and virtual dimensions of bodies, networks and contamination — biological and digital processes examined through sound, image and interactive devices, touching on questions of performance and the virtuality of the body.

Plateforme Intermédia, Nantes (June 2018)

A radio installation by the Brouillage Anti-Radio Group (London / Tokyo / Berlin / Nantes), occupying the airwaves to pirate and subvert radio signals as an act of sonic and political interference. The group invades the electromagnetic spectrum as a creative and critical gesture.

Taipei Biennale 2018, Taipei Fine Arts Museum, Taiwan (November 2018 – March 2019)

Motherplants Mycelium network and artistic research

Since 2015 we have been working on the use of organic organisms such as plants and fungi in the processes of recycling ewaste and how these systems create feedback audio signal transmission using moisture and decomposition of the circuit boards. Two projects with differing relations to mycelium, networks and audio diffusion were proposed : Motherplants as new computing experience and Biofeedback installation as a way to create an art installation or a performance using bioelectrical signal. This paper engages with the notions of symbiosis and mutation of existing technologies to explore new ways of interaction with recycling, art research and implementation of new network model based on mycelium communication cooperation system.

Is it an anti-cybernetic process we are developing? What if spores could calculate? What is a fungal network? Can we operate a mutation between electronics and mycelium? Can we generate power from these installations?

ground, flowers, plant, copper, zinc, 555 electronics diy circuits and piezo.

Feeding from the ground, a few sound structures are invading the gallery space to change our perception of the inner structure of each of the components that it makes up. Sound is related to a time destination, though the journey is not always articulated as it fade away, the electronics survive on tiny batteries that die after one day, like an insect, the little changes in their song is related to how the acidity of the ground evolves during the day. The function of the plants in this process is essential, research on micro-evolutions is central, sound is represented as a process that exchanges with nature. Nurtured by water, the ground welcomes ions and becomes a resistance for the circuit, feeding the circuit with its little events.

Plateforme Intermedia (Nantes) - The Internet’s Entropic Silences

Sniffing the network and transforming it into a sonic and visual potential—this is our premise. We aim to construct a set of relationships and translation systems for code tied to network hacking methods and activity detection, machine names, and information transmission through the ether. Silence does not exist, and the internet is noisy. We are the time travelers crossing projected space in obsolete bodies. Chaoslab extends this notion of chaos and entropy to the representation of the network; it is not a finished, established work, but rather protocols for transforming an invisible virtual space.

Neon Festival (Dundee), New York University (NYC), Saint Etienne University (Saint-Etienne)

Thêta Fantomes - Beta0.3 from apo33 on Vimeo.

Blockhaus DY10, Plateforme Intermedia (Nantes)

Julien Ottavi - The Death of Computer (post digital) from apo33 on Vimeo.

Plateforme Intermedia (Nantes), ongoing research

GHOST HUNTER – feedback, microphones, amplification, speakers and space.

For an undetermined duration, a quasi-living entity is seeking the subtle moments where the spectre stripped bare. Through setting up of a fragile relation between the tension and its slackness, this time where sound disappears and is replaced by the deepest doubts, those coming from a slight anxiety pushed forward by micro-cracks in the non-human interpretation of a distant visual musique as the art of nothing. The refusal of a reject or an error, if not dramatic, at least allegorical, the error of a machine for breaking off electronic rejects, a system of returning to the source in discussion with the invisible forms of a black box, non-space, new, revived and neutral of all previous life. Is that true? How can it work when we look for something that does not exist a priori? How does this subtle form, this piece of non-living, become impregnated in us and create a mystery that we are trying resolve: that of its disappearance?

Plateforme Intermédia, l'atelier (Nantes)

ↄ⃝ NSA @ Piksel Fest - Bergen from apo33 on Vimeo.

Ars Electronica (Linz), Piksel (Bergen)

Plateforme Intermédia, Pantoum (Quebec)

sound drawing, copper wire, chalk, wood, stone and music of our world

Three drawings made of copper wired as double fonction: a visual (non-cochlear) graphical score and an antenna to transmit soundscape (cochlear) recorded in the environment of the museum and the Thye region. Sounds from underwater, windmills, electrical cables, ant activities, bats sonar and electromagnetic storms in the stratosphere.

From 20th of July to 10th of August 2015 – Jenny Pickett & Julien Ottavi were in residency in Frostrup – Denmark at the Kirsten Kjær Museum

Sculpture-sonore (Paille, haut-parlers, electroniques)

Cercle de paille d'où proviennent une multitude de sons, à la fois électrique et organique, il y a mouvement au centre, en de ça du cercle, à chaque partie, comme si toute une vie se serait invité en son sein. Il s'agit d’une pièce crée pour la Gâterie ou le dedans et le dehors deviennent insaisissables, il y a une relation à la l'exposition, au faire oeuvre qui se transpose au niveau de l'acte du dé-réaliser l'oeuvre elle-même, le son permettant de transformer ces lignes de fuite en mouvement entropique et hétérogène. C'est aussi une réponse à la proposition du Bot de Paille qui est devenu une machine molle-folle où l'organisé-organique disparait au profit d'un amas de déchets électroniques accumulés, de la paille il ne reste que la Botte, la paille réelle organisé en cercle se concentre sur une matérialité de l'écoute infime, à la limite de l'audible. Le Bot se déploie dans une architecture extérieur-intérieur, captant le réel pour le compacter dans son corps mutant et dégénératif.

exhibition at L'atelier, 2013

birds1_garenne_web.jpg birds2_garenne_web.jpg birds3_garenne_web.jpg

Garenne Lemot (Clisson)

Speakers, microphone, light, polyester fabric & rubber – Possession is a human size, tactile wasp-like cocoon.

Radotage is a composition about loops, rhythm, obsessions, retellings and growing old : all those wigs turning endlessly, scratching the away at the surface.

Possession and Radotage were created in collaboration with Jenny Pickett for Dislocated Flesh Exhibition at Tenderpixel Gallery, Cecil Court, London

Dream Sweepers is a sound sculpture using speech (narration) and sound related to concepts of memory and experience. The audio souvenirs, perceived ambiances and the received sonic life of the city delivers its unconscious impressions / expressions and simultaneously transmits those via remote telephonic narratives and resounding cut ups echoing across different cityscapes (London, Marseille, Nantes, Amiens…etc).

The Installation takes the form of Graphical Score – structured and unstructured elements refer to the possibility of alternative audio compositions of the inter-city soundscapes – Only those components needed for the audio inputs and outputs are used in this work.

Dream Sweepers 2.0 was also selected for “the engine room: exhibition” 2011 at Morley Gallery, London as part of a celebration of the influential composer Cornelius Cardew.

Sound sculpture for furniture and found objects - Vigan June 2011

Sound sculpture for Lamp & red light - Electropixel Festival May 2011

Digital Sculpture, Invisible narration & machinic eruption

Dream Sweepers is a sound sculpture using speech (narration) and sound related to concepts of memory and experience. The audio souvenirs, perceived ambiances and the received sonic life of the city delivers its unconscious impressions / expressions and simultaneously transmits those via remote telephonic narratives and resounding cut ups echoing across different cityscapes (London, Marseille, Nantes, Amiens…etc)

by Jenny Pickett & Julien Ottavi

DREAM SWEEPERS 2010
envoyé par apo33. - Découvrez plus de vidéos créatives.

Dream Sweepers Installation - APO33 - Jenny Pickett & Julien Ottavi from apo33 on Vimeo.

Paris 2009 - Mal Au Pixel Festival

London 2008 - Reboot Festival

Marseille 2008 - Riam Festival

Bergen 2007 - Piksel Festival

Developed with Dominique Leroy

Arougate is an installation that involves the environnement of the space he is invited to hunt in.

Arougate is a digital beast who hunts information, tracks it, feeds on it, and generally reacts to it. Arougate behaves like a wolf when he eats his ‘preys’ ; no one can disturb him without consequence; the combination of a machinic system with the poetic-modelisation of animal reactions creates an uncontrollable noise activity in a specific place.

Arougate is composed of audio, video, data sensor extensions which enable him to hunt in any situation; the bestial mechanism operates fast interactions on the hunted information which is then divided into two layers: the digestive mechanism of the beast’s digital belly and his swift reaction to hunting in a dangerous steppe. The outcome of these interactions is redistributed in space with the help of video & audio signals, spatialized by different devices (speakers, TV radios, wall projection…etc).

When people invade the digital den, they enter simultaneously the beast’s belly and mind, or rather, a strong chaotic mixture of wires (electrical, networked, metal…etc), speakers, machines (nuxbox), radios and others unexpected objects, where vibrations (light and air) come to crash!

AROUGATE - APO33 INSTALLATION- PIKSEL FESTIVAL - BERGEN 2007 from apo33 on Vimeo.

HALBOT in Bulgarie/Hongrie - collaborations between JEAN-PHILIPPE ROUX & JULIEN OTTAVI

HAL et le Poulpe sont deux installations sonores en réseau développées respectivement par CS3 et Apo33. Elles captent les sons environnants et envisagent le lieux où elles prennent place comme une réalité qui les constitue : les ambiances sonores de la ville, des véhicules, le bruits des passants, les murs qui résonnent, toutes ces vibrations sont autant de sources sonores qui permettent de réaliser l’image sonore de la vie des lieux…

Envisagé comme un dialogue entre ces deux projets, HALBOT est constitué de trois installations qui seront mises en place par Apo33 et CS3 : A Giurgiu et Rousse, une double installation sera réalisée et interconnectée via internet à une installation réalisée à Mons. L’objectif sera de confronter deux approches différentes du territoire et des formes sonores dans la contrainte de dispositifs techniques similaires, avec un jeu dans les modes de captation, de forme visuelle. Cette interconnexion propose la réalisation d’une installation délocalisée, ou plutôt multi localisée, où chaque ville se projette dans les autres.

Suggérée par le réseau de câbles et autres machines, les installations sonores de Mons, Giurgiu et Rousse forment ensemble une sculpture, une méta-installation qui existe dans des espaces et des temps multiples. Dans chaque ville, les visiteurs sont en présence d’une installation et, dans le même temps pourront se projeter par l’écoute dans une autre espace-temps : d’une ville proche située sur l’autre rive à une ville située à des centaines de kilomètres sur un autre fleuve.

POULPE INSTALLATION - APO33 - 2005 from apo33 on Vimeo.

Orchestre d'automates / moteur qui joue des instruments, objets et structures architecturales

-from 15th to 18th of november - AROUGATE interactive installation - Julien Ottavi in Collboration with Dominique Leroy @ Piksel07 – Bergen – Norway

-CIA - Installation du POULPE à la Friche Belle de mai de Marseille (Décembre 2006)

-Joystick band installation - Festival du Libre - Nantes (novembre 2006)

-CIA - Re-installation du POULPE à Friche l'antre-paux - Bourges (Octobre/novembre 2006)

-Ecos & L'hydromachine - installation à maison de l'île - Nantes (octobre 2006)

-CIA - Chaos Micromedia Project - Piksel - Bergen/Norway (Octobre 2006)

-micro-installation (wind/ants/light) au recnontre d'Ecos - Rezé (août 2006)

-CIA - install/performance Calom/micromedia - Scoptione Festival - Nantes (juillet 2006)

-APO33 propose le Crealab au FSE à Athénes (avril 2006)

-CIA - installation/performance - Palais Jacques Coeur / Bandits-mages - Bourges (février 2006)

-CIA – création de l'installation du Poulpe (toute l'année 2005) : organisme analogique et numérique en réseau échangeant des flux sonores entre quatre villes (Nantes, Orléans, Bourges et Tours). Présentation finale au festival Bandits-mages du 02 au 04 février 2006.

-NANOFAMAS - installation project - Blockhaus DY10 - Nantes (avril 2005)

-APO33 Installation Network - FSM5 - Porto Alegre - Brazil (2005)

-CIA - installation - Festival Lieux Communs - Paris (2004)

-CIA - Exposition collective Chateau De Blain (2004)

-Dispositif Radiophonique mobile - Festival Scopitone - Nantes (2004)

-CIA - Festival Oh Cet Echo / Espace Gantner - Bourogne (2004)

-Dispoitif Radiophonique Mobile - Festival Bandits-mages - Bourges (2003)

-Dispositif Radiophonique Mobile (APO33) - La Villette - Paris (2003)

-CIA Laboratoire Radiosonique - Quartier CHU - Nantes (2003)

-Sculpture Sonore & action directe - APO33 - Nantes (2003)

- Sound & visual installation APO33 - BIAS gallery - Nantes (2002)

-CIA (APO33) - exposition Collective - Jardin Malakoff / association La Valise - Nantes (2002)

- DLRS Sound installation - Théatre Athénor - Nantes (2001)

-Sound Installation - ERBAN - Nantes (2000)

-Artémia Symposium - Guérande (1999)

-Exhibitions - Atelier sur l'Herbe - Nantes - (1999)

-Photography Installation - ERBAN - Nantes (1998) -NYC Festival - LU - Nantes (1998)