Since the beginning of his artistic practice in the early 2000s, Hugo Arcier has been exploring computer-generated images and virtual worlds to interrogate their nature and our perception of them. His work exists at the intersection of technology, poetic observation, and reflection on reality. Each project functions as a lens, allowing the viewer to understand digital universes that are often little known, while highlighting their construction and specificities.<\/p>\n
Ghost City<\/em><\/a> (2016) marks a turning point in his artistic development. The work introduces the notion of surface as a subject of reflection. Through a digital cutting process, the surfaces of objects \u2013 mountains, buildings, rocks \u2013 become visible, revealing their hollow and illusory nature. This approach highlights the particularity of virtual worlds: everything is made of surfaces that create the illusion of volume, like a theater set whose artifice is revealed by a simple change of perspective. By making these surfaces visible, Arcier transforms the constituent elements of the digital world into the very material of perception, inviting a careful and critical reading of the virtual image.<\/p>\n This exploration of surfaces continues with De Rerum Natura<\/em><\/a> (2019), which applies the same principle to a vegetal universe. The work becomes a metaphor for the disappearance of ecosystems and the threats facing the environment. The title, borrowed from Lucretius\u2019 poem, emphasizes that what we perceive is often only an envelope behind which invisible processes unfold. The video creates a poetic and analytical space, where contemplation is combined with an ecological awareness.<\/p>\n The project Limbus<\/em><\/a> deepens this reflection by exploring spaces hidden beneath the levels of a video game. These limbos, ghost zones where nothing manifests according to the rules of the visible world, become contemplative landscapes and architectures of disappearance. The work invites the viewer to confront absence and to perceive spaces that exist without human presence, questioning the relationship between fullness and emptiness, between the visible and the invisible. The experience reveals the richness of the invisible and the capacity of digital worlds to generate unprecedented sensations.<\/p>\n Yuri\u2019s Metamorphosis<\/em> demonstrates Arcier\u2019s ongoing interest in the intersection of ecological phenomena and digital representation, blending conceptual rigor with immersive experience.<\/p>\n Throughout his practice, Arcier engages with fragility, transformation, and disappearance, whether in digital surfaces, vegetal ecosystems, unexplored virtual spaces, or evolving landscapes. These themes shape a body of work that combines conceptual rigor and poetry, using digital technologies to reveal invisible or overlooked phenomena and to encourage a careful, attentive gaze on the world.<\/p>\n Arcier\u2019s immersive projects, whether interactive or contemplative, demonstrate that technology is not merely a tool for visual production but a device capable of transforming perception. It allows for an extension of experiential time, a dilation of space, and the introduction of the viewer into environments in flux where the visible and invisible coexist. These setups create situations in which contemplation and reflection intertwine, inviting a renewed perception of both nature and virtual spaces.<\/p>\n The tension between presence and absence, between the visible and the invisible, is a guiding thread throughout his work. Whether it is the hollow surfaces of Ghost City<\/em>, the cut vegetation of De Rerum Natura<\/em>, the unexplored limbos of Limbus<\/em>, or the transforming landscapes of Yuri<\/em>, each project makes perceptible what usually escapes the eye. Absence and emptiness become sensitive materials, transforming the viewer\u2019s apprehension of the world.<\/p>\n His work also engages in an ongoing dialogue with philosophical and scientific thought. The notion of surface, the questioning of materiality and disappearance, and the attention to the transformation of ecosystems and virtual landscapes all contribute to experiences that are both poetic and analytical. The works invite reflection on the relationship between reality and virtuality, perception of the fragility of natural environments, and the way we inhabit digital and real spaces.<\/p>\n In summary, Hugo Arcier\u2019s work articulates four main axes: the deconstruction of computer-generated images and the materiality of digital surfaces, the poetic and ecological exploration of ecosystems, immersion in unexplored or contemplative spaces, and reflection on time, disappearance, and transformation. Each project creates unique conditions for observation, inviting the viewer to slow down, perceive, contemplate, and reflect on the surrounding world, whether natural or digital.<\/p>\n <\/p>\n BIOGRAPHY<\/strong><\/p>\n Hugo Arcier is a French digital artist (actually he is an artist in a digital world) who uses 3D computer graphics in various ways: video installations, prints and sculptures.<\/strong><\/p>\n <\/p>\n Devoted first to\u00a0visual effects for feature films<\/strong>, he has worked on numerous projects with directors such as Roman Polanski<\/a>, Alain Resnais or Jean-Pierre Jeunet.<\/p>\n This profession has allowed him to gain\u00a0a deep understanding of digital tools – in particular 3D graphic images –<\/strong>\u00a0which is essential for the birth of his projects.<\/p>\n Since 2004 he develops plastic and reflective artworks <\/strong>that meticulously dissect the specificities of 3D computer graphics and virtual worlds, being part of a new form of art.<\/p>\n His artistic works have been featured in numerous festivals<\/strong> (Elektra, Videoformes, N\u00e9mo, etc.), in collective exhibitions in galeries and art venues<\/strong> (Le 104, New Museum, Palais de Tokyo, New Media Art Center of Sichuan Fine Arts Institute, galerie Magda Danysz, galerie Plateforme, etc.) and contemporary art fairs (Variation, Slick).<\/p>\n His works has been shown in two monographic exhibitions<\/strong> in France: He was named “Chevalier de l’ordre des Arts et des Lettres<\/strong>” in 2016 by the French minister of Culture Audrey Azoulay.<\/p>\n INTERVIEW<\/strong><\/p>\n Op\u00e9ra de Paris, about Clinamen<\/a> EXHIBITIONS<\/strong><\/p>\n 2024 2021 <\/p>\n FESTIVALS \/ SCREENINGS<\/strong><\/p>\n 2025 <\/p>\n EDITIONS \/ BROADCASTS<\/strong><\/p>\n 12 of my films broadcast on Num\u00e9ro 23 French tv channel <\/p>\n COMMISSIONED WORKS<\/strong><\/p>\n Feature film visual effect<\/strong> Print<\/strong> Publicit\u00e9<\/strong> Habillage T\u00e9l\u00e9<\/strong>
\n“Nostalgie du r\u00e9el” in 2013 at Le Cube, and “Fant\u00f4mes num\u00e9riques” in 2016 at Lux Valence.<\/p>\n
\nHe is the founder and creative director of N\u00b0130 Creative Studio<\/a>
\nHe is active member of the artist-run space Plateforme Paris<\/a>.
\nCopyright managed by ADAGP<\/a>.<\/em><\/p>\n
\nTravelogue (exhibition)<\/a>
\nGame \/ Video Art. A survey (exhibition and book)<\/a>
\n“Nostalgie du r\u00e9el” (solo exhibition)<\/a>
\n“Philosophie – La culture” (documentary) FRENCH<\/a>
\nPaper-thin (virtual exhibition)<\/a><\/p>\n
\n“Fractured realities: memory and the digital Frontier” Bucheon Art Center (S\u00e9oul, Cor\u00e9e)
\n“R\u00e9alit\u00e9s Alternatives” \u2013 Th\u00e9\u00e2tre Jean Lur\u00e7at (Aubusson, France)
\n2023
\n“inLAND” Novembre num\u00e9rique (Casablanca, Maroc)
\n“inLAND”, Muse en Circuit (Alfortville, France)
\n2022
\n“Eden” Le Montfort (Paris, France)<\/p>\n
\n“Eden” Les G\u00e9meaux, Sc\u00e8ne nationale (Sceaux, France)
\n“Eden” Benno Besson (Yverdon-les-bains, Suisse)
\n“Eden” Espace des Arts (Chalon-sur-Saone, France)
\n“Eden” Theatre Vidy (Lausanne, Suisse)
\n2020
\n“Eden” Le cube (Issy-les-Moulineaux, France)
\n2019
\n“Jusqu\u2019ici tout va bien? Arch\u00e9ologies d\u2019un monde num\u00e9rique” Biennale N\u00e9mo (Le 104, Paris)
\n“Eden”, Bonlieu, Sc\u00e8ne nationale (Annecy, France)
\n“ubik” at Pavillon Blanc (Colomiers, France)
\n2018
\n“Navier-Stokes ou la beaut\u00e9 des cr\u00eates”, Nuit blanche 2018 (Paris, France)
\n2017
\n\u00ab Le suaire de Turing \u00bb, Biennale Siana (\u00c9vry, France)
\n2016
\nBeirut Biennale for the image (Beirut, Liban)
\n“Travelogue”, Mantova (Italy)
\n“Arte es digital, digital es arte” Vostell Museum, Caceres (Spain)
\n“Fant\u00f4mes num\u00e9riques”, solo show, Lux (Valence, France)
\n“Paper-thin”, virtual museum
\n2015
\n“The fate of image”, Sichuan Fine Arts Institute (Chongqing, China)
\n“Lumi\u00e8res – Fr\u00e9quences – Essences” (Evry, France)
\n“Cutting Edge Animation” (S\u00e3o Paulo, Brazil)
\n“Adrenalina” (S\u00e3o Paulo, Bazil)
\n2014
\n“AV@AR 3.0 The Art of French New Media” (Beijing, China)
\n“Lighting, Frequency, Essence” (Chengdu, China)
\n“Display” (Wuhan, China)
\n“Territoires Incertains”, Plateforme (Paris, France)
\n\u201cImaginary : Aesthetics of the virtual and perception of the reality\u201d, Group Show, PrimoPiano LivinGallery, (Lecce, Italy)
\n2013
\nShow Off Art Fair (Paris, France)
\n“Little Big Crunch”, group show, Plateforme gallery (Paris, France)
\nON\/Gallery (Beijing, China)
\nLille Art Fair (Lille, France)
\n“Nostalgie du r\u00e9el” Solo Show at Le CUBE, (Issy-Les-Moulineaux, France)
\n2012
\n“Noreover”, Plateforme (Paris, France)
\n2011
\nLouis V E.S.P. gallery (Brooklyn NY, USA)
\n2010
\n“Little Big Bang”, Plateforme (Paris, France)
\nParcours d’art Carne (Paris, France)
\n2009
\nVideobox (France – Belgique)
\n2008
\nOkayama Art Center (Japan)
\nCelal Gallery (Paris, France)
\n2007
\nADN Gallery (Barcelone, Spain)
\n“Sous influence”, Magda Danysz Gallery (Paris, France)
\n2006
\nSlick Art Fair(Paris, France)
\nShow Off Art Fair(Paris, France)
\nCube Art Center(Issy-les-Moulineaux, France)
\nVideo’appart (Paris, France)
\n2004
\nArtcore Gallery (Paris, France)<\/p>\n
\n\u00ab Limbus IV \u00bb at Videoformes
\n2024
\nVRAL \u00ab Limbus IV \u00bb
\n2023
\n\u00ab inLAND \u00bb MUTEK MX ED19 (Mexico, Mexique)
\n\u00ab Ghost City \u00bb, VRAL (Milan, Italie)
\n2022
\n\u00ab inLAND \u00bb Sonica Festival (Glasgow, Ecosse)
\n2021
\n\u00ab inLAND \u00bb Festival Bruit Blanc (Montpellier, France)
\nParis l\u2019\u00e9t\u00e9 (Paris, France)
\nSan Francisco Dance film Festival (San Francisco, USA)
\nCot\u00e9 court (Pantin, France)
\n2020
\nInterfilm Festival (Germany)
\nFestival International du film sur l\u2019Art (Qu\u00e9bec, Canada)
\nS\u00e9quence Danse, le 104 (Paris, France)
\n2019
\nGIFF (Gen\u00e8ve, Suisse)
\nOver the real (Viaggio, Italie)
\nNow & After (Moscou, Russie)
\n2018
\nVideobardo (Buenos Aire, Argentina)
\n2017
\nVideoformes (Clermont-Ferrand, France)
\n2015
\nPolytechnic Museum (Moscow, Russia)
\nVIS (Vienna, Autria)
\nVideoformes (Clermont-Ferrand, France)
\n2014
\nMultiplicidades (Rio, Brasil)
\nShortVisions 1. International Short Film Festival (Ningbo, China)
\nB.I.M. Biennale de l’image en mouvement (Buenos Aires, Argentina)
\nAustrian Film Museum, “Penetrating surfaces” curated by Robert Seidel. (Vienna, Austrian)
\nVideoformes (Clermont-Ferrand, France)
\n2013
\nSeoul International NewMedia Festival (Seoul, Korea)
\nArs Electronica, (Linz, Autria)
\nAnima Mundi (Rio de Janeiro and S\u00e3o Paulo, Brazil)
\nVideoakt International Videoart Biennial (Barcelona, Spain)
\nElektra (Montreal, Qu\u00e9bec)
\n2012
\nNew Museum (New York, USA)
\nVideoformes (video and new media in contemporary art) (Clermont-Ferrand, France)
\n2011
\nAtopic Festival (Paris, France)
\nAbove Ground Animation (Los Angeles, USA)
\nToronto Urban Film Festival (Toronton, Canada)
\n2010
\nVideo Art & Experimental Film Festival (New York, USA)
\n2009
\nYo Veo Experimental Cinema (New York, USA)
\n2008
\nParis Tout court (Paris, France)
\n2006
\nInternational Short Film Festival Leuven (Leuven, Belgique)
\nVAIA, V Mostra Internationale d’Art Vid\u00e9o d’Alcoi (Valencia, Spain)
\nBitfilms festival (Germany)
\nFestival du nouveau cin\u00e9ma de Montr\u00e9al (Qu\u00e9bec, Canada)
\nSao Paulo International Short Film Festival (Sao Paulo, Brazil)
\nInVideo (Milano, Italia)
\nDarlight festival (Ireland)
\nFestival N\u00e9mo (Paris, France)
\n2005
\nBackup festival (new media in film) (Germany)
\nFestival Manifesto (Toulouse, France)
\nVideoformes (video and new media in contemporary art) (Clermont-Ferrand, France)<\/p>\n
\nMy film “Les 5 siamoises” edited in “Talents” dvd collection
\n5 of my films broadcast on Souvenirs From Earth tv channel<\/p>\n
\nCarnage<\/a>, Roman Polanski
\nVous n’avez encore rien vu, Alain Resnais
\nThe Ghost Writer<\/a>, Roman Polanski
\nAst\u00e9rix aux Jeux olympiques, Fr\u00e9d\u00e9ric Forestier, Thomas Langmann
\nL’Auberge rouge, G\u00e9rard Krawczyk
\nThe Last Legion, Doug Lefler
\nAngel, Fran\u00e7ois Ozon
\nTaxi 4, G\u00e9rard Krawczyk
\nHannibal Rising, Peter Webber
\nThe Fall, Tarsem Singh
\nJean-Philippe, Laurent Tuel
\nRenaissance<\/a>, Christian Volckman
\nL’Avion, C\u00e9dric Khan
\nLive and become, Radu Mihaileanu
\nUn long dimanche de fian\u00e7ailles, Jean-Pierre Jeunet
\nHuman Nature, Michel gondry<\/p>\n
\nKanye West G.O.O.D. Music cover<\/a>
\nNespresso
\nPlaystation<\/a>
\nCampari<\/a><\/p>\n
\nShiseido
\nPaco Rabanne<\/a>
\nLancaster
\nCoca-cola
\nRenault
\nPeugeot
\nLU
\nVISA<\/p>\n
\nMTV dance<\/a> (ident)
\nLe Petit Journal, Canal +
\nM6 (ident)
\nVirgin 17<\/a> (ident)
\nStar channel (ident)
\nStar India (ident)
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\n3D self-portrait<\/strong>. 2011. 3D CG image.<\/em><\/p>\n
![\"\"](\"http:\/\/hugoarcier.com\/test\/wp-content\/uploads\/2012\/08\/Autoportrait_mutation-20cmx30cm.jpg\" "\\"Hugo")
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