Glass Doll
2026
4K video, 5'25''
With the support of: Fondation des Artistes; Villa Kujoyama post-residency program (Institut français, Institut français du Japon and Bettencourt Schueller Foundation); 40mcube; Ambivalences program (Electroni[k], Oblique/s, Station Mir and Stereolux)
4K video, 5'25''
With the support of: Fondation des Artistes; Villa Kujoyama post-residency program (Institut français, Institut français du Japon and Bettencourt Schueller Foundation); 40mcube; Ambivalences program (Electroni[k], Oblique/s, Station Mir and Stereolux)
3D avatar: Placebo; 3D scene: Lyroid; music: Noyer by Alexis Degrenier; choreography: NatsumiSan (based on Supernova by Aespa)
The video Glass Doll starts from the figure of the virtual idol: a singing body with no stable origin, produced for the stage, the screen and circulation. A synthetic pop star appears at once as a character, an avatar, an affective commodity and a surface for collective projection. She performs an alternative version of the song Glass Doll in front of an audience of light sticks, within a nocturnal festival setting with science-fiction overtones.
Initially driven by a frenetic J-pop energy, the video quickly shifts into a heavily slowed-down, spectral temporality, set to Noyer by Alexis Degrenier. The choreography, borrowed from aespa’s Supernova, is stretched until it becomes a sequence of suspended gestures, replayed by Grim3s and her transparent clones.
These glass bodies accompany her, multiply her, then gradually seem to take over, until all that remains is a presence made only of reflections, surfaces and textures. Through this synthetic pop scene, which forms part of the broader s3lf.tech project, the video continues Émilie Brout & Maxime Marion’s research into identity as a reproducible image, an interface and a form of soft possession.
Exhibition views: Margot Montigny
The video Glass Doll starts from the figure of the virtual idol: a singing body with no stable origin, produced for the stage, the screen and circulation. A synthetic pop star appears at once as a character, an avatar, an affective commodity and a surface for collective projection. She performs an alternative version of the song Glass Doll in front of an audience of light sticks, within a nocturnal festival setting with science-fiction overtones.
Initially driven by a frenetic J-pop energy, the video quickly shifts into a heavily slowed-down, spectral temporality, set to Noyer by Alexis Degrenier. The choreography, borrowed from aespa’s Supernova, is stretched until it becomes a sequence of suspended gestures, replayed by Grim3s and her transparent clones.
These glass bodies accompany her, multiply her, then gradually seem to take over, until all that remains is a presence made only of reflections, surfaces and textures. Through this synthetic pop scene, which forms part of the broader s3lf.tech project, the video continues Émilie Brout & Maxime Marion’s research into identity as a reproducible image, an interface and a form of soft possession.
Exhibition views: Margot Montigny
Events >
Associated works >
s3lf.techMy Custom Keyboard
