The Self and the World

collective feature film, research project, 2015

Two collective feature film and an exhibition, 2014-2015
Nancy Art College – ARTEM

Conception and direction Thierry Fournier and Jean-François Robardet, original idea Thierry Fournier. With Mathilde Bénard, Simon Boutelou, Elina Chared, Lucile Doos, Isis Gondouin, Lise Guerder, Oualid Hariss, Anaïs Juin, Heather Krasker, Bora Kwak, Ming-Ying Lu, Rostom Nakmouche, Su-Min Park, Antoine Py et Fan Wang (2015), Aurélie Ayub, Marine Calamai, Anne-Sophie Dautheville-Guibal, Bao-Vi Defaux, Alix Desaubliaux, Sarah Guermonprez, Qijia Hu, Dori Lee, Jean-Christophe Louviot, Paul-Edouard Puyo (2016).

The Self and the world is a collective film formed by a series of shorts created by the students. What is addressed to the world in our everyday life? And in which terms the world could address to ourselves? Each short is composed in split-screen facing these two point of views. The project suggests a link between collective cultural practices and the individual use of digital images and smartphones.

The Electroshop research and creation workshop explores since several years forms of the digital in art: works, curating, publishing, etc. Its projects are shown in several public contexts: Ballet de Lorraine, Musée des beaux-arts de Nancy, NaMiMa, editions with Pandore and Art Book Magazine, etc.

The Self and the World (film 2015)

The Self and the World (film 2016)




Exhibition at NaMiMa gallery, Ensad Nancy, May 2016


Research group, EnsadLab (ongoing)

Research group, EnsadLab / Ensad, Paris (ongoing)
Coordination : Thierry Fournier with J. Emil Sennewald, art critic, journalist and researcher
Twitter: @displayslab

The research group Displays – created and coordinated by Thierry Fournier (artist, curator and researcher) with J. Emil Sennewald (critic, journalist, lecturer and researcher) – aims to question and experiment with the exhibition forms in a post-digital context, that is pervaded by the presence of digital technology and the Internet throughout both culture and practices. This evolution has already transformed artworks, collaboration modes, curatorial practices, art criticism, art education and outreach, audiences, and how they look at art. It also entails an acknowledgment of digital materiality and of its processes, after a historical period marked by an ideology of dematerialization. Furthermore, a certain porosity has set in between practices – for example, between those of artists, curators and audiences, in the case of curation – a practice that involves reinterpretation and exchanges, which attests to the conversational status of media.

Our research takes all of these issues into account, and addresses the way in which they modify the thinking behind, and the practice of, exhibitions, as far as the different actors’ roles are concerned, but also with regards to the objects involved and the spaces and networks these exhibitions invest. Our approach consists in a research through the exhibition, which is treated as an experimental situation that involves a set of actors, objects, production and valorisation modes, spaces and temporalities. The exhibition is seen here as a moment within a process, rather than as the result of one, and is considered “experimentable” and debatable by the different stakeholders (artists, audiences, art and museum curators, critics…), in view of a critical approach of their interactions.
This program is based on three main issues that concern the very form that exhibitions take, as well as the relations that exist between them and their context. These issues are briefly outlined below, along with the lines of research and of creation that they may give rise to:

1. What. How do an exhibition’s objects evolve, from exhibited objects and works of art towards gestures, performative situations, experimentations and production processes? How do e-publications (which are themselves evolving processes, no longer merely publications) and mobile environments contribute to new curatorial forms? How are questions related to reproducibility and simulation brought up? Can experiences of co-creation conducted in a museum setting also apply to art exhibitions?

2. Who. How do relations with audiences evolve, and who designs exhibitions? How do viewer expectations and practices evolve? How does the distribution (or reclaiming) of roles among artists, curators, critics, exhibition planners and designers develop? How can these be related to the context of institutional critique? How can we experiment with audiences? What part does interactivity take today in curatorial forms? What are the stakes involved? What are the goals and stakes of participation, particularly of social networks in museums and exhibitions?

3. Where. How are exhibition spaces and venues evolving? Now that audiences are largely accessing art and culture online, what bearing does this have on the distinctiveness of the exhibition experience? What shapes are exhibitions taking in a dialogue between real space and the network? How can the collective space of the exhibition be connected to the individual practice that is unique to the web and mobile devices? How can we put forward a critique and create the conditions for emancipation from the rationale of the attention economy? How can we qualify and critique relations between museums, online exhibitions and data bases?

Photograph: Laura Gozlan, Remote viewing, 2014


Catalogue (2014)

Digital catalogue dedicated to the Augmented window project, 2014
Editing Thierry Fournier and J. Emil Sennewald
Distribution Pandore Edition

Texts by Jean Cristofol, Céline Flécheux, Thierry Fournier, J. Emil Sennewald. Programming Stanislas Schoirfer. English translations Clémence Homer.

Flatland is a digital catalogue devoted to the Augmented window project. It stems from a dialogue and a close collaboration between artist and curator Thierry Fournier, art critic and journalist J. Emil Sennewald, and developer Stanislas Schoirfer. From its beginnings, the catalogue was conceived for tablets. This choice is the result not only of the Augmented window project’s very logic and medium, but also of a willingness to explore how the tablet as a substrate contributes to the critical approach: beyond the mere aspect of mobility, how do the practices it generates create new relationships between meanings / relationships of meaning.

Together, the authors defined the project’s editorial direction, its interactive design and its visual identity, which uses Bartok, a new font created by Sarah Kremer, throughout the publication. Flatland accompanies Pandore Production’s edition of Augmented window for the iPad, as a free-standing application. This double publication enables the user to take part in a permanent dialogue, on a single substrate, between the catalogue and the experience of the works. Flatland, therefore, focuses more on the project’s critical and transversal aspects.

A new vision of space

Flatland is the title of a novella published by Edwin Abbott Abbott in 1884, “a politico-graphical allegory, somewhere between Lewis Carroll, Jonathan Swift and George Orwell”. Described as a forerunner of sci-fi literature, an exercise in geometry and a sharp critique of Victorian society, a digital edition of the book has just been released for tablets. The fact that it is now licensed for free distribution is not the only reason behind this new edition. As the author himself states in the introduction of his satire, he wants “to contribute to pushing back the frontiers of imagination”. That he chooses to do so by dealing with the notion of space is not without significance. It is perhaps the main reason behind the renewed interest [in this notion] sparked by Flatland’s digital version.

We are currently at a major turning point in the field of publishing, one that follows the turn taken by images (“iconic turn”) and space (“spatial turn”); so that today, we as artists, authors and editors, face a dynamic space that is no longer limited to the physical confines of the Renaissance’s monocular perspective. Today, space is the perforated space of houses linked to one another by cables. It is a space shaped by images. It is also a screen, which we stumble upon. Behind it, an augmented “space” opens up: “the physical space, layered with dynamically changing informations”. Identified in the 60s by Lefèbvre or Flusser, dynamic space has become subject matter for artists who ask themselves how, by what means, and through which structures space is augmented.

Practices of discernment

One cannot approach space without questioning the means that are used to represent it. These means – images, architectures, symbols appliances – constitute its very body. It is up to us – artists, critics, editors – to offer a practice of space; discernment to break with the logic of consumption, view its consequences with a critical eye, model its landscapes. In the face of the great movements of media concentration, this occurs in a dispersed way: by focusing on specific points, one can, in a way, identify the terrain of this augmented space, so that one might approach it in an enlightened manner.

Another critique view

This is where the art critic steps in. Having chosen as a starting point the “accomplice critic” method – which reacts in form and content to artistic stakes, follows the artist’s rationale, research and conclusions, while thinking about the conditions of their possibility – I asked myself the question what the best form would be form in order to answer a digital artwork already created on a tactile screen. Very soon, it became obvious that the critical ability to transcribe a visual experience was no longer enough. The text had to be conceived of differently – as code and as image – in order to engage with what it was that the tool – i.e., the tablet – makes available. The Flatland project intellectually and manually challenges the art critic’s faculties. New roads open up to use such an apparatus, such as for example the introduction of quotes to orient reading towards other material, to open the space around the text and make it dynamic. New forms of the critic’s work emerge as a consequence, conscious of the stakes associated to these devices. As digital publications emerge, the critic’s old substrates – the book, the catalogue, the art review – are reconsidered.

One of the reasons behind Flatland lies in a practice that raises questions regarding substance while using tools that are codified by the industry; that is confronted with the reality of the screen that opens both the gaze and the field of action onto new fields; in short, one that contributes to pushing back the frontiers of the imagination.


Research project – Ensad / EnsadLab, 2012

Research project – Ensad / EnsadLab – Diip program, 2012
Led by Thierry Fournier
Team: Clémence Homer, Tomek Jarolim, Dominique Peysson, Benoit Verjat.

Umwelt is a project about mixed-media note taking (HD manuscript, keyboard, drawing, hypermedia, tags …) to be used in all types of environments: travel, scouting, rehearsals, design or work sessions, and architecture design, fashion, comments, field work in social sciences, musical notation, etc. It is therefore aimed as much for professional use and private, general or specialized, documentary or fictional. It is based on several dimensions: handwritten practice, structuring memory, environmental integration, interoperability.

Cohabitation II

research workshop and curating, 2012

Research workshop and group show, curated by Thierry Fournier and Jean-François Robardet
Exhibition at NaNiMa gallery, École nationale supérieure d’art de Nancy (FR), 2012

Works by Alice Adenis, Romain Hantz et Jérôme Gonzales / Anne-Sophie Banach, Laureline Maudet et Guillaume Cadot / Wei Chang, Charlotte Moreau et Se Won Hwang / Benoît Henry / Brice Mantovani / Xiao-Jun Song et Guilhem Mariotte / Marianne Villière, students of Ecole nationale supérieure d’art de Nancy, Ecole des Mines de Nancy and ICN Business School.

The Cohabitation project stands a protocol in which each work proposes a relationship with the audience and the other works as well, in the same room. Two editions were created in 2011 and 2012, gathering 16 works created by the students of the Electroshop research and creation workshop, directed and curated by Thierry Fournier and Jean-François Robardet. It hostes students from three universities : the École nationale supérieure d’art de Nancy, ICN Business School and the Ecole des Mines de Nancy.




Alice Adenis, Romain Hantz and Jérôme Gonzales

Anne-Sophie Banach, Laureline Maudet and Guillaume Cadot


Wei Chang, Charlotte Moreau and Se Won Hwang

Brice Mantovani

Xiao-Jun Song and Guilhem Mariotte

Marianne Villière


Photographs © Thierry Fournier 2012
With support from Région Lorraine – research grant

Cohabitation I

group show and research workshop, 2011

Group show and research workshop, 2011
Curated by Thierry Fournier and Jean-François Robardet
Exhibition at Musée des Beaux-arts de Nancy (FR), 2011

The Cohabitation project stands a protocol in which each work proposes a relationship with the audience and the other works as well, in the same room. Two editions were created in 2011 and 2012, gathering 16 works created by the students of the Electroshop research and creation workshop, directed and curated by Thierry Fournier and Jean-François Robardet. It hostes students from three universities : the École nationale supérieure d’art de Nancy, ICN Business School and the Ecole des Mines de Nancy.




Mathieu Sarrasin and Sylvain Spanu, Beat Box

Mélanie Jayantha, Laura Kwan, Florence Pewzer, Marie Rollin, Eden

Aurélia Lucchesi, Hautbois

Thierry Fournier, Set-up

Kathy Denise, Coralie Forissier, Jenny Partouche, Specola Beccata

Jean-François Robardet, Sperling


Museographic installation – Large interactive multi-user table, 2010

Museographic installation – Large interactive multi-user table, 2010

This table was created for Nestploria Center for Digital Interpretation at the Gargas Caves, one of Europe’s primary sites of prehistoric “negative hands”. Based entirely on touch, the intuitive design confronts visitors’ hands with the imprints left by prehistoric man on cave walls 27,000 years ago.

Discover and copy the gesture

Approaching negative prehistoric hands with a tactile device provided an opportunity for a particularly stimulating historical coming together. The table is treated as a “frame” that visitors can slide along a very large image of the cave walls. Doing so, they discover 16 prehistoric imprints in context. When you touch one of them, an interactive window appears: composition and application of color, technique, historical hypotheses, examination of detail with a dynamic magnifying glass. Visitors can also make their own handprint, next to the prehistoric hand. Through touch, visitors are permanently connected to the original prehistoric gesture. The device can be used by 12 people simultaneously.


Navigate to scale 1

All images (walls, prehistoric and visitor imprints) are drawn on a 1 to 1 scale. The table’s large dimensions allow visitors to experience the real dimensions of the cave walls. These two directions – tactile exploration and a life size scale – materialize these multimillenia old imprints and allow the almost unthinkable exploration of the cave itself.


Digital engineering

Because of its very large size (4.80 x 1.20 m), this apparatus brought together a team of engineers, programmers and technicians gathered by Thierry Fournier in collaboration with the EnsadLab research laboratory from the École Nationale Supérieure des Arts Décoratifs de Paris (“Sensitive Surfaces” stream).



Design and realization

Design and Art Direction: Thierry Fournier
Scientific Committee text: Jean Clottes, Christina San Juan Foucher, Pascal Foucher, Yannick Le Guillou, Yoan Rumeau
Engineering, technical management and collaborative design: Jean-Baptiste Droulers
Computer programming and collaborative design: Mathieu Chamagne
Construction: Gregory Chombard
Museum collaboration: Transfaire / Nahali Grenet
Coordination scenic Pauline Mercier
Photographs: Gilles Cohen and Yoan Rumeau
Translations: David Beytelmann and Damien Bright
Project produced by the Community of Communes of Saint-Laurent de Neste edited by Josette Durrieu
Production: Orphaz
In collaboration with the research program DRII (“Sensitive Surfaces” stream) of EnsadLab (National School of Decorative Arts Laboratory)
Student: Marie-Julie Bourgeois, Anahita Hekmat, Tomek Jarolim, Antoine Villeret.


collective for curating, production and critique, 2006-2007

Collective for curating, production and critique. Founded in 2006 by Thierry Fournier (artist), Gérald Gauguier (author), Steven Hearn (producer), Marie Husson (artist), Myriam Marzouki (author and director), Daniel Migairou (producer), Isabelle Pellegrini (author), Valérie Pihet (Sciences Po / École des Arts Politiques) and Jean-François Robardet (artist).

This collective project was dedicated to production, curating and critique, exploring the transferts between visual arts, performing arts and writing. In 2007, Écholalie invited five artists, authors and researchers for a series of conferences: Miguel Benasayag (philosopher and psychoanalyst), Samuel Bianchini (artist), Céline Flécheux (philosopher), Per Hüttner (artist) and Bruno Latour (philosopher, anthropologist and sociologist). The collective has also curated the Open 2007 exhibition and performances on May 27th 2007 at Lelabo (Paris), in collaboration with CITu (Laboratories of Paris 1 et Paris 8 universities):

– Samuel Bianchini : “Diaporama #1 – Audience at work: niform, interactive installation” (projection)
– Manuel Coursin and Théo Kooijman : “Le Son des choses n°8 – Egoutte-moi” (performance)
– Emma Dusong : “La Corde” (performance)
– Juliette Fontaine : “Erotiques” (drawings)
– Thierry Fournier, Juliette Fontaine and Judith Morisseau : “Seul Richard – Overture” (performance)
– Thierry Fournier and Emmanuelle Lafon : “Outside lectures – Episode 1” (performance)
– Marie Husson : “WWW.” (photographs)
– Pascal Kirsch, Bénédicte Le Lamer and Florent Manneveau : “Guardamunt 34′” (performance)
– Myriam Marzouki, Christophe Brault and Clémence Léauté : “United Problems of Coût de la Main d’Œuvre” (theater, excerpt)
– Jean-François Robardet : “Powertool” (drawings)



Research and creation workshop, Nancy College of Art, 2004-2016 (translation in progress)

Research and creation workshop
Nancy College of Art / Artem, 2004-2016
Led by Thierry Fournier and Jean-François Robardet

Translation in progress

Cet atelier de recherche et création a été initié par Samuel Bianchini en 2000, rejoint par Thierry Fournier en 2004 qui en a repris la coordination en 2007 avant d’être rejoint à son tour par Jean-François Robardet en 2008. L’atelier fait partie du dispositif ARTEM, spécifique à Nancy : une association entre l’École nationale supérieure d’Art, l’Ecole des Mines de Nancy et ICN Business School, dont le campus commun ouvrira en 2017. Comme les autres “Arcs” Artem, l’atelier accueille donc des étudiant-e-s des trois écoles, au niveau master.

Axes de recherche

Electroshop traite des pratiques numériques en art, en proposant au fil du temps des terrains d’expérimentation différents. Il explore notamment la question des dispositifs interactifs, dans le contexte d’installations, de créations scéniques ou performatives. Cette recherche se caractérise par trois directions principales : la notion de geste, la relation entre spectateurs et interprètes, et les mutations de la notion d’écriture. La question de l’interactivité dans un contexte scénique (théâtre, danse, performance) est nécessairement liée à la relation entre le corps et le geste de l’interprète ou du spectateur, et leur environnement. Le terme de geste est alors à comprendre dans son sens le plus large, de l’action corporelle à l’acte de langage : tout mouvement humain qui peut être « capté » par un dispositif réagissant en temps réel à ses variations. Les objets de la recherche portent donc sur l’invention de ces dispositifs, la conception du geste dans ces conditions, et la production de représentations multimédias à partir de la relation entre geste et dispositif en temps réel.

Les dispositifs interactifs peuvent donc concerner tout aussi bien les spectateurs que les interprètes, qui peuvent non seulement partager le même espace, mais aussi entrer en interaction avec les mêmes dispositifs. Les questions ouvertes par cette direction sont nombreuses : enjeux d’une mise en scène ou mise en jeu du spectateur, relations entre installation et performance, exploration des différences de pratique des dispositifs par les spectateurs et par les interprètes.

Enfin, l’invention de formes interactives renouvelle profondément la notion d’écriture (texte, chorégraphie, partition musicale) dans la mesure où celle-ci n’est pas fixée linéairement en amont, mais résulte d’une relation réciproque entre protagonistes (public et/ou interprètes) et dispositifs. Se posent alors des questions liées aux enjeux d’une écriture scénique, de l’élaboration d’une temporalité spécifique, et de l’invention de protocoles de production textuels, gestuels, spatiaux, sonores et musicaux.


Ces projets sont soit des œuvres des artistes coordinateurs auxquels les étudiants sont invités à participer, soit des projets individuels ou collectifs d’étudiants. Dans les deux cas, on déploie une recherche-création par projet qui implique les étudiants sur l’ensemble de la conception et de la réalisation d’une œuvre, sous l’autorité de l’artiste coordinateur. Un tel principe permet d’installer une dynamique d’excellence par l’articulation de la recherche et de la pédagogie, la première faisant levier pour la seconde. Des créateurs professionnels, avec des étudiants, initient, conçoivent, expérimentent, réalisent, dirigent et rendent public un projet artistique. Impliqués sur toutes les phases et registres de la création, les étudiants font l’expérience complète d’un projet d’envergure, pluridisciplinaire, collectif et techniquement prospectif. Tous les étudiants sont invités à participer à la totalité du processus de recherche et création, quelle que soit leur filière d’origine, sans spécialisation de leur intervention.

Diffusion et valorisation

Chaque création donne toujours lieu à une diffusion publique. La finalisation, l’exposition et la diffusion dans un contexte professionnel des œuvres développées dans le cadre de l’Arc inscrit ainsi l’ensemble du processus de travail dans une logique de valorisation et de diffusion de la recherche :

– par une diffusion des créations de l’Arc auprès de contextes professionnels et de publics élargis, faisant connaître les travaux de recherche auprès d’une large audience. Depuis 2004, dix œuvres et expositions ont été réalisées dans le cadre de l’Arc Electroshop. L’ENSAN intervient pour tous ces projets comme coproducteur principal, en partenariat avec plusieurs institutions publiques et privées.

– par des actions régulières de publication sur différents supports. L’ENSAN intervient pour toutes ces publications comme coproducteur et/ou coéditeur (Les Éditions du Parc).

Historique des créations et diffusions

– En 2000-2001, création de l’exposition Hôtel des Beaux-Arts, Hôtel des Beaux-Arts, Nancy.

– En 2002-2003, création de l’exposition Promotion Artem au Centre commercial Cora Houdemont.

– En 2004-2005, première version de la création interactive pour danseur et spectateurs Réanimation, performance interactive pour danseurs et spectateurs de Samuel Bianchini, Thierry Fournier et Nathalie Simon. Diffusion publique le 5 juillet 2005 au Ballet de Lorraine. Partenariats : Centre chorégraphique national Ballet de Lorraine, SFR-Cegetel.

– En 2005-2006, création de l’installation 30×30 – Poursuite de Samuel Bianchini, en dialogue avec la proposition chorégraphique 30×30 de Paul-André Fortier. Présentation publique à Nancy, place de la Gare et tour Thiers le 6 mai 2006. Partenariat : Centre chorégraphique national – Ballet de Lorraine. 30×30 – Poursuite a également été exposée à la Ménagerie de Verre (Paris) dans le cadre du festival « Les Inaccoutumés » à l’invitation de Philippe Quesne. Partenariats : Vivarium Studio, Ménagerie de Verre, CiTu.

– En 2006-2007, création de l’installation Feedbackroom de Thierry Fournier, successivement exposée à l’ENSAN en juin 2007 puis dans le cadre de l’expo-labo OUTLAB organisée par le CiTu à la Bellevilloise (Paris) en novembre 2007. Partenariats : SFR-Cegetel, CiTu, CIDMA, La Bellevilloise, Pandore Production.


– En 2007-2008, création de la version finale de la création interactive pour danseur et spectateurs Réanimation avec le danseur et chorégraphe Sylvain Prunenec, créée dans le cadre du festival Next à l’Espace Pasolini (Valenciennes). Partenariats : Espace Pasolini – Jeune Théâtre International, avec le soutien du Groupe ICN et du Groupe SFR-Cegetel. En mai 2009, Réanimation est donnée au festival international Rencontres chorégraphiques de Carthage (Tunisie), organisées par Syhem Belkodja et Philippe Baudelot.


– En 2008-2009, création scénique Seul Richard conçue et dirigée par Thierry Fournier, avec l’ensemble des étudiants de l’Arc. Seul Richard est finalisé ensuite en résidence de création au Théâtre de la Mauvaise Tête (Marvejols, Lozère) puis à la Chartreuse de Villeneuve les Avignon – Centre national des Écritures du Spectacle, ou sa création a lieu en octobre 2010. Avec Emmanuelle Lafon (actrice), Jean-François Robardet et Juliette Fontaine (co-auteurs scénographie et musique).


– En 2009-2010, projet Cohabitation I, création d’œuvres par les étudiants et projet curatorial. Expositions en juin 2010 à l’École nationale supérieure d’art de Nancy puis en février 2011 au Musée des Beaux-Arts de Nancy.


– en 2010-2011, création de l’installation Hotspot de Thierry Fournier à Contexts, Paris, en collaboration et co-coordination avec Jean-François Robardet.


– en 2011-2012, Cohabitation II, création d’œuvres par les étudiants et projet curatorial, exposition en avril 2012 à la Galerie NaMiMa, Ensa Nancy.


– en 2012-2013 Coédition I, création collective d’une édition numérique sur iPad relatant les processus de recherche des 3 ateliers de Andrea Keen / Etienne Pressager / Lauren-Marie Joubert (Marcher), Justin Morin (Do it yourself) et Julien Prévieux (Art de la conjecture).

– en 2013-2014 Coédition II, création du catalogue sur iPad ALUM consacré à 40 artistes diplômés de l’Ensa Nancy (Marion Auburtin, Jean Bedez, Thomas Bellot, Etienne Boulanger, Thomas Braichet, Morgane Britscher, Emilie Brout & Maxime Marion, Dominique Cunin, Cristina Escobar, Elise Franck, Caroline Froissart, Virginie Fuhrmann, Jochen Gerner, Jérémy Gobé, Marco Godinho, Sébastien Gouju, Harold Guérin, Sylvie Guillaume, Paul Heintz, Simon Hitziger, Victor Hussenot, Marie Husson, Guillaume Janot, Marie Jouglet, Yonsoo Kang, Geoffrey Kayser, Benjamin Laurent Aman, Sophie Lécuyer, Heewon Lee, Aurélia Lucchesi, Mayumi Okura, Cécile Paris, Dominique Petitgand, Emmanuelle Potier, Rares Victor, Jean-François Robardet, Vivien Roussel, Aïda Salahovic, Emilie Salquèbre, Atsuki Takamoto, Sarah Vaxelaire).


– en 2014-2015 création de The Self and the world, long-métrage collectif composé de 15 courts créés par les étudiants de l’Arc. Première projection publique à l’IECA Nancy le 5 mai 2015.


– Publication Hôtel des Beaux-Arts, Édition ENSA Nancy 2001.
– Publication Promotion Artem / École nationale supérieure d’art de Nancy, projets des Ateliers de recherche et création Artem, Édition ENSA Nancy 2003, avec le soutien de la Communauté urbaine du Grand Nancy et du Ministère de la Culture et de la Communication
– DVD Poursuite de Poursuite coédité en 2008, dans la collection Import, par Les presses du réel / MFC – Michèle Didier, co-édité par l’ENSAN / Les Éditions du Parc
– DVD Feedbackroom édité en 2009 aux Éditions du Point d’Exclamation, co-édité par l’ENSAN / Les Éditions du Parc.
– Publication R & C – Recherche et création, présentant un ensemble de projets de recherche en art, dont les axes de recherche de l’ENSAN. Ouvrage dirigé par Samuel Bianchini, co-édité par les Éditions Burozoïque et l’ENSAN / Les Éditions du Parc, paru en version e-book chez Art Book Magazine en mars 2012.
– Publication du catalogue sur iPad ALUM co-direction éditoriale par Thierry Fournier et Jean-François Robardet, coédition Art Book Magazine / Pandore / Ensa Nancy, 2014.