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Marie Caye

tekenen , Spoken word , sculptuur , samenwerking , residency , printen (3D) , performance , natuur , internationaal , installatie , Experimenteel , Ecologie , Conceptueel , Artistiek onderzoek

I am a visual artist, performer and designer from Auvergne based in Rotterdam intertwining research and practice. I am fascinated by the notion of hybridity as a way to hold opposing forces, dualities or incompatibilities. This exploration often happens on the stage set by decay and disappearance.The moment of falling apart holds the last remnant of vitality, the pressure of death and all other possibilities in between together in an ultimate tension of doubt and ineluctability. In one aspect of my practice, rooted in my home mountains, I reinterpret fading local iconography in drawings and performances, opening up the tension between conservative extractive logics and yearning for difference, change and communion. My world building of symbols appeals to our desire of grasping the meaning of these visual stories while confronting us with the opacity of fading knowledge. Many of the themes I explore circle around the fantasy of a dissolution into the landscape. Another facet of my practice connects to my current surroundings. I explore the idea of ​​technology as a strange autonomous synthetic realm, replacing the artificial that we often separate back with the rest of matter. I scour the land collecting videos where I make humans disappear behind their tools or I assemble cyborg found-material sculptures where the synthetic and the organic grow towards being undistinguishable. By holding these opposites together, my work brings the question of what lies in between, in the ambiguity: the gray zones, the obsolescence and the interstices. These ideas take form through several mediums. Some of my practice is about dwelling and being with a place and I work with the found materials and stories of my explorations. I have also recently been very captivated by the practice of drawing and I am developing a process of bringing these flat images later into sculpture to explore hybridity in space and form.

Tired Town
Tired Town - The solo exhibition opens in a world where materials set their own pace. Forms that once promised stability, industrial objects, church architecture, symbolic carvings, appear in states of transition. Stone becomes fragile, glass carries the memory of footsteps, clay loosens back into earth. Developed during a three-month residency at Make Eindhoven, the exhibition follows Marie Caye's exploration of how materials hold meaning, and how symbols shift as their contexts erode. Together, the works show how materials change, and how those changes reshape the meanings we place in them.
Tired Town
Tired Town - The solo exhibition opens in a world where materials set their own pace. Forms that once promised stability, industrial objects, church architecture, symbolic carvings, appear in states of transition. Stone becomes fragile, glass carries the memory of footsteps, clay loosens back into earth. Developed during a three-month residency at Make Eindhoven, the exhibition follows Marie Caye's exploration of how materials hold meaning, and how symbols shift as their contexts erode. Together, the works show how materials change, and how those changes reshape the meanings we place in them.
Tired Town
Tired Town - The solo exhibition opens in a world where materials set their own pace. Forms that once promised stability, industrial objects, church architecture, symbolic carvings, appear in states of transition. Stone becomes fragile, glass carries the memory of footsteps, clay loosens back into earth. Developed during a three-month residency at Make Eindhoven, the exhibition follows Marie Caye's exploration of how materials hold meaning, and how symbols shift as their contexts erode. Together, the works show how materials change, and how those changes reshape the meanings we place in them.
Tired Ground
Tired Ground - [installation view 40m² space] In this series of glass sculptures, shapes appear to melt into the floor, suspended between solidity and dissolution. The work draws from the artist’s research into eroded floor-stone graves found in Dutch churches — black slabs whose once-clear carvings have been worn into near-abstraction by centuries of footsteps. Fascinated by this ambiguity and by her own slow process of becoming rooted in the Netherlands, the artist reinterprets those fading lines in glass. Through glass-fusing, the motifs liquefy, flatten, and blur, echoing both the weight of stone and the fragility of glass. The resulting forms honour local heritage while exploring symbolism, erosion, and the tension between permanence and impermanence.
Tired Ground
Tired Ground - In this series of glass sculptures, shapes appear to melt into the floor, suspended between solidity and dissolution. The work draws from the artist's research into eroded floor-stone graves found in Dutch churches — black slabs whose once-clear carvings have been worn into near-abstraction by centuries of footsteps. Fascinated by this ambiguity and by her own slow process of becoming rooted in the Netherlands, the artist reinterprets those fading lines in glass. Through glass-fusing, the motifs liquefy, flatten, and blur, echoing both the weight of stone and the fragility of glass. The resulting forms honor local heritage while exploring symbolism, erosion, and the tension between permanence and impermanence.
Tired Ground
Tired Ground - In this series of glass sculptures, shapes appear to melt into the floor, suspended between solidity and dissolution. The work draws from the artist’s research into eroded floor-stone graves found in Dutch churches — black slabs whose once-clear carvings have been worn into near-abstraction by centuries of footsteps. Fascinated by this ambiguity and by her own slow process of becoming rooted in the Netherlands, the artist reinterprets those fading lines in glass. Through glass-fusing, the motifs liquefy, flatten, and blur, echoing both the weight of stone and the fragility of glass. The resulting forms honour local heritage while exploring symbolism, erosion, and the tension between permanence and impermanence.
The Wheel turns
The Wheel turns - The sculpture took residence in the belly of a volcano for over four months. Underneath the waterfall of its gazeous waters, the sediments slowly petrified it into crystalized stone to make it the mountains’ own.
The Wheel Turns
The Wheel Turns - The sculpture took residence in the belly of a volcano for over four months. Underneath the waterfall of its gazeous waters, the sediments slowly petrified it into crystalized stone to make it the mountains’ own.
The Wheel Turns
The Wheel Turns - The sculptures took residence in the belly of a volcano for over four months. Underneath the waterfall of its gazeous waters, the sediments slowly petrified it into crystalized stone to make it the mountains’ own.
Le Retournement/ The Reversal
Le Retournement/ The Reversal - [detail of the clay sculptures] "An acrobat but twisting the soul, Oh, my legs, such foul representation of my fallen animal side, I catch hold of them, ma démarche, to seize control of where I go, If only I could twist them, flip myself to the sky, where the purities of my head reside.” This work is a reinterpretation of the romanesque sculptural symbol of reversal. The lower part of the body is considered animal and vile, figures try to flip their legs to their upper body, the more spiritual part. This dividing logic echoes with our original ecological sin: separating ourselves from the rest of nature. The audience is invited to bring the clay sculptures to the water pounds. Plunging the twisted and knotted figure in water unravels them, dissolves them back into the landscape. 2024 wood, HDPE, water and clay sculptures 2mx1,5mx2m Photo by Yezi Lin
Le Retournement/ The Reversal
Le Retournement/ The Reversal - [detail of a clay sculpture in water] "An acrobat but twisting the soul, Oh, my legs, such foul representation of my fallen animal side, I catch hold of them, ma démarche, to seize control of where I go, If only I could twist them, flip myself to the sky, where the purities of my head reside.” This work is a reinterpretation of the romanesque sculptural symbol of reversal. The lower part of the body is considered animal and vile, figures try to flip their legs to their upper body, the more spiritual part. This dividing logic echoes with our original ecological sin: separating ourselves from the rest of nature. The audience is invited to bring the clay sculptures to the water pounds. Plunging the twisted and knotted figure in water unravels them, dissolves them back into the landscape. 2024 wood, HDPE, water and clay sculptures 2mx1,5mx2m
Le Retournement/ The Reversal
Le Retournement/ The Reversal - [detail of the clay sculptures during audience activation] An acrobat but twisting the soul, Oh, my legs, such foul representation of my fallen animal side, I catch hold of them, ma démarche, to seize control of where I go, If only I could twist them, flip myself to the sky, where the purities of my head reside.” This work is a reinterpretation of the romanesque sculptural symbol of reversal. The lower part of the body is considered animal and vile, figures try to flip their legs to their upper body, the more spiritual part. This dividing logic echoes with our original ecological sin: separating ourselves from the rest of nature. The audience is invited to bring the clay sculptures to the water pounds. Plunging the twisted and knotted figure in water unravels them, dissolves them back into the landscape. 2024 wood, HDPE, water and clay sculptures 2mx1,5mx2m Photo by Yezi Lin
Le Retournement/The Reversal
Le Retournement/The Reversal - [detail of the installation] An acrobat but twisting the soul, Oh, my legs, such foul representation of my fallen animal side, I catch hold of them, ma démarche, to seize control of where I go, If only I could twist them, flip myself to the sky, where the purities of my head reside.” This work is a reinterpretation of the romanesque sculptural symbol of reversal. The lower part of the body is considered animal and vile, figures try to flip their legs to their upper body, the more spiritual part. This dividing logic echoes with our original ecological sin: separating ourselves from the rest of nature. The audience is invited to bring the clay sculptures to the water pounds. Plunging the twisted and knotted figure in water unravels them, dissolves them back into the landscape. 2024 wood, HDPE, water and clay sculptures 2mx1,5mx2m Photo by Ghislain Amar
Le Retournement/ The Reversal
Le Retournement/ The Reversal - [detail of the installation and the clay sculptures in water] An acrobat but twisting the soul, Oh, my legs, such foul representation of my fallen animal side, I catch hold of them, ma démarche, to seize control of where I go, If only I could twist them, flip myself to the sky, where the purities of my head reside.” This work is a reinterpretation of the romanesque sculptural symbol of reversal. The lower part of the body is considered animal and vile, figures try to flip their legs to their upper body, the more spiritual part. This dividing logic echoes with our original ecological sin: separating ourselves from the rest of nature. The audience is invited to bring the clay sculptures to the water pounds. Plunging the twisted and knotted figure in water unravels them, dissolves them back into the landscape. 2024 wood, HDPE, water and clay sculptures 2mx1,5mx2m Photo by Anna Kieblesz
Le Retournement/ The Reversal
Le Retournement/ The Reversal - [detail of the clay sculptures in water] "An acrobat but twisting the soul, Oh, my legs, such foul representation of my fallen animal side, I catch hold of them, ma démarche, to seize control of where I go, If only I could twist them, flip myself to the sky, where the purities of my head reside.” This work is a reinterpretation of the romanesque sculptural symbol of reversal. The lower part of the body is considered animal and vile, figures try to flip their legs to their upper body, the more spiritual part. This dividing logic echoes with our original ecological sin: separating ourselves from the rest of nature. The audience is invited to bring the clay sculptures to the water pounds. Plunging the twisted and knotted figure in water unravels them, dissolves them back into the landscape. 2024 wood, HDPE, water and clay sculptures 2mx1,5mx2m
Out of The Lips
Out of The Lips - “Eels or vultures but monsters, dangerous, and venomous vipers, maybe snakes with rows of teeth. Out of the lips, through the nostrils, from the pupils and into the ears or posted as guards on our foreheads.” An obsolete world of symbols slowly decays. While presenting themselves as visual stories, the meaning of the images is elusive, almost lost. Figures and lines slip in and out of dimensions and materials—sometimes flat, sometimes voluminous; sometimes in ephemeral paper, and sometimes in enduring plastic; sometimes free, sometimes restricted; and so on. The work is a hybrid that attempts to hold these opposites and dualities together. The symbols are inherited from ancient iconography of the mountainous Auvergne in France. In celebration of change and as a provocation to the local conservative culture, they take on new titillating forms and suggestive poses. The amorphous bodies spread across the space, swallowing and being swallowed by their frames, dissolving into landscapes. There is an ecstasy in surrender. Exploring and transforming the remains of a decaying culture in its final stages might be an attempt to add a small capricious spark to its quieting fire. 2024 Paper, ink, burnt wood, prints 2mx2mx2m Photo by Ghislain Amar
Out of The Lips
Out of The Lips - “Eels or vuivres but monsters, dangerous, and venomous vipers, maybe snakes with rows of teeth. Out of the lips, through the nostrils, from the pupils and into the ears or posted as guards on our foreheads.” An obsolete world of symbols slowly decays. While presenting themselves as visual stories, the meaning of the images is elusive, almost lost. Figures and lines slip in and out of dimensions and materials—sometimes flat, sometimes voluminous; sometimes in ephemeral paper, and sometimes in enduring plastic; sometimes free, sometimes constricted; and so on. The work is a hybrid that attempts to hold these opposites and dualities together. The symbols are inherited from ancient iconography of the mountainous Auvergne in France. In celebration of change and as a provocation to the local conservative culture, they take on new titillating forms and suggestive poses. The amorphous bodies spread across the space, swallowing and being swallowed by their frames, dissolving into landscapes. There is an ecstasy in surrender. Exploring and transforming the remains of a decaying culture in its final stages might be an attempt to add a small capricious spark to its quieting fire. 2024 Paper, ink, burnt wood, prints 2mx2mx2m Photo by Ghislain Amar
Out of The Lips
Out of The Lips - “Eels or vultures but monsters, dangerous, and venomous vipers, maybe snakes with rows of teeth. Out of the lips, through the nostrils, from the pupils and into the ears or posted as guards on our foreheads.” An obsolete world of symbols slowly decays. While presenting themselves as visual stories, the meaning of the images is elusive, almost lost. Figures and lines slip in and out of dimensions and materials—sometimes flat, sometimes voluminous; sometimes in ephemeral paper, and sometimes in enduring plastic; sometimes free, sometimes restricted; and so on. The work is a hybrid that attempts to hold these opposites and dualities together. The symbols are inherited from ancient iconography of the mountainous Auvergne in France. In celebration of change and as a provocation to the local conservative culture, they take on new titillating forms and suggestive poses. The amorphous bodies spread across the space, swallowing and being swallowed by their frames, dissolving into landscapes. There is an ecstasy in surrender. Exploring and transforming the remains of a decaying culture in its final stages might be an attempt to add a small capricious spark to its quieting fire. 2024 Paper, ink, burnt wood, prints 1.5mx0.5mx2m Photo by Ghislain Amar
Out of The Lips
Out of The Lips - “Eels or vultures but monsters, dangerous, and venomous vipers, maybe snakes with rows of teeth. Out of the lips, through the nostrils, from the pupils and into the ears or posted as guards on our foreheads.” An obsolete world of symbols slowly decays. While presenting themselves as visual stories, the meaning of the images is elusive, almost lost. Figures and lines slip in and out of dimensions and materials—sometimes flat, sometimes voluminous; sometimes in ephemeral paper, and sometimes in enduring plastic; sometimes free, sometimes restricted; and so on. The work is a hybrid that attempts to hold these opposites and dualities together. The symbols are inherited from ancient iconography of the mountainous Auvergne in France. In celebration of change and as a provocation to the local conservative culture, they take on new titillating forms and suggestive poses. The amorphous bodies spread across the space, swallowing and being swallowed by their frames, dissolving into landscapes. There is an ecstasy in surrender. Exploring and transforming the remains of a decaying culture in its final stages might be an attempt to add a small capricious spark to its quieting fire. 2024 Paper, ink, burnt wood, prints 50cmx50cmx10cm Photo by Anna Kieblesz
Michelin 2000
Michelin 2000 - A melted, fused knot of symbols emerges from a tire. Figures and lines slip in and out of the object. The symbols are inherited from ancient iconography of the mountainous Auvergne in France and put against objects of industrialisation, in particular tires from the local mega-company Michelin. The work is a hybrid that attempts to hold these opposites and dualities together. 2024 PLA, rock, print 50cmx50cmx15cm Photo by Ghislain Amar
Michelin 2000
Michelin 2000 - A melted, fused knot of symbols emerges from a tire. Figures and lines slip in and out of the object. The symbols are inherited from ancient iconography of the mountainous Auvergne in France and put against objects of industrialisation, in particular tires from the local mega-company Michelin. The work is a hybrid that attempts to hold these opposites and dualities together. 2024 PLA, rock, print 50cmx50cmx15cm Photo by Anna Kieblesz
The Tree That Grew Out of my Womb
The Tree That Grew Out of my Womb - How do your ideas about fertility and motherhood affect your behaviour and choices? What does it mean to be fertile or infertile? What is the future of organic reproduction while digital replication and production of consumer goods is exploding? From the lens of environmental equilibrium and intersecting on the boundaries of fiction, reality and myth-making, this performative event attempted to kick start a conversation on the sovereignty of the ecology, female body, fertility, and sustainable communities. The audience was considered a valuable partner in this conversation which included the use of (moving) image, sound, language and online interaction with the audience leading to a collectively constructed digital poem. These themes and questions posed in The Tree That Grew Out of My Womb reoccur in each performer’s artistic practice and in their lives as human beings, therefore, this performance will not only merge the boundaries of these individual issues but also bring together various artistic mediums practiced by each participant. 2022 Performative lecture (1 hour) Collaborators: Asha Karami Manjot Kaur
The Tree That Grew Out of my Womb
The Tree That Grew Out of my Womb - How do your ideas about fertility and motherhood affect your behaviour and choices? What does it mean to be fertile or infertile? What is the future of organic reproduction while digital replication and production of consumer goods is exploding? From the lens of environmental equilibrium and intersecting on the boundaries of fiction, reality and myth-making, this performative event attempted to kick start a conversation on the sovereignty of the ecology, female body, fertility, and sustainable communities. The audience was considered a valuable partner in this conversation which included the use of (moving) image, sound, language and online interaction with the audience leading to a collectively constructed digital poem. These themes and questions posed in The Tree That Grew Out of My Womb reoccur in each performer’s artistic practice and in their lives as human beings, therefore, this performance will not only merge the boundaries of these individual issues but also bring together various artistic mediums practiced by each participant. 2022 Performative lecture (1 hour) Collaborators: Asha Karami Manjot Kaur
The Tree That Grew Out of my Womb
The Tree That Grew Out of my Womb - How do your ideas about fertility and motherhood affect your behaviour and choices? What does it mean to be fertile or infertile? What is the future of organic reproduction while digital replication and production of consumer goods is exploding? From the lens of environmental equilibrium and intersecting on the boundaries of fiction, reality and myth-making, this performative event attempted to kick start a conversation on the sovereignty of the ecology, female body, fertility, and sustainable communities. The audience was considered a valuable partner in this conversation which included the use of (moving) image, sound, language and online interaction with the audience leading to a collectively constructed digital poem. These themes and questions posed in The Tree That Grew Out of My Womb reoccur in each performer’s artistic practice and in their lives as human beings, therefore, this performance will not only merge the boundaries of these individual issues but also bring together various artistic mediums practiced by each participant. 2022 Performative lecture (1 hour) Collaborators: Asha Karami Manjot Kaur
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions Photo by Anna Kieblesz
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Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions Photo by Anna Kieblesz
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions Photo by Anna Kieblesz
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions Photo by Anna Kieblesz
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions Photo by Anna Kieblesz
Thereafter
Thereafter - Close to the end point of the river Maas near Maastricht, a small island has been constructed recently as a natural reserve. Further down the stream, the only natural beach of Rotterdam is now completely surrounded by the industrial harbor. Although humans mostly abandon these places, the human traces, however, remain: an astonishing amount of garbage carried by the river gathers on the shores. There in the mud, one can find pieces of bones and of plastic side by side, ageing similarly, almost as though they belonged together. Arranged in fictional cities and skeletons, this cyborg matter constructs the image of a time after ours. The earth carries on its cycles of transformation without us. 2021 Multimedia installation, found objects, bones and plastic garbage variable dimensions Photo by Anna Kieblesz
Forms of Hidden Intent
Forms of Hidden Intent - If technology and ready made objects are becoming our new nature of humanity, how do we understand this landscape? We don’t. Objects of technology become more and more obscure and opaque. Does wifi fall from the sky like the rain? A fascination for exploring this human-made ecosystem leads to looking at new species that emerge in our lives such as the ceramic toilets that have successfully proliferated in our homes thanks to their capacity to hide our bodily waste from our awareness. Using dioramas, recreated scenes and symbolic iconography inspired from religion; the sculpture digests the role of these new organisms. 2021 50cmx50cmx200cm 3D printed bio plastic, metal Produced as duo Arvid&Marie with Arvid Jense
Forms of Hidden Intent
Forms of Hidden Intent - If technology and ready made objects are becoming our new nature of humanity, how do we understand this landscape? We don’t. Objects of technology become more and more obscure and opaque. Does wifi fall from the sky like the rain? A fascination for exploring this human-made ecosystem leads to looking at new species that emerge in our lives such as the ceramic toilets that have successfully proliferated in our homes thanks to their capacity to hide our bodily waste from our awareness. Using dioramas, recreated scenes and symbolic iconography inspired from religion; the sculpture digests the role of these new organisms. 2021 50cmx50cmx200cm 3D printed bio plastic, metal Produced as duo Arvid&Marie with Arvid Jense
The Full Body Smart Automatic Manipulator
The Full Body Smart Automatic Manipulator - We touch our technologies but how often do they touch us back? ‘Full Body Smart Automatic Manipulator’ unveils a stage for exploring the intimacy between technologies and their humans, using tactility as a medium for interaction and exchange with a seemingly intelligent artificial entity. The experience begins at the moment of impact between a massage chair and its human visitor, this set is the stage for several experiments always evolving from exploring artificial spoken sounds in combination with touch to fully interactive tactile and audio narratives. Navigating through the disembodied networks of options, each interaction follows a unique path interwoven with uncanny experiences of meaning and senses or narratives exposing the friction between control, automated labour, commercialised AI and intimacy. The fleshy body and augmented voice of the machine, enveloping its human counterpart, occupies an undefined intersect between organism and apparatus. Cognitively and corporeally it labours as every rotation of the massagers push against our assumptions of what it means to be artificially intelligent. The medium truly is the massage. 2019 Installation of 3mx3mx3m Massage chair, textile curtains, vinyl floor and plastic sign Produced as duo Arvid&Marie with Arvid Jense Photo by Sas Schilten
The Full Body Smart Automatic Manipulator
The Full Body Smart Automatic Manipulator - We touch our technologies but how often do they touch us back? ‘Full Body Smart Automatic Manipulator’ unveils a stage for exploring the intimacy between technologies and their humans, using tactility as a medium for interaction and exchange with a seemingly intelligent artificial entity. The experience begins at the moment of impact between a massage chair and its human visitor, this set is the stage for several experiments always evolving from exploring artificial spoken sounds in combination with touch to fully interactive tactile and audio narratives. Navigating through the disembodied networks of options, each interaction follows a unique path interwoven with uncanny experiences of meaning and senses or narratives exposing the friction between control, automated labour, commercialised AI and intimacy. The fleshy body and augmented voice of the machine, enveloping its human counterpart, occupies an undefined intersect between organism and apparatus. Cognitively and corporeally it labours as every rotation of the massagers push against our assumptions of what it means to be artificially intelligent. The medium truly is the massage. 2019 Installation of 3mx3mx3m Massage chair, textile curtains, vinyl floor and plastic sign Produced as duo Arvid&Marie with Arvid Jense Photo by Sas Schilten
Alibabaum Sortium
Alibabaum Sortium - “The Alibaba and Aliexpress search bars are the gateway to the thousands items sold by Chinese factories and resellers. Algorithms control when, how many times and in which order the searched products appear on visitors screens. By looking at the Ali platform like naturalists, Arvid&Marie approached the digital platforms like ecosystems. They analysed several algorithms, narrowing in on the sorting algorithm and renaming it: Alibabaum Sortium. In the process of exploring Alibaba, Arvid&Marie were drawn to specific products whose physical existence is a source of doubt: it is unclear whether they occur as purchasable items or if their role is to entertain customers and keep them browsing through Alibaba’s interface. Buyer’s Desires are a collection of object simulations, in paper, of what Alibaba claims are its most desired products. The other side of the reconstructed objects is printed with the metadata that writes their existence into the digital world.” (words from curator Martina Muzi). Extracted from their native e-commerce jungle, these artifacts teach us about the algorithm Alibabaum Sortium’s understanding of objects. Among the modeled products, the algorithm impersonated discusses its way of life in an interview while the visitors wander in the installation. 2018 Installations various sizes - 19 cardboard objects, audio track Produced as duo Arvid&Marie with Arvid Jense Photo by Mathilde Lemaire
Alibabaum Sortium
Alibabaum Sortium - “The Alibaba and Aliexpress search bars are the gateway to the thousands items sold by Chinese factories and resellers. Algorithms control when, how many times and in which order the searched products appear on visitors screens. By looking at the Ali platform like naturalists, Arvid&Marie approached the digital platforms like ecosystems. They analysed several algorithms, narrowing in on the sorting algorithm and renaming it: Alibabaum Sortium. In the process of exploring Alibaba, Arvid&Marie were drawn to specific products whose physical existence is a source of doubt: it is unclear whether they occur as purchasable items or if their role is to entertain customers and keep them browsing through Alibaba’s interface. Buyer’s Desires are a collection of object simulations, in paper, of what Alibaba claims are its most desired products. The other side of the reconstructed objects is printed with the metadata that writes their existence into the digital world.” (words from curator Martina Muzi). Extracted from their native e-commerce jungle, these artifacts teach us about the algorithm Alibabaum Sortium’s understanding of objects. Among the modeled products, the algorithm impersonated discusses its way of life in an interview while the visitors wander in the installation. 2018 Installations various sizes - 19 cardboard objects, audio track Produced as duo Arvid&Marie with Arvid Jense Photo by Mathilde Lemaire
Alibabaum Sortium
Alibabaum Sortium - “The Alibaba and Aliexpress search bars are the gateway to the thousands items sold by Chinese factories and resellers. Algorithms control when, how many times and in which order the searched products appear on visitors screens. By looking at the Ali platform like naturalists, Arvid&Marie approached the digital platforms like ecosystems. They analysed several algorithms, narrowing in on the sorting algorithm and renaming it: Alibabaum Sortium. In the process of exploring Alibaba, Arvid&Marie were drawn to specific products whose physical existence is a source of doubt: it is unclear whether they occur as purchasable items or if their role is to entertain customers and keep them browsing through Alibaba’s interface. Buyer’s Desires are a collection of object simulations, in paper, of what Alibaba claims are its most desired products. The other side of the reconstructed objects is printed with the metadata that writes their existence into the digital world.” (words from curator Martina Muzi). Extracted from their native e-commerce jungle, these artifacts teach us about the algorithm Alibabaum Sortium’s understanding of objects. Among the modeled products, the algorithm impersonated discusses its way of life in an interview while the visitors wander in the installation. 2018 Installations various sizes - 19 cardboard objects, audio track Produced as duo Arvid&Marie with Arvid Jense Photo by Mathilde Lemaire

Tired Town

Datum:
Locatie: TAC
In samenwerking met: TAC and Make

This solo exhibition opens in a world where materials set their own tempo. Forms that once promised stability — industrial objects, church architecture, symbolic carvings — appear in states of transition. Stone becomes fragile, glass carries the memory of footsteps, clay loosens back into earth. Developed during a three-month residency at Make Eindhoven, the exhibition follows Marie Caye’s exploration of how materials hold meaning, and how symbols shift as their contexts erode.

Garage Café

Datum:
Locatie: Garage
In samenwerking met: Garage

Performative reinterpretation of the work Le retournement at Garage Rotterdam.

MMMAD Festival

Datum:
Locatie: Matadero
In samenwerking met: Clara Escalera, Andrés Aguilla

“Me + My Device” explores the potential of alternative technology to enrich our expression and connection with others. In this interactive performance, a new gadget is introduced that transforms the way we express ourselves, integrating touch, movement, and sound while challenging the conventional norms of human interaction in the virtual realm. This unique sensory experience invites the audience to immerse themselves in a universe where technology becomes an emotional medium.

Three Dream Filled Landscapes

Datum:
Locatie: Time Window
In samenwerking met: Marta Wörner Sarabia, Noemi Calzavara

The performance explores the inner worlds of three female artists: Noemi, Marie, and Marta. The theme focuses on intimacy and how sisterhood opens us to our inner worlds. This piece features semi-hallucinatory acts through somatic spoken word, performative sculptures, visual arts, sound, and choreographic skating to delve into our complex inner lives. We weave together moments of radical friendship, death, and personal projections, creating a magnetic, dreamy atmosphere that is intimate...

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