2022
PLEASE EVERYBODY WELCOME ME IN JOINING BORIS ACHOUR : LOOSELY CONNECTED THOUGHTS ON THE ARTIST’S WORK, Chris Gilbert, 2005
Achour’s work is somehow literary in a way that sets it apart from most of the work that circulates in the contemporary sphere now. (want…
2022
SIGNS AND WONDER, Guillaume Désanges, 2005
If we have managed to liken the artist to certain artistic approaches advocating discretion, humility, micro-resistance, and even…
2022
WELCOME / FUCK OFF ! INTERVIEW WITH FRANÇOIS PIRON, 2005
François Piron: So that we can pinpoint the kind of links existing between some of your pieces, we could start in a genealogical way. The…
2022
INTERVIEW WITH ÉRIC MANGION, 2004
ERIC MANGION: In a nutshell, you could say that Cosmos is a video store. However, once you pay attention to its form and content, it seems…
2022
ACHOUR? POSSIBLY, Éric Mangion et François Piron, 2002
Éric Mangion and François Piron use a few key words to highlight the complexity and diversity of Boris Achour's work. His work uses…
2022
BORIS ACHOUR, ECONOMY OF MEANS, 2002, Elisabeth Wetterwald, 2002
Boris Achour has no intention of placing his work in pre-prepared niches that might make it easier to evaluate and identify. It's a way of…
2022
MANY COLOURED HENS PLACED SIDE BY SIDE, Émilie Renard, 2002
Numerous empty video cassette cases are placed side by side on a forty-meters long shelf. Inside these two hundred cases are as many film…
2022
COSMOS, Nicolas Bourriaud, 2002
EG : How would you situate Boris Achour in the generation to which he belongs? NB : This generation of artists is characterised by two…