b. 2000, Paris, FR.
Lives and works between France and Germany.
Based in Paris. Studio at Artagon Pantin.

Biography
Born in 2000, Alexis Puget lives and works between France and Germany. He studied at Haute Ecole des Arts du Rhin, Strasbourg, and Staatliche Hoschule für Gestaltung Karlsruhe, took part in different residencies in Europe hosted in institutions as LAZNIA Center for Contemporary Art, Gdansk (PL), 2024, Casino Display, Luxemburg (LU), 2023-2024, Artagon, Pantin (FR), 2024-2026, Floating University, Berlin (DE), 2023, or Le Bel Ordinaire, Billère (FR), 2025. He recently exhibited in Paris, Berlin, Venice, Basel, Luxemburg, Munich, Marseille, Offenbach-am-Main, Freiburg, Strasburg, Freudenstadt and Karlsruhe.
He takes interest in fictional, poetic and cinematographic potential of documentary material he gathers during long-term investigations, from which he produces sculptures and multimedia installations, in parallel of a curatorial practice.

Statement
Tale-like documentary sculptures, autopsies of industrial objects, internet novels, soundless and imageless cinema, pirate radio and Faraday cages, my pieces are inhabited by empty clothes and forgotten objects like many props on an abandoned film set. From genre cinema, ultra-local myths and collective internet narratives, my installations dress up the legends and beliefs that certain internet micro-communities weave around them as poetic, nostalgic and speculative tools to face affective collapse. Installative frescoes, mixtapes and sculptures with scenario, I'm interested in the rendering of Capitalocene landscapes in depression and human stories that flourish at the edge of physical and digital spaces that I archive during long-term investigations, turning these places into sensitive spaces to tell — and be told — stories. Through the videoclub allok7.fr, I am also developping an IRL/URL curatorial tool invading institutional cracks and insterstices. I produce exhibitions, screenings and host artists' films.

Links
[Interview] Bel Ordinaire, FR — research residency (2025) .
LAZNIA CCA, PL — residency (2024) .
Saliva.live — Playlist for an eternal Autumn, FR (2024) .
Rundgand.io — Playlist for an eternal Autumn, FR (2024) .
Casino Display, LU - curated screening for allok7.fr (2024) .
Apollonia European Art Exchanges — (co)habiter, FR (2022) .
Member of Plan d'Est, FR .

Texts

Following a DIY aesthetic and fuelled by internet cultures, Puget’s network-like assemblages intersect para-scientific and speculative, dystopian and utopian sightlines in a way that brings to mind a saying by science fiction author Kim Stanley Robinson: “Science fiction is the realism of our time.”
Heinrich Dietz, director of Kunstverein Freiburg, for Will I still perform tomorrow?, 2023.

Alexis Puget thrives on internet culture, science fiction and genre cinema from the 1960s to 2010, from which he draws fertile narrative material. His work is sculptural and video-based. His works, linked by a central narrative, are organised rhizomatically. In physical space, they compose stories and situations fed by web communities that become entangled with multiple other sources. Objects, archives, traces and speculations create a framework in which the viewer is invited to circulate and recompose.
For Playlist For an Eternal Autumn, the artist compiled a large amount of documentary material over a period of three years, in order to share the story of a romance between members of the micro-community of a Youtube live chat. For the artist, these virtual spaces of exchange and what they produce bear witness to the ‘new relational ecologies’ that have developed in a context of post-pandemic emotional collapse. The textual dimension and disembodied nature of the encounters produce ‘cinematographic’ images that Alexis Puget uses as potential narrative material. Based on the dialogues between CharmAngel and Monster, the artist projects the settings and situations, re-enacts elements of the chat, and envisions the objects and clothing described. The sculptures and videos recreate the different moments in the relationship. They are presented to us like fragments of a contemporary romance.
Guillaume Mansart, head of Documents d’Artistes PACA and independant art critique, for La Relève 7 - Notre Part Belle, 2025.

Alexis Puget’s work is deeply rooted in reality and shows a great contemporaneity in its multiple deployments and articulations, in the richness of its plastic forms (sculpture, video, 3D printing, AI, drawing, hydroponic culture, etc.), and in the accuracy of the research and readings that support it, the crossroads of human sciences and poetry, biology and art. It lays the groundwork for a precise and committed artistic work, built around environmental issues, the Anthropocene and the Capitalocene, in the era of narrative speculation and new poetic narratives.
Clotilde Viannay, editor in chief of L’Incroyable, 2023.