(MindMachineMakingMyths)… LAB in Bangkok

Psycho Case Studies

P.r.o.p.s. / architecture scenarii experiments / Shelters + Films / 2012-18 / India Gokarna (1)+ Greece Chania (1)+ Thailand-Bangkok (12) + Singapore (2) + France  (2) + Swiss (2) + Austria (2)...

 visible at

-Frac Orleans 2016-17 /

-First Biennial of Chicago / fall 2015 /

-Istanbul Biennial / fall 2016 /

-Art-Fair Singapore 2017 /

And last book "mythomaniaS" / Free Downloadable HERE

& all the movies in one blog >>>>

& last main exhibition / ''s/he would rather do FICTION MAKer''



Articles and Interviews on

0)Mousse Mag / (click)

1)Sukerpunch / (click)

2)Morfae / (click)

3)Archinect / (click)

4)Archinect on ChicagoBiennale /(click)

5)Archipelago / Funanbulist (click)

6)E-Flux / (click)


Meta / Metem-Psychosis / Para-Psychosis / Libidinal Resistance / Bachelor Machines / Eros-Tanatos / Apparatuses-processes / MPDisorders… / de-territorialization...

...Psychotic machines, psychotic apparatuses and fragments … Bodies in verse, bodies-becoming… are meeting in the stories of their symptoms… plausible. The ‘forbidden’ is reintroduced as a possible, and, what was rejected or considered as an improper ingredient within our computer graphic idealization of the world is coming back like a George Bataille’ substances… in a repulsive ‘curiouser and curiouser’ affinity, in the pursuit of the notion of risk of Ulrich Beck....
The human being isn’t any more considered as a bio-eco-consumer but is drifting into a psycho-computing-animal which defi(n)es its situation and condition of living simultaneously to the architecture’s emergences, as a co-dependency, a co-relationship… for a Siamese twin alienation. Para-psychoses, projections of the mind, delusions and singularities seem more relevant: Lines of Subjectivities vs Functionalism, Bodies vs Body, Substances vs Design, Scenario vs Concept… ‘Pataphysics vs pseudo-Scientific Positivism,…

Environments and paranoia as symptoms of an inner condition, in a constant exchange between narrative and emergence, in a stuttering process: a storytelling manifested in the creation of a fiction which uses a fragment as a by-product and where a material structure with its physical characteristics takes shape and instructs the story.

Each scenario is a condition of solitude in relation to a “symptomatic symptom” structure, where fragmentation is the very “raison d’être” of his/her emotions: the true story of an old Indian book collector ostracized from his community on the suspicion of atheism, who finds refuge in a tear-collecting shelter made of stones and lachrymatories (“Would Have Been My Last Complaint”); a scientist captured in the Anthropocene entropy, condemned to accept metempsychotic exchanges, according to the principle of the law of thermodynamics (“Although (in) hapnea”); a monster-boy endomorph constantly overfed, protected in a claustrophilic antidote-jacket from the love excess of his incestuous mother (“beau)strosity”); the suspended time of Adrian floating between two periods, two macho spirals, testosteroned Theseus and the alcoholic Dionysus (“Terra Insola”); a feral child, innocent, naïve, and obscene, in the deep jungle, examined by scientism and voyeurism (“The Offspring”); the “difference and repetition” of an affective alienation that has become caged food in the pursuit of Gilles Deleuze (‘’∑days’’); a post-culture spasm… in a mud-dirt turd where substances (human psyche and discharges) meet in their states of chemical transformation (“concrete(I)land”), an oracle trapped in carbon, similar to the Pythia, the oracle of Delphi, stoned on gas vapors, feeding and strangling herself and vomiting... to tell the truth (“liminal“), a real episode of a “Mister Thank You’’ life, a man who died in the street two years ago. He was trapped in a stuttering Tourette Syndrome borborygmus, forced to face the cruelty of BKK kids (“emet”), a sardonic banished king’s jester arbitrista dwarf living in the darkness of the Sathorn Unique tower, an abandoned skyscraper in BKK, growling within its Pandora’s box, where hope is becoming a delusion of grandeur (“whatEVS~4~EVS”)....

But also (“It never happened”) as a prologue to a story about euthanasia in Switzerland where teenagers use winter to bring on hypothermia, but also the last seminal spurts of a Thai lady boy computed through a robot  for a ‘’psycho-cartography’’ choreography that dismisses the position of the artist with post-human substances and the delegation of authorship (the artist Mika Tamori)… until (‘’eschatology’’) scientific research develops a perpetual loop between what we digest, shit, recycle, cook, swallow… assuming that some parts have a repulsiveness that must be negotiated individually. In our Anthropocene period… here we can’t fail to mention the (‘’mind(e)scape”) currently existing in Japan, where citizens can scream, insult, rumble,  vomit out their frustration in the middle of a public space, exulting, exposing and exorcising their demons, protesting… but in a voice transfixed in real time to appear to be nothing but incomprehensible lamentation… a kind of Kafkaesque Bachelor Machine….

…including the one which is visible in these pages (‘’Coitus interruptus’’), with a scenario of castration as an inverted mode of the Lacanian fragmentation mirror:a man and an object, a man-object, as knick-knack on the chimney…with all his parts around, dispersed: flesh, feet, penis, libido dismembered… as the inverse of stage of mirror, losing his unity, subversion of the masculine subject, voluntary trapped in the amnesia of desire…in a situation of re-arrangement, re-assembling…beyond frustration…an infinite possibilities of castration…caressing his eros-tanatos…condition. Educated as a predator, by western machismo routine… he is in the situation to surrender, abandoning his superb… shifting its representation…thanks to the transaction of the lady boy he abused, few years ago…to help him face his affective and sexual despair, as a casual pathology…He came initially in Bangkok to re-acquire the “legitimate” compensation of what he lost, or more precisely, what he never met, in his mishmash of pre-pubescent romanticism delusion…to…now …surrounded by his petrified semen…negotiate a subjective emasculation, escaping from previous vain agenda, from drive and suppression…to reach the un-raped grail…questioning as a white male the contours of his ID...

The architectural outcome emerged into being as a net-like ‘glitched’ structure. An artefact, or result of the slippage between three agents; human, robot and material. There is no linear top down relationship of human as designer - robot as servant - extruding inert material. The qualities of the glitch structure are folded into and from a narrative to become an actant, the shelter prop in the production of the associated report (film). 


Producing a shelter which produces a movie and the movie at the origin of a shelter /…as a Siamese twin interlaced production, between narration and topology, able to cross fabrication expertise and human pathologies to create the condition of a passage, for a navigation between allusive realism and speculative fiction ….intertwined, interlocked as a story telling developing two collateral effects, two artifacts: one by the potential to develop a fiction using an emerging structure as a by-product, and the other on the tangible and tactile world by shaping an emergence which will “construct” the “raison d’être” of the story. The relationship, the permanent flux between the architecture becoming a Prop of another production, in another discipline, and its own real and fictional footprint (un)resisting to its own erosion produces an indistinguishable transitory and transactional process of a Siamese dialogue…where the two are slipping in an osmotic, a symbiotic stuttering…(schizoid protocols within miscibility and autonomy…), at the base of the birth of some twinned fictional identities...Through Mythomania of each situation, of each characters...transforming environments with their para-psyches, confusing from kind of Plato' grotto, trajectories, lines of fiction and physicality. The architecture fragments is becoming the cartography of their mind from where they could accept the shifting, the drifting... as a receptacle of their paranoia, but in the simultaneously as a vector, a shelter of their emotions. Reprogramming architecture with psychism....fear and emotions, relationship aesthetic and 'mise en abime' / placed into share this schizoid goal… storytelling and fabrication but also to create a laboratory, in one month, every year, able to provide the conditions for using and manipulating Sciences and Fictions.

On the side, experiences are done in BKK, through a fab-lab, M4, including a 6 axes robot, multiples nozzles, Real Sensor Interface,… a unit of fabrication as an architecture ‘agenda’, confronted to different biotopes and feedback…in a permanent challenge to articulate the contingencies of logic between the instruments-tooling…. as computation, as robotic, as 'de-expertise' on design process… with… at the opposite… the discovering of the potential of a masochism adaptation, for a kind of ‘situationism’ claim or debt, …in a strategy-tragedy of correlations…of co-dependencies...Symmetrically far away from workshop in a ‘white cube class’, only dedicated to instrumentation and childish-fetishism… as well as illusion-alibi of pro-bono… Narration-fabrication they are operating is a research zone, questioning the emerging scenario, which is simultaneously the vanishing point and the substrates of those by-products…appearing as artifacts…for prototyping discourses and substances, material and unmaterial…In the pursuit of the LOG#25, edited by Francois Roche in N.York about ‘Reclaim Resi[lience]stance',... 


           Book mythomaniaS                                        Chicago Biennale


#mythomaniaS is a catalog of case studies in the form of film  stills, archi- tectural fragments, stage props, texts, and images culled from the experi- ments of mindmachinemakingmyths (Lab M4, part of New Territories studio), to construct environmental-architectural psycho-scapes (in the partly fabri-cated wilds of various countries) as laboratory-shelters for exploring and deconstructing the  supposed rifts between realism  and speculative  fiction (myth), psyche and environment, body and mind, and “Mania” which refer, etymologically, to an Insane drive of perception-projection. Bringing together archi- tecture, Deleuze and Guatarri’s schizoanalysis and deterritorialization, and Alfred Jarry’s ‘Pataphysics (the “science of imaginary solutions …). They enacted  and filmed mise-en-abymes in which certain scripted para-psychic narratives and architectural struc-tures merge in the pursuit of reclaiming resilience — described by Roche as a tactic for merging refusal and vitality into a schizophrenic logic able to navigate the antagonism between the bottom-up and top-down conditions of the globalized world. In these fabricated schizoid psycho-nature-ma- chine-scapes, the human being is no longer a bio-ecological consumer but a psycho-computing animal that emerges co-dependently with its environment in a hyper-local haecceity (“this-ness”).

In the vein of Situationist psychogeography (“the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals”), each scenario fabulates geo-architectural conditions of human exile, solitude, and pathology drawn from narratives of the forbidden and taboo: the true story of an old Indian book collector exiled from his community on the suspicion of atheism, who finds refuge in a tear-collecting shelter (“Would Have Been My Last Complaint”); a scientist captured by a water spirit who remains trapped like a fish in the mindscape of a fish butcher (Although (in) Hapnea); a monster-boy endomorph constantly overfed and protected by a claustrophilic antidote-jacket produced by the excess of his incestuous mother’s love ((beau)strosity); Ariadne, labyrinth overseer, floating between two macho spirals, testosteroned Theseus and alcoholic Dionysus (Naxos, Terra Insola); the feral child — innocent, naïve, and obscene — in the deep jungle, auscultated by a scientistic voyeurism (The Offspring); etc. Each of these scenarios (designed as “shelters” where mind, environment, and architecture co-map each other) unfolds a “mythomania” in which each character transforms, and is transformed, para-psychically, by the environment, in a sort of biotope (habitat) feedback experiment.

Ultimately, They want to create — via architecture and design, myth (literature), and psycho-geography — various conditions for schizoid passages between realism and fiction, expertise and knowledge, mind and built environment, narrative and topology, in order to bring about new strategic-tragic co-dependencies as forms of schizoid resistance to the usual identity regimes, and to also reboot architecture as a form of psycho-social praxis and non-necrotic speculation.

Free downloadable on

Initially "mindmachinemakingmyths-mythomaniaS" was founded by FRoche and CLacadee (2011-15)


Lab M4 / new-territories: Architect "s/he" _ Personal secretary Francois Roche  ----Actual Partners / Vongsawat Wongkijjalerd, Stephan Henrich, Gwyl Jahn, Devin Jernigan ----Previous Partners and Colaborators /  Stephanie Lavaux, Ezio Blasetti, Danielle Willems, Camille Lacadee, Daniela Mitterberger, Tiziano Derme, Agatha Partyka, Katrin Hochschuh ----Institutions Partners / FRAC Orleans - RMIT - UPENN - Michigan Ann Arbor - Innsbruck Hochbau - Columbia GSAPP - INDA Chulalongkorn - Donau Festival - Singapor Biennale - GRAHAM Foundation - CNC DICREAM Paris-…

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...‘Science+fiction can be defined as that branch of literature which deals with the reaction of human beings to changes in science and technology’ from Isaac Asimov, 1975

The fabrication of the 'prop' is developed from robotic processes. We operate the robot with real sensor interface (RSI), using signals, inputs, analogue or digital. In this process, inputs are collected through UPD signal and the chain of Processing, Firefly, Grasshopper, Rhinoceros and re-injected (every 2m/s) in the 'parcours' of the machine, creating a permanent conditional position, between 'the point where the machine was' to 'the point where the machine should be', as a vector of translation in an iterative redefinition ... without ever reaching any vanishing point as a goal of achievement. It introduces perturbations and stochastic positioning, in real time, where the trajectory of the nozzle is reacting to the robot's very noises (machine clicks, Inverse kinematics movement, pneumatic piston...) or other agents as any signal able to be transformed in data (even the pathologies and diseases able to be transcripted as input, as Tourette Syndrome with scanning Kinect). Those agents corrupt the programed predictable work and modify in real-time the path of the fabrication, as a stuttering feedback coming from the intrinsic protocol of doing, increasing the intricate meanders of the tool in an ever permanent inaccuracy of positioning, introducing non-linear processes ... as a way of territorializing technologies, but at the condition to be defined through nondeterministic and loophole logic-illogic ...



Movies / Scenarii / Experiments.............. all the movies in one blog

-Mind(e)scape / 3mn / 2018>>>

-Coitus Interruptus / 5mn / 2018>>>

-E(s)Chatology / 5mn / 2018>>>

-The Mika Show / 4mn / 2017>>>

-me&Shroedinger / 4mn / 2017>>>

-the Chrorizo Syndrome / 5mn / 2017>>>

-the Virgin Case / 5mn / 2016>>>

-Liminal / 3mn / 2016>>>

-days / Movie5mn / 2014>>>                       

-Beau-strosity / Movie3mn / 2013>>>>>         

-What could happen / Movie15mn / 2015>>> 

-ex-Timity / Movie9mn / (french soliloquy) / 2015>>>

-OffSpring / Movie10mn / 2014>>>>>

-WhatEvs-4-Evs / Movie 5mn / 2014>>>>>>

-It would have been my last complaint / Movie13mn / 2012>>>>>

-Terra Insola / Movie4mn / 2013>>>>>

-La Passe / Movie10mn / 2014>>>  

-ZeitGast / Movie5mn / 2015>>> 

-Emet / Movie3mn / 2015>>>

-concrete(I)land / Movie13mn / 2015 in editing>>>

-The Feral Child (Prelude) / Movie5mn / 2014>>>>>

-Although in Hapnea / Movie12mn / 2013>>>>>

-Alterated State / Movie1mn / 2013>>>>>>

ROBOTS Process

-Sys-mic / Movie2mn / 2017>>>

-Pyrodulia / Movie2mn / 2016>>>

-Darkroom / Movie2mn / 2016>>>

-Petro-bio-Chemistry / Movie2mn / 2017>>>

-Catatonia /

-The Vagabond and the Machine /

-MMyst /

-SHi /

-Noisy Poo /  + Ice Poo /

Without props

-the Timidity Symptom / About Museum in BKK / Biennale 2014 / Movie5mn>>>>>

-An ordinary day at [eIf/bʌt/c] studio / BKK  / 2012 / Movie3mn>>>>>

Lecture on mythomaniaS production

Lecture 2016 / 15 mn>>>>>  



Texts / Credits / Scenarii


0) What Could Happen, 2015


What could happen, what must[1], in this ascendant vehicle, in the snowy whiteness, without perspective and devoid of sight, on a rickety mountain train? We traverse through the cold to reach the last sanatorium up in the heights, where Thomas Mann wrote Tristan[2].

During the journey, an unexpected event suddenly halts the train. This is not purely hazardous. A roll of the dice will never abolish chance[3]. But we will be safe and sound. It has all been foreseen, evaluated, predicted, anticipated… security and safeness considered.

The train is a metaphor[4] or the impetus to reach an illusory point that can never be met. The artefact is in the way. There’s enough paganism, enough mysticism in the mountains to alter the journey’s trajectory of expectedness, of foreseeable modes. Now you are on the bandwagon.

Sounds and noises[5] of uncertain origin, uncertain, explained phenomena, creatures’ tracks[6], chill, hypothermia and its imminent threat, of dilated pupils, of inaudible heartbeats, the anteroom to unconsciousness, mortem-post-mortem, a close call, absolutely painless, ataraxic, asymptotically. As the curve reaches closer to its fate a rite of passage is lived over and over again.

Dignitas / Swiss Criminal Code Paragraph 115[7] 

A piling-up of intertwined bodies, contorted, fastened in carnal embraces, a multitude, a humming swarm, the crackling noises of successive congealing, ever-ending. The phase change of water[8], chemistry, sublimation. 

Through this experiment our participants will reunite in the good death, an escape or weaning[9]. Here the migration of souls, the exchange for an elsewhere - those on the train will climax indefinitely and then finally, at the cost of our story's Mcguffin.[10]

[1] Peter Brook: A stage space has two rules: (1) Anything can happen and (2) Something must happen

[2]  1903 novel by Thomas Mann, set in a Swiss alps sanatorium

[3] Stéphane Mallarmé’s last major poem, Un coup de dés jamais n'abolira le hasard, 1897

[4] Etymologically ‘metaphor’ means ‘vehicle of transportation’, directly from Latin metaphora, from Greek metaphora - ‘a transfer’

[5] Referred to as music, a hum, or a whisper, but an explanation of a mysterious noise that has been heard by some people over Lej Nair has never been found. In other lands and times it would have been an object of superstitious reverence or dread.

[6] ‘La Diavolezza’, legend of the beautiful she-devil, cause of the disappearance of many young mountain hunters.

[7] Switzerland has legislatively permitted assisted suicide since 1942

[8] Supercooling is the process of lowering the temperature of a liquid or a gas below its freezing point without it becoming a solid. The intrusion of an impure element then results in the instant-freezing of the water.

[9] Weaning, rite of passage, from child to man

[10] plot device in the form of some goal, desired object, or other motivator that the protagonist pursues, usually forgotten by the end of the story

Critical Apparatuses

Bart Lootsma

Something makes people want to walk, ride or climb to mountaintops, how dangerous an undertaking this may be because of conditions of terrain and weather. It is something completely irrational. Some have themselves brought to the tops of mountains with trains, cable cars and even helicopters. It is often thought that this is to appreciate a sublime, untameable nature, since it has been already the theme of many a sublime Romantic painting or poem. But in fact most Alpine mountain tops are as artificial as a Dutch polder, not just with the cross on top of it, but with mines dug underneath, avalanche protection, restaurants, hotels, ski slopes, ski lifts, half pipes for snowboarders, artificial lakes to produce artificial snow, a view on the urbanized valley below, and in summer cows not for the production of milk and meat but for maintenance. All of this is realized only to enable people dressed in special clothes, helmets and harnesses, to throw themselves down again literally as soon as they have arrived on top, using sleighs, ski, snowboards or specially designed, and high-tech so-called freeride mountain bikes. They hardly have a choice. It has to go fast. Even the sky is filled with gliders and para gliders, enjoying the turbulence along the slopes. An aspect of danger, and at least a flirt with a latent death wish should be involved to feel alive, as a faint memory of older myths. “Everywhere it is machines – real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections.” Deleuze and Guattari write, and between the different machines there are just couplings and passages, “functioning smoothly at times, at other times it fits and starts”. 1) The Alps are one big Bachelor Machine, a perpetual carrousel that turns the love for nature into a death mechanism.

Innsbruck, the city where I live, is one of the innovation centres of Alpine sports. . The ‘shadows’ of Bruno Taut and his Alpine Architecture are haunting the stations for the funicular railway up to the Hungerburg as glass memories of the shapes that remain after an ice storm. From the Hungerburg a cable car takes people further up to the North Park with the Seegrube and the Hafelekar, just left of which we find a mountain peak called Frau Hitt. According to different sagas, Frau Hitt once was a woman, a giant queen. About why she turned to stone the stories differ but the best-known version tells that she was so stingy, that when a beggar asked for some food, she gave him a stone instead. So the beggar cursed her, turned Frau Hitt and her horse in stone and left her in the place where we can still find her today. In winter she is dressed in snow; in spring she unveils herself to become the unreachable piece of stone she is in summer, alternatingly attracting and repelling us. All in all, we can see the landscape of the Nordkette in Innsbruck as a complex ecosystem, which is defined by man and nature in equal parts. It includes the social, the economical and even the incorporeal and invisible systems of language: myths, sagas and fairy tales.

It is no different with the landscape of La Diavolezza, a mountain and skiing area near Pontresina in the Swiss Alps, named after a beautiful fairy-queen who allegedly seduced young huntsmen who saw her bathing in Lej Nair, a frozen lake at the summit of the Bernina Pass. The huntsmen who followed her disappeared mysteriously and somehow one must expect they were frozen to death. Freezing to death is a known method for suicide, described among others in Jack London’s To Build a Fire: “… Well, he was bound to freeze anyway, and he might as well take it decently. With this new-found peace of mind came the first glimmerings of drowsiness. A good idea, he thought, to sleep off to death. It was like taking an anaesthetic. Freezing was not so bad as people thought. There were lots worse ways to die. . . .  Then the man drowsed off into what seemed to him the most comfortable and satisfying sleep he had ever known. ”2) Suicide is an issue in Switzerland, as assistance to suicide is legal there as long as it does not bring profit. The Swiss Dignitas organization legally assists people who want to terminate their own lives -be it not by freezing to death. For the she-devil haunting Lej Nar, the freezing of the huntsmen was not enough though, and she only left the region when the whole mountain was frozen and covered with a glacier.

Other myths, sagas, fairy tales and literary narratives surround the la Diavolezza area. Thomas Mann’s sanatoriums in Tristan and The Magic Mountain might have been situated here, only accessible by a forgotten branch of the Rhaetian Railway, somewhere high up in the mountains. Paul Scheerbart saw them as logical predecessors of an architecture made entirely out of glass, because they lit the Alps. As such, they were the predecessors of Bruno Taut’s radiating Alpine Architektur, which would crown the mountain tops like an artificial Alpenglühen.3) His protagonists thought they might be healed from tuberculosis here, in times before penicillin was discovered. Most of them died of course.

Who would be better chosen than New-Territories/Francois Roche, Camille Lacadee with their friend Pierre Huyghe to explore this place? Their work –architecture, installations, situations, films, props- is characterized by a mixture of the archaic and science fiction, moving between myth making and pataphysics; schizo-analysis and paranoia. For New Territories, architecture is not just a pragmatic solution for a problem. It is in the extended pragmatism of a specific situation, that its identity and meaning is produced, as a hyper-localism, as Roche calls it, a specific haecceity, an ultimate thisness, as a biopsy of a biotope. This biotope is a part not just of a “deep” or “shallow ecology”, but of something like Deleuze’s flat ecologics, which opens up “the “philosophical subject” to the realm of nonhuman machines, affects, haecceities and what Maturana/Varela call “structural couplings” 4); or Guattari’s ecosophy, which sees ecology as a complex phenomenon which incorporates human subjectivity, the environment, and social relations. 5)

New-Territories produce critical apparatuses in the double meaning of the word. They construct machines that try to reveal disturbances in the systems we are caught up in: misunderstandings, bugs, aberrations, perversions, stutterings. By doing so they also produce critical apparatuses in the sense of footnotes: the critical and primary source material that accompanies an edition of a text. Francois Roche (whose texts sometimes produce almost the same quantity of footnotes as the texts are long, by the way) writes that “machines also simultaneously produce artefacts, assemblages, multiplicity and desires and infiltrate the “raison d’être” of our own body and mind in the relationship to our own biotopes.” 6) Thus the props and McGuffins 7) New Territories make, like the frozen bodies and their miniatures for La Diavolezza, may trigger complex and unpredictable events, which in the end may only exist in our memory or imagination but reveal something about our complex and ambivalent relation to the Alps.



SCREENINGS: Istanbul Biennial 2016. Frac Orleans 2017. Chicago Biennial 2015.  TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee, and Pierre Huyghe (Mc Guffin), Daniela Mitterberger, Vongsawat Wongkijjalerd; Curating/ Giorgio Pace Projects with Anne Ulrich; Support/ LUMA Foundation, Louis Vuitton, Jurek and Ania Starak, Cabana, Gaia Art Foundation, Canton Graubunden; Cast/ Veronique Mermoud, Matthieu Kobilinski, Camille Lacadee; Camera/ François Roche; Editing/ Camille Lacadee, Daniela Mitterberger; Train Featuring/ Rick Owens & Michèle Lamy; Installation/ CHD construction Christian Huber Delisle, Edouard Lecuyer, Julien Borrel, Gauthier Martins; Mountain Guides/ Gian Luck, Paul Rostetter; Train Management/ Jolanda Picenoni


1) OffSpring, 2014


In 1927 two young scientists were discovered dead in the Asian jungle.
Siegmund and Sieglinde were brother and sister,
heirs a Scandinavian physician couple known for performing whimsical experiments on their patients. 
It has been hypothesized that they were left by their parents with a ‘forbidden experiment’,
possibly with their own sister.
Neither her body nor the body of their parents were ever found.
But we have traces of their existence in the logs the 2 scientists separately kept.
The soundtrack of the film is using excerpts of these diaries.
They retrace daily actions performed onto the creature,
considered mi-human mi-animal
and the trespassing of Siegmund who might have led to their suicide.

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee, and Danielle Willems, Ezio Blasetti, Stephan Heinrich; Feral Child/ Syv Bruzeau; Siegmund & Sieglinde/ Chistopher Codam, Josefine Kallehave; Scenario Writing/ Ian Donaldson; Scenario Storyboard/Yujia Claire Bian; On-Set Props/ Johnny Bocquet-Boone; On-Set Hair & Makeup/ Dilsad Anil; Computation/ Dennis Schiaroli, Annie Locke-Scherer, Phil MarcAntonio, Yagiz Soylev; Construction Bamboo Structure/ Dennis Schiaroli, Phil MarcAntonio, Annie Locke-Scherer, Ian Donaldson; Interior Components/ Ehsan Fazli, Alexandra Singer-Bieder, Agathe Michel; Props/ Shan (Timothy) Sunderland, Johnny Bocquet-Boone, Ehsan Fazli, Dilsad Anil, Yagiz Soylev; Editing/ Camille Lacadee; Sound/ Agatha Partyka; Special Thanks to/ Vongsawat Wongkijjalerd, River Kwai Jungle Rafts Mon Village & Sam Season


2) It would have been my last complain, 2012



“the philosopher, the believers & z’shell-ter” 

What could be the relationship between these antagonist forces, from a strategy of speculation re-questioning the order of discourse, to theology and religious rhetoric, where emerges a figure... from their encounter… from the contradictory zones of the believers and unbelievers?

This interstice, this crack between two dimensions, two interpretations of the world's logic (if there is one...), seems to be a territory with its own systemic values, transactional and transitory, as a fragile monkey-bridge joining the antagonist verticalities and their opposites in a shaping relation between power and knowledge.

For example, in the Indian culture, we could approach the Bhaghavad Gita through a multitude of interpretation (especially on the fight between the two brothers):  from a fairy tale to a religious report, from moralistic speeches to a pitch for Bollywood production, from a sacred scripture to a philosophical and psychological questioning of the notion of identity, duplicity, integrity, consciousness and being.

In the background, underneath of this interrogation, a more crucial question slowly reveals itself: Can we foresee for India, (as is happening everywhere,) the invasion of the autistic over-designed international architecture, following eastern countries such as China, Thailand, Singapore… with no other identity than the personification of post-capitalism meanings, values and designs' sprawling…

Or is India able to create the specificity of its development, by extracting substances from its history, its alive polytheism, its democratic turbulence, its intrinsic relationships between narration and technologies (from sophisticated hand-made to computing fabrication, from the traditional transmission of know-how to programming machines and behaviors).

Could we plan a situationist activism in terms of production, which would combine expertise, recognition of the needs and conflicts, but also lines of subjectivity extracted from the polyphonic listing above…

 “z’shell-ter” / It would have been my last complain

It is a story of the owner of a large library in Gokarna, he collected 100 000 books about philosophy, psychology, some on palm leaves... He is a Brahman...but because of this huge rare collection he has been rejected a long time ago from Gokarna village as an agnostic or atheist collector in a very religious Hindu zone....
The collection has been preserved in a new building on the top of the village by alien fund…which will open soon as an incredible public library (the Study Circle). But at the same time it has aroused the jalousie and hate from village... he commissioned to find a way, to do something or anything in order to recreate the link ...similar to the excerpts Bhaghavad Gita of the Mahabharata, when Krishna helps one brother to engage the war against the other a representation of the conflict of his own self-indulgence…

In this sense, a small structure able to soak trough interstices between the philosopher and the believers…. able to trap their symmetrical self-confidence and self-indulgence, has been completed as equal distance from both locations.  This illusion-catcher is open to be used by the both side…

The Brahmans in charge of temple came and validated this singularity, in charge to collect human pathologies, on one side the beliefs and certitudes of the community, and on the other the arrogant loneliness of the philosopher…

That is a true story and the old man in the movie is the owner of the library... as a report, a “mockumentary” of the situation.  

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee, and / Design Process & Computation/ Ezio Blasetti; Robotic Design/ Special effects, Stephan Henrich; Sound design/ Myrtille Fakhreddine(braïbraï), Devin Jernigan; Computation & Fabrication/ Mark-Henry Jean Decrausaz, Cameron David Newnham, Mark Kowalyov, Peeraya Suphasidh; Camera/ Suthiwat Yanawiboot; Storyboard/ Pim Jular; Model & Props/ Pajareeya Suriwong, Nichapatara Swangdecharux; Machinism Special Design/ Cheng Yu Ling; Shooting Organisation/ Wachira Leangtanom; Editing/ Camille Lacadee; Making-of/Danielle Willems, Pantira Unarat; Historical Research/ Natreeya Kraichitti; Community Negotiation/ Lila Tedesco; Production Assistants/ Arisa Juengsophonvitavas, Papat Jinaphun, Javed Godkin Paul de Costa, Nicha Laptaveepanya, Nuthapong Jiratiticharoen, Benjawan Lamsa-ard, Tachapol Danaboonchai, Suthata Jiranuntarat, Yanisa Chumpolphaisal, Jenwit Narukatphichai, Permpoon Rojanasakul; Construction/ Manjunath&Co; Engineer/ Ravi N.Pattegar, Civil Engineer Contractor; Acknowledgements/ Sri Ganapati Vedeshwar (Study Circle Library), Elias Tabet (Pandrata Circle), Sanjeen SingPawat

3) Although in Hapnea, 2013



A metempsychosis

Of a young scientific reporter, in search for the reasons of the Chao Phraya - Bangkok’s mythical river - ’s flood, and finally engulfed by what he thought he could understand and control. Following his hazardous encounter with an Undine - ageless Thai Vouivre (1)  with trismegistus hair - he is taken prisoner by water, in the body of an hydrocephalus creature (cf image); and hesitates between an endless drowning in the liquid element, and his survival via a suicidal jump in the air...

(1) In Bourgogne (France), the Vouivre (Wyvern) is a chimera, mi terrestrial mi aquatic, living by the eponymous river.

KEYWORDS / metempsychosis - flood, foundering - ‘Science without conscience ...’ (Rabelais) - Bangkok - chimera - scientific reporter, ‘Power and Knowledge’ - Positivism and Empiricism - Undine, Ophelia, Vouivre - hair - invasion, submersion - H2O + O2 / Styx, Interzone, water-air... - flowing, dripping, seeping - respiration,  suffocation - pugged sound, distant...suffocated...

Forecasting logics aren’t any longer able to predict natural catastrophes, those being generated not by natural spasms but resulting from political, industrial and human conjunctions, ... ‘Angry’ biotopes. Gaïa’s furies are countless : Katrina, El Niño,  Jeanne,  Thomas and Nargis, Xynthia, Ewiniar, Fukujima... a series of devastations and uncertainties that our seismographs cannot prevent.

Elements are raging and the gods, always ready to forgive human madness, suddenly seem powerless in front of nature’s infernal rebellion.

This short fiction film gives a double approach to Bangkok’s flood. That of the man who dominates his subject, and soon becomes himself object of this subject.   We have to observe from both sides of the mirror, not in a moralist approach, but with contiguity and ambiguity...

            (first part - the city)

Bangkok is made of human exchanges and road interchanges... a stratification of 4-lane roads floating above an entwined urbanism, of multiple mazes, inter-zones, unsuspected infra-zones... a fabric of phantasms, those the Thai mythology has been giving birth to for centuries, and those overflowing from newcomers’ transit luggage. Bangkok is also a city of water, Conrad’s Oriental Venice... The annual Chao Phraya flood is getting worse every year (30% of the country is under water) and transforms lives and social organisations. Understanding the reason behind this programmed immersion is what brings our young scientific reporter from Scandinavia to land here, in a positivist, materialist, occidental approach..., fed on certitudes about what he will find before taking the time to discover it...

            (second part - the interzone)

However, through these superimposed intertwined concrete wild urban stratifications, a break will open... giving to a place where logic can but abandon him, where the absurd becomes tangible, reality principle. Projected without knowing it nor how in this weeping interzone, mi-terrestrial mi-aquatic, his life becomes inherent to his breathing.. air and/or water... he perceives the two worlds, this time from the one he was supposed to analyse and dominate... he breathes water... Jumping from the aquatic biotope which after all protects him, is our hero trying to recover his lost human nature...? Is he attempting a new metempsychosis...? Is he victim of the illusion that he will be able to choose the form of his new mutation...? Perhaps will it only be a suicide, deprived from rebirth... in the heaving, suffocating sound of the hydrocephalus fish-man who suffers from understanding too well...

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee, and Katrin Hochschuh, FabLab Thammasat University Bangkok/ Samustpon Tanapant, Arisa Plapiriyakit, Nonsthorn Srisuphanraj, Trin Chanchaiprasong, Pongsakorn Sarunsatta, Supinda Bannapob, Nonglak Boonsang Nuttapol Techopitch, Tanakorn Somsuk, Piyanut Songkhroh; Co-Production/ Graham Foundation Chicago, Nouveau Musée National de Monaco, CNC DICREAM; Journalist and Ophelia/ Camille Lacadee; Creature/ SarutKomalittipong; Interzone Fishermadman/ Khun Pan; Glass Blowing/ Union Victors Co, Ltd Bangkok; Sound Design and Mix/ Myrtille Fakhreddine; Guitar/ Nader Mekdachi; Make-up/ Suwannee Surachescomson, Taweesit Mannark; Cinematography/ Francois Roche; Editing/ Camille Lacadee; Ephemeral Direction Assistant/ Sompot Chidgasornpongse; Production Assistant/ Hadin Charbel; Special Thanks to/ Makkasan community in Bangkok, Sompong, Toon, Pai, Tree and Mr Sankyu


4) Terra Insola, 2014



Once again Daedalus stroke with his technocide genius…It was not enough to have created the monster Minotaur through the trickery of a cow in heat in a mythological zoophilic orgy…Not enough to enslave the bestial child in a labyrinthine corridor and then get him killed by giving the thread to the beast’ sister Ariadne…It was not enough, in his technicist grail quest to sacrifice his own son with solar-melting glue… Not enough to imagine the last deadly bath of Minos… In this opus Daedalus offers us his last incarnation of Ariadne Alone on Naxos… she is between two states…Disembarked…  dumped on the island by the mas-macho testosteroned Theseus, killer of her Taurus half-brother... Waiting for Dionysius the alcoholic to turn her into a multi-procreative uterus… Ariadne is alone… alone with Daedalus, the eponymous abstruse useless apparatus in endless entropic self-obsessed growth… The blanching of Ariadne is visible… in her new-age animal regression living on harvest and masturbationShe seems in peace… asleep… in featherbrained ataraxy…Anthroposophic and physiological exchanges with the machine for only agenda...While Daedalus the alchemist is savoring his dejections metabolized in simple chemical constituent... in spiralized choreographies... In the pursuit of his opera... psychotic...

SCREENINGS: Frac Orleans 2017, Chicago Biennial 2015.Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015.

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee and Danielle Willems, Lydia Kallipoliti, Ezio Blasetti, Stephan Henrich, Andreas Theodoris, Luis Felipe Paris, Johnny Boquet-Boone, Cecil Barnes, Danielle Griffo, Hasti Valipour Goudarzi, Gary Edwards, Martin Lodman, Maximiliam Lauter, Melodie Yashar, Shalini Amin, Pierre Bourdareau, George Avramides, George Louras, Jonathan Requillo, Raquel Sanchis Ulacia, Robinson Strong, Kim Se Hyun, Lorenzo Villaggi, Leonidas Leonidou; Partners/ Columbia University [GSAPP, Graduate School of Architecture, Planning and Preservation], ΣΑΔΑΣ ΠΕΑΤμήμα Χανίων, ‘Eνωση Ξενοδόχων Νομού Χανίων, Οικονομικό Επιμελητήριο Ελλάδος-Τμήμα Δυτικής Κρήτης, Περιφέρεια Κρήτης- Περιφεριακή Ενότητα Χανίων, Πνευματικό Κέντρο Χανίων, 28η Εφορεία Βυζαντινών Αρχαιοτήτων, Περιφερειακό Ταμείο Ανάπτυξης Κρήτης Sponsors/ ANEK Lines, INKA, ΕΤΑΝΑΠ, ΒΙΟΧΥΜ ΑΕ, Αμπελώνες ΚΑΡΑΒΙΤΑΚΗ, Special Thanks to Roula, Soula and YorgosPartner / Συνδιοργανωτές: Columbia University [GSAPP, Graduate School of Architecture, Planning and Preservation], ΣΑΔΑΣ ΠΕΑ- Τμήμα Χανίων, ‘Eνωση Ξενοδόχων Νομού Χανίων, Οικονομικό Επιμελητήριο Ελλάδος-Τμήμα Δυτικής Κρήτης, Περιφέρεια Κρήτης- Περιφεριακή Ενότητα Χανίων, Πνευματικό Κέντρο Χανίων, 28η Εφορεία Βυζαντινών Αρχαιοτήτων, Περιφερειακό Ταμείο Ανάπτυξης Κρήτης

Special Thanks to Roula, Soula and Yorgos


5) Beau-Strosity, 2013



Is set in the slum of a BKK megacity in which all assumptions of complex political cultural structures coexist in continual violent struggle. What the journalist discovers is an insidious infiltration of an incestuous phenomenon, a structure that is an embodiment of the relationship between mother and son that amplifies the intensity of their co-dependency. As familiar boundaries decay we can no longer take comfort in normative filial relations. What the film discovers is not an anomaly but a measure of an emerging circumstance within the city, a petri dish seething with anamorphic potential.

The revelation of an undiscovered paradigm.

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, with RMIT University, Francois Roche with Camille Lacadee and Gwyllim Jahn; Direction/ Anastasiya Vitusevych; Writer(s)/ Dan Schulz, Eleanor Tullock; Lead Cast/ Ad, Chanja; Supporting Cast/ Crystal Song Choo Jing, Dan Schulz, Vivian Kon Ching Sian; Cinematography/ Lila Athanasiadou; Set Director(s)/ Ada Umgofia, Crystal Song Choo Jing, Dan Schulz, Eleanor Tullock, Loo Yew Hann, Sam Verschoren, Vivian Kon Ching Sian; Sound Director/ Loo Yew Hann; Casting Director/ Tree; Security/ Crystal Song Choo Jing; Blood effect/ Eleanor Tullock; Editing/ Eleanor Tullock, Dan SchulzSecurity : Crystal Song Choo Jing


6) La Passe 2014

Bordeaux / Movie / Design: Francois Roche  

La passe / 10 mn

A PSYCHOANALYST DROWNING / The story of the passage of a renowned psychoanalyst. From the tree of her childhood dream’s first emotions, through a shaded neighbourhood conflict leading to kill a centenarian tree without qualms as if to clear a memory, to the logs of this tub collecting both rain water and the outpouring of her affects ... ultimate theater of her repressions ... to swim breaststroke ... against the current ...

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee, Andre Burger and Nicolas Ferron of Modern Pool Alpes; Draft/ Katrin Hochschuh, Hadin Charbel; Clients/ Daniele & Philippe Lacadee


7) Feral Child, 2012                                  

URBAN MOWGLI SYNDROME / We were not able to extract the feral child found in the deepness of Singapore Jungle without the minimum environmental precaution. The group of scientists in charge of her re-adaptation decided to avoid jumping into a Mowgli syndrome, and instead placed her in a human education settlement. Those fragments of Bamboos forest are literally the biotope in which she survived.

Scenario / Scene 1

We were not able to extract the feral child found in the deepness of Singapore Jungle without the minimum environmental precaution. The group of scientists in charge of her re-adaptation decided to avoid jumping into a Mowgli syndrome, and instead placed her in a human education settlement. Those fragments of Bamboos forest are literally the biotope in which she survived.

She has trouble learning to walk upright after walking on fours all her life, and displays a reasonable lack of interest in the human activity around her. She seems mentally affected and has almost insurmountable trouble learning a human language. But even with this high degree of acculturation, she is wildly prepared to survive in a hostile situation.

She is a female, of around 20 year old. We are not in the situation to trace her provenance and real identity, but her DNA is showing a kind of creoleness, being 40% Caucasoid and 60% Mongoloid.

Even if her behaviour seems to be plaintive and fearful, even if you can hear whispering sounds reminiscent of jungle animals groans, she is safe.

Please do not disturb the feral child, and do not feed her. We are not in a zoo. She has to be respected as the last wild anomaly in Singapore cultural and societal environment.

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

from a concept by New-Territories, M4, Francois Roche with Camille Lacadee and Jeremy Djaffer, Tiziano Derme; Performance/ Syv Bruzeau; Camera/ François Roche; Editing/ Camille Lacadee


8) Deamon in Venice, 2011

The spectators enter the garden, shoes off, walking barefoot in the full-moon night, surrounded by their shadows.... They proceed inside an obscure structure, through an aggregative density that seems paradoxically weightless, and soon leads them to a deep sinkhole, as the perimeter of the drama, where the play could eventually start.

In the pursuit of Thomas Man’s novel, we devised an apparatus trying to contain the invasion of the epidemic disease, the Cholera, trying to repulse the wind of Death and its somberness to preserve the particles of life scattered behind the illusory protection wall… Wind and water are never considering the efficiency of human obstacles as impassable; their natures are untamable, driven by encroachment, overcrossing, overflowing ... The flooding of both Bangkok and Venice is a real and non-contingent fact... here despite the awkwardly dismembering landscape, with its lost whiteness, its lost paradise...

The pool was a pool, not any more…it turns into a deep, bottomless sinkhole, engraving and digging the ground to find the door to hell…. while the moonlight observes the “dance macabre ” of the daemon in the Siamese twin sister of Venice, Bkk.

with Jitti Choregraphy and Nutthapong Jiratthiticharoen / Natreeya Kraichitti / Thanaporn Lam / Pisut Phumchaosoun / Jariyaporn Prachasartta / Sitthiwat Suddhijaru / Bahnfun Chittmittrapap

CREDITS: from a concept by New-Territories, M4, Francois Roche with Camille Lacadee


9) Altered State, 2013

Mind-machines with Carsten Holler / Design: Francois Roche & Camille Lacadee

Collaboration: Katrin Hochschuh

It’s about the choreography of several dancers, several mind-machines, disarticulated and in disequilibrium, petrified in four different positions, spraying some cloudy substances, top down very dense foggy matter, disseminating a random cocktail of physiological alterated states (euphoria, melancholia, hysteria, phobia, phyllia, joy, delusion, delirium, anxiety, amnesia…) to disrupt the perception, for a drift in a synesthesia multiple and heterogeneous sensations.

The physio-zones are an initial preparation, a shamanism ceremony to reach a point of emotional delivery. It’s engaging an emphasis of the acephalous body, released from its rational jail and limits, by rationalities, as a strategy to reach a line of subjectivities escaping, crossing real and unreal, logic and illogic, through the viscera, the arterials, and the headless desirable machinery of the human body.

The cloud is using chemistry synthesis of human Pheromones ANDROSTA-4,16-DIEN-3-ONE (A5) + ESTETRAENOL (E1)  

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, Francois Roche, Karsten Holler, with Camille Lacadee


10 ∑ days, 2014

(The RAT and ... )


Props / Movie 6mn / New-Territories-RMIT is about the compulsion that moves the body towards animality... an orifice that summons... it speaks and promises absolutes... it becomes the impossibility to resist the call of the embassy, the call of desires…

The situation is of dialogue, an exchange between a Diogenean human and a wild rat; caught somewhere in between. Inherent in this situation is a paradox, that by longing to identify with the wild, one is inadvertently tamed, caged in an opposing intention.

The urge to consume, the hunger for mutualism in its entirety. The (il)logic imposes to be repeated 

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015

CREDITS: from a concept by New-Territories, M4, with RMIT University, Francois Roche with Camille Lacadee and Gwyllim Jahn; Cast/ Natalie; Scenario/ Agatha Partyka, Lynda Nguyen, Mark Kowalyov; Editing/ Agatha Partyka, Lynda Nguyen; Direction/ Mark Kowalyov; Cinematography/ Grant Trewella; Sound/ Agatha Partyka; Sound Recording/ Daniel Balacich; Morphology Design/ Jack Mansfield-Hung, Victor Wong; Morphology Construction/ Zaid Audi B Mohd Khorie, Victor Wong, Jack Mansfield-Hung; Rat Cage Design/ Christopher Ferris, Victor Wong; Translator - Local Liason/ Khunakorn Terdkiatkhachorn; Fabrication/ Zaid Audi B Mohd Khorie, Khunakorn Terdkiatkhachorn, Jack Mansfield-Hung; Fabrication Assistants/ Victor Wong, Christopher Ferris, Mark Kowalyov, Daniel Balacich, Grant Trewella, Agatha Partyka, Lynda Nguyen; Lighting/ Victor Wong, Zaid Audi B Mohd Khorie; Costume & Make-up/ Lynda Nguyen; Props/ Jack Mansfield- Hung, Lynda Nguyen


11)  WHATEVS~4~EVS, 2015  

(MindMachineMakingMyths / New-Territories / UPenn studio)

Exhibition Bridge Gallery / 18 Oct – 6PM / Chareon Krung 51 (in front of Sathorn Unique) / Bangkok   

The picaresque Soliloquy of a banished Arbitrista[1] jester[2]

 (from the 17th century Spanish Court to Bkk Sathorn Unique[3], there & tomorrow[4])

[1] . The Arbitristas were a group of reformers writers in 17th century Spain. The arbitristas were concerned about the decline of the economy of Spain and proposed a number of measures to reverse it. Among other that immigrants should be encouraged to re-populate Castile; that fields should be irrigated, rivers be made navigable, and agriculture and industry be protected and fostered.

[2] . The Jester Don Diego de Acedo is one of a series of portraits of jesters at the court of Philip IV of Spain by Diego Velázquez. The breeze that blows through these paintings, overwhelms the tension and anxiety of the Spanish court, transforming it into a carnival freak show, a comic representation of the human condition… wounded, distorted, and blemished…

[3] Sathorn Unique BangkokThe Sathorn Unique is a 49-story building, located in downtown Bangkok, built in 1990. At 80% construction, it was abandoned in 1997 (Asian financial crisis) and never completed. Locals insist the skyscraper is haunted and call it the "Ghost Tower".

[4] There & tomorrow / here & now / Jetztzeit was translated as “here-and-now,” in order to distinguish it from its polar opposite, the empty and homogenous time of positivism. Walter Benjamin uses this term in his ‘Theses on the Philosophy of History’ to describe a notion of time that is ripe with revolutionary possibility, time that has been detached from the continuum of history. It is time at a standstill, poised, filled with energy, and ready to take what Benjamin called the ‘tiger's leap’ into the future. It isn't naturally occurring, however, and takes the intervention of the artist or revolutionary to produce it by ‘blasting’ it free from the ceaseless flow in which it would otherwise be trapped.

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015. Bridge Gallery Bkk 2014

CREDITS: from a concept by New-Territories, M4, with Upenn University, Francois Roche with Camille Lacadee and Gwyllim Jahn;  Vongsawat Wongkijjalerd, Amaury Thomas; Cast/ Nui; Hair & Makeup/ Suwannee Surachescomson, Taweesit Mannark; UPenn// Scenario/ Jacqueline Martinez, Walaid Sehwail, Rhea Gargullo, Peter Wildfeuer; Film Direction/ Jacqueline Martinez; Cinematography/ Walaid Sehwail; Sound/ Rhea Gargullo; Lighting/ Peter Wildfeuer; Scenario & Script Development/ Jacqueline Martinez, Peter Wildfeuer; Art Direction & Props/ Rhea Gargullo, Walaid Sehwail; Production Assistants/ Billy Wang, Michael Royer, Hyeji Yang, Geongu Lee; Grotto Design/ Michael Royer; Grotto Fabrication/ Billy Wang, Michael Royer, Hyeji Yang, Geongu Lee; Grotto Installation/ Billy Wang, Michael Royer, Hyeji Yang, Geongu Lee, Jacqueline Martinez, Walaid Sehwail, Rhea Gargullo, Peter Wildfeuer; Editing/ Camille Lacadee 


12)  Emet, 2015

Symmetric pathologies  / strikethrough life and death / tads and dotard facing their suspicious candor and instinctual obscenity / cruel laughter / sardonic growling // no words / ignorance on the verge of Alzheimer / sneering with borborygmi / gobbling and snoring / slobbering / drooling through identical reflects in the mirror / a multitude of Janus double-face // projection / illusion / the escape from those two states of sarcasm / in the darkness of the street / man faces me to get the backlash of his creation / to articulate his ‘reason of being’ / time-break of god’s existence // the perpetuation of the scene of the crime, without hope / Pandora Box / and ‘you think it’s funny’…

(In the versions of Chełm and Prague, as well as in the Polish version of Brothers Grimm, Golem is inscribed with Hebrew words, such as the word emet (אמת, "truth" in Hebrew) written on its forehead… but being deactivated by removing the aleph (א), from "truth" to "death" (met מת ="dead").

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015.

CREDITS : from a concept by New-Territories, M4, with RMIT University, Francois Roche with Camille Lacadee and Gwyllim Jahn; Cast/ Man trapped within structure: Mr. Sankyu; Golem - Danica Yee; Kid 1: Chanchai, Kid 2: Naowarat, Kid 3: Somsak, Story Writers/ Jordan Wells, James Pazzi, Judy Junyan QI; Storyboarding/ Louis Nuccitelli; Directors/ Danica Yee, Louis Nuccitelli; Cinematography/ Lucian Clifforth; Pre-editing/ Xiyue Wang, Judy Junyan QI; Sound Designer/ Xiyue Wang; Lighting/ Jordan Wells, James Pazzi; Set Designers/ Marc Gibson, James Pazzi; Fabrication Team/ Marc Gibson, James Pazzi, Jordan Wells, Dechao Sun, Bowen Nie, Zhen Tian, Judy Junyan QI; Props/ Louis Nuccitelli, Lucian Clifforth, Danica Yee, Xiyue Wang; Make up + Costume Designers/ Judy Junyan Qi, Marc Gibson, Jordan Wells; Thai-Translator & Local Liaison/ Dechao Sun; Robotics/ Vongsawat Wongkijjalerd; Editing/ Camille Lacadee, Daniela Mitterberger


13)  concrete(I)land, 2015

(bkk mαkkαsαn)

a ‘post-culture’ spasm

The Bowl of mad-mud

In the muck-dirt-turd / human cradle to cradle loop / where substances meet in all their states of chemical transformation / from the fruit of the earth to the rejection /

Human Matter…”where it smells shit, it smells human” to quote Antonin Artaud (‘Là ou ça sent la merde, ça sent l’être.’ Pour en finir avec le Jugement de Dieu, 1947) from body metabolism…. As a cycle… of rejection – recycling (physical context), extracted, pumped, remixed, extruded from the open sky sewage ground below the pilotis… emerging on the above level, the visible level.

Robotic production from recycling matter, first antagonism.

The Ghost Content

Something was lost… the relation to the initial system of knowledge transmission… in this ‘Idiocratic’ post-capitalist regime … no one reads no more… and language has been reduced to a daily life commerce… banality and merchandising.

The people of the Slum, because of their interzone, lawless situation, can re-question this social, political and cultural Alzheimer global XXI century phenomena… via a transgressive line of escape.

We derive, we drift within the situation… to shift this relation to knowledge (rapport au savoir) in a subjective, immersive mode…

In the library, people aren’t expected to read… but to sniff the ashes coming from the books, targeting a travel ‘shot’ to a subculture cinematographic adaptation of the book.

Book readers are sniffers, disseminated in the Slum in a subjective immersive ego-trip, in the pursuit of the Selfie, a self-portrait in Alchemist mode.

At the opposite of Pro-Bono enterprises usually intervening in the slum to promote politically correctness and right consciousness…  

Concrete[I]land / short film

from the book of Ballard /

Mαkkαsαn, a kind of ‘Alpha Ville’, as the fear of word’s disappearance, now a fact, with the emotions that came with them, as the impoverishment of the means of expression, as a displacement perhaps and yesterday’s world might be gone and dead. The rise of the selfie as the only way to witness one’s life. To take it and put it there, nowhere really, directly, with no one acknowledging it. The absence of meditation, permanent obsession of self-portraiture, the obscene display of solitudes.

The short film is about 2 worlds (upper-condo/highway and below-slum self-organization). Below is the genetically diseased autarky, island of degeneresence, living among their rejects, in the acceptance of society’s garbage, where the social contract is a constant work in progress, unstable. 

What is burned though is our memory, our culture in the form of books. The written world is sinking in the canal slum water, putrid, smelly-belly. While North Pole polar bears change their gender membership to increase their reproduction probability in the melting-ice age, here in Makkasan, people are developing by-product of substitution, a kind of cultural methadone, of easily-accessible stirring stifling barely-bearable immersive-emotional self-suggested shots.

Robotic voice process / The shelter components are done through real sensor interface robotic system… where ‘nick’s reading of the book affects the trajectory of the nozzle (voice intensity and timber) / Microphone + Sound voice recognition + RSI-Kuka = seismograph movement of the robot linked to frequency and amplitude of the sound sinusoidal curve)/ & the shelter petrified the Books reader’s voice … witness of a lost paradise (Milton)…

 A positive entropy engaging a counter movement in the negative mode, as the first Thermodynamic law in the Anthropocene balance ?

In Bangkok 2015 with Michigan-Ann Arbor / M4

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015.

CREDITS: ffrom a concept by New-Territories, M4, with Michigan University, Francois Roche with Camille Lacadee and Vongsawat Wongkijjalerd, Daniela Mitterberger; Michigan Architecture Students/ Po-Jen Huang, Te-Shiou Chen, Jakkrit Jannakhon, Linnea Cook, Salam Rida, Min Zhang, Weiqi Zhang, Stefan Klecheski, Beth Carliner, Peter Sepassi, Tracey Weisman, John Yoon


14)  zeitGast, 2015

I'm the unknown Ötzi companion / lost in the whiteness i could spoil / for limited time / preliminary condition to rebirth everyday / / to make tomorrow possible / daily animal instinct / night psychosis /// an impulse to make shelter / diurnal silence / nocturnal conflicts staging my human schizophrenia // hopefully  // call me Sybil/ in my multiple echoes // from larva to nymphas // cycle of repetition / and exquisite corpses

SCREENINGS: Frac Orleans 2017. Chicago Biennial 2015. Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015.

Credits:  from a concept by New-Territories, M4, with Innsbruck University, Francois Roche with Camille Lacadee and Stephan Henrich / Assistant Producer / Galo Moncayo Asan, Marc Ihle, Peter   Griebel / CAST: Martina Lesjak / SCENARIO: Alexander Grasser, Jörg Stanzel / P.R.O.P.S: Lukas Härtenberger, Philipp Rust, Theresa Uitz / SUIT | ROBOT: Lino Lanzmaier, Pedja Gavrilovic, Simeon Brugger / CINEMATOGRAPHY: Alexander Nikolas Walzer, Gülay Güldemir / DIALOG: Theresa Uitz / DIRECTION: Francois Roche / EDITING: Francois Roche & Camille Lacadée / SOUNDDESIGN: Alexander Nikolas Walzer, Gülay Güldemir / ROBOT: Stephan Henrich / MAKE UP: Gülay Güldemir / SUPORTED BY: Spielraum - Fablab Innsbruck, RexLab - University of Innsbruck, Institute for Archeology - University of Innsbruck, Agrargemeinschaft Haggen / SPONSORS | PARTNERS: institute for experimental architecture.hochbau, Vice Rector for Research - University of Innsbruck, Dean of the Faculty of Architecture - University of Innsbruck


15)  Liminal, 2016

The liminal is a fiction story of an oracle trapped in a Carbon spot, similar to the Delphic Pythia, in a gas vapors, in our case coming from the robotic firing production of her game, as her toy from high manufacturing expertise, the extension, correlation of her mind…. She is loosened by the situation, of machine technological power and collateral effect (artifact) from this production doing under-influences emissions…..which affect his/her psychology and physiology…initially she was supposed to predict…and the devotees are waiting to hear their destiny, but she escaped in a bulimia drive, suppression of the fortune telling….strangling herself at the place  … to tell the truth…they are not able to face … ‘the eschatology of our period’ (millenaries) …So …she stay mute… swallowing and belching out all the candies…to suffocate… in the situation of rumbling… some evident sign of resignation which cannot be decoded by devotees…

She capitalize knowledge both by machine (bachelor) and psychotropic environment (carbon)… but she refuges herself in a pathology …to avoid to scare herself and the questioner about her/their own future… The Pythia is becoming a Cassandra…walled in noisy silence.

The notion of excess, excess of technology, of knowledge, of junk sweet food orgy…is a symptom in the pursuit Jean Francois Lyotard about the “libidinal economy”…

She has no vision any more, just trapped in the illusion of Desir / need+pleasure / …. In real time / and voluntary Blind…

PRODUCER / CONCEPTOR / NEW-TERRITORIES / M4 / RMIT / As part of the series “mythomaniaS” /

SCREENINGS: Frac Orleans 2017. TARS Gallery Bkk 2017. Singapor Art Stage 2017.

CREDITS: from a concept by New-Territories, M4, Francois Roche with Emily Davies, Jasmine Syed / VOICE: Jasmine Syed/ ACTOR: Joshua Lye/ FABRICATION: Franziskus Rau, Harlan Pichette, Ben Wilson, Joshua Lye, Mary Spyropoulos/ CONCEPT DESIGN: Ben Wilson, Harlan Pichette, Joshua Lye/ DESIGN DEVELOPMENT: Ben Wilson/ ( SWEET ) SHRINE: Emily Davies, Jasmine Syed/ DIRECTION: Emily Davies / Francois Roche/ LIGHTING: Mary Spyropoulos, Ben Wilson, Harlan Pichette/ DRAPES TEAM: Harlan Pichette, Ben Wilson/ SHOOTING / CINEMATOGRAPHY: Emily Davies / STEADY CAM: Franziskus Rau/ SOUND DIRECTOR: Jasmine Syed/ HAIR / MAKE-UP: Jasmine Syed, Mary Spyropoulos/ ROBOTICS: Vong Wongkijjalerd/ ROBOTIC PROP DESIGN: the PYRODULIA / Mary Spyropoulos/ ACKNOWLEDGEMENTS: / Grandma, Gwyll Jahn, Lala, Matt, Maloti.


16)  The virgin case, 2016-17

Eve and Lilith are Siamese sisters whose genesis was their separation, the latter said to have been brought into existence before Adam, created, like him, of out of dust and clay. Both sterile and given to mockery, she outwits men and slips into the mirror of their sleeping fantasies to shatter their dreams of power.  A woman of the night and succubus, she embodies both her original equality and the threat to it… In contrast, Hawwâ’_Eve, was made from Adam’s rib, taken while he was sleeping. She is inherently subordinate to him and the one who receives, the fundamental mechanism of fecundity… of the existence of the community… the structural position of femininity in the masculine monotheist unconscious.

In Orleans, the site of this apparatus, you feel the omnipresence of Joan of Arc – her rebellion against the social order and even the ministry of religion, the faith that drove her but also… the sword she brandished on May 8, 1429 to lead the liberation of the city. Perhaps this Louise Michelle of her time, this mythologized and mystified Lilith, can be associated with the morbid, combative inclinations underlying some contemporary kinds of radicalization, in particular that of young women longing for a post-feminist existence who do not identify with the Western model of emancipation for women, and its parallel in the Arab Moslem countries with the figures of Huda Sha’arawi and Malak Hifni Nasif in the 1920s.

This mythomaniacal apparatus provides the occasion to compare and contrast two conceptions of women that have prevailed since they first arose in Christian, Jewish and Moslem scripture, both official codices and the apocrypha.

Together they discover their singularities, their dualities… here and now... and simultaneous perceive that the addition of their differences is not enough to describe them as an ensemble…

The film [The virgin Case] is still in editing.  The territory done at the Frac is the final scene. A structure at the end of the “exhibition/installation” layout that opens it up to the infinity of the probable.

(This text is accompanied by the dialog and the preamble that appears before the final credits)

A robotic and aleatory method was used in the fabrication of this ‘’prop’’: a heap of vitrified plastic created through the use of ambiguous anthropo-technical procedures (self-generating processes) whose main aim is to discover an engendered shape, a sort of shapeless and computational Golem, an artifact of the procedures set into motion.

…Let something happen, let it be made fuzzy by the very logic that drives this process, so as to corrupt the automaticity between 3-D fabrication technologies that are usually hostages to their procedures and thus produce an exact replica – for instance, 3-D printers. We propose that a robotic-computational operating procedure unfolding in real time serve as the vector of a design that emerges during the construction process itself.  

This means working out protocols that enable multiple local negotiations that will gradually reveal a form never designed in advance, one which will emerge from contingencies, their successive and aleatory iterations and reiterations… to produce a structure/territory that has no model other than the discovery and extraction of an underlying formal logic issued from the incestuous co-opulation of algebraic vectors and a bachelor machine, a 7-axis robot.

The movements of this robot are no longer based on determinist parameters. Instead of going from one predefined point to another, they operate in a conditional mode, based on its relative position, going from where it should be to where it will never be, because its trajectory is disrupted by new signals indicating a new orientation, over and over again, orientations intrinsic to its illogical logic, never following a path constituted only by the addition of pointless vectors, stuttering as it stammers.  

In short, this fragment will be a series of invaginated, hollow, folded areas, a tool-assisted speedrun heap of PLA plastic that is endlessly recycled and vitrified

SCREENINGS: Frac Orleans 2017. TARS Gallery Bkk 2017. Singapor Art Stage 2017.

CREDITS from a concept by New-Territories, M4, Francois Roche with Stephanie Lavaux (initial partner) / Vongsawat Wongkijjalerd (robotic partner, architect) / With / Georgios Chousen (researcher, architect) / Stephan Henrich (robotic, architect) / Devin Jernigan (computation, architect) / Benjamin Ennemoser (nozzle design, architect) / Marie Vic (dime novelist) / Thibaut Boyer (archivist) / Leo Torgoff (Translator) / Nadia Belaid (actor)


17)  Ex-timity, 2015

POST-NEOTENY / Not today … from where did u enter it’s too early … ‘m not ready ... not presentable ...... .. ......... I am premature porn vulnerable sexually immature ... you see ... still in limbo ...... .. not stripped of my molt ... ...... ... shameless voyeur unveiled in his extimacy ............ . a primate fetus libidinal .................. ......... wait …. come back later ... .. really not in place ...... ......... not in my place ... I exit-inUterus ... and I ‘m hungry ...

SCREENINGS: Frac Orleans 2017. TARS Gallery Bkk 2016.

from a concept by New-Territories, M4, Francois Roche with Camille Lacadee with Joey Jacobson, Benjamin Ennemoser, Robotics/ Vongsawat Wongkijjalerd; Editing/ Francois Roche, Camille Lacadee, Daniela Mitterberger


L’architecture infiltre et est infiltrée par sa scénarisation. Articuler ces 2 dimensions, en un entremêlement, un enlacement, c’est  développer des contingences, qui s’associent ou se dissocient comme deux artefacts en dialogue de sourd : l’un par le potentiel d’écrire un pitch pour un film employant une structure comme produit dérivé, et l’autre dans le monde tangible et tactile en donnant forme à une émergence qui construirait la raison d’être du film. La relation, le flux permanent entre l’architecture qui devient ‘Prop’ d’une autre production, d’une autre discipline, et son empreinte vulnérable à sa propre érosion produirait un dialogue siamois en processus transitoire et transactionnel indiscernables… entre narration et topologie… glissant vers un bégaiement osmotique et symbiotique… (protocoles schizoïdes miscibles et autonomes…) à l’origine de la naissance de quelques identités fictives ‘maclées’ (phénomène de réplication cristallin). … Il s’agit aussi de partager cet objectif schizoïde… raconter des histoires et les fabriquer mais également créer un laboratoire d’une durée donne… capable de mettre en place les conditions d’utilisation and de manipulation des sciences… à l’opposé du nouveau mysticisme et du retour d’un Positivisme naïf… Nous nous situons plutôt dans les traces de l’approche ‘Pataphysique, développant des dispositifs de connaissance, débarrassé du discours du Maitre (Deleuze), dans la poursuite du LOG#25, édité a NY a ‘Reclaim Resi[lience]stance, manipulant politiques and sciences...  ...‘Pataphysique / (avec apostrophe en préfixe) _ « science des solutions imaginaires…» _Alfred Jarry.