The first iteration of the project will take the shape of a Virtual Reality as well as a video. His work has been exhibited at Des Corps Libres, Reiffers Initiatives, Paris. Drop 06, Zien, Online. Global Gallery, Worldwide. Organized by Porsche and König Galerie. Salon de Montrouge, Paris.

During his AlUla Artist Residency, Ben Elliot has been inspired by the scenery, the local wildlife, the people in AlUla and the developments brought on by Saudi Arabia’s Vision 2030. He imagined the future of these landscapes and produced a powerful immersive Metaverse experience, challenging the past and future through the digital realm, based on his historical site visits and with the help of the local community and experts.

During the “Palimpsest of Time” exhibition, Ben Elliot showcased Smartsuit, a speculative garment designed by him, which envisions the future of clothing for the human body. Perfectly designed for AlUla’s desert, it is minimalist, utilitarian and streamlined for everyday use, Smartsuit acts as a true bioskin, responding to the needs of the body in a technology driven society. Constructed from intelligent biomaterials and acting as a new exoskeleton, Smartsuit adapts to unlimited colours and intuitively shapes itself to the individuality of its user while responding to its environment. The suit adapts to the weather, provides warmth, energy and nutrients to the host, optimises the body’s performance levels, enhances the senses, stores unlimited data and connects intuitively to all social networks. The Smartsuit is self-cleaning, self-healing and self-fragilising.

On March 8th, the event “Sands of tomorrow” included an off-white cocktail and finger food and recital of Ben Elliot’s writings by Alanood.

At the intersection of physical and digital paradigms, Metaone is divided into different environments inspired by innovative places, like AlUla. Metaone envisions being a digital answer to these new kinds of cities and societies, which are at the same time smart and in adequacy with their natural habitat (i.e. biomimetic shapes).
For Elliot, AlUla represents a very exciting ambition for a futuristic country where history, nature, technology, and sciences coexist to create progress. He is interested in the conception of new spaces that rethink humanity’s relationships to the space we live in – which is also something the metaverse should provide reasoning about through the shapes (architecture, urban planning) or values (sustainability, well-being) it carries.

Ben Elliot’s workshop was intended for the younger local generation of AlUla.

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Willmann (b. 1995, France) exhibited at EXO EXO, Paris; Fondation d’entreprise Ricard, Paris; Divan Orange, Montreal. He is the winner of the Prix Roger Pailhas (2021), Prix Linossier (2019) and the Prix de Paris (2019)

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More recently, they have taken an interest in various state violence and questioned places of power through the use of monumental frescoes.

Quinlan & Hastings (b. 1991, UK) recently exhibited at Isabella Bortolozzi, Berlin; MOSTYN, Wales; Fondazione Musei Civici di Venezia; Hayward Gallery, London; Whitechapel Gallery, London; Sweedens National Centre For Architecture and Design; Canton Gallery, Guangzhou; University of California; Galeria Graça Brandão; The Cruising Pavilion, Venice Architecture Biennale; Walker Art Gallery, Liverpool; ICA, London; Centre Pompidou, Paris; Southbank Centre, London; DRAF, London.

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She questions the construction of a self-narrative at a time when social networks as well as the phone’s film constitute forms of chronicle 2.0.
From November 2018 and for a year, she painted everyday a photo taken with her mobile. Inspired by constrained writing, the protocol remains the same for each painting: same gouache treatment, same dimensions, each numbered and annotated with a comment.

More recently, she draws photos taken or received, images specific to Internet culture from her cellphone’s stock, and then uses them as raw material for her gouaches on paper in screen format. The subjects chosen are those that we would naturally take a photo of, a cooked meal, a selfie, friends, a vacation landscape. Once the painting is done, Marion Chaillou scans it and puts it in a binder. It is her own gaze that she returns in the literal sense of the word. The screen would be a reality that she takes care to paint, as one would paint an object from nature. From this process results the writing of a story told through an autobiographical painting.

Marion Chaillou (b. 1998, France) is currently studying at Beaux Arts de Paris.

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Often using bold colors and depicting recontextualized or simplified objects that hint at the symbolism of corporate entities, government bodies, or religious organizations, Donzé’s works offer a seductive quality of consumerism and physical attraction while hinting at the precariousness and ambivalence of life in our contemporary condition.

Donzé (b. 1991, Switzerland) recently exhibited at Musée des Beaux-Arts de La Chaux-de-Fonds; Parliament, Paris; Kunsthaus Langenthal; Galerie Dittrich & Schlechtriem, Berlin; Hit, Geneva; Kunsthaus Pasquart, Biel; Life Savers, New York; Mi-lieu, Berne.

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