Head of the Research Group “Reflective Interaction”
Samuel Bianchini is an artist and associate professor at École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL Research University Paris. Supporting the principle of an “operational aesthetic”, he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories. His works are regularly shown in Europe and across the world: Nuit Blanche Toronto 2016, Waterfall Gallery (New York), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc.
After defending his PhD thesis (from Université Paris 1 – Panthéon-Sorbonne) in an art center (Palais de Tokyo in Paris) with a solo exhibition, and, more recently, his accreditation to supervise research, Samuel Bianchini is now the head of the “Reflective Interaction” research group at EnsadLab, the laboratory of EnsAD, and the Co-Director of the Chaire Arts and Sciences recently founded with École Polytechnique and the Daniel & Nina Carasso Foundation. He is a member of the SACRe Laboratory (Sciences Arts Création Recherche – EA 7410) of PSL University and involved in its doctoral program for which he supervise PhD in art and design. He is also member of the canadian research-creation network Hexagram.
In close relation to his research and artistic practice, Samuel Bianchini has undertaken theoretical work, which has led to numerous publications edited, for example, by Editions du Centre Pompidou, MIT Press, Analogues, Media-N – Journal of the New Media Caucus, Hermes, Les Presses du Réel, Springer, etc. He has recently co-edited with Erik Verhagen, Practicable. From Participation to Interaction in Contemporary Art, MIT Press, 2016 and, with Emanuele Quinz, Behavioral Objects 1 – A Case Study: Céleste Boursier Mougenot, Sternberg Press, 2016.
• Research Gate: http://www.researchgate.net/profile/Samuel_Bianchini
• Academia: https://ensad-fr.academia.edu/SamuelBianchini
• Practicable. From Participation to Interaction in Contemporary Art, Ed. MIT Press, Cambridge / London, 2016:
• Behavioral Objects, Ed. Sternberg Press, Berlin / New York, 2016:
• Audience Works, Ed. mfc-michèle didier, Brussels, 2013:
• Simulation technologique & matérialisation artistique – Une exploration transdisciplinaire Arts / Sciences, Ed. L’Harmattan, Paris, 2011:
• Recherche & Création. Art, technologie, pédagogie, innovation, Montrouge, Ed. Burozoïque and École nationale supérieure d’art de Nancy, Montrouge, 2009; reissued by Art Book Magazine, Paris, 2012:
• Joseph Beuys – Films et vidéos, Ed. Centre Pompidou, Paris, 1994: