Stéphane Sautour 1968, Paris. Lives and works in Paris If meditation on the notion of use lies at the heart of Stéphane Sautour’s work it does not mean that the perception of his systems is not a full on activity of the eye. Disorientating the spectator, reversing procedures, Stéphane Sautour tries to make us lose all sense of direction by mapping out a pretend geography of behaviour associated with new technologies. Fight Club, 2002, a system made up of two robot dogs AIBO. The dogs taking part in Fight Club have been programmed to fight amongst themselves. The aim is to distort the characters of the two robots in order to make them aggressive towards each other and organise an electronic fight. Childhood memory or unreliable recall? The fleeting moment of an unconcerned glance or a multitude of anguished inhibitions? Rebecca S’s work traces the unspeakable fringe between a forgotten reality and poetic fiction, it brings the spectator to the unusual junction of fantastical genres, surrealist and dream like, in a diagram of creation surprising in a young artist. The vocabulary is precise, the style is assured. Unexpected visions, lakeside landscapes or default interiors, evoke a possibility of history or the reverse, of a pure fiction antagonistic to reality. — Véronique d’Auzac de Lamartinie Selected solo exhibitions: 2002: Loevenbruck, Paris. Selected group exhibitions: 2003: GNS, Palais de Tokyo, Paris; Foire de Bâle, Loevenbruck, Paris; Extra, Swiss Institute, New York; Adiétérotomachie, Palais de Tokyo, Paris; 2002: Nuit Blanche, Plus qu’une image, Ville de Paris, Paris; Villette numérique, La Grande Halle de la Villette, Paris; Game Over City, FRAC Champagne-Ardenne, Reims; 2001: Rouge Total, Le Parvis Centre d’Art Contemporain, Pau; Contribution Généralisée, ERBA, Valence; Demain les chiens, Zoo Galerie, Nantes.	Fight-club. 2003. Courtesy Loevenbruck, Paris.