The call is visible but condemned to the figure of isolation and the spectator feels sorrow when he cannot answer the call of “money” or “happiness”… on the other hand, since these aspirations are now visible to all, the witnesses can finally exchange on these subjects and create a real communication.

*Brouhaha – post-contemporary notion / Lionel Ruffel 2016

Video, 3.45mn. Missed Call on an altar, rituals / Open studio 2023

Print on aluminium dibond 52cmx96cm / Volumes, 2020

Loop on Iphone with glass on cradle, charger / Open studio 2023

Video installation, Iphone in a window / Le lieu de l’autre, Arcueil, 2019

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#SUN @sun_trace


Every second, people who are connected to the social network Instagram post new photos to #Sun.

SUNPATH is somewhere between an emotional map and a real-time data repository; the photos posted on the #SUN feed are arranged on a timeline and geo-located, revealing new trajectories of a digital sun making visible a new frenetic energy that becomes unpredictable.

sun.vidyakelie.com, Net-Art, 2020 / Fernrhor Online, 2021 / NataliaBento Galery, 2022 /


On her map, the activity of the hashtag #SUN traces an abstract and infinite yellow line that the artist feeds with a narrative that she generates with artificial intelligence.These lines humorously translate the occupations of Instagrammers who think about the same thing every few milliseconds, poetically archiving the contemporary skies of thousands of digital ‘Suns’.
The laser prints are fragments of this collective astro-digital canvas, creating a constellar installation.

Constellar installation of ten solar fragments, 400mm wide each, 6mm thick wood, datas from instagram on “sun.vidyakelie.fr” database, Unique work, 2022

Constellar installation of three #solar fragments, 400mm, 2mm thick wood, datas from instagram on “sun.vidyakelie.fr” database, Unique work, 2022

#SUN at 12:00 (UTC), Mirror on plexiglass, 580x112mm datas from instagram on “sun.vidyakelie.fr” database, Pièce unique, 2022


Edited like a page of a novel, the database of the SUN category translated by an AI offers a true narrative of a sun that passes from hand to hand. Somewhere between surreal abstraction and new definitions of “Sun” in the digital world, the #SUN cartels are like doors to a literature that bears witness to bottles to the sea that are both international and contemporary.

SUNPATH à 12:00 (UTC), Miroir sur plexiglas, 580x112mm datas from instagram on ” sun.vidyakelie.fr ” database & SUNTRACE à 12:00 (UTC), print on plexiglass 115 x 250mm, A.I. Instagram. Pièce unique, 2022 / Galerie DATA, 2022

MAPS, Prints on folded tracing paper 59.4cm x 42cm, Prints on finira paper 50cm x70cm, Limited Editions, 2020 / NataliaBento Galery 2022

Digital sunshine

SUNRAY, Yellow lettering, 20cmx200cm, 2020 / Super 18, 2020


The photons that escape from the sun have a course almost similar to that of a Y gamete.
The composition of space holds unknown properties that allow stories, secrets and enigmas to be navigated through the walls with dizzying speed. The notion of emptiness is no more since the proposal of the 0.

PHOTONS, Augmented Reality Application, 2021 / Residence DRAC Occitanie 2021

Palimpsests #SUNNY

The definition of palimpsest implies an erasure of the canvas to propose a new visual. Here, the Hashtags stored on Facebook’s servers are an indelible trace; a superposition with physical theorems then takes place and reveals a mathematical reality to the behaviour of humans with their phones.

Thus, the artist humorously and unknowingly uses the torus or the Finobacci sequence to validate, as with Boticcelli’s Venus, a form of scientific coherence in the use of SUN hashtags on Instagram.

Prints on dibond and transparent acrylic plate / Volumes 2020


These digital suns are named after the description of the images tagged #Sun on the social network Instagram.

GIF,Generative art, Artificial Intelligence, NFT collection, 721 / HARDDISKMUSEUM, 2022

For real

Traces of #Sun are left in pictorial, video or photographic landscapes.

Postcard, Serie, 2021 / Volumes 2020

*La carte chez deleuze et Guattari [Archive 2010] Lecture by Manola Antonioli from the International College of Philosophy)

WE ARE NOT GOD III – Noosephere

In this installation, the artist will weave a link between the cafés, restaurants, or individuals around the exhibition space in order to ask them for coffee cups. She hacks these ordinary objects by integrating batteries and LED lights. Vidya-Kélie creates an unexpected association that puts in tension the history of coffee, a colonized spice, with the mercury of batteries and LEDs, polluting and volatile materials. In the darkness, the flickering of the LEDs in the cups evokes a sheet of collective consciousness, the noosphere*.

*The noosphere, according to the thinking of Vladimir Vernadsky and Pierre Teilhard de Chardin, refers to the “sphere of human thought”.

Photo by Bakaturbu

Installation, local cups, LEDs and batteries, 200x200cm, 2017 / Volumes 2017 / Métaxu 2018 / Art au couvent 2019

(…) In one of these installations, WE ARE NOT GOD III, the artist Vidya-Kélie JUGANAIKLOO diverts ordinary objects: coffee cups and luminous LEDs to create an unexpected association. A connection that puts in tension the history of coffee, a spice of the colonies symbol of travel – the condition of nomadic Man, with the mercury of the leds, a polluting and volatile material, symbol of Man’s imprint on nature.

In the darkness, the flickering of the leds arranged in the cups evokes a collective consciousness, a noosphere. The artist questions with “humour and poetry” the relations between beings and their ideal propensities, their ability to make and exchange ideas. A creative function that would produce an artificial network of perception?(…)

Excerpt from the article “KIND OF KIN, MADE OF PARENTS, NOT BABIES!” – By Samir Taouaou – timepoint 2018

photo: installation WE ARE NOT GOD III, NOOSPHERE by Vidya-Kélie and UNITE MOBILE by Antoine Proux

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Magnetic-Tango Video 3.40


MAGNETIC TANGO – video 3.40 min.

Searching frantically for a place to stop, this couple of suspended magnets follow an intense choreography to finally find refuge in stability.

The fixed magnetic fields diffused by the base, push and pull the mobile in a pre-determined path. There is no form of chance in these movements. A natural magnetico-gravitational intelligence tries to find the best compromise to use as little energy as possible, in either direction.

The natural friction pushes to a stop, and the journey becomes a dance. The illustrious Osvaldo Pugliese, the traditional symbol of the fiery tension of tango contextualizes this quest in an emotional dimension.

Interview by the curator: Julie Giacomini for the exhibition VIDEODELI 2

It’s part of a larger video project: Hope motion.

Missed call Video Installation

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With its “rules of confidentiality” that memorize the words we use and conclude our desires, the telephone is an intimate place where our time is prophesied*. Secret desires, hoped for by all but each one alone in his telephone, are displayed here in the window and reveal their unanimity .  ( happiness, love, health, friendship, housing, time… )

In this video installation, an iPhone stuck inside a shop window receives teasing calls confronting the spectator not to answer. The phone is visible but condemned to the figure of isolation it represents, and the spectator feels pain when he cannot answer the call of “Money” or “happiness”… on the other hand, these aspirations being now visible to all, the witnesses can finally exchange on these subjects, from man to man and create a real communication.

Thanks to the trust of the inhabitants, the artist was able to propose a work close to their concerns by mixing his own, namely human relations, digital intimacy, and the post-contemporary.

Series of 10 ex. digital print on dibon with frame 10cmx6cm.

*Brouhaha- post-contemporary notion / Lionel Ruffel 2016

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WE ARE NOT GOD VII – Transmission Installation

In a dyptic, Vidya-Kelie stages her creative process: the mathematical formulas necessary for the fabrication of the work sent by her father, a doctor of physics, and the jumps of her daughter dancing around the prototype of the sculpture.

Valuing the process of production rather than the finished object, these two stages of parental transmission question the sharing of knowledge through art as a counterpoint to the finished object as a symbol of power. Here, with sensitive attention, Vidya Kélie Juganaikloo gives visibility to the seeds of art and alchemy that are passed on to the child and the child’s child.

Projection / Metaxu, 2018

The project to be realized is a sphere of 50 cm in diameter that floats and circulates at the average height of an individual’s head. Its semi-opaque material diffuses a soft light and seems to question us in an anxious way about the future of collective intelligence with regard to the autonomy of technology. It is from this metaphorical and poetic gesture that Vidya Kélie Juganaikloo builds WE ARE NOT GOD VII.

Text Axelle Rossini

performances Collaborations with musicien

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His confident and intuitive touch enriches the concert in a new way.
Through the projection of live drawings, she mixes genres by making the music dance on paper.
It is an original experience that she offers, which arouses curiosity and broadens the imagination of her audience.

« The challenge of the solo piano performance is that there is always something new to discover.
a common thread that begins before the very first note
and ends after the last one.
Vidya’s features elegantly accompany this concept. » 
Jacky Terrasson

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