Vidya-Kélie Background

Vidya-Kelie Juganaikloo is a French-Mauritian artist, born in France, living and working in Paris.

Coming from a double culture, her Indian origins give her the possibility of a vision of a connected universe. At the same time, the promises of digital technology surfing on similar concepts, Vidya-Kelie does not hesitate to use resources developed for the emancipation of the digital space as tools, materials or media to serve her purpose.

Through transmedia experiences that are sometimes interactive, sometimes contemplative, the artist evokes the power of bodies, their interconnections, their capacities to transmit and receive in a biological, social or physical dimension. By confusing the scales of time and space, she continues her work in which she places in parallel what is beyond us and what we try to control.

The artist also questions the place we give to the “Process” before the “Objective”. Borrowing keys from applied philosophy, ecofeminism and linguistics, she is committed to its valorisation and transmission.

After attending the Ecole des Beaux-Arts in Angers, she trained in graphic design and code in order to produce her own digital works.

Vidya-Kelie began to exhibit her work as a painter where she exploited the abstraction of bodies transformed by their emotions. Then she develops a graphic style close to abstraction based on the figuration of the one she feels.

She joins the Ellia gallery where she exhibits her first drawing solo show in 2016.

She exhibits sent.vidyakelie.com online at AreByte London for a group show and at CADAF, integrating the catalogue of the HARDDISKMUSEUM.

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After attending the Ecole des Beaux-Arts in Angers, she trained in graphic design and code in order to produce her own digital works.

Vidya-Kelie started to exhibit her work as a painter where she exploited the abstraction of bodies transformed by their emotions. Then she develops a graphic style close to abstraction based on the figuration of the one she feels.

She joined the Ellia gallery where she exhibited her first solo drawing shows in 2016.

utero

She exhibited sent.vidyakelie.com online at AreByte London for a group show and at CADAF, integrating the HARDDISKMUSEUM catalogue.

She is a member of the collective KIND OF KIN, a group of reflection around the anthropocene and ecofeminism which has obtained several FRAC residencies between Metaxu, Toulon and LE LIEU DE L’AUTRE, Arceuil. Vidya-Kelie will develop her project around magnets as well as UTERO INFERNALIS, a project inspired by the fiction of Louis Bec.

vectoe

In 2021, she joined a new women’s collective called BAUBO, a project supported by the DRAC Occitanie where she developed a subject on ecofeminism applied with digital tools; an augmented reality application showing photons and a video transforming the episodes of encounters that naturally took place on the spot as pieces in their own right.

She joins the catalogue of the Natalia Bento Gallery where she is the first digital artist in 2022 with her piece SUNPATH, trajectories of digital sun and nominated by ORLAN for the OPLINE PRICE contemporary digital art competition, she wins the public prize in November 2022.


UTERO INFERNALIS

Born at a time when the representation of the clitoris properly depicted was only published in a middle school textbook at the beginning of the 2017 school year, UTERO INFOERNALIS is a fable. 
Borrowing freely from a scientific vocabulary, these plates propose a sensitive universe around the re-contextualisation of procreation and the genealogical and digital status of humans in the 21st century.


SENT

Sent.vidyakelie.com is a digital universe for unplotted and unstored spontaneous writing that questions the place of thought in space.


STONE OF TRUST

The carving of a Qr-code in clay contains a Javascript code that allows to visualize in a RANDOM way internet pages that the artist wishes to share with those/the places that possess the stone.


HYPERCODEX

Hypercodex.org has the functionality of a search engine.
This collection of information introduced on the platform by anonymous users, is introduced pixel by pixel in the private space of the artist who puts at the disposal of his server to welcome, without filter, nor control, nor mediation, any resources.


WE ARE NOT GOD VII – Transmission

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.


SUN

The artist-designed algorithm recognizes the #SUN hashtag on the Instagram app and draws a new user-generated map in real time


WE ARE NOT GOD I – The Astronomers

In a closed-door setting, Christian, a neuroscientist working on trans-humanism, is being interviewed.
Claire, the young director, opens up about her own artistic issues in order to take Christian with her to capture him in a moment of truth.


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. 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.


COMPOSITE

During the exhibition, the artist invites you to share your feelings; a passion, a break-up, a secret, emotions are shared on the spot or later by email, in order to find the date, the time and the precise location where the memory to be integrated in the card is found.


HOPE MOTION

A tango ryhtm displaying DIY youtube tutorials that propose generating free energy with magnets.


L.A.M.P.

This installation linking two exhibition spaces, introduces itself unadorned into the architecture, increasing the buildings which now offer an extra-sensory immersion.


MISSED CALL

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, as these aspirations are now visible to all, the witnesses can finally exchange on these subjects and create a real communication.