{"id":29090,"date":"2024-07-08T10:30:13","date_gmt":"2024-07-08T08:30:13","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/im-addicted-to-my-phone-pls-help\/"},"modified":"2025-02-26T16:53:11","modified_gmt":"2025-02-26T15:53:11","slug":"im-addicted-to-my-phone-pls-help","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/im-addicted-to-my-phone-pls-help\/","title":{"rendered":"I’m addicted to my phone, pls help"},"content":{"rendered":"\n
\n

I’m addicted to my phone, pls help<\/h1>\n\n\n\n

Felix C\u00f4te<\/h2>\n\n\n\n

Installation<\/p>\n<\/div>\n\n\n\n

\n
<\/div>\n\n\n\n
\n

i’m addicted to my phone, pls help<\/span><\/i> is a continually updating work. The installation offers a tangible experience of the notification, an action that captures our attention daily. This central mechanism of social networks is capable of eliciting pleasure or anxiety in users. For many, prolonged exposure to it can result in a dependency that calls for a new need: a digital detox, or removing oneself from the digital.<\/span><\/p>\n\n\n\n

the digital.\r\nF\u00e9lix C\u00f4te decided to create his own detox process by forcing himself to manually produce the exact number of ‘likes\u2019, ‘follows\u2019, and comments generated on his own Instagram profile. Small tokens are carefully cut and painted by hand and represent a considerable yet necessary amount of time spent outside of the digital. The brief moment of the notification becomes the prolonged time and focus that manual craft requires. Like a collection of wishes or promises made to oneself, these tokens pile up in a stone fountain that can no longer contain them all.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\"\"
\u00a9 F\u00e9lix C\u00f4te<\/figcaption><\/figure>\n\n\n\n
\n
\"\"
\u00a9 F\u00e9lix C\u00f4te<\/figcaption><\/figure>\n\n\n\n
\"\"
\u00a9 F\u00e9lix C\u00f4te<\/figcaption><\/figure>\n\n\n\n
\"\"
\u00a9 F\u00e9lix C\u00f4te<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Artists<\/h4>\n\n\n
\n \n\n\n \n\n \n
\n
\n
\n \n \n \n \"\"\n \n \n <\/a>\n <\/div>\n <\/div>\n
\n \n

Felix C\u00f4te<\/a><\/h2>\n
<\/div>\n\n \n \n

Born in 1993, F\u00e9lix C\u00f4te lives and is based in Lille. Initially a multimedia engineering student, he graduated with a master’s degree in Arts, Science, and Technology in 2017. His work revolves around a critical use of digital technology tinged with absurdity. He explores what machines do little, do poorly, or cannot do. By diverting them, he creates installations that confront the public with their own contemporary practices. He joined the 2023-2025 class of Le Fresnoy, studio national des arts contemporains.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n\n\n\n

<\/div>\n","protected":false},"featured_media":27597,"menu_order":0,"template":"","edition":[116],"type_oeuvre":[28],"class_list":["post-29090","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/29090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/27597"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=29090"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=29090"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=29090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}