{"id":32437,"date":"2026-06-05T17:47:00","date_gmt":"2026-06-05T15:47:00","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/lolitas-kite\/"},"modified":"2026-09-09T18:24:25","modified_gmt":"2026-09-09T16:24:25","slug":"lolitas-kite","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/lolitas-kite\/","title":{"rendered":"Lolita’s Kite"},"content":{"rendered":"\n
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Anna Solal FR<\/sup><\/strong>
Lolita’s Kite<\/em><\/h2>\n\n\n\n
Visual art installation<\/strong><\/h5>\n<\/div>\n<\/div>\n\n\n\n
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Exhibition :<\/strong> \u201cDisobedience in the Digital Age\u201d<\/strong><\/a><\/strong><\/h5>\n\n\n\n

From October 23 to December 13, 2026<\/strong>
From Wednesday to Sunday, 2pm to 7pm<\/p>\n\n\n\n

Friche la Belle de Mai<\/strong>
La Tour, 4th floor
Marseille<\/p>\n<\/div>\n\n\n\n

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Anna Solal\u2019s kites hover at the intersection of craftsmanship and tactics, aerial play and symbolic sabotage. Made from humble materials, they often incorporate components of new technologies\u2014wires, cables, plastics, crushed iPhone screens\u2014whose use is no longer functional but poetic, even political. This deliberate deactivation of contemporary technologies echoes hacktivist tactics: hijacking, dismantling, and short-circuiting the logic of performance and control.

She does not use the iPhone as a means of communication, but as a fragmented digital relic, which she transports into a mythological, low-tech, and sensitive world. In doing so, she short-circuits the promise of innovation to reveal the remnants of our connected age.

Through this practice, she draws on critical artistic tactics rooted in hacktivism: recycling, d\u00e9tournement, and visual encryption. The shredded becomes code. The fragment, a protest. This is not about nostalgia but about gentle subversion: producing something evocative from the ruins of the technosphere. Anna Solal\u2019s kites are pirate flags, interfaces without interfaces, protocols of resistance. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Anna Solal<\/h2>\n
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After spending a year on the Erasmus program at Central Saint Martins in London, Anna Solal earned her Master\u2019s degree in Visual Arts from the \u00c9cole Nationale Sup\u00e9rieure de La Cambre in Brussels in 2014. She then moved to Paris to attend La Cit\u00e9 Internationale des Arts and participate in other residencies, and began exhibiting her work in various venues across Europe. She has exhibited at the following venues, among others: CAC Passerelle de Brest (Brest), Mus\u00e9e des Abattoirs de Toulouse (Toulouse), Interstate Projects (New York), Levy Delval (Brussels), Art-O-rama (Marseille), 9800 S Sepulveda (Los Angeles), Rijksakademie (Amsterdam), Belle Air (Essen), Lodos at Museo Experimental El Eco (Mexico City), Olso10 (Basel), and the group exhibition *Futur, ancien, fugitif* at the Palais de Tokyo. In 2022\u20132023, she is a resident at the Villa Medici. <\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n","protected":false},"featured_media":0,"menu_order":0,"template":"","edition":[140],"type_oeuvre":[28,95],"class_list":["post-32437","oeuvre","type-oeuvre","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/32437","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:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=32437"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=32437"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=32437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}