{"id":33148,"date":"2026-09-04T16:27:23","date_gmt":"2026-09-04T14:27:23","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/passion-4-fear\/"},"modified":"2026-09-09T14:31:19","modified_gmt":"2026-09-09T12:31:19","slug":"passion-4-fear","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/passion-4-fear\/","title":{"rendered":"Passion 4 Fear"},"content":{"rendered":"\n
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Maxime Arnould<\/strong> FR<\/sup>
Passion 4 Fear<\/strong><\/em><\/h2>\n\n\n\n
Performance<\/h5>\n<\/div>\n<\/div>\n\n\n\n
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Closing in Aix-en-Provence<\/h5>\n\n\n\n

Thursday 14th and Friday 15th January<\/strong>
at 7pm
Followed by a Q&A session with the artist on Thursday, January 14th
Duration: 50 min – suitable for all audiences<\/p>\n\n\n\n

3 bis F – Contemporary Arts Center<\/strong>
Aix-en-Provence<\/p>\n\n\n\n

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Tickets<\/a><\/div>\n<\/div>\n\n\n\n
Credits<\/summary>\n

Co-produced with 3 bis F\u2014
, a center for contemporary arts and artist residencies
| performing arts & visual arts\u2014and Parall\u00e8le\u2014International Emerging Artistic Practices.<\/p>\n<\/details>\n\n\n\n

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Passion 4 Fear<\/em> is a solo performance presented both on stage and online, exploring the conspiracy theories that spread on social media and how they arise as a result of a political agenda built on fear.<\/p>\n\n\n\n

In a live, full-scale performance version of a \u201cdesktop documentary,\u201d Passion 4 Fear is <\/em>a performance that invites the audience to move their cursor to demystify these narratives and let their imaginations run wild as they envision updating our real-life operating system. The material for this work stems from the artist\u2019s observation, \u201cinfiltration,\u201d participation, and archiving of online conspiracy networks from within, a process she has been conducting since 2021.<\/p>\n\n\n\n

This work is the second in a series called \u201cworld wild web<\/em> \u201d: it consists of artistic projects\u2014performances, sound installations, films, or installations\u2014that he develops either on his own or in collaboration with others, exploring our everyday use of technological tools. These projects may address internet folklore, digital utopia, the blurring of lines between the virtual and the real, community needs, alternative realities, surveillance, web archiving, or any other activity related to the \u201cweb.\u201d Above all, it is a political reflection on cybercapitalist fiction and what it reveals about the world. <\/p>\n\n\n\n

In Passion 4 Fear<\/em>, Maxime Arnould delves into his personal memories of the internet and the infiltration of 2.0 conspiracy theories into the society in which Maxime grew up and in which we now live.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Screenshot<\/figcaption><\/figure>\n\n\n
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Maxime Arnould<\/h2>\n
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Maxime Arnould<\/b>, born in Reims in 1992, has been living in Brussels for 10 years. Since 2018, Maxime has been working on technocritical and playful performances (such as \u201chello world\u201d and \u201cpassion 4 fear\u201d) and has collaborated with other artists (Magrit Coulon, Audrey Apers, Elsa Ch\u00eane, Ivana M\u00fcller, Paola Pisciottano, and Mikael Serre). His practice encompasses various forms\u2014performances, videos, publications, and public interventions\u2014all within the realm of live art. <\/span><\/p>\n

In the field of parts manufacturing, his job is to create, for the duration of a performance,<\/span>a potentially active community. Maxime does not see himself as an expert, but rather as a user, offering a critical and playful reflection on how we use our technological tools. <\/span><\/p>\n

This work takes a form similar to that of craftsmanship, based on the creation and repurposing of objects or the archiving of personal materials (objects, videos), which are then used in her pieces. <\/span><\/p>\n

Since 2019, Maxime has been a member of the 3\u00e8me vague collective, a Brussels-based group of artists whose work explores ecology as applied to the performing arts. <\/span><\/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":[25,26],"class_list":["post-33148","oeuvre","type-oeuvre","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/33148","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=33148"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=33148"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=33148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}