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In 2020, we founded the curatorial duo CRO. Through the hybridization of technology and the living, we explore our mutant worlds, from a molecular level to our socio-cultural constructs.
Our projects take the form of an interactive, multi-sensory ecosystem, calling on image, sound, texture and smell. Integrating our digital and physical living spaces, we dissemi-nate these projects from the exhibition space to the teenage blogspot, from the paper of a magazine to the soundwaves of a podcast.
We are currently working on the group exhibition I cried at the end of a manga. Chapter 2 at Le Château Centre d'Art Contempo-rain et du Patrimoine d'Aubenas (opening November 15, 2024). The exhibition is Fluxus Art Projects laureate.
Among our recent projects: the group shows And the wasp entered the fig at Spiaggia Libera, Paris (2024) ; I cried at the end of a manga. Chapter 1 at Galerie Edouard Manet / Ecole munici-pale des beaux-arts, Gennevilliers (2024) ; The Techno-Vernacular Wave (part 1+2), an essay published in the magazine 02 (n°105-106) on the reassertion of vernacular knowledge in the technolo-gical and digital age (2023) ; SENSATION, our podcast on Radio Poush taking the form of a sensorial portrait of our guests.
Our recent talks have been held at: Art Explora / Cité internatio-nale des arts (2024), Galerie Edouard Manet Gennevilliers (2024), La Sorbonne (2022).
Press review - about CRO:
Mahaut Delobelle, in Konbini, 2024
Nicolas Bourriaud, in Beaux Arts Magazine, 2024
Victoria Moreau Cortés, in Fisheye Immersive, 2024
Sarah Matia Pasqualetti, in Zérodeux, 2024
CRO interviewed by Emma Louise Rixhon, in Office, 2024
Guillaume Lasserre, in Zérodeux, 2024
Félicien Grand d'Esnon (b. 1996)
Alexis Loisel-Montambaux (b. 1995)
I am an independent curator. After several experiences in France and abroad (Hayward Gallery, Collezione Peggy Guggenheim, Collection Lambert), I was exhibition and editorial projects assistant at the Fondation Carmignac (2022-2023), where I was involved in the preparation of exhibitions and catalogs - Le Songe d'Ulysse (2022) and L'île intérieure (2023) - as well as exhibitions for the Carmignac Photojournalism Award in Paris, at the United Nations headquarters in New York, and touring throughout Democratic Republic of Congo.
Recently, I worked at Fondation Cartier and provided production assistance on the exhibition Matthew Barney, SECONDARY (2024).
I completed a BA in History at King's College London, followed by an MA in Curation at the Courtauld Institute of Art. My BA thesis focused on the diasporic mechanisms of dub and reggae in England, and my MA on the use of popular music in modern and contemporary art museums.
My sensibilities are rooted in globalized popular culture and the communities it spawns, from anime meme pages to the new political cultures of the techno scene.
I work as part of the curatorial team at MO.CO. Montpellier Contemporain, where I assist the curators in the production of exhibitions and catalogs, including Ana Mendieta. Search for Origin ; Huma Bhabha. A Fly Appeared and Disappeared (2023) and Kader Attia. Descent into Paradise (2024). I am currently working on the Art & Science season: a group show titled Sense Unknown at MO.CO., and a solo show of Pierre Unal-Brunet at MO.CO. Panacée (2025).
I previously worked at the Fonds d'art contem-porain - Paris Collections (2020-2023) on collection management, research and loans, and as a rapporteur to the acquisition committees.
After studying art history and law (La Sorbonne, Panthéon-Assas, Lyon 3), I completed a double master's degree in cultural management (Università Ca' Foscari Venezia, ESCP Business School Paris). My dissertation focused on audience engagement and development strategies in contemporary art biennials.
I have a particular sensibility for interdisciplinary and transmedia creations, including moving images, organic matter, haptic, inhalable and ingestible substances.
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