Erwan Sene

b.1991 Paris, France

Lives and works in Paris, France

The work of Sene is based on a sculptural corpus that extends over several levels and is composed in the future perfect tense. Letting himself slide along the slope of a multidimensional everyday life that he reimagines in all kinds of enigmatic tales, his practice reconsiders his own way of living and digesting the objects around him. He creates staging with a vast array of materials, between baroque remanence and day-to-day surrealism, and broaches the themes of language and science fiction. He develops strange ecosystems, a set of vibrant, dystopian and interconnected urban furniture that communicates through a language devised by the artist. 



Instagram : @erwansene
Email : erwansene@gmail.com  


Sene has exhibited work at Aranya Art Center China, Collection Lambert Avignon,  City SALTS Birsfelden Switzerland, Frac des pays de la Loire Nantes, Liebaert Project Kortijk Belgium, MoCo Montpellier, COUNCIL+ Berlin, Espace Niemeyer Paris, Balice Hertling Paris, High Art Paris.

As Musician he release his first album JUnQ on PAN (2023) and performed music in venue like Berghain Berlin, Nuits Sonores, Kanal Centre Pompidou and composed the soundtrack for the ballet Drip Tekhne (Choreography Adam Linder, 2024) at The Royal Danish Playhouse in Copenhagen.

Chutes & Signal
032c, Berlin, Germany

May 2 - June 3 2025

The sewers of Paris are a vast network of underground passages, which were developed in the mid-nineteenth century to manage wastewater and rainwater and to modernize the growing metropolis. This underground system, however, goes beyond mere technical functionality with its tunnels forming a symbolic underbelly of Paris—a space of history, social tension, control, resistance, and hidden societies. To conceive the works on view, the artist spent a considerable amount of time investigating this somewhat uncanny world by photographing the sewer system and paying frequent visits to the Paris Sewer Museum as a way to understand its topography and mythology. In his work, this cartography of the city is inverted and presented in the negative, revealing an artificial world of machinery, decongestion balls, and stories.

The kinetic sculptures and layered paintings are imbued with historical palimpsests and urban unease while some sculptures emit sounds in morse-code-like rhythms akin to sewer pipes digesting urban waste. A sort of La Monte Young Dream House (1969) contaminated by the low-tech proto-cyberpunk devices from the German film Decoder released in 1984. Others whisper in a dialect drawn from “louchebem”—an old French argot associated with butchers and underground culture —the sound as a strategic medium, drawing from research on the political use of sound in cities—by governments, police, and surveillance systems, the mantric potential of low-frequency audio vibration are often deployed to disperse crowds, deter loitering, or fragment collective presence and can thereby be turned into a form of warfare. By incorporating noise in his sculptures and making it part of his “Luna Park,” Sene allows his work to communicate in frequencies typically dismissed or ignored. In this way, “Chutes and Signals” opens a space for the invisible and inaudible to become present.