Gwenola Wagon

What happens to an artist's studio when generative AI invades the spaces of creation and thought? Is the studio about to disappear, to vanish into the cloud that is expressed on our screens -- to vanish and, at the same time, to proliferate because AI generates all the possible variations of all known studios? You only need to give them a photo or ask them for Jackson Pollock's studio and to vary the angles or even the paintings on display in order to obtain different studios from different artists. A studio is still the place where an artist produces art. Bruce Nauman said: "My conclusion was that I was an artist and I was in the studio, then whatever I was doing in the studio must be art."

I always dreamed of having a studio. I told myself that one day, when I was a real artist, I would have a studio.

I decided to take advantage of this invitation to Le Fresnoy to take the plunge. I would like to suggest that we take the plunge together and think together of a studio, possible studios, studios for those who have been dispossessed of them and have not become true artists: possible studios for possible artists.

In the 2010s, with the Nogo Voyages collective, I took to wandering around familiar or neglected places. I also travelled the virtual globe with the film *Globodrome *(2011). With artist Stéphane Degoutin I investigated Internet infrastructure, probed the fantasies of a global brain in the films *Cyborgs dans la brume *(2012) and *World Brain *(2015), played at hijacking machines in *Random GPS *(2010) and *La Maison qui vous veut du bien *(2022), and autopsied security neuroses in the installation and book *Psychanalyse de l'aéroport international *(2019). I then turned to 19th-century spiritualist practices in order to understand the spectral dimension of telecommunications in the exhibitions *« *Média Mediums *» *and *« *Haunted by Algorithms », co- organised with artist Jeff Guess. In the same vein, combining investigation and f iction, rationality and speculation, my book *Planète B *tells the story of a billionaire entrepreneur who runs a monopolistic digital platform. I also created two post-cybernetic fables with philosopher Pierre Cassou-Noguès, *Erewhon *(2019), on the benevolence of machines, and *Virusland *(2021), on the life forms induced by devices in the age of virality.

My film Chroniques du soleil noir (2023) comes out of my work on generative AI. It is an ecological tale inspired by the archives of the first astronomical observations of the sun. This work was continued in a recent book, *Les Images pyromanes, Théorie-fiction des IA génératives *(2025), written with Pierre Cassou-Noguès.

Generative AI interests me for its ability to produce what I call anarchives, that is, images in which the distinction between inauthentic and authentic no longer applies. Generative AI thus fulfils the dream of every forger. It has fed on art history, but today it is reinscribing these archives within larger anarchives. These anarchives recognise no authority; in them artists' styles undergo new variations and enter new periods. Within these anarchives all unknown, unrecognised and even non-existent artists have their place. It is in this space that I would finally like to find a studio.

I will make a documentary about an artist who has been despoiled of her place in the history of recent painting (whether real or fictional, we will never know) and meticulously reconstruct the studio she never had.