Coming soon

Skills: Artists, Duplex 2017-2011

Sérigraphie sur drapeau, Paris (France), 2015 © Emeric LhuissetSerigraphy on french flag, Paris (France) 2015

Theater of war, photographs with a group of Iranien Kurdish guerrilla, Iraq, 2011 – 2012

Theater of war, photographs with a group of Iranien Kurdish guerrilla, Iraq, 2011 – 2012

Hundred portraits of Maydan, series of 100 portraits of Maydan movement volunteers, Kiev (Ukraine), February 2014

chebab emeric lhuisset 2Chebab, plan sequence of a day in the life of Free Syrian Army fighter, first personnal camera, 24 hours looped, show in real time, Alep and Idlib province (Syria), august 2012.

Warriors, photo session with Peshmergas, Lambda durst, 15 photographs 30 x 40 cm, Iraq, 2010

Born in 1983, Emeric Lhuisset grew up in suburban Paris. He lives between Middle East and Paris (France).

Gradueted in arts (Ecole des Beaux-Arts de Paris – Ensba) and in geopolitics (University Panthéon-Sorbonne / Ecole Normale Superieur d’Ulm – Center for geostrategy). His works has been shown in numerous exhibitions around the world (Tate Modern in London, Museum Folkwang in Essen, Centquatre in Paris, Frac Alsace, Stedelijk Museum in Amsterdam, Rencontres d’Arles, The Running Horse in Beirut, CRAC Languedoc-Roussillon…).
In 2011, he wins the Paris Jeunes Talents Award. More recently, he was nominated for the Magnum Foundation Emergency Fund Award (2015), for the Niépce Award (2015), for the Leica Oskar Barnack Award (2014) as well as the HSBC Award for Photography (2014). He published in 2014 the book Maydan – Hundred portraits about Ukrainian revolution.
In addition to his art practice, he teaches at the Institute of Political Studies of Paris (Sciences Po) about contemporary art & geopolitics.

He considers his work as an artistic transcription of geopolitical analyses.

From Kabul to Kirkuk through the mountains of Pakistan, Iraq, and Colombia, Emeric Lhuisset seeks to raise questions about the representation of conflict and how we perceive it.  He employs a variety of approaches, including replaying their own reality to a group of guerilla fighters, staging scenes based on paintings from the Franco-Prussian War of 1870, filming 24 hours of the life of a Free Syrian Army fighter near to Alep, engaging with the question of Soft power and the dissemination of the American style of life as a factor of influence in Iraq, temporarily transforming fighters’ weapons into everyday objects as a means of bringing more comfort to them, and exploring the link between video games and war zones with the FARC in Columbia.  Emeric Lhuisset has also been found playing the role of war reporter in Kabul’s old royal palace, accompanied by an Afghan soldier to whom he gave a fake plastic Kalashnikov covered in embroidery, and on the border between West Jerusalem and East Jerusalem offering kippas made with Palestinian keffiyehs.

Diverting the codes, Emeric Lhuisset asks us to question our own perceptions of reality and its representation.