Double Exposition: Steel Genetics et A Never-Ending Masquerade
Two Personal Exhibitions Exploring the Relationships Between Body, Image, and Transformation
Located in the main space and mezzanine, Steel Genetics by Jessica Boubetra and A Never-Ending Masquerade by Dora Dalila Cheffi are two personal exhibitions that have opened to the public since Thursday, April 30, 2026. These two exhibitions, curated by Racha Khemiri, are a unique opportunity to explore the relationships between body, image, and transformation through distinct processes that intersect technology, perception, and materiality.
Steel Genetics by Jessica Boubetra
At the heart of Jessica Boubetra's practice lies science fiction, both as a method and a conceptual framework. The works in Steel Genetics are generated through parametric 3D modeling, using software based on mathematical parameters rather than direct visual approaches. Algorithms produce organic forms according to computational logic, which are then materialized through 3D ceramic printing.
Once produced, these forms undergo a manual transformation phase. The artist deconstructs the printed elements, treating them as fragments, which are then reworked through an artisanal and tactile methodology. Each component is modeled, smoothed, and adjusted by hand. The ceramic elements are fired in biscuit, then glazed, with colors developed individually. The final ensemble is reassembled through sculptural collage, resulting in hybrid forms that articulate numerical calculation and manual intervention.
Born in 1989, Jessica Boubetra lives and works in Paris. Her practice intersects artisanal and digital practices, particularly through the use of 3D printed ceramics. Her works resonate with themes present in science fiction, where technology acts as an extension of the natural world. They question materiality, memory, and the body in contexts where technological advancements redefine these notions. Her sculptures can be perceived as artifacts from speculative environments, where natural growth is mediated by digital processes, raising questions about what constitutes the "natural" in a post-digital context.
A Never-Ending Masquerade by Dora Dalila Cheffi
In the mezzanine, A Never-Ending Masquerade by Dora Dalila Cheffi unfolds as a series of works that mobilize painting, video, and installation. The exhibition is organized around an atmosphere where forms and bodies detach from fixed structures and anatomical certainties. The compositions prioritize the felt experience and introduce slightly askew spaces, sometimes compressed, as if the elements had been adjusted to coexist in the same field.
The images are constructed through the superposition of chromatic layers. The backgrounds appear dense, sometimes difficult to read, with color combinations that tend towards accumulation before finding a point of equilibrium. The figures seem traversed by a diffuse temporality, as if covered by a fine film, while maintaining the persistence of their imprint.
Born in 1990 in Helsinki, Dora Dalila Cheffi lives and works between Helsinki and Tunis. Her practice encompasses painting, video, and installation. Trained in art education at the Aalto University School of Art, Design and Architecture, where she also studied sculpture and painting, she has developed an approach centered on the translation of observation and immediate experience into images. Her work is characterized by the use of colors and forms that structure compositions from direct perceptions.
Curated by Racha Khemiri
The mezzanine exhibition is curated by Racha Khemiri, whose practice is rooted in a research-based approach that explores questions of history, representation, and critical memory. Trained in English language, literature, and civilization at the Faculty of Human and Social Sciences in Tunis, she develops a work influenced by feminist and critical perspectives, mobilizing literature, philosophy, and archives as frameworks for reflection.
This double exhibition brings together two distinct approaches that engage transformation processes – whether related to materiality, image, or perception – and proposes a connection between practices that question the conditions of production and reading of contemporary forms.
