For the second consecutive year, La Società delle Api welcomes the master’s graduates from Pavillon Bosio – Higher School of Visual Arts and Scenography – for their final exam, held at Le Quai exhibition space in Monaco. Following two days of presentations, the three students unveil a display that brings their individual practices into a shared space: Multiple Filters.

Jules Blin
Through the form of virtual and physical data collection, I come to circulate in the traced lines of a common queer memory — that of an act of freedom through the encounter of bodies. I slip into the hidden meshes of a network that has found different forms of existence to make itself known and recognized through time and cultures. To reinvent oneself in order to counter the repressive attacks of a heteronormative society. To reform. Cruising, once a spontaneous and innocent act, reveals the echo of a revolt and a powerful desire to exist through the invisible.

Jingyi Hu
My work explores a sensory, introspective, and poetic journey of the self. It is anchored in the experience of dream, of the double, and of a slow and contemplative relationship to the world. Inspired by authors like Laura Vasquez and Qiu Miaojin, or filmmakers such as Apichatpong Weerasethakul, Bill Viola, Basma al-Sharif, and Mary Helena Clark, as well as by experimental American cinema, my practice combines writing, image, and experimental sound, with particular attention to the grain of the image and to sensitive material. I try to make appear what escapes, what floats, what is not easily said — a mental state close to the dream, to gentle hallucination — where one perceives otherwise.

Maëva Pillon
I develop a practice of figurative and realistic painting, centered on fragments of everyday life. My subjects — hands, feet, shoes, objects — are anecdotal patterns, almost insignificant, but which, once isolated and painted, resist the whole by insisting on their presence. I work from photographs taken spontaneously with my phone, in my apartment or in the places I pass through. I do not stage my subjects; rather, I seek spontaneity, accidental compositions, natural folds in clothing, and contrasts in material or light that attract my sensitivity. The choice of my subjects then follows a logic of collection rather than series. By paying particular attention to the elements of daily life that are no longer named, I try to reconquer reality, to renew the gaze, and thus draw them out of their sociological frameworks. I celebrate banality, the real.