Naïmé Perrette

May 2017

Naïmé Perrette was born in 1989 in France.


Naïmé Perrette was graduated from the Ecole Nationale Supérieure des Arts Décoratifs of Paris in Cinema Animation in 2012. She was resident at the Rijksakademie (Amsterdam) in 2014-2016. Naïmé Perrette has also completed a master in Cinéma Animation at ENSAD (Paris).

Recent Activities

Solo shows:
Exploded Views, Curated by Gabriel Rolt, A Juan Project, Amsterdam
The Waves We Part With, Curated by Mehraneh Atashi, Petra Ark Space, Amsterdam
The After Images of Raoul Island, Witteveen, Amsterdam (juxtaposed with Sam Samiee’s solo show)

Selected group shows and screenings:
The National or the Skip, Curated by Alex Meurice and Matt Mottahedan, Slate projects – Averard
Hotel, London
Relève, Curated by Irene Karabayinga and Laure Wauters, Galerie du Crédit Municipal, Paris
[Re] framing Utopias, Curated by Juliette Huygen De Eye, Amsterdam
Huis Clos, La Saison Video (Online program), curated by Mo Gourmelon
Screening at MING Studios, Boise ID (US)
Les Rencontres Internationales, HKW, Berlin
Les Rencontres Internationales, La Gaité Lyrique, Paris
Lost & Found, Paradiso, Amsterdam
Festival Filmer le Travail, Poitiers
Carte blanche de Céline Devaux, Péniche Cinéma, Paris
Rijksakademie Open, Amsterdam Collection Vaskiolty-Feldman, Cinnnamon gallery, Rotterdam Art
Streams, Ramfoundation, Rotterdam
Long Hair Love Call, Triangle France, Marseille collaboration with Take Me On / Podcast series and Clémence Seilles
Les Ecrans Documentaires, Arcueil


Living Geology

Living Geology links Tehran’s zones of fast expansion and the overhanging mountains whose enduring wild areas are the tangible limit of urban growth.

Each image is one facet of various cubes, multiplying and tricking perspectives. This geometrical fragmentation evokes a collective composition made of multiple hubs, a mix of public and private dynamics, creating webs of heterogeneous positioning.

Mirrors and glass make each image coexist together and with their surroundings, giving importance to the viewer’s body, as the eye illuminates what it contemplates along its displacements. It claims that every knowledge, comprehension and translation is situated and complex, as opposed to the disembodied aerial viewpoint and its illusion of the perfectly known.