Arseneca is a French NFT artist born with an extraordinary sensitivity, living on the margins of society forever. This singularity, far from being a burden, has become for him an artistic essence, a way of challenging established conventions. He fully embraces his nonconforming nature, aware that our contemporary world tends to standardize and iron out differences.
Observing the increasing flattening of society and the standardization that comes with it, Arseneca feels the irrepressible urge to “normalize the non-standard“. This artistic gesture allows him to assert himself in the face of a reality that threatens to stifle imagination and creativity. He considers this approach as a snub to the systems in place, a way to ward off the fate that weighs on diversity and originality.
Arseneca’s audacity to push boundaries and question established norms has earned him many challenges. He has had to face lawsuits, intrusive searches and acts of censorship aimed at banishing his work from systems that no longer manage to understand the potential of the imaginary. Yet Arseneca persists, not seeking to conform or correct himself, but tenaciously defending his unique artistic expression.
Artist Arseneca offers a critical and provocative look on our normalized society. His captivating and deviant works invite audiences to question pre-established patterns and embrace individuality. By pushing the limits and resisting the forces that seek to standardize our world, Arseneca positions itself as a true guardian of the imagination and artistic freedom.
With a career marked by direct confrontations with the systems in place, Arseneca remains an elusive and courageous artist. His bold work and his ability to defy convention make him a prominent figure in contemporary art, inspiring others to embrace their uniqueness and preserve the richness of artistic expression.
Through his designs, Arseneca reminds the world that beauty lies in diversity, that normality should never stifle originality, and that imagination is an essential remedy against the flattening of modern society.
It was in 2005 that the artist was introduced to art with the writing of first novel from emoticon published by Paralux which tells the tragic story of the accident of Flight 800 TWA, without naming it. The book will be reissued in 2017.
More than just a novel written from emoticon, for the artist it was a usable reading and writing system.
It was in 2013 that Arseneca started professionally and 100% in his art under the pseudonym of Greemfeld then Chezbelette.
He launches an idea on the market that is both subversive and disconcerting: sell the nothing. Yes, you read correctly. Art lovers could acquire an object that did not exist and receive absolutely nothing in return, all in a record time of fifteen days. This disconcerting idea quickly caused a sensation and raised many questions, particularly from a tax point of view.
The tax authorities were quick to look into this new form of artistic exchange. The question of the VAT rate was raised, and Arseneca found itself confronted with a tax audit which caused much ink to flow. A considerable sum of 30,000 euros in VAT was claimed from him, but the problem remained: what is the VAT rate applicable to nothing?
This Kafkaesque situation propelled Arseneca into the spotlight of artistic news. His audacity and insight revealed the contradictions and absurdities of the tax system, highlighting the limits of the traditional definition of art. Arseneca has become a symbol of questioning established norms and boundless creativity.
Today, Arseneca continues to push the boundaries of art with creations that defy convention and provoke passionate reactions. His work is an invitation to question our certainties and to explore new artistic horizons.
In April 2014, Arseneca’s workshop was raided by two expert inspectors, intrigued by its distributors sick leave. These amazing machines allowed users to get a work stoppage for as little as two euros. Each work stoppage was duly signed by a doctor and it was enough to send it to the health insurance to justify its absence. in doctors.
This controversial installation immediately caused a scandal and attracted the attention of the authorities. Arseneca faced legal process and careful investigation to determine the legality and ethics of its concept. For some, he was seen as an opportunist, exploiting loopholes in the system for his own benefit. To others, he was seen as a talented provocateur, denouncing the absurdities of society and the limits of our healthcare system.
Whatever the interpretation, it is undeniable that Arseneca’s installations have succeeded in sparking debate and raising awareness. They highlighted the contradictions and inconsistencies that exist within our social system. Arseneca dared to challenge the conventional idea of work and productivity, highlighting the fragility of our social norms and institutions.
Its innovative system for expressing anger caught the attention of the Directorate General for Competitiontwo weeks after the search, Consumer Affairs and the Repression of Frauds (DGCCRF), raising questions about the legality and consequences of its creations.
Through its unique art system, Arseneca offers people the ability to release their anger with a simple click. A seemingly innocuous gesture, but which triggers a surprising chain reaction. Each click turns into a stone thrown into a pond, symbolizing the anger that emerges and spreads in society.
Arseneca’s captivating concept sparked a wave of participation and engagement. Over 3000 cobblestones were thrown, echoing statements of frustration and discontent. However, this expression of anger did not go unnoticed. The authorities reacted by launching an interior investigation, carrying out wiretaps and carrying out in-depth checks.
This lively and controversial reaction testifies to the power of Arseneca’s art.
Arseneca, recently faced an unexpected fight against digital censorship. His artist site was removed from Google’s search network, labeled “meaningless content posting” and “aggressive spam“. This radical decision plunged the artist into a period offive months without resources, confronted with the need to reinvent his artistic journey.
Arseneca’s work, resolutely unique and provocative, defies convention and seeks to push the limits of artistic expression. His unconventional approach caused misunderstanding from Google algorithms, which deemed his creations as meaningless or a form of spam.
The only answer given by Google was the following: “You have touched the limits of our algorithm”
This digital censorship had financial and creative consequences for the artist, who found himself deprived of his usual resources. However, Arseneca is a resilient and combative artist. Unwilling to let the situation get him down,he filed a lawsuit against Google to defend his freedom of artistic expression.
Unfortunately, the lawsuit was dropped along the way. However, this did not deter Arseneca. Showing unfailing perseverance, he managed to re-establish his artist site and resume his creative quest under another name, starting all over again.
A whole part of his work has been deleted forever from the web.
Digital censorship isn’t the only ordeal Arseneca has faced. Her YouTube channel, which served as a platform to share her artistic process and ideas, has also been permanently deleted. These obstacles only strengthen his determination to continue to create and push the limits.
The artist Arseneca is much more than a victim of digital censorship. His tumultuous journey and his struggle against the forces that seek to silence him have forged his resistance and his commitment to his art. His designs, while confusing to some, are the reflecting a desire to exceed norms and challenge established dogmas.
AFP’s Patrice Monti and law firm Cabinet Reynal-Perret have launched an attack on Arseneca for its innovative system of creating well-being environmental.
This revolutionary system aims to recycle unused digital files that contribute to computer trash pollution. Arseneca has developed a special treatment that allows these files to be compressed and reduced to the size of a single 10×10 pixel. Subsequently, a robot is in charge of painting this pixel, thus creating a unique work of art.
However, Patrice Monti and AFP have filed a lawsuit against Arseneca, arguing that one of AFP’s images is incorporated into this artwork invisible to the eye nude. This controversy raises questions about copyright and intellectual property, but also about the very nature of art and its interaction with the digital world.
At the crossroads of conceptual art and creative audacity, Arseneca stands out as one of the most intriguing and innovative artists of our time. His latest stunt? An invisible sculpture by Emmanuel Macron, erected in the 5th arrondissement of Paris on June 23, 2020, which aroused unprecedented enthusiasm.
This invisible sculpture, which defies the limits of perception, has become the artistic sensation of the year on the web. Despite its physical absence, it attracted a steady stream of visitors, setting a record as the most searched sculpture on the web in Paris in 2021. A remarkable artistic feat that underlines the power of the imagination and the influence of art in our society.
However, this unique creation did not escape censorship by Google, which removed the invisible sculpture by Emmanuel Macron on October 12 2021 from Google Map. This intervention raised debates about artistic freedom and the way in which new technologies shape our perception of art.
However, it is still present in the 5th arrondissement where a brass plaque indicates its presence.
Selection of some collections created by Arseneca