Region Sud Prize

Since its beginnings, Art-o-rama has been committed to participating in the professionalization of young artists and allows them to encounter different actors of the art world – curators, gallery owners, critics, collectors…


Each year with the Région Sud Prize, Art-o-rama offers visibility to the young creation from Art Schools of the Région Sud, Provence-Alpes-Côte d’Azur. The Show-room section highlights the work of 4 artists selected by a curator. The curator accompanies them in their exhibition project, produces a critical text and introduces the artists to the gallery owners and publishers participating in the fair, who will then be invited to vote for the winner of the Région Sud Prize of the year. The following year, this artist will benefit from an exhibition space in the main section of Art-o-rama following a two-months residency within the Moly-Sabata / Albert Gleizes Foundation. The artist will be the recipient of a 2000€ production grant and a catalog will be published. This year the guest artist is Flore Saunois.

In 2022 the Show-room artists are benefitting from the new residency program created by a regional network of art centers and venues from the Région in 2021. The 3 non-winning artists will each partake in one of the following residencies: Centre d’Arts Plastiques Fernand Léger de Port-de-Bouc, Centre d’Art Contemporain de Châteauvert et Voyons-Voir, art contemporain & territoire. The FCAC (Fonds Communal d’Art Contemporain de la Ville de Marseille) is also committed to acquire each year at least one work by an artist from the Show-room.


The Région Sud Prize often stands as a first experience for artists in a commercial environment of international scope and allows the galleries participating in Art-o-rama to discover artists who were formed in our region.

In 2022, the 4 selected artists accompanied by Aude Christel Mgba are  Hayoung, Samir Laghouati-Rashwan, Robin Plus and Janna Zhiri.

Flore Saunois – 2022 guest artist

Through installations, sound pieces, performances and editions, Flore Saunois explores the materiality of language and its link to reality. Her work seeks to draw and set up the conditions for the appearance – and the underlying disappearance – of things.

Trying to suspend the condition of transience of an object, an event or a phenomenon, to place oneself between the permanent and the “on the verge of disappearing”, between the virtual (what, literally, “is in the process of becoming”) and “what happens”, trying to trace the outline of possibilities, as well as to question their condition of existence.

Through tautologies and the highlighting of interstices where the limits between representation and reality are blurred, we’re discovering pieces whose conciseness and plastic sobriety are constantly thwarted by a playful irony. As part of a re-reading of the principles of conceptual art, Flore mischievously explores the gap between the everyday and the extraordinary, the pathetic as a source of latent poetry.


Flore Saunois (1987, Pertuis, lives and works in Marseille) graduated from the Univerität der Künste Berlin (BFA – 2012), the Conservatorio di Teatro di Roma (BA Acting – 2014), the University of Paris 8 (Maitrise en recherches théâtrales – 2016), and the Beaux-Arts de Marseille (DNSEP Art – 2018).

Her work has been broadcast on France Culture (Creation On Air) (FR), (2017) ; presented at APA (A performance Affair – Art fair), Brussels (BE), at the MAC (Musée d’Art Contemporain de Marseille) (FR), at the Institut Français de Hambourg (DE), at the Collection Lambert, Avignon (FR), (2019) ; at MAMC+ (Musée d’Art Moderne et Contemporain St-Etienne Métropole – Biennale ArtPress) (FR), as part of Manifesta 13 (Friche la Belle de Mai and Galerie des Grands Bains Douche) (FR), during Actoral (Festival internationnal des arts et des écritures contemporaines) (FR), (2020) ; at La BF15, Lyon (FR), at 3bisf, Aix-en-Pce (FR), during Art-O-Rama (Winner of the Prix Région Sud), Marseille (FR), (2021); at Château de Servières, Marseille (FR), (2022). She is currently in residency at les Ateliers de la Ville de Marseille.


Signature of the catalogue

First monographic edition of Flore Saunois

On the 3rd floor, Tour Jobin

Friday, August 26, 6.30pm


As the result of an archival work correlating dramatic and visual arts (the artist is a graduate of the Universität der Künste Berlin, of the EUTHECA, the Conservatory of Theatre of Rome, and of the INSEAMM in Marseille), Flore Saunois’ first catalogue is a documentary and iconographic ensemble set alongside a text by Sophie Kaplan, and a transcript of interviews with Marcelline Delbecq which places language at the heart of the work in its materiality, operative, in transition, like the translations provided by the American poet Daniel Levin Becker. The graphic design is by the duo Huz&Bosshard.

Aude Christel Mgba – 2022 curator

Aude Christel Mgba is an independent curator and art historian based between Cameroon and the Netherlands. She was a participant of the De Appel 2018/19 curatorial Program.

Aude engages with decoloniality through research projects and the creation of platforms that aim to transcribe, translate, and embody ancestral knowledge. Her curatorial experiences include collaborations that question forms of making and showing art that tends to be centered between art institutions and art workers. She is more interested in collaboration that expands beyond those spaces to embrace different communities.

In 2017, Aude worked as an assistant curator for the SUD2017, an international triennial of art in the public space, organized by doual’art, a center for contemporary art, for the city of Douala. Since 2019, she has been working as the co-curator of sonsbeek20->24, an international exhibition in the city of Arnhem under the Artistic direction of Bonaventure Soh Bejeng Ndikung. In 2010-2021, Aude conducted My learning is affected by the conditions of my life, a research symposium commissioned by ARTEZ Studium Generale, that was looking into art education from an historical perspective that took as cases study West Africa before and after colonization.

Aude is curator of 2021 curated project of ART X LAGOS.



A transdisciplinary story-teller, Hayoung collects different fragments of narratives that they hybridize and mythologize to transgress cultural, political and linguistic boundaries. By playing with the “bugs” and misunderstandings that accumulate in pixelated worlds, they address issues of displacement and deterritorialization to tell the story of fragmented identities, their relationships, their struggles, and their virtual and physical updates.


Hayoung and their creations bite us in the tongue and, spectators, we end up crying pixelated tears. They invite us to overdose, to saturation, to the ejection of our bodies towards the dream and the virtual. By trying to apprehend the complexity of the world, Hayoung invite us to go “beyond”. It is a universe that knows neither borders nor certainties that unfolds before our salivating eyes.
Text by Louise Nurry


Their works has been presented at the Villa Arson (Nice), the SISSI club (Marseille), the Het Nieuw Institute (Amsterdam), the cipM (Marseille) and at 100% Villette (Paris).


Welcome to DATA PERFUME, we use cookies to improve your experience on the website. To learn how to manage your settings, please see our Cookie Policy. By continuing to use the website, you consent to our use of cookies. Click accept and scroll!

DATA PERFUME is a project (in progress) started in 2021, by the artist Hayoung through which they appropriates cookies as the raw material of the work. Small files deposited on the hard drive or the browser of our devices when consulting certain websites, cookies are techno-traces of our daily wanderings on the Internet.

As part of the Art-o-rama fair, DATA PERFUME is both the three-dimensional translation into sculpture of a window that arises when we attempt to enter a website and a showcase that plays the role of teaser announcing the project itself: a teaser. By taking the gesture of big commercial corporations who collect and use our cookies to facilitate our future interactions thus increase the performance of their site, and also to refine their marketing approach, Hayoung collects cookies from people and translates them into perfume. Inviting us to think about the implication of our actions on the internet. As intangible as they may seem, cookies set us up as (invisible) workers who feed artificial intelligences that come to life here, in the form of smells.

What do you smell like on the Internet?

The linguistics associated with smells still remains a poor, limited and unstable field. As with colors or sounds, there are no names specific to olfactory experiences without having to refer to something else. And even their classification remains an enigma, as shown by P. Vroon et al. (1996: 23), cited by M. Plümacher and P. Holz (2007: 8), who point out that “There is no linear proportional relation between strength of olfactory stimuli and intensity of perception”.¹ Despite the difficulty of being able to classify them according to their properties, they remain cultural facts: “Smells can also “draw boundaries, qualify certain spaces and tell us about the activity and identity of a place” and I would add, of a person. They nourish the representations of racial, social and professional or national divisions and can contribute to discrimination between groups who think or perceive themselves as olfactory different, a convenient way of naturalizing otherness.”²

This characteristic of the smell, of its participation in the naturalization of otherness, is countered in Data Perfume, by the movement of translation of virtual data to the olfactory experience without the objective of smelling good. Smell becomes a lingua franca representing users, their intentions behind clicks and scrolls. In this sense, new categories that transcend the strict boundaries of race, gender, sexuality, or social, professional or national boundaries, are being created.

For this presentation, Hayoung translated the cookies of three people including iel, their mother Yukyung Kim and a sex worker³. Three people with singular statuses, with different daily habits presented through three bottles, one of the perfumes of which will be diffused in the space.

Would you like to know what you smell like on the Internet? Click Accept!



²Dulau 1998, p. 81.

³Her name is kept secret for privacy reasons

Samir Laghouati-Rashwan

Samir Laghouati-Rashwan, born in 1992 in Arles and currently based in Marseille, is a French artist who graduated from the École supérieure d’art & de design Marseille-Méditerranée.


In his practice, Samir Laghouati-Rashwan seizes upon small objects masquerading as mundane, quotidian, contemporary and above all apolitical. A tonic bottle or a tracksuit rolled up at the ankle. Shopping trolleys and caravan car windows. The work that he develops around these objects however undermines their claim to be anodyne; they become bearers of colonial histories and geopolitical complexes.

The tonic bottle contains quinine, made up of cinchona, a plant from Peru, brought to Europe by Spanish Jesuits in the 17th century, it ends up in British India, and subsequently becomes a permanent fixture in bars, destined for drinking, not for thinking its history. The rolled-up tracksuit is an allusion to the slave’s ball and chain, now adopted and denatured from such contexts, sartorial experiments borrowed from the world of rap. Revealing the violent histories lodged in such commodities or customs however is not moralising, rather, his work softly peels away their “naturalised” state and discloses something with both wry humour and dead seriousness.

But to tell such stories you have to encounter those who want to listen. His collages, films, installations, found objects and images often tend towards sparseness, a mere invitation for the spectator too to pursue the associated histories of that which is depicted or represented. The installation Dead Park (2021) features an accumulation of found objects, hostile forms masquerading as a children’s playground, the apparently dispassionate configuration giving way to a reflection on the early introduction of forms of control, the birthing of pathologies. Non-Lieu (2017-ongoing) is a minimalist memorial, listing the names of those who have died at the hands of the police in France, a new page added each year.


– Jess Saxby


Quinquina diaspora part.1


Samir Laghouati-Rashwan presents Quinquina diaspora, the first iteration of a project that exposes the historical and geopolitical complexities of an ordinary drink: tonic. Tonic is a carbonated drink containing water with added quinine, a chemical compound extracted from the cinchona plant. Through an installation consisting of a three channels video and two aquariums filled with schweppes whose fluorescence is activated by UV light and around which a selection of archival documents have been arranged, Quinquina diaspora questions the very anthropocentric tendency that dominates the discourses on the representation of plants life from humans. Quinquina diaspora also explores the memory of the cinchona in Cameroon, the complex history of its forced migration through colonization to the lands of the grassfields occupied for centuries by the large group of Bamileke peoples.

While cinchona gradually became a social product from the 17th century, its adoption as the capital of European medicine, its use for the manufacture of everyday consumer products, the history of its appearance in Europe and then in places such as Cameroon, hides a multitude of stories that tell of the violence endured by exploited places and lands, but even more so by human, animal and plant corporeities. What is the material and immaterial memory of what we consume?

Cinchona, with its “scientific” name Cinchona officinalis, is an evergreen tree of the Rubiaceae family, native to Ecuador. Popularly known for its bark, the essence of quinine previously used to treat malaria. The question of the origin of the parasite causing human malaria still remains a mystery today.

Cinchona enters the history of European medicine to meet the urgency of finding a drug that would cure bad air fever. Brought to Europe by the Spanish Jesuits of Peru, its relieving and curative effect will make it precious news. The climate in Europe not being favorable to its culture, France, England and Holland will initiate massive campaigns for its establishment in the colonies among many others in Java, Tonkin, Dschang.

Of these stories, what is unknown because potentially elusive, untranslatable, invisible? What do plants tell us about these experiences, these movements? In what form does the transfer of knowledge take place between human and non-human species?

In Quinquina diaspora, appropriating the story collected from official and personal archives on the cultivation of cinchona in Cameroon, through an inaudible conversation, in an unknown language whose transcription is imagined here by french subtitles , two Cinchona belonging to two different generations are talking to each other(?).

To review the history of cinchona and other plants is to have an epistemological look at the science of health, it’s supposed discoveries and inventions, it is also to get rid of binaries and to deconstruct our apprehensions on diseases categorized as South and North, in order to imagine a future world where living species coexist and collaborate beyond a capitalist vision.


Thanks : Cirad Cité Internationale des Arts Bénédicte Alliot Aude Christel Jessica Saxby Jeanne Rocher

Robin Plus

I see photography as a tool of power. My images describe a sensitive world where fragility is a vector of strength and pop culture embraces the landscape. Photography is like a weapon, one that helps me fight the diktats of normalized representation of bodies and sexuality to let me dream of a society in full queer renaissance. I sow the confusion, as well on the space – by never indicating where the photos are taken – as on the temporality – early morning, zenith or twilight? – and the notion of gender. I use ambiguity as an aesthetic principle in order to recreate a sensitive world taking the pulse of a cracked reality. I transform landscapes into dreamlike settings and models into conquering and political figures. I construct my images as paintings that tell the story of a world standardized by globalization and consumerism.


Robin Plus (born in 1990 in les Lilas, lives and works in Marseille) graduated from Ecole Nationale Supérieure de la Photographie in Arles. His works have been presented at Galerie Sultana (Paris), La Villette (Paris), Les Rencontres de la Photographie (Arles).


Robin Plus presents Hyper intimacy, a multimedia installation composed of a photographic series, a moiré print, a video and a sound work.

Hyper intimacy talks about his queer sexuality, the influence that the internet has on his relationship to sexuality, and our relationship to image/images.

While photography has historically contributed to the accentuation of violence produced by strict social categorizations of the body, race, gender, sex and sexuality, using the notion of documentation to proclaim any passivity behind the images, Robin reminds us of the intrinsic link between the person who photographs and the images they produce as well as the power of the gesture of creations of the latter’s . What do we choose to reveal? What presence is suggested by what we see?

Here photography is a tool of power through which images translate a sensitive world, where intimacy and fragility become a vector of strength, and where pop culture embraces the landscape. By transforming the landscapes into dreamlike settings and the models into conquering and political characters, the images are approached like paintings that tell the story of a world standardized by globalization and consumption.

The expansion of the Internet and social networks over the past three decades has contributed to the popularization of photography as a daily habit and an integral part of private life. Today, thanks to smartphones, people have the possibility of publishing what they want to share about their daily life, even if recently we have seen an increase in the rigidity of the confidentiality policies of social media networks which have a great influence on the choices that people make. Selfies, videos and photos, fractions of life that we edit – or not – tell personal and intimate universes that open onto a multitude of readings of individual identities. Even when the images are quite explicit, placed in a context involving other images, nothing guarantees an accurate reading. It is this posture that Robin approaches through these two boards/work/objects, each made up of a selection of fragments(?) of images presented in the form of a grid comparable to an Instagram page. Cracking becomes a counter-power movement to dismantle the diktats and hierarchical and exclusive modes of the normalized representation of bodies, gender and sexuality. Robin uses it to open doors to the imagination, to allow himself the dream of a society in the midst of a queer renaissance.

Hyper Intimacy is also a reflection on the notion of space, language and queer intimacy through the internet. While public space has been very exclusive and an open door to rejection and intimidation, recent years have shown that several marginalized social groups have used the Internet and the variety of applications it offers as an alternative space to explore and strengthen the construction of their identity. Giving rise to the fabrication and formation of new codes, symbols, vocabularies and complex categories that intertwine, offering new relationships to the body and to sexuality in real life. In a sound work with a very rich and sensual tonal texture that very poetically inhabits the space, voices whisper and slip fragmented words or in their entirety revealing categories of sexual position, gender, sexuality that exist on Grindr. Robin has counted more than 80.

What choreographies, these virtual categories, force us to perform and/or refuse to embody in everyday life? Translated by the presence of a flickering print that stretches as if to free itself or breathe, Hyper Intimacy approaches the web screen like a second skin that impacts the daily experience of individual sexuality. As liberating as it may be, it can also create other personal uncomforts.

Janna Zhiri

I’m a storyteller, I tell shameless love stories. Fan of love stories in general, I like the complicated ones, between dog and cat. Ghosts of figures taken from a non-romantic love literature as in Dorothy Allison’s Skin or totally romantic, overwhelming with happiness-bliss-love-at-first-sight. My characters and myself are troubled by the intensity of the consenting banter where the most blurred dreams take the voice of multiple identities. Long live seduction. The narrative world becomes subject to digression for a call to revolution through the heart. In parallel, I have a work of pastel drawings which takes shape of rolls of logorrhea or my vomit of dreams and fantasies.


Janna Zhiri graduated from la Villa Arson in Nice. Her work has been presented at Galerie Placement-Produit (Paris), DOC (Paris), Fondation Francès (Paris), MAC (Musée d’Art Contemporain, Lyon), Galerie Eva Vautier (Nice), Galerie Georges-Philippe & Nathalie Vallois (Paris).


Janna Zhiri presents an installation composed of a long modular drawing whose length is inscribed in infinity, a series of sculptures and a sound piece.

The drawing, a pink logorrhea, like a dripping roll, like a too long tongue that can’t fit in the mouth and that falls on the ground, like the fall of a river flowing into the ocean, like the larva of a boiling volcano, is an abundant offering of beauty and goodness. In a childish line, it initially reveals clownish faces that are at once happy, tense and petrified. Immersed in a multifaceted space that could represent an immense fire, or the movements of a troubled sea, or perhaps an interstellar dust, they are there present occupied and preoccupied. The environment that inhabits them at the same time is pink, yellow and orange and filled with a multiplicity of comets raining down on them, a galaxy floating above their heads. Reality or dream? This is a secret garden.

The wave continues in its oscillatory movement opening the field to more details. Difficult to locate where you are but we can identify tongues of green leaves, pink cows, colored Dalmatian snakes. Beneath the drawing are hidden sculptures of buttocks that support it in its momentum. With it, a sonic wave, whispering like earthworms digging in the ground, swarming but not seen, creates an intimate space with the viewer.

It is a coming out, an ode to love in the form of a heavenly universe, daring, sometimes noisy, colorful and multidimensional, loaded with shapes and volumes that intermingle and intertwine. Meli melo, this is the expression of the diverse feelings that possess us when love has taken place in our bodies. Here, as in the majority of Janna’s works, storytelling plays an important role. As a place of possibilities and resistance, it allows the imagination and the re-imagination, first personal and then collective, of being. By using poetry, utopia and even reality, storytelling allows you to be more attentive to yourself. This journey into the depths of oneself can be only possible if we give space to what we feel.

Emotions have long been dismissed as a factor in the production and transmission of knowledge. The idea according to which “the scientist” should be separated from all study is reflected in almost all of the epistemes. What can a reflection around love teach us? Is thinking about love only a matter of the personal?

In her book All about Love, African-American author, Bell Hooks walks us around a vision of a society that grounds itself through love as philosophy and wisdom. This grounding would begin by defining love in its broadest sense and recognizing that it is not just a feeling but also a practice. As she says: “love is necessary work and it is in love that we learn to resist, thrive, and lead under any circumstances..” Living by a love ethic, means “ living through a different set of values. It is a commitment to the service of justice and freedom, it is a work of linking thought and action, theory and practice.”

Previous Guest Artists

  • 2021 mountaincutters
  • 2019 Jonathan Vidal
  • 2018 Delphine Wibaux
  • 2017 Sabrina Belouaar
  • 2016 Rafaela Lopez
  • 2015 Vincent Ceraudo
  • 2014 Sergio Verastegui
  • 2013 Yann Gerstberger
  • 2012 Caroline Duchatelet
  • 2011 Sandro Della Noce
  • 2010 Pascal Martinez
  • 2009 Émilie Perotto
  • 2008 Julien Bouillon
  • 2007 Arnaud Maguet et Olivier Millagou

Exhibition View, Flore Saunois, Art-o-rama 2021

Courtesy © Flore Saunois

Aude Christel Mgba

© 2018, Omenkart


Pains retrouvés (2021)
Installation view of, « Construire sa prétendue », Villa Arson, 2021
Photo © Nelo Gevers

Samir Laghouati-Rashwan

© Fræme 2020

Robin Plus

© the artist

Janna Zhiri

© Chloe Pasciani, Ozgur Kilic, Noemie Sene et Andrea Hortua