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La Société Automatique
Perpétuité IV
Audiovisual installation
2025

 La Société Automatique
Simondon
Photography
2025

 La Société Automatique
Perpétuité III
On-site Performance - Mechatronic installation
2025

Perpétuité I
Mechatronic installation
2021

 Junkyard
Junkyard II
Installation
2019
The Material Culture of Mobility
Car body parts
Metal sculptures
2021

The Material Culture of Mobility
 Car compression
Ceramic sculptures
2021


 The Material Culture of Mobility
highway barbed wire.
Metal sculpture
2021


Memory Lane
Void
Light & Sound sculpture 
2019


Memory Lane  
Laser landscapes
Point cloud prints
2015


Memory Lane  
Road to nowhere 
Silkscreen on wall
2021


D.W.I
Clones
Mechatronic installation
2013


D.W.I
Chaos  
Particles animations
2013


Nihil Ex Nihilo
The Monologue + The Transformation
Sound monologue + Animation short film
2011


Chapter I: The Discovery  
Possible scenarios
Animation films
2009


FELIX LUQUE SANCHEZ

CONTACT
Email

DOWNLOAD 
Monograph 2021
La Société Automatique 2026

STATEMENT 
The work of Felix Luque Sánchez in collaboration with Damien Gernay, Vincent Evrard and Iñigo Bilbao, explores how humans conceive their relationship with technology and provide spaces for reflection on current issues such as the development of artificial intelligence and automatism. Using electronic and digital systems of representation, as well as mechatronic sculptures, generative sound scores, live data feeds and algorithmic processes, he creates narratives in which fiction blends with reality, suggesting possible scenarios of a near future and confronting the viewer with her fears and expectations about what machines can do.

Luque’s installations are configured as autonomous and uncontrollable systems in which each element plays a role in both their functional and visual design. The machines are thus conceived not only in terms of the processes they carry out, but also as objects of aesthetic contemplation. Each artwork is divided into different parts or sections, that can be read as chapters of the same narrative, constitutive elements of a system, or attempts at exploring a single subject. This fragmentation counters the apparent oneness of the piece and the seemingly perfect operation of the machine. Failure and vulnerability are present in the way that these devices are forced to maintain delicate balances, pursue nonsensical dialogues, generate incomplete renderings of reality, and finally express themselves by means of a sound score that results from their own activity and the physical processes involved in it. The artist consciously plays with the contradictory perception of technology as purely functional while at the same time imbued with a mysterious purpose, and the fear that machines may replace humans. Inspired by science fiction, he draws from its aesthetic and conceptual foundations the tools to elaborate speculative narrations and address the spectator using preconceptions about technology in popular culture. The outcome is a series of artworks that fascinate by their technical elegance and intriguing opacity, at the same time attracting and distancing themselves from the viewer".

Text by Pau Waelder   

EXHIBITIONS
UPCOMING :
2026 Solo Show. La Société Automatique. LABoral. Gijón. Spain
2026 Mimesis. Bois Mort as part of Damien Gernay’s retrospective. CID Grand-Hornu. Mons.Belgique.

PAST :
2026 Augure et Frémissements. Centre Wallonie-Bruxelles. Paris. France.
2026 L'Ososphère. Strasbourg. France. 
2025 Solo Show. La Société Automatique. iMAL. Brussels. Belgium
2025 Creative Machine. Wanlin Art Museum. Wuhan. China
2024 Creative Machine. Taikang Art Museum (TAM). Beijing. China
2024: Memory Lane. Overflow gallery. Liège. Belgium
2023. Fragments. Fiber Festival. Amsterdam. The Netherlands.
2023. Máquina Orgánica. teatros del Canal. Madrid. Spain.
2022. Chroniques. Biennale des Imaginaires Numériques. Aix-en-Provence / Marseille. France
2022. Touched by Humankind. KALYON KÜLTÜR. Istanbul. Turkey
2022. TEEN SPIRIT: Adolescence and Contemporary Art. BPS22. Charleroi. Belgium
2022. Festival ]interstice[. Caen. France 
2022. Rencontres Internationales Paris/Berlin: Nouveau cinéma et art contemporain. Paris. France / Berlin. Germany
2022. Les heures sauvages. Centre Wallonie-Bruxelles. Paris. France.
2022. Máquina Mística. teatros del Canal. Madrid. Spain.
2022. NTAA’22. The Liedts-Meesen Foundation. Gent. Belgium
2021. Solo Show. Verisimilitude. MIMA. Brussels. Belgium.
2021. Solo Show. Memory Lane. Centre des arts enghien les bains. Enghien les bains. France
2021. 100%. La Villete. Paris. France.
2021. Extractions. A Two Dogs Company. Brussels. Belgium.
2021. 25 Arts Seconde. Centre Wallonie-Bruxelles. Paris. France.
2020. Chroniques. Biennale des Imaginaires Numériques. Aix-en-Provence. France
2019. D3US EX M4CH1NA. LABoral. Gijón. Spain
2019. Panorama 21. Le Fresnoy. Tourcoing. France
2019. Les Garages Numériques. Brussels. Belgium
2019. Experientia!. Château de Lunéville. France
2019. Imagining Cities beyong Technology. Songeun Art Space. Seoul. South Korea
2019. Signals. CTM. Berlin. Germany
2018. Nonspaces. Contemporary Istanbul. Istanbul. Turkey
2018. Trondheim biennale for art and technology. Trondheim. Norway
2018. Solo Show. Memory Lane. Fundación Telefónica. Lima. Peru
2017. Chroniques. Fondation Vasarely. France
2017. Humans being digital. The Lowry. Manchester. U.K
2017. Natura Nova. Contemporary Istanbul. Turkey
2017. Solo Show. Chapter I: The Discovery. Q10. Charleroi. Belgium 
2017. Festival ]interstice[. Caen. France
2016. Nonspaces. Contemporary Istanbul. Istanbul. Turkey
2016. Scopitone. Nantes. France
2016. Tendencies - Belgian Art in the Digital Age. Bozar. Brussels. Belgium
2016. BIAN 2016. Arsenal Contemporary Art. Montréal. Canada
2016. Solo Show. Memory Lane. iMAL. Brussels. Belgium
2016. White Circle. Atelier Copens. Art Brussels. Brussels. Belgium
2016. 100%. La villette. Paris. France
2016. Remote Signals, ARSi maja, Tallinn, Estonia
2015. Chapter I: The Discovery. Le Vecteur. Charleroi. Belgium
2015. Kikk Festival. Namur. belgium
2015. Surfaces Sensibles. Palais El Abdellia. Tunis.Tunisia
2015. Ars Electronica 2015. Linz. Austria
2014. Creative Machine. Goldsmith. London. U.K
2014. BEAF 2014. Bozar. Brussels. Belgium
2014. BIAN 2014. Musée d’art contemporain de Montréal. Montréal. Canada
2014. POPPOSITIONS. Art Fair, Brussels. Belgium
2013. Orléanoïde. Musée des Beaux Arts. Orleans. France
2013. VIA.Gare St. Sauveur. Lille. France
2013. VIA. Maubeuge. Maubeuge. France
2013. Exit. Maison des Arts de Creteil. Île-de-France. France
2012. NTAA. UPDATE IV. The Liedts-Meesen Foundation. Gent.Belgium
2011. Futur Variable. BÒLIT Centre d'Art Contemporani. Girona. Spain
2011. Paranoïa. Gare St. Sauveur. Lille. France
2011. VIA. Maubeuge.Maubeuge. France
2011. Exit. Maison des Arts de Creteil. Île-de-France. France
2011. Nemo 2011. Le Cube. Île-de-France. France
2011. Solo Show. Nihil Ex Nihilo. iMAL. Brussels. Belgium
2010. Ars Electronica 2010. Ars Electronica Center. Linz. Austria
2010. UPDATE III. The Liedts-Meesen Foundation. Gent. Belgium
2010. Transmediale 2010. Instituto Cervantes Berlín. Berlin. Germany
2009. Solo Show. Chapter I: The Discovery. iMAL. Brussels. Belgium
2009. Solo Show. Chapter I: The Discovery. LABoral. Gijón. Spain


GRANTS, AWARDS & ART RESIDENCIES
2018-2019. Invited artist / professor at Le Fresnoy-Studio national des arts contemporains. Tourcoing, France

2012. Winner: New Technological Art Award The Liedts-Meesen Foundation for Nihil Ex Nihilo. Gent. Belgium

2022. 3rd Place: New Technological Art Award The Liedts-Meesen Foundation for Perpétuité I. Gent. Belgium
2022. Jury selection:  JMAF: 25rd Japan Media Arts Festival for Perpétuité I. Tokyo. Japan
2010. Honorary Mention: Ars Electronica 2010 for Chapter I: The Discovery. Linz. Austria
2010. Nomination: Transmediale 2010 award for Chapter I: The Discovery. Berlin. Germany
2010. Nomination: New Technological Art Award The Liedts-Meesen Foundation for Chapter I: The Discovery. Gent. Belgium
2010. Award VIDA 13.0. Artistic Production Incentives. Fundación Telefónica. Madrid. Spain
2009-Present. Several production grants (Secteur arts numériques, Fédération Wallonie-Bruxelles) Brussels. Belgium
2008. Oficina de Proyectos 2008. LABoral. Production Grant. Gijón. Spain
2014. Production Grant. Arcadi. France
2014. Production Grant. Ministerio de Educación, Cultura y Deporte de España. Spain
2002 & 2004. Audiovisual and Musical Grant for Young Creators (I.U.A/Phonos/Metrònom) Barcelona. Spain
2009 & 2014. Artist in Residency at iMAL. Brussels. Belgium

EDUCATION & TEACHING

- TEACHING & WORK:
2018-2019. Invited artist / professor at Le Fresnoy-Studio national des arts contemporains. Tourcoing, France
2014-2018. Digital fabrication and New Media Workshops for art schools: L’ERG (Brussels), la Chambre (Brussels), Le 75 (Brussels), Kask (Gent).
2012 - 2018. Manager at iMAL's FabLab. Brussels, Belgium.
2002 to 2008. Teaching. Master in Digital Arts (IUA/UPF). Barcelona, Spain
2008 - 2012. Software/Electronics for several works by Kirs Verdonck "A Two dogs company". Kaai theater. Brussels. Belgium

- EDUCATION:
1994 – 1999.   Graduate Anthropology (Social Sciences). U.L.B University. Brussels. Belgium
1999 - 2001. Master in New Media / Digital Arts. Audio visual institute. UPF. Barcelona. Spain

BIBLIOGRAPHY (SELECTION): 

Monograph 

“Félix Luque Sánchez: Machines & Fictions”. Edited by Pau Waelder. with texts by Jussi Parikka & Yigit Soncul, Nadim Samman, Mónica Bello, Iñigo Bilbao Lopategui, Pierre-Yves Desaïve, Pau Waelder. éditions CDA (Centre des Arts). 2021. 224 pages

Other books:

Alive: Synthetic Cells, Feral Robots, Rebellious AI, and the Design of Radical Life. Madeline Schwartzman. Thames & Hudson 2025. 256 pages. (P. 54-55)

Poetics of Encryption: Art and the Technocene. Nadim Samman. Hatje Cantz. 2023. 160 Pages. (P. 56-76)

L’art au-delà du digital. Dominique Moulon. Nouvelles éditions Scala, Paris, 2018. 287 pages. (P. 185-186)

S.F. [ART, SCIENCE & FICTION]. Denis Gielen Laurent Busine. MACS / Musée des Arts Contemporains au Grand-Hornu Fonds. 2013. 272 pages. (P. 25).


La Société Automatique
Assembled in China
AI video sculpture
2025



Assembled in China is part of our solo exhibition: La Société Automatique.

From industrial production to contemporary artificial intelligence, total automation remains a fantasy. Behind it still remains an essential, largely obscured and often exploited workforce.

The Chinese workers depicted in this AI video-sculpture embody the working conditions hidden behind the products consumed in the West. Captured in close-up during moments of silent waiting, they express a discreet discomfort.

Although these hidden workers appear to finally be brought to light, the images merely show us copies generated by artificial intelligence tools. They thus seem inexorably condemned to invisibility, always on the verge of being replaced by technology.

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Credits

Assembled in China by Félix Luque in collaboration with Iñigo Bilbao

AI Videos: Iñigo Bilbao

Technic: animations generated by AI models, metal structure, screens, multimedia players.

Assembled in China is part of “La Société Automatique” a coproduction of  Fédération Wallonie-Bruxelles (secteur arts numériques),  LABoral, Europalia Espagne and iMAL.

La Société Automatique
Flora
Audiovisual installation
2025



Flora is part of our solo exhibition: La Société Automatique.

An intimate portrait of a 14-year-old girl, this slow continuous shot reveals the micro-movements of her face and the intense concentration of her gaze as she watches the endless flow of content on TikTok.

Composed entirely from the sounds of Flora's TikTok feed, the soundtrack by Le Motel immerses the audience in this hypnotic universe. In the Automatic Society sketched by Bernard Stiegler, the logic of automation infiltrates every aspect of life. The attention economy is probably its most powerful and visible manifestation.

Its workforce is an army of volunteer creators who exploit themselves in order to win the favour of an arbitrary algorithm that pours out content into our endless scrolls. Every interaction is analysed to optimise user addiction and amass as much data as possible, which platforms can then extract value from.

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Credits

Flora by Félix Luque in collaboration with Nicolas Torres Correia and Le motel
Cast: Flora Luque Truffin
Director: Félix Luque Sánchez& Nicolas Torres
DOP: François Roland
Original soundtrack using Flora’s tiktok feed: Le Motel
Colour grading: Xavier Dockx 

Technic: Film projection, iPhone, Flora's TikTok feed.

Flora is part of “La Société Automatique” a coproduction of  Fédération Wallonie-Bruxelles (secteur arts numériques),  LABoral, Europalia Espagne and iMAL.

La Société Automatique
Le rêve de Simondon
Series of 8 printed digital photographs
2025



Le rêve de Simondon is part of our solo exhibition: La Société Automatique.

Are these photos of teenagers carrying out car manufacturing tasks real or staged? What Félix is really trying to do here is question what these images could mean in the age of the automated society.

The work is named after the philosopher Gilbert Simondon (1924–1989), who advocated for the democratisation of technical knowledge. He believed that this pedagogy was essential in order to counteract the alienation from technical objects born of our ignorance of how they work and are produced.

With a certain irony, Félix confronts Simondon's ideas with a world in which contemporary technical objects are deliberately designed as black boxes.

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Credits

Le rêve de Simondon by Félix Luque

Technic: Series of 8 digital photographs printed on paper.

“T-Slot” and “Le rêve de Simondon” were produced and created during a workshop at Lycée Émulation Dieppoise, at the invitation of Centre photographique Rouen Normandie.
Félix extends his warmest thanks to the teachers and students who participated in this endeavour.

Le rêve de Simondon is part of “La Société Automatique” a coproduction of  Fédération Wallonie-Bruxelles (secteur arts numériques),  LABoral, Europalia Espagne and iMAL.







La Société Automatique
T-SLOT
Metal sculptures
2025



T-Slot is part of our solo exhibition: La Société Automatique.

In robotised factories, the T-slot is an essential structural component. These metal profiles are used to mount sensors, lightweight robotic arms, conveyors, guards or panels, and facilitate the adjustment or reconfiguration of production lines.

The artist repurposes this industrial element into a giant sculpture that both fills and reflects the space. On the wall, a series of panels presents variations of T-profiles, arranged as a language of formal possibilities.

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Credits

T-Slot by Félix Luque

Technic: Cut, bent and welded stainless steel. Mirror finish polishing. 50x50x200 cm.
Images of a automated factory printed on fabric.
Plasma-cut steel and car body paint. -

“T-Slot” and “Le rêve de Simondon” were produced and created during a workshop at Lycée Émulation Dieppoise, at the invitation of Centre photographique Rouen Normandie.
Félix extends his warmest thanks to the teachers and students who participated in this endeavour.

T-SLOT is part of “La Société Automatique” a coproduction of  Fédération Wallonie-Bruxelles (secteur arts numériques),  LABoral, Europalia Espagne and iMAL.






Perpétuité I
Mechatronic installation
2021
About the installation  series Perpétuité:

Industrial robots are conceived to perform repetitive tasks with almost absolute precision. They perform them without fatigue, without rest, without loss of concentration and without hesitation. This is the mastery of automation, a synchronised symphony.

In the installation series Perpétuité, we want to stage industrial machines in endless tasks guided by algorithms, in a kind of perpetual performance.

The vision we are trying to represent is that of our realization through the technoneoliberal dream, the total replacement of humans by automation.

We face our extinction as our technological creations, our machines, overtake us as masters of repetition, collaborative work, data and computation. But they also replace Sisyphus, condemned like him to repeat and undo a task in perpetuity.

About Perpétuité I:

In Perpétuité I  the visitor is invited to contemplate the perfection of mechatronic automation, the repetitive and identical movements, two machines programmed to manifest the eternal and at the same time its impossible realization.

This installation functions as a metaphor of the present time, and offers a space for contemplation, in the face of our accelerated temporality. The imagination she tries to represent is that of our achievement through the technological dream. When human society is faced with its extinction, the eternal becomes a new task for our machines, a utopia in a future without humanity.






Credits
Perpétuité I by Félix Luque in Collaboration with Vincent Evrard

Perpétuité I is a coproduction of  “secteur arts numériques, Fédération Wallonie-Bruxelles” and "Chroniques 2020 (Biennal of Digital Imagination)”.