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Filipe Vilas-Boas is an artist born in Portugal in 1981. He lives and works in Paris. A conceptual artist playing with the porosity between the IRL and URL worlds, his creations combine recovery, detour and new media. Full of humor and spirit, his works make visible the transformations - both accesses and excesses - that technologies operate in society and human behavior. Without falling into the trap of naïve technophilia or pure technophobia, he questions us collectively about our digital practices and their ethical and aesthetic implications.


A self-taught artist, his practice began in 2008 with interventions in the public space. The same year, he began exhibiting at the FIT Freie Internationale Tankstelle in Berlin, among others. In 2014, he participates in Nuit Blanche Paris with an interactive celestial vault in the Saint-Eustache church.

In 2015, he presents his first solo exhibition at the Flaq Gallery in Paris and participates in the Musée Passager. His work has been highlighted in several editions of the book Portuguese Emerging Art and he now regularly exhibits in France and abroad. 


Recently, his installations, videos and performances have been presented in various artistic and digital settings including the International Conference on Artificial Intelligence at UNESCO, the French Language and Francophonie Week at the Ministry of Culture, CUBE, the Siana and Nemo Biennial at the CENTQUATRE in Paris, ADAF in Athens, Die Digitale Festival in Düsseldorf, Share Festival in Turin, Zaratan Gallery and MAAT Museum in Lisbon and more recently at the Tate Modern in London.



The Punishment (2017) is an installation in which a robot carries out a preventive punishment for its possible future disobedience. A reference to the laws of robotics by Isaac Asimov.


An anthropomorphisation of anticipation, the work humorously questions us about man-machine relations at the very moment when technologies combine and reactivate the myth of the creature that escapes its creator. By ironicizing on the fears that artificial intelligence engenders, this small mechanical theater seeks to better deconstruct them and question its place in our societies. To what extent do we wish to automate our lives? What physical, moral and legal framework should we give to this use? What school and beyond, what social contract to reinvent? At the beginning of this century, the questions related to automation are jostling. We are going to have to provide answers, if possible collectively.

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