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"We live in the oblivion of our metamorphosis.
But that echo that rolls around all day long,
This echo out of time of anguish or caresses.
Are we near or far from our consciousness."

"Your eyes have returned from an arbitrary country where no one has ever known what a look is."

Paul Eluard

-

Megalopolis is a project born from the fascination of megacities.

Through different durations and forms the MGLP episodes propose an in-depth exploration of the city of Megalopolis.

Each piece, each motif of the city is assembled in a montage that invites memories and dreams.

More on benjaminbardou.com

The Flow is a film project exploring the stream of consciousness over a 24-hour cycle. Rather than assembling images through cuts, it explores a new regime of images — where forms drift, merge, and evolve within a continuous field.

This approach is made possible through the use of AI, not as a tool, but as a space in which images can transform continuously.

It is an independent and experimental film, developed outside traditional production frameworks.

👇 Support is now open!

https://benjaminbardou.com/works/the-flow.html

🤩 Happy to exhibit Memories of Degas in collaboration with @meta and Convergence at @artsetmetiers_ensam !
🙏 Big thanks to @dimitridaniloff

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

Very grateful to @load.gallery & @the.ai.art.magazine for exhibiting my work in Barcelona!

The result is beautiful. What a joy to see these artworks unfold like this, immersed in color.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

The Religious Intoxication of Big Cities

Latent space serves here as a vector for exploring dreamed urban motifs. My wandering through it brings buried forms to the surface, as if the city already carried its own visions within itself. There I discover an unstable world, crossed by illusion, apparitions, metamorphoses, and the ruins of ancient promises.

These images are not manufactured, but revealed. They rise from the depth of the metropolis, from street names, signs, legends, and forgotten thresholds. They carry the memory of unfinished utopias, spiritual dramas, and dreams that never came into being.

Meet the team! 💫
At Artpoint, we love discovering our team members through art, a glimpse into the sensitivity and perspective that shape our work behind the scenes.
Today, Maxence, our new Executive Assistant, introduces herself by sharing three digital artworks from our catalog that resonate with her.

✨Step into the unique and captivating worlds of
@tinkertailorart
@benjaminbardou
@ferliv

🔗 Explore more on the Artpoint website and find the artworks that speak to you!

#MeetTheTeam #Artpoint #DigitalArt #NewMediaArt

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“The century failed to respond to the new technical virtualities with a new social order.” This sentence by Walter Benjamin haunts me because it seems to contain all the melancholy of modernity. New technologies promised a new world: glass, iron, electricity, crowds, covered passages, world exhibitions, architectures of circulation and light. Everything seemed to announce a radical transformation of life. But these new powers remained trapped within the old social order. Instead of opening the way to an earthly paradise, they were absorbed by commodity, spectacle, domination, and the repetition of the same structures.

This contradiction is what interests me: the moment when technical utopia turns into phantasmagoria. Progress does not disappear; it becomes décor. The promise remains visible, but as an unfulfilled dream. Modern cities then appear as double landscapes: at once splendor and catastrophe, celebration and ruin, future and memory. They seem to have contained the possibility of another world without ever managing to embody it.

The images that fascinate me belong to this tension. They stand on a threshold.
Paris appears as a latent ruin: a city where the splendor of progress already contains its catastrophe.
Here, ruin is not the opposite of utopia; it is its surviving form, the melancholic trace of a world that might have come into being.

Support The Flow project
https://benjaminbardou.com/works/the-flow.html

“Everything can be done, except the story of what we do.” wrote Péguy.

I am not trying to represent thought, nor to reconstruct it from the outside. What I attempt is to follow it, to remain as close as possible to its movement — its hesitations, its bifurcations, its returns.

There is no predefined trajectory, no structure that would precede the images. I move forward through experimentation, letting myself drift with the fluctuations of latent space, where forms appear, deform, disappear, and return in altered ways.

What guides me is my visual culture — this sedimentation of images, films, paintings, and fragments that inhabit me. Without it, I would be lost in this space. It is through it that trajectories begin to form, that certain forms call forth others, and that a direction gradually emerges.

Artificial imagination is not used here as a tool of production, but as a space of continuous transformation, within which thought can unfold in a single, ongoing movement.

There is, in this project, something that borders on impossibility: to follow the flow of consciousness without reducing it.

And yet, it is precisely within this tension that the work begins.

The Flow (work in progress)
https://benjaminbardou.com/works/the-flow.html

◻️×9 Across nine screens, one artist at a time fills the whole room at Load Gallery, turning the work into a shared viewing space. On Sunday, Global Fusion Barcelona unfolds at Load Gallery as a sequence of screenings and conversations around AI, images and space.

In this reel, and in Screening Session II, 3.30–4.00 pm, you can experience works by

@eeezeen
@0009.eth
@benjaminbardou

◻️Date: Sun, 19 April 2026 · 2–8 pm
◻️Venue: @load.gallery
◻️Carrer Llull 134, 08005 Barcelona, Spain
◻️Please register via Luma (free)
◻️Discover more at @the.ai.art.magazine

We would love to share this day with you. ⟡

🌌 The Flow

In the city, the flow of consciousness moves from one threshold to another, slipping between heterogeneous regimes of images.

The blinding light of the present time constitutes the Inferno: a saturated, homogeneous time in which signs impose themselves without depth, in a state of continuous immediacy.

👇 Support the development of The Flow project.
https://benjaminbardou.com/works/the-flow.html

A stroll through the Passage Jouffroy in Paris.

PASSAGES: IDEAL by @benjaminbardou

Vertigo of Latent Space

Montage marked the decisive invention of cinema: a mode of associating images capable of producing new relations. Yet this potential has remained largely unexplored, as cinema has most often reproduced narrative forms inherited from the novel.

With artificial imagination, another regime of images emerges.
Images are no longer simply arranged; they transform into one another within a continuous space.
It then becomes possible to work not with sequences, but with transitions, passages, thresholds.

Vertigo is approached here as a latent structure, a field of forms in circulation.

The film becomes a set of persistent forms that reactivate, deform, and recombine in contact with other images.

What is at stake here is less a reinterpretation of the film than an attempt to approach thought in action: its movement, its bifurcations, its reminiscences.

In The Flow, this research unfolds on another scale.
It seeks to follow the flow of consciousness, not as narrative, but as a continuous dynamic in which films, memories, and history intermingle and circulate.

This work around Vertigo constitutes a variation: a way of exploring how a film can dissolve into this flow and become one of the sites from which thought begins to move.

Support the project The Flow
https://benjaminbardou.com/works/the-flow.html