« Nomorecocorse » : plus jamais Cocorse. Ce 4 octobre 2024 j’ai définitivement abouti ma quête spirituelle, à travers ce projet qui peut résonner en chacun de nous. Dans mes mélodies vous percevrez ces trois longues années qui m’y ont mené. Années de doutes, de questionnements, de joie comme de peines. J’ai été pointé du doigt pour mes choix, qu’ils soient personnels ou artistiques. Ce sont des blessures que la musique cicatrise. Nomore est un baume cicatrisant, pour tous les cœurs et toutes les plaies. Il m’a guéri, et il fait ce que je suis aujourd’hui. C’est avec beaucoup d’émotions que je vous partage ce brin de moi. Les mots me manquent pour décrire la fierté qui m’anime à travers ce projet. Ils me manquent encore plus quand je pense à ce que je vous réserve… Attention au départ, le voyage est loin d’être terminé. Nomorecocorse ❤️‍🩹❤️‍🩹 Visuelle par : @kassy_n_tx @studio.igrec Photo par : @melih.ozlk #nomore #music #techno #electro #alternative #experimentalmusic #newmusicfriday #inspiration #pornstar

cringe

nightmare was born from a chaotic and unbearable moment. Two years ago, I was sitting in class, hiding behind a notebook pretending to write, while I was actually composing on my phone. I was completely bored, wondering what I was even doing in that school of hairdressing. I opened GarageBand, put in a single AirPod, and started creating. It took me 7 hours to finish it. With this track, I found a new way to survive what I was going through and find a new path to follow. I put so much hope and so many dreams into it. nightmare is now available on all platforms, and it’s all yours xoxo

ta kpt

Powder dry

only judge can god me

iMom, 愛(ai)Baby (2025) short movie part 2 - (Contra) Per-𝑓ormare Invited by @magazineantidote / @antidoteparty__ 02.10 — Movida Club Paris during FW Master thesis research « (Contra) Per-𝑓ormare », the human body becomes the site of a hybridization between the digital tool and the repetitive action, mimicking work, play or the creation of content. How can the figure of the user-performer, placed in a position of submission to digital devices, reveal the sadomasochistic dynamic that underpins our everyday relationship with technology, between control mechanisms, and the production of value for capitalist platforms ? The user, or in this case the performer, is immersed in digital furniture, a technological ex-growth that anchors itself in his or her body, making it an appendage of the system. This furniture becomes an interface of power, a tangible simulation of the domination exerted by the platforms. The performer is in a position of discomfort, forced into an absurd hyper-productivity, an endless digital performance. This constrained body symbolises voluntary submission, the paradoxical pleasure of obedience. It’s an incarnation of what Michel Foucault identified as the link between power and pleasure, reformulated here in a techno-capitalist context. The user takes pleasure in conforming, in producing, in exposing themselves while being exploited, monitored, calibrated. Art director : @cellulemere Performers : @nymphorchidea (Anna R) & @digitsphere (Julia) Photographer/movie : @alaricfer Edit : @nymphorchidea & me Sounds/Text: Cellulemere000ooo & Nymphorchidea voices « iMom ai愛baby » & « Per-𝑓ormare » Hairstylist : @nomorecocorse Assistant : @stellabocle #art #performance #ai #paris

iMom, 愛(ai)Baby (2025) Invited by @magazineantidote / @antidoteparty__ 02.10 — Movida Club Paris during FW Director: @cellulemere Performers: @nymphorchidea (Anna R) & @digitsphere (Julia) Photographer: @alaricfer Sounds/Text: Cellulemere000ooo & Nymphorchidea voices « iMom ai愛baby » & « Per-𝑓ormare » Text remix track with Distanced and Hollow by Waynette Hairstylist: @nomorecocorse Assistant: @stellabocle iMom, 愛(ai)Baby explores maternal love in its most absolute form — a love so intense it erases the boundary between mother and child. The child becomes an image, a projection, a cellular and technological extension of the mother. The title plays on the ambiguity between 「愛」 (ai) — love — and A.I., artificial intelligence: “I, mother, love my child.” / “A mother loving an artificial intelligence.” “The mother no longer awaits a child, but a package; every notification becomes an ultrasound, every delivery a birth. The womb merges with the shopping cart.” The performance is conceived as an autonomous scene : a continuous, self-contained action. I imagine my performances as “scenes of life,” sometimes “domestic scenes,” re-enacting specific emotions and situations imposed upon the viewer. They are constructed emotional spaces where dramaturgy and spatiality are as essential as gesture. Since childhood, I’ve been fascinated by electronic household objects : functional, beautiful, and strangely intimate. I like to subvert them, to give them new meaning, to let them speak about the world we live in. Their obsolescence, driven by over-performance and endless updates — makes them symbols of our relationship to progress and dependency. The idea of comfort is central to my work : Today, comfort has become a standard imposed by technology. Our bodies and minds conform to devices and interfaces without even noticing. From home appliances to smartphones, these systems shape how we live, think, and feel. This tension between comfort and dependence, technology and flesh is what I seek to make visible, almost tangible, through performance.

iMom, 愛(ai)Baby (2025) short movie part 1 Invited by @magazineantidote / @antidoteparty__ 02.10 — Movida Club Paris during FW iMom, 愛(ai)Baby explores maternal love in its most absolute form — a love so intense it erases the boundary between mother and child. The child becomes an image, a projection, a cellular and technological extension of the mother. The title plays on the ambiguity between 「愛」 (ai) — love — and A.I., artificial intelligence: “I, mother, love my child.” / “A mother loving an artificial intelligence.” “The mother no longer awaits a child, but a package; every notification becomes an ultrasound, every delivery a birth. The womb merges with the shopping cart.” The performance is conceived as an autonomous scene : a continuous, self-contained action. I imagine my performances as “scenes of life,” sometimes “domestic scenes,” re-enacting specific emotions and situations imposed upon the viewer. They are constructed emotional spaces where dramaturgy and spatiality are as essential as gesture. Since childhood, I’ve been fascinated by electronic household objects : functional, beautiful, and strangely intimate. I like to subvert them, to give them new meaning, to let them speak about the world we live in. Their obsolescence, driven by over-performance and endless updates — makes them symbols of our relationship to progress and dependency. The idea of comfort is central to my work : Today, comfort has become a standard imposed by technology. Our bodies and minds conform to devices and interfaces without even noticing. From home appliances to smartphones, these systems shape how we live, think, and feel. This tension between comfort and dependence, technology and flesh is what I seek to make visible, almost tangible, through performance. Performers : @nymphorchidea (Anna R) & @digitsphere (Julia) Film by : @alaricfer Sounds/Text: Cellulemere000ooo & Nymphorchidea voices « iMom ai愛baby » & « Per-𝑓ormare » Text remix track with Distanced and Hollow by Waynette Hairstylist : @nomorecocorse Assistant : @stellabocle #art #performance #ai #paris

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