Over the last few days, we received feedback regarding the application fee and production conditions. We hear these concerns, and we believe these conversations are important.
There was a blind spot in our process, and we failed to fully consider the financial precarity many artists in Marseille are facing, as well as the social exclusion that money can create. We’re taking that seriously and adjusting accordingly.
JACKPOT is an independent, self-organised exhibition project built without institutional funding and with very limited resources.
We want to clarify that the €10 application fee helps cover basic organisational costs related to the exhibition: communication, documentation, and technical production.
Our intention is to create visibility for artists and support curatorial work.
At the same time, we recognise that many artists are in difficult financial situations. Anyone experiencing financial hardship can contact us by DM or email to request a free application.
JACKPOT reflects on uncertainty in the art world — visibility, opportunity, competition, and survival.
The open call itself has became a part of this reflection.
We believe that self-organised and community-based projects remain important spaces for emerging and underground scenes to exist, meet, and connect.
Thank you to everyone who applied, supported the project, and shared feedback.
XOXO still some days left for the application!
JACKPOT — OPEN CALL
Marseille — Art-O-Rama OFF 2026
JACKPOT is a group exhibition by Erratum Projects in collaboration with Agent Troublant, hosted at the Société des Architectes in Marseille.
The project explores how artistic careers are built today — between work, visibility, networks and chance.
Berlin and Marseille are our reference points. Both cities were shaped by artists and are now becoming more expensive, more visible, and increasingly driven by real estate and external investment. Studios disappear, rents rise, and the image of the city is sold faster than the city itself.
At the same time, the art world expands — fairs grow, galleries arrive — but not always for those who built the scene.
JACKPOT looks at this system from inside.
We’re looking for works engaging with luck, money, value, success and failure, gentrification, speculation, urban change, visibility, exclusion and survival.
All mediums welcome, including installation, performance, video, sound and interactive works.
Selected artists will exhibit. One wins the Grand Prize.
€10 application ticket (or free for those who‘s in a hard financial situation)
Marseille — Société des Architectes
Aug 27–31, 2026
Deadline: May 22
Apply now — link in bio.
CHEWING GUM IN THE MOTHERBOARD
Curated by Katya Quel @erratum_projects@lavolonte93
19.03 — 29.03.2026
Katya Quel
Katya Quel is a multimedia artist and curator working across installation and speculative environments. Her practice explores technological systems as spaces of belief, control and transformation.
Her works often take the form of artifacts from imagined post-civilizational worlds, unfolding like fables — intuitively building fantastical narratives, almost childlike, adding details along the way.
Residual Panel IX (2026)
A suspended grid resembling a faded control interface — softened, altered, and no longer fully readable.
Crystal Nodes (2026)
Small glowing structures gathered below, somewhere between ruins, shelters, and fantasy architectures — fragile forms emerging from the same system, but no longer bound to it.
Photography @misha_gudwin
CHEWING GUM IN THE MOTHERBOARD
@lavolonte93
19.03 — 29.03
Célia Boulesteix @celiaboulesteix & Florian Gauthiero @florigau_
Their work brings together fragments of lived environments, combining real observations, collected materials and fictional elements. Their installations function as spaces where multiple temporalities coexist.
DUE (Make a film)
Installation
A chimeric environment composed of traces from Campania and Romainville, assembling memories, landscapes and encounters into a speculative space.
A key scene: an unexpected encounter with a stray dog in a forest-like setting.
Photography @misha_gudwin
CHEWING GUM IN THE MOTHERBOARD
@lavolonte93
19.03 — 29.03
Morgane Baffier @morganebaffier
Using graphics, fabricated images and internet-sourced material, Baffier develops speculative narratives and metaphysical reflections, often pushed to absurd extremes. Her work appropriates the codes of media, corporations and intellectual discourse to question systems of authority.
The story of James Howells (2025)
Video, 10’
A real story of a lost Bitcoin hard drive unfolds as an erratic journey through landfill and internet space, where thoughts and waste begin to overlap.
CHEWING GUM IN THE MOTHERBOARD
@lavolonte93
19.03 — 29.03
Vincent Tanguy @vincent.tanguy
Tanguy explores the relationship between individual devices and collective structures.
Tribunes series
Sculptures
Inspired by computer keyboards, each piece functions as a fragment of a larger digital arena — an architecture of shared experience.
CHEWING GUM IN THE MOTHERBOARD
@lavolonte93
19.03 — 29.03
Raphaël Moreira Gonçalves @ermovolga
Henry was moving faaast (2023–2026)
Kinetic sculpture
A character extracted from a video game, presented as a minimal robotic entity in a state of malfunction.
His work investigates invisible dimensions of reality through “hyperstories”, where memory, digital traces and speculative worlds intersect.
Z_dreams (variation 2) (2023)
Mixed media
Fragments of dreams, video game imagery and references to faith merge into a space populated by ghost-like figures.
CHEWING GUM IN THE MOTHERBOARD
@lavolonte93
19.03 — 29.03
Olympe Deboaisne @olympedbn
Deboaisne works with found footage and online narratives, exploring the porosity between reality, fiction and digital imaginaries.
From Space, Looking at Earth (2025)
Video, 24’
A composition of internet images based on Reddit stories, where dreams function as a form of escape.
I keep dreaming about… (2025)
Papier-mâché sculpture
A physical extension of these dream fragments.
CHEWING GUM IN THE MOTHERBOARD @lavolonte93
19.03 — 29.03
Jeanne Bekas @jeanne_bekas
Bekas integrates biometric data — heartbeat, breath, muscular movement — into visual and sound systems. Her work repurposes technological tools beyond their utilitarian function, transforming data into forms that resist disappearance.
while(true) (2024)
Light sculpture, biometric data
An embrace between two bodies is recorded and replayed as a continuous loop of light — a portrait where the body persists as signal.
Max Blotas @maxblotas
CHEWING GUM IN THE MOTHERBOARD
@lavolonte93 19.03 — 29.03
Blotas creates autonomous systems combining organic materials and technical devices. His works isolate everyday substances and activate them within controlled environments.
VAPE LAGOON (2023)
Laser, organic material
A chewing gum enriched with nutrients is gradually degraded by a laser beam.
WILD MOUNTAIN BLUEBERRY ICE (2025)
Chewing gum, motor, surveillance system
A mass of chewing gum rotates slowly inside an electrical box while being filmed and broadcast live — a discarded material placed under sustained observation.
Title: Chewing Gum In The Motherboard
Artist: Vincent Aguilera, Jeanne Bekas, Morgane Baffier, Max Blotas, Célia Boulesteix & Florian Gauthiero, Vincent Burger, Olympe Deboaisne, Raphaël Moreira Gonçalves, Maëlle Poirier, Katya Quel, Vincent Tanguy
Curator: Katya Quel, erratum projects
Duration: 19 Mar ― 31 Mar 2026
Venue: Volonté93 (Paris, France)
Photographer: Misha Gudwin
AI Summary: The show uses the metaphor of a fragile, improvised repair to explore human resilience amid technological and systemic failures. It reflects the contradictions of post-internet life, blending nostalgia, innovation, and collective, imperfect acts of care and resistance in a fragmented digital age.
@erratum_projects@quelish@lavolonte93
The complete documentation of the exhibition is available on saliva.live web platform.
https://saliva.live/exhibitions/c0d04316
♻️ Research Channel on Telegram
https://t.me/salivalive
