Since its inception in October 2013, Lafayette Anticipation has been paying special attention to exhibition spaces created by artists. Those who set them up and run them go beyond their own work to make a more generous contribution to the critical dialogue, and to probe the emerging practices of their contemporaries before other organisations do.

In March 2014, Lafayette Anticipation was able to get an appreciation of the life force of these artist-run spaces by hosting Pleasure Principles. Deployed within the building at 9 rue du Plâtre in Paris, this project manifested itself in the spirit of Library+, an independent space in London founded by Paul Kneale, Megan Rooney and Raphael Hefti. After the first invitation, ten others followed, bringing to the Fondation d’entreprise Galeries Lafayette some fifteen artists, critics, poets, authors, composers and performers born between 1971 and 1989, none of whom had previously worked in Paris.

We wanted to repeat this experiment by inviting other artist-run spaces to activate their networks as so many territories irreducible to the notion of “scene”. Anticipation T is an invitation programme based on Twitter, wholly dedicated to independent curatorial organisations. Every three months, the Timeline is activated for a new project, like an autonomous production, exhibition or mediation space.

Anticipation T takes the form of a flow, the appreciation of which is not subject to the value of objects, but rather to “network-value”. Its successive projects are determined by their curatorial scope and their inclination to satisfy their own communication requirements, not those of the institution. It is the information and not the thing that produces meaning. Through this device, artists and curators find a way to write and describe an industrial quantity of another kind of discourse on art, independently of the expectations of social media that is normally used in order to make some campaign or event go viral. 

On Anticipation T, each project substitutes for the previous one in such a way that the constantly re-initialised Timeline only spreads ghostly tweets. An archive of all of the projects has been assembled in the form of a catalogue made with the “Binder” web template created by artist Clement Valla. 


A project curated by Exo Exo with Joey Villemont, Zoe Barcza, Olga Pedan, Bradley Davies, Julian Tromp and Hilda Stammarnäs.

7 December 2015 - 28 February 2016

JUST LIFELIKE ENOUGH is a project conceived by Exo Exo (Elisa Rigoulet and Antoine Donzeaud) for Anticipation T. Midway between a virtual exhibition and a residency, it uses Twitter as a relay antenna system. Renewed every two weeks, this chain is built through a succession of invitations. Each artist invites the next one to update a gradual strategy of delegation and therefore of dispersion.

This system naturally mirrors the information circulation, transformation and consumption principle in action on social networks. But above all, it is a way of greatly increasing a reaction effect whose real application ultimately becomes an echo of the process. By questioning the tool’s operation, defying its constraints or simply adapting content to its limitations, the invited artists freely take possession of this ghostly, still-cryptic and already almost vintage territory, reflecting on possibilities of programming and configuration, mixing technology uses and revival effects.

JUST LIFELIKE ENOUGH mimics the typical operation of the social network, which generates its own dynamism through reverberation. The successive invitations multiply, but they also shatter and subdivide the workings of the circuit. The medium becomes the scene of a collective interaction in which common communication strategies are thwarted, a “word of mouth” process that plays out on Twitter territory. An individual project gradually mutates into a group project.

Joey Villemont inaugurated JUST LIFELIKE ENOUGH with the hashtag #24HourBody. With a flow of its own, the clock the artist designed operates as a synthesis of the network (social body) and its members (biological bodies). Through a series of specific images and quotes, Joey Villemont explores the link that unites our chronobiology with our digital life. A “chain” reaction ensues, made up of 6 successive contributions that, over a limited time and at a defined frequency, develop the relationship between real chronology and media time.