Jean-François Boclé is an artist based in Paris. He was born in Martinique in 1971 where he lived for seventeen years. He studied art at the École nationale supérieure d’art de Bourges and at the École Nationale Supérieure des Beaux-Arts de Paris.
His practice unfolds installation, painting, video, photography, intervention in public space, performance, writing, questioning the bipolarity of our contemporaneity, oscillating between dystopia, violence, racialization, exotisation or gentrification, and the possibility a WE; the one glimpsed in Caribbean and on the American continent following the first step of a Cristóbal Colón on a Bahamas island in 1492.
Jean-François Boclé manifests in his work the very etymology of the Caribbean, Cariba, Caribe, Caniba, he claims and assumes his own canibality. Jaider Orsini (Colombian curator and writter) wrote about him: « Boclé can not be cataloged in a specific language, which is why it is very difficult to consider from the performance, the video, the installation or his drawings: I like to see him via the way which he materializes his devouring thought. Although for many Caribbean artists and thinkers, resistance is an invested space when it comes to interpreting and defining the Caribbean, for Boclé resistance has ceased to be an option since its body functions as a kind of parangolé, where with his cannibal body, he goes through situations of violence, at the same time he is crossed by violence. » (2017, Artishock Revista).
Through his culinary performances Political Jam or Colombo IN Colombo, in the reactivation of the 1955 Bandung Conference - Le Voyage à Bandung, Amarrar a las quatros esquinas -, or in his ongoing collaboration with the Paris Chapter of the Ballroom Scene - Global Space of the Voguing Bodies - he makes the archeology of the Global South(s).
This bipolarity is also considered in its work since 2009 regarding to the the relationship of Man with the biological and non-biological world - The Tears of Bananaman, Banana Manifest, Poetica Bananera - : here too, there is also an urgent need to deconstruct the walls between endogenous and exogenous.
Since his studies at the Beaux Arts, he traces the urban effacements (Déposes, Découpe Déplacement) and volotary or forced migrations (Camouflabe, Transport, Aller Simple, Boat, Chut des hommes tombent).
Between 2003 and 2005, work like Tout doit disparaître !, Tu me copieras or Zones d'attente questioned the Black Atlantic in order to consider a possible memorial.