Output Functions 



—3d printing
—Aluminium, polymer plastic, laser-cut acrylic, plywood
—Installation incorporates different objects in every presentation.
—2013–ongoing

[installation shot at FRAC–Franche–Comté]
Production: Los Hacedores & FabLab Laboral
L’objet de répétition emerges from the circulation of sculptural forms across digital networks and their subsequent return to physical space through 3D printing. Sourced from online repositories, these downloaded models carry within them the instabilities of transmission: incomplete scans, corrupted surfaces, missing data, algorithmic approximations, and topological errors. 

What appears on screen as an accessible and endlessly reproducible image becomes, once materialized, fractured and uncertain. The sculpture records the distance between digital visibility and physical presence, exposing the latent failures embedded within systems of technological reproduction. Precision gives way to distortion; continuity breaks into seams, voids, and deformations. In this sense, L’objet de répétition operates as an archaeology of the networked image. It reflects on the contemporary status of form as something continuously uploaded, copied, compressed, translated, and redistributed across platforms. Each act of repetition produces deviation. Each transfer generates loss as much as preservation. 

Its sculptural language occupies an unstable threshold between classical fragment, technological residue, and speculative artefact. Echoes of inherited art-historical forms remain perceptible, yet they are filtered through the aesthetics of compression, scan error, and machinic interpretation. What survives is neither original nor copy, but something suspended between both categories. L’objet de répétition ultimately proposes that contemporary memory is no longer built through stable monuments, but through unstable files—forms that persist precisely because they continue to transform.

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