À l'oeuvre

Between R&B, chanson and jazz, she transcends genres, constantly seeking to blur boundaries. Inspired by the surrealist poetry of Brigitte Fontaine and the gospel of D'Angelo, she cultivates an enigmatic, sensual and whimsical style. Through the release of six projects, including ‘Sexy Planet’ (2020) and ‘NINI’ (2024), she blends sensuality, humour and depth, attempting to reconcile the most striking contrasts with brilliant alchemy. Trained as an actress, she infuses her performances with a unique theatricality where the exuberance of a clown meets the solemnity of mourners. On stage, she invites us to dance with doubt, exploring the contrasts between passion, coldness and mystery. And one thing is certain: Bonnie loves collaborations (Chassol, Chilly Gonzales, Sabrina Bellaouel, Flavien Berger, Hubert Lenoir…).

After a solo exhibition at the Edouard Manet gallery in Gennevilliers (2016), he presented his film "Miroir de Haute-Valnia" at the Centre Pompidou (2017) and a project around Billy the Kid at the Pernod-Ricard Foundation (2021).His films have been shown at the art centre Les Bains Douches in Alençon, at the Confort Moderne in Poitiers, at the Lafayette Foundation, at the Palais de Tokyo in Paris, at the 221A gallery in Vancouver or the Forde Gallery in Geneva.

Her sculpture and installation work has been shown in several solo and group exhibitions in France and abroad. She is a laureate of the Kultur-Kontakt Austria residency in Vienna and of the Eva and Hugo Bergmans Minnesfond grant.

His background in literature draws influence from feminist and queer writers, such as Elsa  Dorlin, Jean Genet, Monique Wittig and José Esteban Muñoz, providing his work with a  romantic atmosphere. Each project Lakhrissi initiates derives from text, poetry and language,  which are his primary obsessions, before translating ideas from these mediums into the visual  arts. His profound use of language engages with performativity and reflects on poetic, erotic  and nostalgic queer futures. 

He currently teaches at CCC Research Master Program of the Visual Arts Department at HEAD (Geneva School of Art and Design). Lakhrissi has been exhibited internationally at galleries and institutions including: Museum of Contemporary Art; Biennale of Sydney (2020), Wiels; Brussels (2020), Palais de Tokyo; Paris (2020), Palazzo Re Rebaudengo/Sandretto, Guarene/Torino (2020), Quadriennale di Roma; Palazzo delle Esposizioni, Rome (2020), High Art; Paris (2020), Hayward Gallery; London (2019), Auto Italia South East; London (2019), Grand Palais, FIAC; Paris (2019), Fondation Lafayette Anticipations; Paris (2019), L’Espace Arlaud; Lausanne (2019), Zabriskie; Geneva (2019), Fondation Gulbenkian; Paris (2018), CRAC Alsace; Altkirch, France (2019), Kim?; Riga (2018), Artexte; Montreal (2017), Gaité Lyrique; Paris (2017), SMC/CAC; Vilnius (2017). He is represented by Vitrine Gallery (London - Basel) and is shortlisted for the 22nd Fondation Pernod Ricard Prize (2020-2021).

Entre 2014 et 2017, il développe Diana, une recherche qui inclut film, vidéo, performance et création radiophonique, au cours de laquelle il va à la rencontre de différentes pratiques amateurs qu'il met en relation (radioamateurisme, birdwatching, ghost seeking…). En 2020, il dresse le portrait d'un orchestre symphonique Macédonien enregistrant les bandes-sons de films du monde entier (Age of Heroes). Depuis 2018, il explore la Silicon Valley contemporaine sur les traces d'anciennes expérimentations parapsychologiques de la CIA. et élabore une recherche qui prend la forme d'un documentaire de science-fiction.Par ailleurs, il est membre du groupe Les Agamemnonz et a co-fondé *DUUU radio.

Acutely aware of the rifts produced in a personal memory when confronted with the hegemonic, ideologically produced versions of history, her work narrates a struggle to recoup the imaginary, lost in the dissonance between them.Excavating everyday relics – symbols of lost futures and minor histories – she collides them with the hypermodern; playing up and repeating the failures produced through their frictions. Hues and rainbows, deja-vu and avatars, sci-fi and fairy tales, all alike are brought into orbit—becoming points of contention for the mechanisms of production and understanding of subjectivity and history.