Graduating in 2023, Arthur Dujols-Luquet is the 2024 winner of the 2nd edition of the Zao Wou-Ki Foundation scholarship, the result of a partnership with Beaux-Arts de Paris, which consists of the award of 4 scholarships per year, intended to promote the artistic careers of French and Chinese students and graduates of the Beaux-Arts de Paris and the China Academy in Hangzhou.

This financial support enabled him to carry out a post-graduate project consisting of a 10-month residency in Hagzhou.

“Sur les sentiers de nos pas” (On the Trails of Our Footsteps) is the cinematic adaptation of Entrailles du printemps (The Guts of Spring), a performance written in 2021. It is an experimental film that blends poetry, documentary, and essay.

Shot in Hangzhou, China, where the artist lived for 10 months during his stay, this film aims to paint a portrait of a city as much as an era, both in terms of its past and its developments. The portrait is gradually revealed through the slow, introspective journey of a figure who endlessly crisscrosses our time and space.

Thus, “Sur les sentiers de nos pas” invites us to delve into the inner world of this wandering figure, who is caught up in a double struggle: external, through the ordeal of his journey, and internal, through his confrontation with his contradictions: how can one exist in such a world?

Par ailleurs d’Arthur Dujols-Luquet explore par une approche pluridisciplinaire les tensions entre quotidien et imaginaire, le corps et l’espace, par des formes allant de la performance au dessin en passant par le texte.

Il créée notamment en collaboration avec JiaYa Cheng, artiste chinoise, la performance en duo « A cup of Tea », dans laquelle ils mettent en scène un dysfonctionnement des gestes de tous les jours – manger, saluer, servir le thé – qu’une absurdité peu à peu gagne, révélant nos déconnexions avec le quotidien.

« A cup of Tea »  Performance, 30 min, 2025 

 Co-created and performed with JiaYa Cheng

he series “Des visages vus” (Faces Seen) captures, through 71 portraits taken in China, the fragile intensity of the people encountered and the sensitive depth of appearances. ‘A face is a question. […] It is the kind of intrigue that ultimately stems from a feeling and draws its power from a sensation rather than an idea.’

Finally, with the “Block Series,” he applies the saturation of Chinese urban landscapes to a series of Indian ink paintings, where regulated blocks and flows contrast with the breathing space offered by emptiness.

« Ce n’est jamais qu’une ligne »
Indian ink on paper, 90 x 70 cm, 2025

Together, these works weave a sensitive exploration of the relationship between the body, the gaze and the imagination into inhabited environments.