Initiated by Le Bureau/, the P2P project revolves around the notions of multiplication, perpetuation, and circulation of a form, gesture, or process in space and time. It aims to apply the peer-to-peer operating system to the form of presentation of the work of art—the exhibition.

Issues concerning the dissemination of the work, the context of its visibility, its accessibility, and its appropriation will be made visible through an exhibition driven by a system of exchange of works. In peer-to-peer, a digital file (music, film, image, or text) made available on the Internet can be downloaded to the hard drive of anyone with a network connection. The multiplication of possible spaces, media, and audiences for each item makes it exponential. This state of affairs, which exists in the circulation of files over the Internet, tends to be experienced on the scale of the work and its actual exhibition.

Series, multiples, variations, and copies are all ways of disseminating a work. These formats necessarily raise questions of quotation, repetition, and reminiscence. The circulation of a form can therefore be considered in several ways: in the format of the work, in the repercussions of the repetition of a gesture, but also in its internal referential construction. Both the notion of authorship and the value of the work come into play here, in that they can be either reinforced or, on the contrary, invalidated by the multiplication of the object or part of the object. Throughout the project, the P2P exhibition will evolve in order to formalize these issues.

During the exhibition, Le Bureau/ will activate a network of exchanges mainly involving art centers and museums in different European countries. The initial exhibition presented at the Casino will be able to evolve throughout its duration by adding pieces from the network and removing other works put into circulation within this network. By experimenting with a new form of exhibition borrowed from peer-to-peer functioning, the P2P project will offer viewers a multiple and transhistorical reading of the works themselves and the conditions of their presentation.

Artists phase 1 , Jacques André (BE), Big Hope (collectif/ HU), Conny Blom (SE), Etienne Bossut (FR), Rafal Bujnowski (PL), Valentin Carron (CH), Peter Downsbrough (USA), Michael Elmgreen & Ingar Dragset (DK& NO), Michel François (BE), Nicolas Giraud (FR), Marco Godinho (LU), Geert Goiris (BE), Juha van Ingen (FI), Raphaël Julliard (CH), Jacques Julien (FR), Idris Khan (UK), Markus Lohmann (DE), Jonathan Monk (UK), Michael S. Riedel (DE), Didier Rittener (CH), Anri Sala (AL), Keith Sanborn (US), Benyounès Semtati (MAR), Raphaël Zarka (FR)

Artists phase 2, Cory Arcangel (USA), Pierre Bismuth (FR), Gérard Collin-Thiebaut (FR), Erwin Driessens & Maria Verstappen (NL), Peter Friedl (AT), Aurélien Froment (FR), General Idea (collectif CA & IT), Piero Gilardi (IT), Rodney Graham (CA), Gabriele Di Matteo (IT), Allan McCollum (USA), Les ready-made appartiennent à tout le monde (FR), Claude Rutault (FR), Yann Sérandour (FR), Simon Starling (UK), Christopher Williams (USA), Raphaël Zarka (FR), Gilberto Zorio (IT)
Le Bureau/ : Guillaume Baudin, Marc Bembekoff, Garance Chabert, Aurélien Mole, Julie Pagnier, Céline Poulin, Émilie Villez