For the past seven years, Bérénice Gaça Courtin has been researching the history of her grandfather, Kazimierz Gaca, a Polish resistance fighter during the Second World War who worked on the Enigma machine.

She is interested in forms of resistance and, through her art, weaves a tapestry in which hidden codes evoke encrypted messages, drawing a parallel between the digital Jacquard loom and the Enigma machine, both precursors to the computer.

‘Protocole de Bruit’ is a performance-installation taking the form of a ‘clean
room’, where analogue transmission and textiles become tools for interpretation.
The project draws inspiration from Ernst Chladni’s experiments in acoustics, which made
vibrations visible using sand on metal plates.
Here, the sand is replaced by particles symbolically sourced from Białowieża
— a primeval forest situated between Poland and Belarus — and from Mokosha Mons, on the planet Venus.
The resulting patterns are translated into a coded alphabet and then concealed within the weaves. The
woven panels act as antennas and shrouds, attempting to preserve fragile signals
in a world saturated with control and disruptions.