For more than twenty years, MOISE B has questioned objects as one questions a language, a culture, a history: in their fractures, their ironies, and their contradictions. Heir to the ready-made, he diverts industrial forms to transform them into critical narratives, into “objects of debate” where humor and gravity converge.

At the heart of his work lies an obsessive question: that of freedom. Not freedom as an abstract ideal, but in its flaws, its fragilities, its ambiguities, its lived singularities. What does it mean to be free in a world saturated with signs, norms, social and political constraints? His assemblages of objects become plastic poems, collisions of meaning that crack open our certainties and confront us with our own chains.

For the past ten years, MOISE B has divided his time between Paris and Shanghai. This mirrored life nourishes his critical gaze: far from naively opposing a “constrained East” to a “free West,” it reveals how our so-called acquired freedoms often turn into illusions, internalized conventions, and disguised dependencies. His “Chinese experience” thus offers a mirror—not to judge the other or ourselves, but to re-examine our own certainties.

The works of MOISE B do not simply provoke: they open a space of reflection where the object ceases to be a tool or a décor to become a language. In this interlacing of forms and signs, he invites us to rethink freedom as a fragile, difficult, contradictory, and unfinished experience—a permanent tension between the real and the imaginary, the collective and the intimate, the serious and the light.