When I started working in the field of strategic foresight, I quickly focused on mastering the methods and leading research. As I do not always work alone, I started Mycelium Creative Studio as an ad hoc tool to build appropriate teams for bespoke projects. Mycelium facilitates and implements customized strategic foresight projects and research in France and in Germany.
With BIG (Breakthrough Innovation Group by Pernod Ricard), for example, we lead (2015 to 2018) various 360-degree long-term researches on societal changes such as new retail, female empowerment, or distant togetherness. Our work went from defining the scope to analyzing results and drawing insights for a new strategy. Our research mixed desk, visual as well as field research: strategic watch, trend tours, expert interviews (Delphi method), focus group recruitment, and analysis to delivering compelling and appropriable results.
What if a company need strategic foresight to work across nations, what if an institution decided to open up to members from another country? For Space’ibles, a think tank created by CNES in 2017, we identified the conditions, partners and formats under which it could gradually open up to other countries to co-develop strategic foresight projects serving the European spatial ecosystem.
In June 2020, France and Germany expressed the wish to elaborate a joint strategic foresight work in the field of space activities, the first focus of which would address lunar resources. The innovation of this project resided in the diversity of the participants, traditional and not traditional space actors -including space agencies, academia, industry and start-ups- as well as the attempt to co-develop the tools which would help producing French-German foresight work in the long run. We co-elaborated an ad hoc scenario building methodology and moderated the several workshops leading to concrete recommendations to the both agencies in June 2021.
“In a historical context, clusters of knowledge formed around a craft or discipline have played a major role in the development of societies. Murano [a group of islands north of Venice, ed.) became a center for glassmaking (…). It is, however, not the hoarding of knowledge that produces important innovations.(…). The invention of greenhouses, spectacles, microscopes, telescopes and the camera all depended on utilising glass in new ways. But it was not the glassmakers of Murano that came up with these innovations. They did not have the imagination, ingenuity or skills to apply their specialised knowledge to other domains. The lesson to take away, is that information spillovers depend on people who can cross boundaries, bring a broader perspective into consideration and apply existing knowledge in a different context.”
The Neo-Generalist, by Kenneth Mikkelsen and Richard Martin,
2019 (English Edition)
As I developed an expertise in tasting spirits – and learning about their fabrication, I started The Beverage Bureau which develops educational programs in/for the spirits industry as well as trends and forecasting workshops for trade shows, or producers. The Beverage Bureau works more often with craft spirits but is also active in non-alcoholic alternative beverages inspired by wines and spirits.
The Beverage Bureau is at the origin of the unique educational platform Spiritsfully offering free access to information about alcohol making and promoting educated drinking as well as in depth classes for WSET students.
I regularly organises and leads tasting workshops in French, English or German for amateurs, professionals (bartenders) and other companies (team building) on subjects such as „non-alcoholic spirits“ or „gin and tonic“ or „European wines“ in collaboration with Olly Masion.
I lately animated a Trend Workshop on Craft spirits to help French producers navigating this new market and its specificities in the DACH countries for Business France.
The Beverage Bureau comes up with ad hoc formats for the spirits industry, such as the first nonalcoholic pop-up store („spaeti“) in Germany in October 2020 created with nuechtern to promote nonalcoholic adults beverages in a pandemic year during which fairs couldn’t take place.
Since 2018 I contribute to the jury of Craft Spirits Awards in Berlin, in the clear spirits section.
I lately supervised the craft beer, cider and spirits selection for Business France’s initiative for Prowein #lesFrenchWineDays 2021 (selection, tasting notes for Meininger Wines Magazine, Masterclass to introduce the top 10 to importers from Germany, Austria, Swiss and Netherlands).
Between 2002 and 2014 I’ve been active full-time in the contemporary art world through several medium: magazines, books, exhibitions and galleries. As I got more and more involved in strategic foresight and spirits expertise, I had to reconsider my involvement and limit my activities to those that produce thoughts, and have an anticipatory dimension.
From October 2018 to October 2019, the Goethe Pop Up Minneapolis hosted exhibitions, performances, screenings, and discussions in a vitrine-like retail space amidst an 18-kilometer-long indoor artificial gangway and pedestrian bridge network. I was asked to conclude a year and a half contemporary art exhibition program with a two-day symposium reflecting on the program bringing local and international guests into the discussion.
Starting 2009 and for almost 10 years I co-directed the publication petunia, an offline and online intersectional feminist art and entertainment yearly journal and event maker. Cofounded with artist Lili Reynaud Dewar and curator Dorothée Dupuis in 2009, Petunia regularly comes back with thought-provoking or controversial points of view on contemporary culture, in the form of exhibitions and conferences.
For example, Pro-Choice was a group show which took place from May to August 18th 2013 at the Kunsthalle Fribourg in Switzerland. Pro-Choice wished to absorb and reflect the myriad of strategies artists can choose to make and create work from, to show how these choices generate meaning and how artists are bound to these meanings. From the refusal to produce at all to the reproduction, theft, copy, invention of alter egos, the show questioned the affirmation of the self at the core of the production process.