In­ter­zones Play­ground is an ar­tist­ic pro­ject that will take place in Greece, un­der the im­pulse of en­coun­ters bet­ween ar­tist/act­iv­ist col­lect­ives and in si­tu in­ter­ven­tions on va­cant bill­boards.


Down­load the press kit in PDF or watch it on­line:





This ar­tist­ic pro­ject is ini­ti­ated by the five of us, and will oc­cur in Greece start­ing next au­tumn, from Sep­tem­ber to De­cem­ber.  We’ve been fol­low­ing the coun­try’s cur­rent events at­tent­ive­ly, and more spe­ci­fic­al­ly since the first re­volts in 2008. We have al­rea­dy star­ted col­lab­or­at­ing with Greek res­id­ents who will ac­com­pa­ny us along the way.


The pro­ject holds two am­bi­tions. The first one is to ac­tiv­ate the meet­ing with groups or in­di­vi­du­als who wish to in­tro­duce new ways of pro­duc­tion, of ex­change, and of life in Greece to­day. The se­cond one seeks to in­vest va­cant bill­boards, those that can be found on the side of high­ways and fast lanes, since the be­gin­ning of the Greek eco­nom­ic cri­sis, through the cir­cu­la­tion of texts and im­ages, the or­gan­iz­a­tion of tem­por­ary events (vi­deo screen­ings, fest­iv­it­ies, per­form­ances) but al­so through va­ri­ous in­ter­ven­tions that would con­sist in cut-outs, dis­as­sem­bling, trans­form­ing, and re­using the ma­ter­i­al that con­sti­tutes that ve­ry ar­chi­tec­ture.

We have a par­tic­u­lar in­te­rest in cer­tain re­cent ex­per­i­ences that have been hap­pen­ing in Greece for the past few years. The re­cent­ly cre­ated TEM (To­pi­ki En­al­lak­ti­ki Mon­ada), a mon­et­ary sys­tem ba­sed on the ex­change of goods and ser­vices im­ple­men­ted in the ci­ty of Vólos, the col­lect­iv­iz­a­tion and self-man­age­ment of va­ri­ous com­pan­ies such as VIO.ME in Thes­sa­lo­ni­ki, or the ac­tions led by the dis­obe­di­ence col­lect­ive Den Pli­ro­no in fa­vor of free pub­lic ser­vice, in­te­rest us spe­ci­fic­al­ly. In our opin­ion, these pro­jects that com­bine self-man­age­ment, cre­ativ­ity, and act­iv­ism rep­res­ent a con­struct­ive re­sponse to the ex­treme si­tu­ations to which the Greek pop­u­la­tion is cur­rent­ly con­fron­ted (wage freeze, mass lay-offs, cor­rup­tion, cen­sor­ship, po­lice re­pres­sion, the ri­sing pop­ular­ity of right-wing ex­trem­ists, the de­par­ture of the coun­try’s youth, the fright­en­ing rise of sui­cide rates). In a glob­al con­text of dis­cord, we’ve cho­sen to fo­cus on the dis­cov­ery and ex­plor­a­tion of these ma­ni­fest­a­tions and ini­ti­at­ives, which will con­sti­tute the cent­ral thread of our pro­duc­tion on and around bill­boards.


Wheth­er the dif­fer­ent ac­tions be or­gan­ized by cit­izens or au­to­nom­ous, their grow­ing gen­er­al­iz­a­tion il­lus­trates a de­sire, but al­so a ca­pa­ci­ty to not en­dure and suf­fer the present and its cur­rent events. So people come up with in­nov­at­ive sys­tems, they de­fine new ways of liv­ing and ex­ist­ing, pla­cing in­ge­nu­ity at the ve­ry core of their val­ues.

These ac­tions help val­or­ize the lead­ing role of hu­man ima­gin­a­tion in our ex­ist­ence. The prot­ag­on­ists lead­ing these ac­tions are ahead of their time, they go for the un­usu­al and pro­voke the rup­tures ne­ces­sa­ry to all dis­tan­cing – in this way they as­pire to ima­gine oth­er pos­sib­il­it­ies. These people cap­ture our at­ten­tion in the way they ex­per­i­ment at their ve­ry own scale, with ge­nu­ine al­tern­at­ives, some­times con­si­de­red as mi­nor or non vi­able by some, and do not cease non­ethe­less to ques­tion our re­la­tion to po­wer in what is cal­led “ad­van­ced de­mo­cra­cy”.

Elab­or­at­ing sys­tems that are dif­fer­ent from the ones that gov­ern our day and age is a way of re­flect­ing on how we can come to­geth­er dif­fer­ent­ly. With that in mind, no­tions of stand­ard in­di­vi­du­al­ism and im­per­at­ive cost-ef­fect­ive­ness are no lon­ger cent­ral to func­tion­ing. This re­flects the will to live in a world in which our de­sires  - like the ac­tions that stem from them – aren’t high-ja­cked and ab­sor­bed by va­ri­ous meas­ures that cap­ture and mo­no­pol­ize our minds, sym­bol­ized by bill­boards on the side of the road for ex­ample, which may be da­ted but are still be­ing used.


We would like each ac­tion to be led with care­ful at­ten­tion to the places and si­tu­ations they lead to and through. Be­cause of the nu­mer­ous sites, we wish to think each new con­struc­tion like a re­cept­acle which could re­ceive forms of ex­pres­sion re­flect­ing va­ri­ous de­grees of real­ity (from fac­tu­al con­tent to more fic­tion­al con­tent). These over­si­zed ad­vert­ising struc­tures, both pri­vate and cost­ly, and yet cur­rent­ly va­cant, can be in­ter­pre­ted as an in­vit­a­tion to be­come a me­di­um us­able by all, like a com­mon space ba­sed on shar­ing and broad­cast­ing. Though the qual­ity of their sur­face is no lon­ger cent­ral, one can be en­cour­aged to ques­tion and re­con­si­der their ar­chi­tec­ture so as to sub­vert their ini­tial func­tion. Ap­pre­hend­ing bill­boards in that per­spect­ive in­tro­duces the hy­po­thes­is that these struc­tures may have the ca­pa­ci­ty to re­flect shif­ted per­cep­tions, ideas, tran­scri­bed ref­er­ence im­ages that could lead to build­ing dia­logues in pub­lic space.

By seek­ing to keep the ne­ces­sa­ry dis­tance with the se­duct­ive po­wer of these boards/si­gns – great is the temp­ta­tion to play on the es­thet­ic of their ar­chi­tec­ture and to ob­struct what their ori­gin­al func­tion is, just like we are aware of the traps con­tai­ned in the idea of re­cov­er­ing their sur­face, the worst-case scen­ario be­ing that our ac­tions be per­cei­ved as an­oth­er pub­li­ci­ty cam­pai­gn – we wish to sug­gest and stage a post-cap­it­al­ist sto­ry in which these bill­boards could play a ge­nu­ine po­lit­ic­al role, far away from a pro­pa­gand­ist or mer­cant­ile func­tion.


The am­bi­tion is to ima­gine dif­fer­ent pos­sib­il­it­ies of writ­ten, drawn, pro­jec­ted, col­lect­ive­ly per­for­med in­ter­ven­tions, fol­low­ing mod­al­it­ies es­tab­li­shed on the spot. This will con­sist in col­lect­ing in­form­a­tion and mat­ter as we tra­vel, to cre­ate ri­co­chet tra­ject­or­ies bet­ween each bill­board, each re­gion, and each group so as to cre­ate a type of doc­u­ment­ary, which would un­ra­vel in space. This would con­sti­tute a non-lin­ear sto­ry that could be fol­lo­wed pro­gress­ive­ly and space could re­semble gut­ters, those white spaces one can find in prin­ted text or com­ic books that arouse the read­er’s ima­gin­a­tion. The land­scape, ar­chi­tec­ture, and par­ti­cip­at­ing in­hab­it­ants would in­carn­ate these in­ter­stices, cre­at­ing a con­stant back and forth move­ment bet­ween the si­gns and real­ity. We would al­so like to at­trib­ute an im­port­ant role to the or­gan­iz­a­tion of tem­por­ary events, in or­der to pur­sue ques­tions lin­ked to gath­er­ings and the con­fig­ur­a­tions that a meal, the oc­cu­pa­tion of a giv­en place, or ac­tions can lead to. We have al­rea­dy star­ted ex­per­i­ment­ing with this through the or­gan­iz­a­tion of events that have en­abled us to fin­ance a part of our pro­ject. We are de­lib­er­ate­ly open to im­pro­vi­sa­tion, since im­pos­ing ideas and pre-es­tab­li­shed forms seems in­con­ceiv­able with this par­tic­u­lar pro­ject. We wish to act with re­spect for the re­gions we tra­vel through and the people liv­ing in them.


We tru­ly hope our in­ten­tions will be per­cei­ved in the clea­rest way pos­sible, and that our ori­ent­a­tions and choices to act in a for­ei­gn con­text (all the while re­main­ing in­ex­tric­ably lin­ked to our own con­text) won’t be re­cei­ved as an in­tru­sion or ag­gres­sion to­wards the Greek people and their en­vir­on­ment.


A doc­u­ment­ary di­men­sion is in­her­ent to our pro­ject. This es­sen­tial as­pect of our prac­tice con­sists in gath­er­ing in­form­a­tion (vi­su­al, tex­tu­al, au­dio,  …), and acts on dif­fer­ent le­vels: com­pose raw ma­ter­i­al for thought, re­flec­tion, and ar­tist­ic ex­per­i­ment­a­tion, rep­res­ent what pro­duc­tion pro­cesses are set up, and de­mon­strate the loc­al con­text and meth­ods with which we are act­ing.

The cir­cu­la­tion of the col­lec­ted in­form­a­tion will take on dif­fer­ent shapes and tem­por­al­it­ies: at a stea­dy rhythm through a blog we will have cre­ated and will feed throu­ghout the whole trip and sub­se­quent­ly once we are back in France, by pub­lish­ing ed­ited mat­ter.

This se­cond phase cor­res­ponds to our de­sire to share our ex­per­i­ence and in turn, in­form on the coun­try’s glob­al si­tu­ation and more pre­ci­se­ly on the elab­or­ated col­lect­ive ap­proaches and ini­ti­at­ives that we will have come across.

It is al­so through this pro­cess that we plan to make up for the dif­fi­culty to ac­cess in­form­a­tion around these types of pro­jects that re­main most­ly ig­no­red by mass me­dia. There­af­ter, our goal is to put for­ward and al­low people to see a sin­gu­lar car­to­gra­phy dis­play­ing our crit­ic­al per­spect­ive on the si­tu­ation and al­so af­firm our sup­port to these forms of res­ist­ance.



LE TEM (To­pi­ki En­alk­ti­ki Mo­na­da)


The Greek gov­ern­ment en­cour­ages cer­tain ini­ti­at­ives so as to re­duce the cri­sis’ con­se­quences and sus­tain the growth of oth­er forms of en­tre­pren­eur­ship and loc­al de­vel­op­ment. Ac­cord­in­gly, the TEM (which stands for To­pi­ki En­al­lak­ti­ki Mon­ada, al­tern­at­ive loc­al cur­ren­cy) is an al­tern­at­ive cur­ren­cy sys­tem ba­sed on the ex­change of goods and ser­vices, es­tab­li­shed in 2009. This de­ma­ter­i­al­ized cur­ren­cy op­er­ates on a point-ba­sed card sys­tem and se­cu­red Open Source com­pu­ter net­works. Though it is equi­val­ent to the Eu­ro, it comes as a com­ple­ment to the Eu­ro­pean cur­ren­cy, but does not seek to re­place it en­ti­re­ly – the Greek people un­der­line the fact that cer­tain goods are sim­ply not con­vert­ible. First ini­ti­ated in Vo­los, iden­tic­al net­works have since then been set up in dif­fer­ent cit­ies (in Pat­ras, in the is­land of Cor­fu, and in the sub­urbs of Athens). They al­low ma­ny in­hab­it­ants to pro­tect their com­mer­cial and pro­fes­sion­al ac­tiv­ity.






In re­sponse to bu­si­nesses re­pea­ted­ly shut­ting down – most­ly due to plain and simple ad­min­is­trat­ive aban­don­ment, there­fore in­ev­it­ably pro­vok­ing an im­port­ant in­crease of un­em­ploy­ment and a dra­mat­ic de­te­ri­or­a­tion in work con­di­tions – work­ers have been get­ting to­geth­er and ad­opt­ing rad­ic­al po­s­i­tions.

The per­man­ent oc­cu­pa­tion of work pre­mises and the re­sump­tion of work un­der to­tal work­er con­trol seem to be a mul­ti­ply­ing phe­nom­ena. Work­er co­oper­at­ives are or­gan­ized around the prin­ciples of dir­ect de­mo­cra­cy and par­ti­cip­at­ory eco­nom­ics, and the work­ers re­sume pro­duct pro­duc­tion and dis­tri­bu­tion, wi­thout the need of any gen­er­al man­age­ment. These mod­els car­ried out in Greece, in­spi­red by move­ments and sim­il­ar ex­per­i­ences achie­ved in Ar­gen­ti­na in 2000, are still rare but in­creas­ing. Wheth­er they are in­stig­ated by the work­ers from VIO.ME (short for Vi­omi­h­ani­ki Me­tal­lef­ti­ki) a fact­ory in Thes­sa­lo­ni­ki, from the peri­od­ic­al Le Journ­al des Ré­dac­teurs (pre­vi­ous­ly cal­led Elef­the­rio­ty­pia) or from the Kil­kis hos­pit­al, all in­sist on the key role of these types of po­s­i­tions. Ac­cord­ing to them, their isol­ated ex­per­i­ences must now fall with­in a glob­al sys­tem of co­oper­at­ive com­merce, whose mod­el, es­tab­li­shed by the work­ers, is still be­ing built.






Cit­izen col­lect­ives have been re­group­ing to fight against tax rises ap­plied to pub­lic trans­port­a­tion, pub­lic health, en­er­gy, and high­ways. Un­der the name Den Pli­ro­no, which stands for “I do not pay,” they ex­pli­cit­ly ex­press their will to stop pay­ing the price of their coun­try’s debt. This is de­mon­stra­ted through the ci­vil dis­obe­di­ence acts they lead cal­led “to­tal au­tore­duc­tion” which con­sist in: op­er­a­tions in fa­vor of free high­ways and pub­lic trans­port­a­tion, dis­tri­bu­tion of leaf­lets in hos­pit­als en­cour­aging pa­tients to re­fuse to pay for health­care, switch­ing elec­tri­ci­ty back on in homes that do not pay elec­tri­ci­ty bills, dis­trib­ut­ing in­form­a­tion on tax-ex­empt sta­tus (a way of de­clar­ing per­son­al bank­rupt­cy to avoid at­tach­ment of earn­ings).

Not on­ly do the trade uni­ons of the con­cer­ned com­pan­ies of­fer their sup­port to this Pan­hel­len­ic move­ment, but al­so ma­ny loc­al coun­cils (such as Pat­ras, third big­gest ci­ty in the coun­try). DEI, the na­tion­al elec­tri­ci­ty com­pa­ny has al­so joi­ned the Den Pli­ro­no in their res­ist­ance to the in­cor­por­a­tion of new taxes on elec­tri­ci­ty bills and their ac­tions are mul­ti­ply­ing: re­fus­al to cut po­wer in “non-pay­ing” homes, tak­ing over com­pa­ny build­ings, cut­ting po­wer in min­is­tries and pay­ment com­pu­ter sys­tems.






An au­then­t­ic net­work of col­lect­ives has been or­gan­iz­ing it­self since the be­gin­ning of 2000 in the goal of re­in­tro­du­cing an al­tern­at­ive, uni­ted, and fair trade, prov­ing to be es­sen­tial to the de­vel­op­ment of ag­ri­cul­tur­al ini­ti­at­ives. With­in this ap­proach, Pe­li­tit or Spo­ros take a cen­sus and cir­cu­late in­form­a­tion on all the va­ri­et­ies of grain and seeds in the pub­lic do­main, thus giv­ing eve­ry­one the pos­sib­il­ity to grow them and elim­in­at­ing farm­ers’ de­pend­en­cy on big firms. They al­so give ac­cess to train­ing for al­tern­at­ive farm­ing tech­niques com­bin­ing eco­lo­gic­al as­pects (bio­lo­gic­al ag­ri­cul­ture, per­ma­cul­ture, …) and eco­nom­ic ad­vant­ages.

More gen­er­al­ly, these types of pro­jects aim to pro­tect farm­ers’ rights, as well as loc­al seed com­pan­ies’ as­sets and loc­al ag­ri­cul­tur­al biod­iver­si­ty, but al­so rees­tab­lish dir­ect in­ter­ac­tion bet­ween pro­du­cers, dis­trib­ut­ors, and con­su­mers.






We first had the idea of col­lab­or­at­ing on the Bill­boar­ders pro­ject in June 2012. Both di­verse col­lect­ive ex­per­i­ences and com­mon in­te­rests in work pro­cesses, ways of in­ter­ven­tion, and life styles en­cour­aged the five of us to work to­geth­er.


Omick has been de­vel­op­ing an ar­tist­ic prac­tice es­sen­tial­ly ori­en­ted to­wards draw­ing and paint­ing. He ex­per­i­ments with these on all types of loc­a­tions with­in the pub­lic space, us­ing dif­fer­ent tech­niques (aer­o­sol, paint­brush, spray­ing) to un­fold his bes­ti­ary tin­ted in both acid and child­ish-psyche. At the same time his ac­tiv­ity ex­tends to draw­ing on pa­per, silk­screen print­ing, and en­grav­ing. Af­ter a couple trips to Greece, he came back re­port­ing the ex­ist­ence of these bill­boards and sug­ges­ted we tra­vel there to work on them.


François Dail­lant is an ar­tist whose work deals with draw­ing, elab­or­at­ing vo­lume, and sound ex­per­i­ment­a­tion, amid­st a re­search that op­er­ates com­bin­a­tions of dif­fer­ent real­it­ies – tem­por­al, geo­graph­ic, or ma­ter­i­al. Af­ter a num­ber of dif­fer­ent so­lo and group ex­hib­i­tions, this re­search pro­gresses more and more to­wards in si­tu and col­lab­or­at­ive pro­jects. The EX­SIT res­id­en­cy in 2012 at Sun­set Ré­si­dence gal­le­ry was the oc­ca­sion for a first col­lab­or­a­tion with Ant­oine Lam­bin, Al­ban-Paul Val­ma­ry, and Va­len­tin Bar­ry. They all met at the Ecole Su­pé­rieure d’Art et De­si­gn de Va­lence where they were all graph­ic de­si­gn stu­dents. Their scope of re­flec­tion ques­tions graph­ic de­si­gn as a tool for ac­com­pa­ny­ing and fa­cil­it­at­ing par­ti­cip­at­ive so­cial dy­nam­ics, both mil­it­ant and ci­vic.


In ad­di­tion to the group we have for­med, oth­er ar­tists such as An­na­belle Fol­liet, Sé­bas­tien Magne, Char­line Fou­cault, Ro­main Bauer, and Jeanne Gan­gloff will be oc­ca­sion­al­ly ac­com­pa­ny­ing us and lead­ing sim­ul­tan­eous pro­jects. While ad­dress­ing dif­fer­ent ap­proaches and ar­tist­ic me­di­ums like vi­deo, pho­to­gra­phy, and writ­ing, they will con­trib­ute in va­ri­ous ways to the elab­or­a­tion of doc­u­ment­ary and ar­tist­ic pro­duc­tions.



No­vem­ber 2012

Bill­boar­ders, in Plat­form de Mu­ret, Gra­phéine Fest­iv­al, from No­vem­ber 9 to De­cem­ber 21, 2012

François Dail­lant, Omick, An­toine Lam­bin, Al­ban-Paul Val­ma­ry, Va­len­tin Bar­ry.



Ju­ly 2012

RDV 2012, Na­tio­nal Gal­le­ry of Cap Town, South Afri­ca, from Ju­ly 11 to March 24, 2012.

François Dail­lant



June 2012

Ex­sit, Sun­set Ré­si­dence, Ex­hib­i­tion and res­id­en­cy, Ly­on, from April 19 to May 12, 2012.

François Dail­lant, An­toine Lam­bin, Al­ban-Paul Val­ma­ry, Va­len­tin Bar­ry.



Jan­ua­ry 2012

L’en­fant Trouble, Ex­hib­i­tion, Cri de l’en­cre, Ly­on, from Ja­nu­ary 13 to Ja­nu­ary 28, 2012.




Sep­tem­ber 2011

A Step Aside, Ré­so­nance de la Bi­en­nale de Ly­on 2011, Ga­ler­ies Angle, St Paul-Trois-Châ­teaux, from Sep­tem­ber 21 to De­cem­ber 17, 2011.

An­toine Lam­bin, Al­ban-Paul Val­ma­ry, Va­len­tin Bar­ry.



Sep­tem­ber 2011

RDV 2011, Con­tem­por­ary Art In­sti­tute of Vil­leur­b­anne, from Sep­tem­ber 11 to No­vem­ber 23, 2011.

François Dail­lant.



June 2011

Cour­toi­sie, in si­tu pro­ject, young work­ers’ cen­ter in Car­mes, Tou­louse, from June 30 to Ju­ly 10, 2011.

Fran­cois Dail­lant.



May 2011

Im­plo­sion/Ex­plo­sion, Group ex­hib­i­tion for All Over fan­zine launch, All Over, Ly­on.



De­cem­ber 2010

En Al­ter­nance, Ga­le­rie Re­ze­da, Lille, from No­vem­ber 18 to De­cem­ber 4, 2010.

An­toine Lam­bin, Al­ban-Paul Val­ma­ry, Va­len­tin Bar­ry.



No­vem­ber 2010

Nous Sommes, In­ter­na­tion­al De­si­gn Bi­en­ni­al of Saint-Etienne, from No­vem­ber 20 to De­cem­ber 5, 2010.

Va­len­tin Bar­ry



No­vem­ber 2010

Si­gnal Sourd, Ga­ler­ies No­mades of the Con­tem­por­ary Art In­sti­tute of Vil­leur­b­anne/Rhône-Alpes.

Ex­hib­i­tion from No­vem­ber 5 to Feb­ru­ary 6, 2010, Angle Art Con­tem­po­rain in Saint-Paul-Trois-Châ­teaux.

François Dail­lant.



Av­ril 2010

An­ti­rust, group ex­hib­i­tion, 81 Store, Ly­on.






- Vin­cent Ange
- Ad­rien Cour­tial
- Ro­main Bauer
- Emi­lie Do­rel
- Louis Dun­bar
- Ju­li­en Fes­se­let
- An­na­belle Fo­liet
- An­gel Fou­ge­rolle
- Char­line Fou­cault
- Ju­lia Fru­my
- Jo­han Gros
- Jeanne Gan­gloff
- Co­rinne Guer­ci
- Vin­cent Guiller­min
- Ma­thi­as Hum­bert
- Leo Ja­ri­cot
- Alex Kras­sa
- Mar­tin Laxe­naire
- Ca­mille Lio­bet
- Ma­nuel Rey­naud
- Gaul­tier Scer­ra
- Iris
- Do­mi­nique Val­ma­ry
- Nai­ma Said
- Math­ieu Va­lette
- Da­niel Bou­vet
- Si­mon Zer­bib
- Jé­rôme
- Gaelle Vil­ard
- Ju­li­en Fesse­let
- Gaelle Choisne
- Ele­onore Jas­se­ny
- Si­mon Par­lange
- Chris­telle Mot
- Bri­an Van Den Yn­den
- Li­onel Ca­te­lan
- An­gel­ica Ruf­fi­er
- Yann Ala­ry
- Clem­ent Man­ci­ni
- Au­drey Sau­vi­gn­et
- Mat­thieu Quil­let
- Math­ieu Trem­blin
- Ben­ja­min Lieb
- Lau­ra Si­mon
- Ca­m­ille Szk­lorz
- Ada Ba­nas­zak
- La fa­mille Lam­bin
- Louis Ca­hu
- Dav­id Poul­lard
- Alain Bar­thé­lé­my
- Pau­line-le-Cai­gnec
- Yann Tour­nig­and
- Tho­mas Bo­hl
- Al­ex­an­dra Cor­neyl­lie
- Bi­en Ur­bain
- Florent Gran­douil­let
- Mé­la­nie Mon­do
- Pierre Gan­gloff
- Ro­ma­no de Vo­mi­to
- Tho­mas Frop­pi­er
- Dav­id Posth-Kol­ler
- Kom­pr­em­pa
- Dav­id Val­lance
- Fio­na Va­len­tine Tho­mann
- Alex­is Jac­quand
- Gaelle Ber­ton
- Jé­rôme Da­ly
- Anne-Lyse Ren­on
- François De­sor­meau
- Pierre Hé­brard
- Jean-Bap­tiste Fri­bourg
- Char­lie Ma­que­da
- Ad­rien Vas­quez
- Maxime Boi­dy
- Ro­bin La­dous
- Xa­vi­er Hu­bert
- Nath­alie Mu­cha­mad
- Hazelnut1254
- Les Ra­vaulx
- Yan­nick Jac­quier
- Ré­mi Louv­at
- Flo­ri­an Vil­lain
- Phil­ippe & Bri­gitte Clai­ret
- Paul & Jac­que­line Ma­ne­vy
- Loïc Val­lière
- Direct420
- Nath­alie May
- Mar­ie Hé­lène Del­bost Hen­ry & Pa­trick Hen­ry
- Nic­olas Saint­se­ver
- Pierre & Chris­tine Guil­laud
- Pas­cal Nic­olas-Les­trat
- Ad­eline Du­quen­noy
- Ma­nuel Rey­naud
- Rose Cois­sac
- Bri­gitte Gan­gloff
- Laure Vi­al Len­fant
- Yann Tour­nig­and
- Eli­za­beth Pal­lard

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