"Pirates": All Aboard for Secret Worlds

In Lyon, the Blast collective is transforming 500 m² into a vast playground dedicated to all forms of piracy. Featuring monumental sets, interactive installations, puzzles, and a secret exhibition, “Pirates” champions a free, eco-friendly, and resolutely immersive vision of creativity.

At Blast, exhibitions often begin long before the doors open. They arise from a desire, a theme that gradually takes shape. For “Pirates,” the idea had been brewing for a long time in the minds of Kalouf and Romain Lardanchet. “Both of us, raised on *Albator*, have always loved pirates, especially for their rebellious spirit. The pirate spirit is also found in graffiti, a practice that for a long time developed illegally.” But behind the swords and black flags of maritime and space adventures lies a more contemporary reflection. “The theme was also shaped by the political context, current events, and the excesses of society. “When no one listens to you anymore, when your voice isn’t heard, you just want to stir up a hornet’s nest,” notes Kalouf.
Far from being limited to the romantic figure of the old-school buccaneer, the exhibition thus explores all forms of piracy. Piracy on the oceans, of course, but also that of hackers, independent radio stations, cyberspace pirates, and all those who choose to break free from established norms. This vision is laid out in the exhibition’s manifesto, where pirates—whether they roam the seas, the streets, or digital networks—are portrayed as the heirs to a long tradition of resistance and emancipation, as the contemporary embodiment of the same ideal of freedom.

Deceiving the visitor to better surprise
them. As always with Blast, the exhibition design is an integral part of the narrative. For “Pirates,” the collective has created a journey conceived as a series of deceptions. “We built part of a pirate ship. Visitors first enter the hold, then pass through the captain’s cabin. Everything seems to evoke the classic imagery of piracy. However, as the journey progresses, clues emerge and gradually reveal that the subject is much broader.” Behind the buccaneers and black flags lie other “figures.” “The idea wasn’t to focus solely on the traditional pirate. We also wanted to highlight space pirates, hackers, pirate radio stations… all forms of piracy.” By directing the visitor’s gaze in one direction before taking them elsewhere, the surprise is complete! After the full-scale ship’s bridge, the exhibition opens up to other worlds. In the section dedicated to space pirates, a large door animated by video projections evokes the entrance to a spaceship. “The idea was to create a sort of airlock.” This concept of subversion is also found in one of Romain Lardanchet’s creations. “He designed a ship-like vessel, part of which opens to reveal a miniature replica of the exhibition!” A true mise en abyme!

An Exhibition Within an Exhibition
This penchant for subversion doesn’t stop at the exhibition design. A mystery runs discreetly through the entire project. “We’ve hacked our own exhibition. Clues are scattered throughout the exhibition space. When a visitor discovers which animal scares pirates the most, they trigger a mechanism that grants them access to a second, hidden exhibition. For us, that’s the real treasure!” A “wow” factor is guaranteed, so we won’t reveal any more than that. This layering of narratives is reflected in over a hundred works displayed across the 500 m² exhibition space: paintings, sculptures, objects, installations, digital creations, and cabinets of curiosities… all echoing one another from one area to the next. “Our previous exhibition was more contemplative. This time, we wanted something completely immersive.” Among the many pieces created is a surprising turtle inspired by Docteur Maboul. “The turtle is one of the animals most affected by marine pollution. At the heart of the installation, we’ve placed beer caps. Using a pair of tongs, visitors must remove them without touching the metal parts. Once all the caps have been collected, they earn credits to play on a pirate-themed arcade machine.”

Form and Content
. If “Pirates” features a multitude of sets, mechanisms, and interactive elements… it’s because they play an essential role in the Blast collective’s approach. “Immersive exhibitions are our signature! These are projects into which we pour our hearts and souls.” For Kalouf, the artworks cannot be separated from the world that houses them. “What drives us is the ability to immerse the audience in an experience. For us, the setting is just as important as the content.” This approach permeates the entire exhibition. “We want visitors to be swept up in a whirlwind of emotions.” The exhibition thus features several installations that explore the theme of piracy in unexpected ways. One of them is dedicated to pirate radio stations. “Félix Félixine, a DJ on a pirate radio station in the late 1970s, shares his experience through an installation combining archival material, vintage equipment—a cassette radio, a mixing board, and more—and a recording in which he recounts this adventure. Visitors listen to his story through headphones while reading the text scrolling across a screen.” This testimony serves as a reminder that the history of piracy was not written solely on the high seas. This freedom is also reflected in the selection of guest artists—Anti, Dasplet, Den V, Eloïse, Emmanuelle de Vex, Hyppolit de Vex, Killer Laser, Laureen, Lesime, OneHope, and Sonac. “We presented them with a manifesto to give them some direction, but each artist remained free to approach the subject as they saw fit.” This diversity of approaches helps enrich a rich and varied exhibition without ever compromising its coherence.
Behind the magnificent works and monumental installations, behind the many installations conceived for “Pirates,” lies a reality true to the collective’s DNA. This choice stems as much from conviction as from necessity. Receiving no subsidies, Blast builds all of its projects independently. “We’re very mindful of environmental issues. Ninety-five percent of what we present is made from recycled materials. We salvage materials wherever we can. Some come from the site itself; others are donated to us.” Even the imagery of piracy is reimagined through this lens. For example, there are weapons—made from recycled materials and customized—that shoot seeds instead of bullets, and a hook shaped like a garden trowel…

Commitment as a
Compass: “Pirates” also tells a human story. It took eight months of preparation to transform the 500 m² space into a world filled with exceptional pieces. Kalouf specifically mentions the foliage of the “Reef Crab,” composed of nearly 8,000 seahorses cut out of plastic sleeves and then glued on one by one. Beyond the collective’s nine members—including five artists: Kalouf, Romain Lardanchet, Choper, Laszlo, and Ophélie David—the collective draws on people with a wide range of skills, “such as David Gastinaux, a stage technician,” as well as volunteers. “Some are experts in technology, others in video, sound, lighting…” This collective energy is reflected in the collective’s philosophy. Blast has chosen to offer free admission to its exhibitions, “which we fund entirely ourselves.” The works featured in “Pirates” are therefore available for purchase. Alongside this, a shop offers prints, posters, and merchandise “affordable for all budgets.” Visitors who wish to do so can also make a donation. In another space, about a hundred skateboards customized by guest artists are brought together for a common cause, “with all proceeds from sales going entirely to the pediatric oncology department at Gustave-Roussy Hospital.” A fine example of commitment, serving as a reminder that certain cultural ventures are just as worthy of being discovered as they are of being supported.

Must-See
: “Pirates”
Through July 26, 2026, then September 4–27, 2026
Saturdays and Sundays from 10 a.m. to 6 p.m. (Fridays by request for groups and school groups)
14 rue Gorge de Loup, 69000 Lyon

Blast Art: blastartlyon.sumupstore.com
Instagram: @blastartlyon