“Technology as the lens through which the artwork is viewed and a tool to understand it” – Ugo Arsac, Marie Point, William Board (GIRLFRIEND EXPERIENCE)

GIRLFRIEND EXPERIENCE, created by Ugo Arsac and produced by William Board, Marie Point, and Mathieu Rozières, is an interactive video installation that delves into the theme of sex work to explore the sense of loneliness that connects us all in a deeply digital era. At the heart of this exploration lies the smartphone, a symbol of both connection and isolation.

Following its presentation at CPH:DOX Inter:Active 2025, we spoke with the creator and producers to learn about the origins of the project and discover more about the immersive approach of Dark Euphoria, the studio behind this work.

How Dark Euphoria tailors the Artist’s vision of technology

Marie Point – Our starting point is always the artist’s idea. We place a strong emphasis on the relationship between form and content, which is why each of our projects tends to take on a different format, setup, and mode of display. We’re not a studio, and we don’t produce the works internally. This gives us the freedom to experiment with technologies, formats, and configurations right from the start, in dialogue with the artist.

M. P. – We begin by asking them what the artwork is about, how they want to show it, how they imagine the audience experiencing it. From there, we begin to build… or rather to sew the piece. The word “sew” is not random: that’s how we need to work because there are always some constraints. So, we start with everyone’s initial ideas and fantasies, but we inevitably have to adapt and adjust. Still, that first conversation is the most important step for us.

M. P. – GIRLFRIEND EXPERIENCE is a good example of this. It explores our digital habits, our connection to devices… and our loneliness. Ugo chose the smartphone as a medium for this very reason: it is both the lens through which the artwork is viewed and a tool to understand it. That, for us, is essential.

M. P. – We’re also very committed to collective experiences and we’re always trying to find ways people can engage with an artwork together, rather than alone at home. That’s because we want to give them some agency with the device, rather than trapping them inside it.

M. P. – For example, in NO REALITY NOW by Vincent Dupont and Charles Ayats, we developed removable VR headsets, starting from the artists’ idea of using something resembling opera glasses. So, in collaboration with a prototyping lab, we hacked basic cardboard VR headsets and added a handle. It functions like a mask: people can lift it on and off during the show as they wish.

M. P. – This reflects our way of working, which always considers both the content and the form. It’s a challenge, since it often involves a fair amount of research and development with the artist and our partners. We can’t always realize every idea, due to budget limits or practical touring constraints, obviously. But that’s the vision we’re committed to.

GIRLFRIEND EXPERIENCE as a phone-mediated reflection on loneliness

Ugo Arsac – My background is in documentary filmmaking, so in all the projects I create and produce, there’s always a strong focus on reality. I usually work with VR, but sometimes, as with GIRLFRIEND EXPERIENCE, I look for ways to move beyond that.

U. A. – In this piece, in particular, I wanted to offer an experience that was not limited to an individual, but something more collective and shared. Yet, I still consider it an immersive piece: we’re physically together, and the sound design creates an immersive, responsive environment.

U. A. – The original idea came to me while living with someone who worked for an organization helping sex workers in the city. We had many conversations around these topics and at some point, the concept of the GIRLFRIEND EXPERIENCE emerged. 

U. A. – I’m not sure “documentary” is the right word to describe this specific project, though. Maybe it’s more an anthropological one. I went out, met people, and talked with them. And the real work began afterwards, when trying to resist the urge to judge or impose my own views. I wanted to present multiple perspectives on the same issue, allowing the audience to form their own opinions, inviting reflection without closing the conversation. 

U. A. – That said, the real topic of this work, to me, it’s not sex work, but the need for tenderness. It’s a piece about emotional distress, about love, about the longing for it, all narrated through the lens of sex work in Marseille. From this point of view, GIRLFRIEND EXPERIENCE is about deeper societal needs that are amplified by our relationship with smartphones. 

U. A. – That’s why the choice of technology went in the direction of including smartphones in the work. This very technology is deeply connected to our topic. Having the audience use their own smartphones is a deliberate decision that suggests that this emotional need, this connection, stems from the very same device we hold in our hands. 

U. A. – We’re recreating the problem inside the exhibition, too. Loneliness can actually feel more intense when you’re surrounded by people than when you’re alone in the woods. Everyone, when experiencing the work, is hearing the same thing, in the same space, close to each other. And it’s that proximity that amplifies the sense of isolation. It’s a way to show what loneliness really is – something more present in a crowd rather than in solitude.

M. P. – Another important aspect to consider for our choice of technology is the content itself, which can be sensitive, especially for a younger audience. We decided to create an intimate setup that reflects Ugo’s documentary approach. 

M. P. – When we asked him what kind of questions he planned to ask the sex workers, he simply said, “I’ll just talk with them”. There was no list, no pre-set agenda. Everything was natural and pragmatic. Some participants reflected on their work analytically, but most were just spontaneous, speaking casually, like in everyday conversations. 

M. P. – That being one-on-one with either a client or a worker created a kind of intimacy bubble, and the technology we chose helps to place the audience inside that same atmosphere.

M. P. – In terms of audience reception, this format also makes it easier because it does not require censorship nor explicit warnings. It allows the work to exist in group exhibitions without losing its context. It’s also essential that the voices and content come through clearly, without being drowned out by other pieces: smartphones are perfect for ensuring a high-quality listening experience. 

Telling what you know: universal feelings behind GIRLFRIEND EXPERIENCE

U. A. – From a technical standpoint, the biggest challenge was syncing all the smartphones to create the wall. That was completely new for me. I’m used to working with existing devices like 3D scans and VR, where the boundaries are more defined. Here, we had to build the system from scratch.

U. A. – Artistically, however, the real challenge came during conversations we had with PHI about my role in the project. I’m not a sex worker: I’m a man, and I’m heterosexual. So there were questions like how and why I speak about this, or what gives me the right to tell this story, that pushed me to reflect on myself and to understand why this subject appeared in my creative process. 

M. P. – That’s one of the reasons why our way of presenting the project changed over time. Initially, we talked about GIRLFRIEND EXPERIENCE as a documentary on sex work; this was the central subject, apparently. But through these discussions about authorship, representation, and positioning, we started to frame it differently. It became more about the emotions behind the work, about our own feelings of loneliness, of emotional need. That’s when Ugo realized he really had to give something of himself to the project.

U. A. – That’s what I did. Many people describe the project as being about sex work, but I don’t see it that way. I was going through a difficult time when I wrote it and those feelings of tenderness, this need for love were feelings I was feeling too.  So, at first glance, GIRLFRIEND EXPERIENCE might seem like a project that is removed from me. But in the end, it actually turned out to be the most personal work I’ve done.

M. P. – I think that’s what makes it so relatable. Even if someone has never sought out sex work, they can still recognize the emotions narrated in the piece and connect with them.

The complex challenge of distribution

M. P. – Distributing immersive and hybrid artworks like GIRLFRIEND EXPERIENCE remains a complex challenge. Traditional XR festivals, while interested, are often not equipped to host installations. Many lack the infrastructure or resources to support works that go beyond headsets, offering little in terms of transport or setup support.

M. P. – Also technical requirements or rigid frameworks often exclude projects that don’t align with specific tech standards. In that sense, institutional rules can create more barriers than opportunities.

M. P. – For the creators and producers, this raises fundamental questions about who these works are really for. Are they destined only for expert audiences? Or can they find their place among a more general audience? 

M. P. – As a result, Dark Euphoria has increasingly turned to art centers and digital arts festivals, where more flexible exhibition models allow for longer runs and deeper engagement. Not only is this model more sustainable logistically. It also allows us to reach a broader, more diverse public.

U. A. – The original idea of distribution was CHRONIQUES Biennale in Marseille, since they are the coproducer of the work. It was a great opportunity to show the piece for the first time to a very broad audience in one of the main cultural venue in Marseille – the Friche Belle de Mai for 3 months. This led us to be in competition as part of the INTER:ACTIVE selection at the CPH:DOX in March this year. It was the actual international premiere of the artwork. We are in talks right now with different international festivals and venues.

William Board – We’re also aware that a possibility is for GIRLFRIEND EXPERIENCE to become part of broader exhibitions with themes connected to its core topics. Some curators have expressed strong interest in the piece, but noted that they would need a larger thematic framework to justify its inclusion. 

W. B. – For creators working in immersive media, this highlights the importance of thinking not only about the work itself, but also about the curatorial narratives it might align with, anticipating- when discussing distribution – how the piece can speak to wider conversations in order to find its place.

W. B. – That’s one of the reasons why, as a production company, we think about distribution and touring from the very beginning. It’s something we did during our early conversations with Ugo, as well. We tried to make GIRLFRIEND EXPERIENCE as tourable as possible. Touring was always part of the equation, but we wanted to really make it feasible, even if it requires some setup on-site. We’ve kept that goal in mind throughout the whole process.

Evolving in an ever-changing landscape

U. A. – It’s still difficult to say where the immersive field is heading in the next few years. My approach is very focused: I tend to work on one project at a time, often over several years. At the moment, I’m developing a piece about the underground of New York City, with Zorba Production and the incredible support of Villa Albertine, while also supporting the distribution of GIRLFRIEND EXPERIENCE and other ongoing works. So rather than trying to predict the future of the field, I prefer to stay grounded in what I’m working on now.

M. P. – As for Dark Euphoria, we’ve seen a shift in how we work with artists over the past few years. We’ve learned a lot, sometimes through failure. Production is a space where you have no choice but to face reality, and that’s where the most learning happens. For me, it’s been the most formative experience in over fifteen years of work. 

M. P. – Today our conversations with artists are more direct from the start. We try to identify potential weak points early, whether the intended audience does not match the chosen format, or something in the concept does not feel right. We’ve learned to anticipate as much as we can and to be as clear and transparent as possible, because the development of an artwork always holds surprises. That clarity is part of the process, and part of the responsibility we take on. Supporting artists, helping to shape and realize their vision, that’s the part of the job we care most about.

M. P. – We’re now beginning to see the seeds we planted over the past five years starting to grow. More and more artists are approaching us with a clear sense of what we do and a desire to collaborate, especially artists who are interested in working outside the usual boundaries. For many of them, technology is not the goal or the format, but simply one of several entry points into a larger artistic vision.

M. P. – In this regard, one of our key challenges is to ensure that emerging artists can access those tools. Not just to use or be inspired by new technologies, but to actively drive innovation by hacking, transforming, or even imagining tools that don’t yet exist. That’s where we see real creative potential.

M. P. – Of course, it’s not always easy. We often operate outside of standard categories. We apply for certain funds, but then the work doesn’t fit the expected format of the festivals associated with those funds. It’s fascinating but also frustrating. There’s something a bit strange about defining funding according to the form a project takes, but that’s the system we’re navigating. At some point, you have to fit things into boxes.

M. P. – We don’t have all the answers, but we’re finding our way through this evolving landscape. And we’re excited about the new projects we are developing, and about the conversation with artists we keep having, that truly inspire and educate us. One of our priorities is to keep collaborating with artists from across different disciplines: performing arts, cinema, architecture, design, visual arts. Most of the time, I feel we’re not producing “immersive artworks” as such, but rather contemporary works!

On what we learn from GIRLFRIEND EXPERIENCE

U. A. – I’d like people to reflect on those closest to them, like their partner, the person they share a bed with, their friends, their family. Sometimes loneliness is felt even in the most intimate spaces, sometimes people just need to be touched. I want the experience to prompt simple actions of tenderness. 

W. B. – For me, GIRLFRIEND EXPERIENCE is also about expanding our understanding of relationships. There’s not just one way to be connected. Relationships can take many forms, and each person defines their own way of relating to others. This project offers a view into a kind of relationship that doesn’t fit into conventional norms, but is just as real.

M. P. – I think GIRLFRIEND EXPERIENCE is also about seeing things differently and maybe learn to be a little less judgemental when looking at others, and at ourselves. There’s a lot of social pressure around relationships, marriage, and children. But when you hear these voices and these very human conversations, it’s clear that everyone is just doing their best. So maybe the takeaway is just this: be a little kinder to yourself and to others. Love and relationships aren’t as clear-cut as they once seemed. There’s more freedom now, but that doesn’t mean things are any easier.