Raphaël Grisey has used video, editorial and photographic works for several years to gather or produce narratives about the politics of memory, migration and architecture.

The photographic series and book Where is Rosa L. studies the ghosts of various political regimes in Berlin’s public spaces. Through diverse documentary, fictional or essayist forms, Grisey’s films and installations deal with contemporary social and political issues such as immigration and postcolonialism in France (Trappes, Ville Nouvelle, 2003; Cooperative, 2008; Becoming Cooperative Archive, 2015–). Recent film projects led him to work in Budapest (National Motives, 2011), in France amid students’ strikes (The Indians, 2011), in China (The Exchange of Perspectives, 2011), in the social housing complex of Pedregulho in Brazil (Minhocão, 2011), in the Brazilian Positivist Church in Rio de Janeiro (Amor e Progresso, 2014) and around maroon quilombola communities in Minas Gerais (Remanescentes / A Mina dos Vagalumes, 2015).

His work includes collaborative projects with Florence Lazar such as the films Prvi Deo and Red Star (2006), which deal with post-war former Yugoslavia; and Cooperative (2008) and Becoming Cooperative Archive (2015–) with Bouba Touré. Grisey’s work has been shown in France, Spain, Canada, Germany, Portugal, Brazil, the UK and the US.