— Industries
Where we operate
Institutional, telecom, automotive, finance, art & galleries, festivals, nightlife and corporate brands.
Music & Artists
Artists bring a record, a set or a stage, and the image has to serve it without taking it over. The visual is built from the music outward: cut to the track, played live with the band, or generated for a release. The artist stays the subject, the system stays behind them.
Festivals
Festivals are where the method was formed. No black box, no controlled venue, no permanent technical infrastructure, and a team that is often largely volunteer. We contributed to two editions of INTERFERENCE, the first light art festival in Africa, across the sites of the Medina of Tunis, providing interactive technical support to exhibiting artists, training and visual production. For the alternative edition of the Journees Musicales de Carthage, we presented Ambivalence at Bir Lahjar with DAWAN, one of four audiovisual pieces installed across the historic quarter for a single night walk. Working in buildings that were never designed for projection is not a constraint we tolerate. It is where the work gets interesting.
Art & Galleries
In an art context the work has to hold its own next to other artists, and credit has to be exact. Between Frequencies, an installation by DAWAN selected through the Kamel Lazaar Foundation open call and shown at B7L9 Art Centre, carried our holographic mapping on tulle, generated from Tunisian television archives and data-driven particle systems. At WILDE Paris, DREAMING AGAIN paired Lydia Lhote Lazaar's recycled glass pieces with a new media installation using AI to turn that glass into a digital interface. At SPECTRUM and Le Monde Imaginaire, both curated by Feriel Bouattour Ben Ammar, the work sat inside group exhibitions of fifteen or more artists. Effet Mere is the identity that operates in this field, with a practice running since 2009.
Corporate & Brands
Corporate briefs usually arrive as an event. A launch, a convention, an anniversary. The work is turning that into something buildable without flattening it into decoration. Our corporate work spans telecom, automotive, consumer electronics and luxury: Ooredoo, Samsung, BYD, Epson, CRK Maroquinerie. The deliverables range from a 360 degree interactive journey to a CGI carousel that reached 152,000 views on a single post. What we bring beyond the visuals is production discipline. Screen resolution confirmed a week ahead, setup and rehearsal treated as design inputs rather than buffer, redundancy a tired person can operate, and a runbook delivered with the build.
Institutional & Cultural
Public institutions and cultural operators come with constraints no commercial brief has: heritage surfaces that cannot be touched, approval chains, and audiences who did not buy a ticket. We delivered the interactive installation inside a former olive oil mill at Djerba Explore for the XVIII Francophonie Summit, with OIF and TICDCE, and the eight-chapter projection mapping on the Roman site of Uthina for the Regional Commission for Cultural Affairs of Ben Arous. At the National Museum of Carthage, eight LED pillars framed 150 violinists without a single screen facing the stone. The working principle is constant: the site's own material, its data, its archives, its history, becomes what the system generates from.
Telecom
Telecom has a specific problem. The product is invisible infrastructure, and nobody is convinced by a slide about latency. For the launch of Ooredoo Tunisia's 5G network, we built an interactive journey mixing augmented reality, interactive video and generated 3D content, with quizzes and polls keeping guests active rather than seated. For Sync'G, Samsung appliances themselves became interactive mapping surfaces, chained by a synchronisation game that unlocked a 360 degree projection on success. In both cases the move was the same: stop explaining the network and let a visitor produce it with their own hands.
Automotive
A car launch has one unforgiving moment, and everything before it is either building toward that moment or wasting it. For the Tunisian launch of the BYD Dolphin SURF, the visual system started before anyone saw the vehicle: an animated entrance tunnel, then lateral LED screens holding a thousand square metre space together and carrying the brand language through to the reveal on stage. Producing content for a system installed by a third party is its own discipline. The image has to read across very different surface geometries, at very different viewing distances, without the identity breaking between one wall and the next.
Nightlife & Events
Nightlife is the hardest test of a real-time system. The room is dark, the schedule moves, a set runs long, and nobody is going to stop the night so you can reload a file. We built the visual direction for Vigilance Zero at Calypso, carrying the language of their debut album onto an LED wall as three reactive layers of sound, image and light. For A.L.A, we turned a listening party into a 301 square metre LED enclosure, ceiling included, with the live booth inside the room. For BSMNT and Wabi, an interactive floor projection generated in real time and reactive to the dancers. The format we are interested in treats the dancefloor as a space of attention rather than consumption.
Finance & Insurance
Finance and insurance rarely need another conference backdrop. They need a reason for people to stay in the room. GAT Assurances sponsored the XR immersive room we authored for SPECTRUM: The Birth of Light, a 500 square metre exhibition on light as physical phenomenon and emotional material, curated by Feriel Bouattour Ben Ammar and produced by FB Art & Event, alongside more than fifteen Tunisian artists and designers. Associating a financial brand with a genuine cultural programme, rather than with a logo on a banner, is a different kind of visibility and it lasts longer.
Tech & Startups
A product that lives on a screen still has to be understood in a few seconds, by people who have not used it yet. The work here is to make an idea legible in motion: what the product does, why it can be trusted, and what it stands for, with the brand's own assets and nothing invented.