In 2005, the artist Ludovic Chemarin decided to put an end to his young and promising artistic career, to change his life, to move on. 
Disappointed by an ecosystem that he considered toxic for his personal fulfillment and that of his art, he is one of the few artists to have claimed and claimed his final removal from the world of art. Born in 1969, he went through the National School of Fine Arts in Lyon. His work quickly became intriguing, astonished and exhibited. He was represented by the Verney-Carron Gallery.

In 2011, two artists, Damien Beguet and P. Nicolas Ledoux decided to reactivate the work of Ludovic Chemarin and extend his artistic career. Damien Beguet microclimate then buys by contract Ludovic Chemarin the entirety of his work which he sells 50% of the rights to P. Nicolas Ledoux the same day. In parallel, Ludovic Chemarin lays at INPI the mark of his name: Ludovic Chemarin © that he immediately resells to the two artists so that they can use it in the form of a signature. In 2014, they ask Ludovic Chemarin to pose for the realization of the official portrait of Ludovic Chemarin © and in 2015 to make a drawing with only reason for his signature. They then acquire by assignment contract the rights of representation, reproduction and adaptation. They will then be able to exploit his signature.

Since 2011 they produce works under the name of Ludovic Chemarin ©: contracts, documentations performatives, activations or increases of works of Ludovic Chemarin as well as new creations. They respond to invitations for conferences and exhibitions in France and abroad. Their work is published and is the subject of much research. With their conceptual, legal and formal tools, they tackle the painful and little-treated theme of artistic bankruptcy, of the bankruptcy of the artist, but also of his eventual salvation through redemption or a form of financial and artistic recapitalization. It is for them then to recontextualize the "artistic material" of Ludovic Chemarin in the field of contemporary art, to manipulate it by imagining new protocols, new mediations. They create a new balance of power and speculation about the future of his work - as uncertain as it is exciting. They imagine operational devices in order to integrate the system of art and cultural news, while denouncing the limits, the spectacle, the archaism and the speculative logic - essentially financial - of which the artist is most often excluded. Through this unprecedented "exploitation" in the history of art, the two artists question and question the inalienability of copyright and the artistic gesture, the status of the work of art, the principle of authorship.