"I chose this front page first because it says my name. On July 5, 2015, like many, I waited impatiently for the verdict of the Greek referendum. And when I scanned the news I discovered the front page of Libé, I really enjoyed it. I have been signing Zevs (pronounced "Zeus") since 1992. Date when, in the middle of a graffiti session in the Parisian basement, I almost got run over by a RER (suburban train) on the A line named ZEUS (line A). Because yes, the RATP gives names to its trains. There are also HULK, NEMO, ZEBU, etc.. So I made his name my own. Later on, I will make it the acronym of "Zone d'expérimentation visuelle et sonore" (Visual and sound experimentation zone). At the time I worked a lot in urban space, especially in Paris. I wore a yellow service suit, to integrate myself into the landscape, I marked out my experimentation zone with security tape, to delimit my creative perimeter, and then I intervened on this environment. Then, strangely enough, this name strongly influenced my universe. It was a guide, and pushed me to question notions such as omnipotence, power, within a mythological framework. I finally developed a pictogram to illustrate this name: a lightning cloud. More than a signature, this picto became my logo in the street, where I decided to compete directly with the logos of major brands, all-powerful in the public space. With them, it's a real turf war. The omnipresence of advertising raises, in my opinion, the question of freedom of expression in the city. I developed my series of Visual Attacks in this spirit. In the early 2000s, I began to consider large advertising tarpaulins as canvases, and billboards as picture rails. I painted red paint flows on the eyes and foreheads of the models in the ads. I was a serial killer of advertising images. Until it became too complicated: the surveillance of the guards, the painted posters removed immediately, etc. I was a serial killer of advertising images. I finally left Paris for Berlin. The relationship to the city is different there. From my first steps, I felt a breath of freedom, the possibility of going even further in this type of artistic expression. The art-publicity battle is just as lively there, but the city leaves more doors open. And then the citizens are reactive. In 2002, when I kidnapped the mannequin of a large Lavazza poster, while cutting it up, others imitated me. All over Germany, a great wave of visual kidnappings hit commercials. Models but also objects disappeared, cut up by other artists or activists. On this front page of Libé, I make the silhouette of the politician disappear and replace it with a Venus de Milo. To do so, I started from a rather crude replica: a garden sculpture. I refined it, then I transferred his image to the newspaper. After having passed it in black, I adorned it with these golden flowers. The gold that spreads under her toga suggests that she urinated on it. This great symbol of the Hellenistic civilization becomes then quite other, a Venus disguised and soiled, sold to the highest bidder. »