A graduate of the Metz School of Art and the Geneva University of Art and Design, Benoît Billotte has participated in various group exhibitions, including Les grands espaces at the Valais Art Museum in 2025, Impressions at the Kunsthaus in Grenchen in 2024, in 2022 Les Îles at the François Schneider Foundation, in 2021 for the Biennale at the Musée des Beaux Arts in La Chaux-de-Fonds, in 2020 at the Ceaac in Strasbourg, in 2018 at the Villa Bernasconi in Geneva, in 2017, L’Éloge de l’heure at the Centre d’innovation et de design du Grand Hornu, in 2016 Horizon at the Magasin cnac in Grenoble, in 2014 Monument at the Musée des beaux-arts in Calais and at the Frac Normandie in Caen, and in 2013 at Une brêve histoire des lignes at the Centre Pompidou-Metz.

His work has also been featured in solo exhibitions, such as Humaine Nature at the Kunst (Zeug)Haus in Rapperswil, in 2022 Edaphos in Saint Gervais les Bains as part of archipel art contemporain, at the Chapelle de l'île du Musée Château d'Annecy in 2021 with Sous la canopée for Annecy Paysage, and in 2016, Is here somewhere else? at the MOCA Pavilion in Shanghai, in 2015 Les Traversées at the Villa du Parc in Annemasse, and in 2014 Passeggiata at Halle Nord, Geneva.

He has been awarded various residencies around the world, including at the Swiss Institute in Rome in 2013, in Shanghai with Pro Helvetia in 2016, and at Casa Suiza in Buenos Aires in 2018. In 2021, he will be in residence at the Conservatory and Botanical Garden of Geneva, and in 2024 at the Ariana Museum in Geneva and the Valais Art Museum in Sion. He has also been welcomed by various French institutes in Morocco and Lebanon.

His pieces can be found in several public collections, such as the Cantonal Contemporary Art Fund and the Municipal Contemporary Art Fund in Geneva, as well as at the MUDAC in Lausanne, the Kunsthaus in Grenchen, and the Kunst(Zeug)Haus in Rapperswil. He is also in the collection of the FRAC Lorraine and the CNAP France.

His work is primarily based on drawing, with lines being understood in terms of their quality as traces, boundaries, objects, and surfaces—modular, transformable, adaptable—and develops into increasingly complex installations. Like a surveyor, Benoît Billotte collects information and documentary resources that surround us. Translated into statistics, maps, plans, and architectures, he reveals the various forms of soft propaganda in which we evolve. He lives and works in Geneva, Switzerland.