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This community side of it I really love. Language — both literal and figurative — is quite an important aspect of your work. It conveys a sense in nonsense and brings to light the fear of the mechanical. Your eccentric characters, which are set in a space-time bubble, are magical and scary. How you develop the language s they speak and are made of?

And this grey area is a zone that feels natural to me to occupy. But then again I can also make really childish puns, and I love the basics of language and words.

And lots of word association, language games. The narratives I invent are situated within that conflict. No time and no infinity either. Your shared working methodology is also quite intriguing. Your films generate from a live and unique communal organism composed of yourself and of a series of close collaborators who really enter the work on many sides.

Can tell us something about your working process? David Birkin and I lived together in He invited me to be in my first band and later became the bass player in Stereolab. He is the best drummer I have ever seen and someone who completely lives music. Oh and also Alex Tucker! I actually am also really fascinated by the physically repulsive animatronic sculptures.

Why have you decided to work with the obsolete mechanism of kinetic art and who are the faces we are confronted by? There are two levels to that. The first is just that in when I was at the Rijksakademie van beeldende kunsten in Amsterdam there was a facility there for engineering and computer-controlled art which was not being used so much or not really in an interesting way.

The work made tended to be quite labor intensive and spectacular, at best, but not so interesting as art. Also I was confident in my own ability to write dialogue. So I had this idea that I would make talking animatronic sculpture and it could be funny and grotesque, and the talking would redeem the work. The second level is the question of obsolescence which is fascinating to me. I was attracted to kinetic art partly because, with it being at that time very unfashionable, I felt I could make some progress with it.

More and more frequently contemporary artists are blending the codes of the visual arts with those of the stage, in an exploration of an interspace of potential art forms. As a fundamentally multidisciplinary venture, La Ferme du Buisson has an obligation to welcome and assist practices that include performance as an active force in the transgression of conventional limitations. Performance Day is a new, annual event, with international artists and curators being invited to make use of our theatre space.

The aim is to work with other art bodies and festivals, with an emphasis on sharing insights and co producing hybrid works of art. For this first edition it seemed natural to invoke Alfred Jarry, that iconic scuttler of categories, as its tutelary figure. Leonardo Bigazzi Leonardo Bigazzi is a curator based in Florence. Beside collaborating to the selection of films for the main program, in the past edition of the Festival he has been responsible for special projects with the artists Omer Fast, Melik Ohanian and Hiroshi Sugimoto.

Since he works at the Gucci Museum in Florence as a consultant for the contemporary art exhibitions organized in collaboration with the François Pinault Collection. She works with artists from different generations and develops exhibition projects and editions on a national and international scale. Her programme includes monographic exhibitions Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche… and collective exhibitions, which focus on forms and languages, perception of images and the construction of identities.

From till , she worked in Air de Paris gallery and conducted a prospective programme titled La Planck. She held the position of president of the association C-E-A French association of curators from till , and is still involved as a board member. She aims to create a dialogue between contemporary art and other art forms with a particular emphasis on theatre and dance , as well as social science economics, philosophy, anthropology , focusing on the significance of processes and experimentation in the performative dimension of art.

Eva Wittocx Eva Wittocx is a curator and art critic based in Brussels. M presents both ancient and contemporary art through a varied exhibition program. The contemporary art program focuses on monographic exhibitions, both of emerging and established artists.

Between and she was curator at the S. Eva Wittocx has contributed to several catalogues, publications and magazines. She has given lectures and participated at many seminars. Here is the detail of the program. Les Chiens de Navarre Collective founded in Les Chiens de Navarre is a theatre collective created by Jean-Christophe Meurisse, who is also the director.

They create temporary oppositions, ephemeral crises, and idiotic games — with the audience or against them. Hence the importance of improvisation in their work; it attracts the highly exaggerated situations, sporadic outbursts, extreme fatigue and violent rifts that are all part of that hyper-present. Their preference is for a carnival aesthetic and automatic stage writing in the style of Artaud and the Surrealists.

This is their first choreographed show, a transgressive journey through the history of dance. A procession of old people start wandering around, dancing and feeling each other up, to the accompaniment of old pop songs. They are pathetic and filthy, strange and moving. In this chaotic, silent dance, the Chiens weave an astonishingly meaningful cloth out of the threads of their idiocy. Led, off the leash, by Jean-Christophe Meurisse, these Dogs of Navarre, with their incisive fangs, are both provocative and charming.

Hugues Decointet Born in Bienville, France. Lives and works in Montreuil. In the work of Hugues Decointet, changes of scale, changes of status in props and objects, and changes from representation to presentation are stage effects and reversals of situation that disturb our perception of the real.

Every object is capable of being an image and every image is taken from a possible film. Decointet marks out spaces with stage techniques in which objects are both receivers and transmitters. A shared moment emerges; the mobile, photographic eye takes the body with it in a mobility that is itself a picture. Dramavox, model for a theatre of voices II , — Sound installation activated by a performance, x cm, 40 min Intrigued by a Samuel Beckett text about the voice, Hugues Decointet created an index of descriptions of voices and interviews with actors on the subject of voices that they like.

He subsequently turned this into a play combining texts and sculptures. By manipulating the wooden objects that make up the sound material, a vocal portrait emerges which gradually becomes architecture. Its reduced format, nevertheless, means that it is more of a model; put simply, it is the utopian projection of a theatre.

Kasia Fudakowski Born in London. Lives and works in Berlin. What interests the artist is the philosophy of comedy rather than an urge to set people giggling. She works at deconstructing the rules of ordinary stand-up comedy and thinks about the affective nature of laughter and the act of smiling. Fudakowski probes that slightly uncomfortable feeling that can set in between a comedian and his or her public.

The ordinary public discussion between artist and curator that was announced in the programme begins to go awry as various interruptions, accidents and other bugs arise unexpectedly. Far from being a mere film of the performance, the film presented here is a careful montage of text and image, in which scenes are repeated in a stuttering kind of way and the surtitles oscillate between commentaries after the event and a pre-written script.

All of which sows doubt on what one is looking at. Production Museo Marino Marini. Dominique Gilliot Born in Gravelines, France. Lives and works in Paris and Brussels. Her performed lectures involve the listener in a train of thought where the power of logic is traversed by the accidental and the fortuitous.

The result is liable to be funny, totally unexpected, charmingly confused and yet, at the same time, strangely precise. In her own inimitable way, she points an unshaking finger at all kinds of elements, be they poetic, evanescent, basic or vernacular.

This is performance and a shared moment. Amongst other things, and at her own special request, she will take on the role of Mistress of Ceremonies throughout the day. This will enable her to talk about the works, to direct operations a velvet hand in a steel glove , to maintain both atmosphere and open spaces, keep the audience on their toes and the words moving along, and maybe even to sing a few ditties. Petrit Halilaj learnt to draw as a teenager in a refugee camp during the war in Kosovo.

His memories of a childhood spent in the countryside and his personal experience of war, destruction and displacement are the basis of his reflections about life and the human condition.

Although he draws on concrete and material biographical elements, his work avoids pathos and is rooted in research into trauma and the ways in which it can be represented in art. After creating For the Birds, an installation he realised with Alvaro Urbano, Halilaj asked friends to record sounds as if they wanted to and were able to communicate with birds.

These strange sounds can be heard in public places. Lives and works in France. Founder and artistic director of the theatre company Les Chiens de Navarre, Jean-Christophe Meurisse has directed their collective performances since He is also a film maker interested in the possibility of accidents and awkward moments, which — as happens during rehearsals for his dramatic productions — throw the actor into a real-life situation, unprepared, with no predetermined role and without preconceived ideas.

Il est des nôtres , — Video HD, colour, sound, 47 min France, Poland Thomas is thirty-five years old and has decided that he will never go outside again. He lives in a caravan in a shed in the middle of the city and invites his family and his friends and neighbours round. He organises parties — Dionysian feasts.

Every day Thomas celebrates his rejection of society. Jean-Christophe Meurisse wanted to try out the use of improvisation, which is entirely how this was shot, in film. Accordingly, the film starts with an idea and has no real script. Meurisse uses this medium-length film as a means of interrogating our ability to live outside civilisation — in order to get closer to the world.

Lives and works in Milan and Porto Cesareo. The creative process behind each work does not follow a precise structure; it is progressively added to by research into a specific theme. In all his works, the symbolic power of the image is very intense. He reinforces the visual world of the quattrocento and cinquecento, from which he draws his many references, with a popular iconography arising from collective and personal memory and related to more ancient traditions and beliefs. Il sogno della cascata di costantino , — Colour video, sound, 7 min With his enigmatic performances for solitary viewer, Luigi Presicce creates surrealist tableaux vivants with a wealth of esoteric symbols and references.

From this performance, the artist has made a thoughtful film in which an alternation of close-ups and long shots accentuates the tableau vivant dimension. It is accompanied by 1. Benjamin Seror Born in Lyon. Lives and works in Brussels. Combining the figures of poet, singer and storyteller, Benjamin Seror likes to feature himself in theatrical performances that have both theoretical and narrative power. He gives us the fruit of his thoughts about the way history is transmitted, by questioning the way our memory, which can be both real and invented, presents things.

His evocative titles give us ways of interpreting a complex piece full of exogenous knowledge, amusing digressions with varying degrees of logicality and highly appealing music. Marsyas has to confront a mysterious enemy by using his own thoughts, as he moves around between fiction and reality.

The performance was conceived as a long documentary narrative during which elements of scenery make their appearance. The performance evokes ghosts of film, art history, day-to-day adventures, and magic. But, as always with Seror, the real subjects are language and improvisation. He lives and works in Berlin. He lives and works in Budapest. They have worked as the artistic duo Tehnica Schweiz since She lives and works in Berlin. Sourcing their material from the history of avant-garde theatre, they have created collective performances by using codes from amateur and political theatre.

What particularly interests them is the satirical and political potential of these theatrical forms, and the fact that they allow several voices to coexist and to raise important questions in an amusing way.

The workshop was designed as a way of coming to terms with various elements of history, stories and narratives. In that school, Alfred Jarry could almost have met Alfred Dreyfus. The gym of the school was used for the second trial of Alfred Dreyfus in , and it was the school where Alfred Jarry sat his baccalaureate exam and wrote Ubu Roi.

The artists based their project on the books that Dreyfus read during his imprisonment and the books that Jarry collected in the imaginary library of Dr Faustroll for the exploration of the fundamental themes that are still as essential today as they were at the end of the 19th century: Lives and works in London. Cally Spooner is a writer and artist.

Her texts combine a mixture of theory, philosophy, pop music, current affairs issues and entrepreneurial rhetoric. Spooner produces short stories with no plot, disjointed scenarios, monologues recorded on a loop, and musical arrangements as a means of staging the movement and functioning of speech.

The messages are comments posted on YouTube by discontented fans on videos in which the lies of celebrities are exposed: Sarah Vanhee Born in Belgium.

Often created in situ, her works are concerned with the interaction between the spectator and the surroundings that they put in place. They totally blur the boundaries between fiction and reality, in order to push out the limits of the imagination and to raise questions about society, conventions and artistic commonplaces.

Vanhee takes issue with the dominant models that influence our ways of thinking, speaking, and moving, as well as our relationships with others and the world.

She combats existing paradigms with the weapons of absurdity, utopia and poetry…. Oblivion , Performance and installation, 2h30 Throughout one year, Sarah Vanhee collected rubbish, whether real or virtual. For nearly three hours, the artist carefully unwraps cardboard boxes, accompanying her gestures with a discourse that plays on the deterioration of language. The installation and performance are presented as an ecological system rather than total chaos.

Various kinds of o rganisation and gradations begin to emerge more or less clearly from this jungle of garbage, indicating something like a path through the journey.

Reading Jarry out loud Médiathèque de la Ferme du Buisson Librarians trained in the art of reading aloud read extracts from works by Alfred Jarry chosen by themselves. In spite of the reputed difficulty of the writing, they bring out all its acoustic qualities: In partnership with the network of multimedia libraries in the Val Maubuée.

Hugues Decointet, Dramavox, model for a theatre of voices II, Marne-la-Vallée, exit Noisiel-Torcy dir. Noisiel-Luzard times Saturday 13 February , 2: Cliquez ici pour voir le programme complet.

Les Chiens de Navarre Collectif crée en Hugues Decointet Né en à Bienville, France. Vit et travaille à Montreuil. Kasia Fudakowski Née en à Londres. Vit et travaille à Berlin. Dominique Gilliot Née en à Gravelines. Vit et travaille à Paris et Bruxelles. Le travail performatif de Dominique Gilliot prend des formes variables et suit des logiques qui lui sont propres, mêlant culture savante et populaire.

Jean-Christophe Meurisse Né en à Lorient. Thomas célèbre chaque jour son refus de la société. Vit et travaille à Milan et Porto Cesareo. Benjamin Seror Né en à Lyon. Vit et travaille à Bruxelles. Celui-ci devra affronter un ennemi mystérieux en utilisant ses propres pensées, naviguant entre fiction et réalité. Il vit et travaille à Berlin. Il vit et travaille à Budapest. Ils forment le duo artistique Tehnica Schweiz depuis Elle vit et travaille à Berlin. Dans cette école, Alfred Jarry aurait presque pu croiser Alfred Dreyfus.

Vit et travaille à Londres. Cally Spooner est écrivaine et artiste. Les messages sont des commentaires écrits sur YouTube par des fans mécontents liés à des vidéos dans lesquelles des célébrités révèlent leurs mensonges: Sarah Vanhee Née en en Belgique. La pratique de Sarah Vanhee mêle performance, arts visuels et littérature. Elle confronte ainsi aux paradigmes existants absurdité, utopie et poésie.

En partenariat avec le réseau des médiathèques du Val Maubuée. Marne-la-Vallée, sortie Noisiel-Torcy dir. Noisiel-Luzard horaires samedi 13 février , de 14h à minuit tarifs Pass Performance Day hors spectacle Chiens de Navarre: Lire Jarry à voix haute , , media library of la Ferme du Buisson Alfred Jarry Archipelago Space: CAC de la Ferme du Buisson.

The following text comes from a letter written for the Forum of Contemporary Art held at the Centro Pecci in Prato, where Antonio Grulli had been invited to coordinate a round-table debate on the theme of public institutions as places for discussion, debate and thought. The public institutions devoted to contemporary art are living today a dynamic but at the same time very risky period. The art world in recent years has expanded enormously and this is definitely a positive factor.

But right now, globally, we are in a situation where the art market has a strength and an economic power that the institutions cannot even come close to, and this imbalance stands out sharply. The art institutions of the past could count on public funding, which allowed them to take the lead over a group of very few collectors, who were buying in a small number of galleries.

By contrast, in recent years we have seen how even the most important museums in the world have been suffering from the influence of a trading system that has become bigger than them and against which they have no means to resist. Issues such as the questioning of the concept of permanent collection are an example of this: And this is the best scenario. And what about the institutions, often with an important history behind them, which are not lucky enough to be in the big cities of the world and therefore cannot even be the subject of speculative interest in the art market?

This is the case, for example, of Italy, a country of contemporary art museums that are structured neither from a financial point of view nor with regard to their collections, often poor or disorganized. So why not try to react against the international trend of an art system that moves faster and faster and more and more superficially, where artists are valued not for their work but for the academy they attended, the person they have studied with or for their CV, in which there must be no stain or slowdown?

What we are witnessing every day is that there is no time to try to figure out what artists are really attempting to bring to the radical innovation in making art. As art curators we only have half an hour for each of these people, and they must be able to conquer us with a portfolio of very few pictures, a strong statement and their shrewdness.

And that goes for the institutions too, except in rare cases. Conformism and boredom reigns everywhere, and the names that we see going around the world are always the same, offered over and over again with no chance of a surprise. Why do we study today exhibitions like the one Harald Szeemann set up to feature his grandfather, but it is very unlikely that something of that kind could happen in a museum in ?

Why is it so hard to imagine for example an artist as the director of a museum or a public institution? Can the institution be a producer of sense, or should it limit itself only to be a re-producer of meanings already established elsewhere, already frozen and therefore already commonplace? This is where in my opinion the concept of establishment as a production of thought and discussion comes into play.

Because reflection can only come from an initial feeling of disorientation, of crisis, of craving to understand what is really new. The institution must not become a place of appeasement, only called to put its own stamp on things which have been already decided. It must be a place capable of producing a surplus of meaning compared with normality, able also to give scandal, a place that is alive, that can accommodate the obscene or anything that is not already on the scene.

This is why I speak of disquiet. I use this term because I like to imagine these buildings as if they were endowed with feelings and passions. As if they were persons, capable of shaking with their fears, their flaws and their tendency to make mistakes. Do we want the institutions to be bureaucratic entities trapped between the two polarities of paternalistic education and entertainment, or do we want them to be real places of culture and reflection with all that this entails?

Why should we ask a museum to live a life that we would never want for ourselves? I would like the institution to be a place from which to ignite conflict, with the ability to become a place of resistance to the prevailing clichés. It must be a restless, telluric, almost criminal place, where parents are afraid to allow their children to go, and not a place of deportation, concentration and detention of hordes of children with felt-tips in their hands.

Only then it will become a place of reflection, and not a place of reassurance of our most banal platitudes. Le istituzioni espositive del passato potevano contare su finanziamenti pubblici che permettevano di fare da guida rispetto a un collezionismo composto di pochissime persone, che compravano in un numero esiguo di gallerie.

Aspetti come la messa in discussione del concetto di collezione permanente ne sono un esempio: E questo è lo scenario migliore. Perché allora non provare a reagire a quello che è il trend internazionale? Lo vediamo ogni giorno: E questo vale anche per le istituzioni, salvo rari casi. Ovunque regna il conformismo e la noia, e i nomi che vediamo in giro per il mondo sono sempre i soliti, riproposti senza possibilità di sorpresa. Noi sappiamo benissimo quali sono gli artisti e gli intellettuali del passato e di oggi che dobbiamo avere come punto di riferimento.

Perché oggi studiamo una mostra come quella che Harald Szeemann fece sul proprio nonno, ma è difficile credere che qualcosa di quel tipo possa accadere in un museo nel ? Qui entra in gioco a mio parere il concetto di istituzione come luogo di produzione di pensiero e discussione. Per questo parlo di inquietudine. Utilizzo il termine perché mi piace immaginare questi edifici come se fossero dotati di sentimenti e passioni.

Come se fossero persone, capaci di tremare, con le loro paure, i loro difetti e le loro capacità di sbagliare. Perché dobbiamo chiedere a un museo di vivere una vita che noi non vorremo mai? Deve essere un luogo inquieto, tellurico, quasi criminale, in cui i genitori abbiano paura che i propri figli vogliano andare, e non un luogo di deportazione, concentramento e detenzione di orde di bambini coi pennarelli in mano. Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France?

Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing. It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines.

So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres. It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction.

Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable. In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. Why did you want to participate and what programme are you proposing?

In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important. In this sense, the cooperative projects developed by d. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research.

This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France? Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle. Comment définir — au-delà de sa mission de production et de diffusion artistique — le rôle politique et citoyen joué par la Ferme du Buisson?

Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable. Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers.

Pourquoi avez-vous souhaité participer et quel programme proposez-vous? En ce sens, les projets de coopération développés par d. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain. We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies!

In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media. How did you work all together? This was the occasion to approach and study the archive both individually and as a group.

Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project. Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists.

In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy.

We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation. What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next.

This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object.

We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself. With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field.

In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself. Red Swan Hotel Space: Is it a character, a theological idea… What is it?

Azul Jacinto Marino was conceived as an idea of a platform or a territory, an entity with fluctuant borders. We wanted to make a project that was quite extensive and required a vast operational surface.

Somehow it comes out of a precedent project, Ediciones del Exotismo Ordinario Internacional Neotropical ,which is an ongoing series of self-published booklets, built around a specific type of house plants found all around the world, but whose origin is the Neotropical Region south of Chile to south of Mexico. These booklets encompassed a large array of interests, binding them together. Since then it started its own existence, as a polysemic entity, a surface, a character.

AJM traces points of visions, topographic pretexts, territories where misunderstandings can be formulated, erased, rewritten, retraced; where magic can interlace with anarchism, as a geo-botano-animo-logo-palimpsestic incident. Exhibition view, Rometti Costales.

So, Azul Jacinto Marino can become something different for each project? Kind of a shapeshifter? Yes, you can see it as a shapeshifter or a trickster. Something that can go somewhere and come back in a totally different form or to tell a different story.

A loop with a lot of loopholes. But if there is one thing that really defines it, it is the ambiguity of being several different things at the same time. Already the three words that compose the name say a lot: You are talking about Antonio García Barón, the anarchist we often refer to, who lived in the Bolivian Amazon, and created his micro anarchist state. The life of a hands-on anarchist living in such a particular context is pretty appealing, because of the encounter between two political philosophies: Yes, Antonio García Barón really existed, as well as the jungle around him and his micro anarchic state with that forest as a background.

But it gives us a territory on which to operate, and Azul Jacinto Marino claims this territory, it is this territory. We made a flag, an anarcho-syndicalist pattern of a red and black diagonal recreated with Huayruro seeds. These seeds are used a lot in the Amazon, as protection, as an amulet, and in some cases as part of the mix used to prepare Ayahuasca, in order to potentiate it.

This is the flag of Magical Anarchism. What is the relationship between oral tradition and your work? We were very much interested on what defines the crafting process. The creation of a Beni Ourain rug is a very fascinating way to leave the final result to chance. The women who weave allow themselves to see less than the last half meter of the work done, the rest is rolled up, and will not be seen until they finish it.

And since they can leave the work without finishing for weeks, sometimes months, once they come back to work on the rug, they are obliged to make an effort of memory to be able to follow the precedent path.

And it always takes them somewhere else. It is as if the chance and fragility of memory were constantly inscribed in the final result of this rug crafting. Is a thought mapping of sorts. And we like to believe it is a quite conscious modus operandi.

It is like if they were inscribing chance and contingency of everyday life into a surface, a protection device which is this rug, that can be used as a cover or a collective bed for a family. It is a very beautiful way of claiming the necessity of chance and the aleatory. So yes, from this perspective it is familiar to the development of a discourse present in oral tradition, to its vulnerability, always in present tense, since one is always obliged to reactualize it because there is no archive, no registry to which to rely to.

And suddenly there is something that makes the glare of fascination around him shine with a certain intensity. And this something, which can be anything, a cup, a knife, a brunch of a tree or a coral fossil, whatever, makes you think: Millions of years, the substance of a succulent plant, its becoming a mineral, the relation between animal and man, plant and mineral, all this collapses into this one single arbitrary event, into this fiction. And you will never be able to not see this asterism again.

This is the great transformational power of cooperation between fiction and reality. In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space.

AJM is the publication, and it signs it. And the publication works as the rug present in the exhibition space. One disappears while the other is revealed at the last page of the publication. I jet multi jaca revolutas to zona torrida cosmical inn Jinn animism juts aleatoric lizard calc-tattoo over u iztac and tiltic jalousie jets a narco moonlit rumor.

Azul Jacinto Marino a été conçu comme une plateforme, ou un territoire, une entité aux frontières mouvantes. Nous voulions concevoir un projet relativement vaste qui demandait une surface opérationnelle tout aussi vaste.

Depuis, Azul Jacinto Marino vit sa vie, comme entité polysémique, comme une surface, un personnage. En ce cas est-ce que AJM peut se transformer à chaque projet? Une sorte de shapeshifter? Oui on peut le voir comme un shapeshifter ou un trickster. Quelque chose qui peut aller quelque part, revenir totalement transformé, et raconter une histoire différente. Une boucle avec de possibles brèches et zones de non-droit. Oui, Antonio García Barón a vraiment existé, de même que la jungle autour de lui et son micro-Etat anarchiste, avec la forêt pour arrière-plan.

Mais cela nous offre un territoire sur lequel opérer et Azul Jacinto Marino revendique ce territoire, il est ce territoire. Parlons des hypothèses personnelles que vous pouvez faire à partir de ces lectures, plus particulièrement des éléments historiques et de la manière dont la tradition orale est transmise. Quelle sens la tradition orale prend-elle dans votre travail?

Nous étions très intéressés par ce qui définit le processus manuel. Et cela les emmène toujours ailleurs. Une sorte de cartographie de la pensée. Et vous ne pourrez jamais ne plus voir cette constellation. Azul Jacinto Marino incarne la publication et en même temps il la signe. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 5.

Rometti Costales, Dedos de Antonio García Barón Fingers of Antonio García Barón , cactus, concrete cast of a coral fossil, concrete cast of a succulent plant, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 8. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 10, 11, Outside view of la synagogue de Delme, Photos: The Book Society 02 Space: We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects.

I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit.

Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work. At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one. How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets?

The story is divided into three phases, which are represented by transparent and black resin casts of hands. The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process?

When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling.

The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active. They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts.

Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story. Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape. What do you think about this? How do you move among the signs that a story offers you?

What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view. In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation. I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view.

For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to.

As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists.

With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito? Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro. Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.

La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica. Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone? Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune.

I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble.

Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: First in terms of its history, and then its architecture, and especially its location in a rural area. In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy.

But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train. This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries. Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit.

It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating.

Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy.

In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director.

I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive. This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique.

Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu. Comment situer Delme dans le contexte de politique artistique général français? Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien.

La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics. Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres. Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. Performance Tuesday, October 27, 7. Simon Fravega , Mathilde Chénin Performers: A tutti i tipi di uccelli.

Quelli che parlano, quelli che annunciano, quelli che cantano, quelli che ballano, quelli che non fanno nulla, quelli che si riuniscono in gruppi, quelli che migrano, quelli che non si vedono più.

Auguri, ornitologi e artisti hanno probabilmente in comune proprio questo: Simon Fravega e Mathilde Chénin. Il progetto di Simon Fravega e Mathilde Chénin è stato sviluppato in una residenza di ricerca presso Viafarini tra il 29 Settembre e il 29 Ottobre A ottobre , Viafarini accoglie per une mese di residenza di ricerca, un workshop e un evento performativo gli artisti francesi Emilie Parendeau, Simon Fravega e Mathilde Chénin.

Simon Fravega et Mathilde Chénin. Simon Fravega , Emilie Parendeau. Whilst we have certainly seen a merging, or crossover of practice between curators and artists over the past ten or twenty years, an artist curating is a different beast to a curator curating.

Artists will always take more risks, because they are interested in that stuff of mistakes and failure as a means to begin an artistic process. It is often within the hic-cups and stumbling inherent to mistake making that contact-points are made in order to generate new ideas and work. It is impossible to define what happened, although suggestion of a few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at once.

As with anything produced creatively, therein lies a contribution that ignites further conversations and thinking, a tributary to a landscape of discussion, unconcerned of becoming actualised by becoming something tangible and accessible. The programme regularly perceived the exhibition as one multi-authored artwork rather than a space in which to show separate hermetic works, bringing a greater sense of authorship to exhibition making.

The following questions acted as research for the programme: Can we become our own public s? Each artist produced and presented new work in the gallery space at different times during the exhibition, choosing either to use or disregard what had gone before them.

Each artist took on the gallery as a temporary workplace akin to that of a studio, in which they found things which they must work with in some way. Despite the artists being in a group exhibition together, they did not personally meet during the exhibition, due to the applied curatorial structure concentrating on time rather than space. Urgency, quickness, response, co-authoring of works, audience communication. A reinvention of the solo show.

Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator. The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist.

The solo artist is still the solo artist. Six curators, one artist, one gallery, three weeks. The focus of Notes for an Exhibition was a move away from methods of teleological exhibition-making toward action, response and production, with an emphasis on collaboration and discussion, association and conversation. I invited in the curators with a proposal: They therefore selected Desmond Church, who is an artist who works with proposals and propositional-based work.

He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works. There was an events programme curated by Limbo neighbouring art space. Four events — a t-shirt sale, a talk, a gig then a screening — occured throughout the timescale of the exhibition, physically and conceptually shifting the exhibition continually, each event leaving a short-term legacy on the spatial framework before the next.

So before each event we would make way for it, by moving and repositioning artworks.

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I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive. This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte?

Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique. Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu. Comment situer Delme dans le contexte de politique artistique général français?

Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien. La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics.

Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres. Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales.

Performance Tuesday, October 27, 7. Simon Fravega , Mathilde Chénin Performers: A tutti i tipi di uccelli. Quelli che parlano, quelli che annunciano, quelli che cantano, quelli che ballano, quelli che non fanno nulla, quelli che si riuniscono in gruppi, quelli che migrano, quelli che non si vedono più. Auguri, ornitologi e artisti hanno probabilmente in comune proprio questo: Simon Fravega e Mathilde Chénin. Il progetto di Simon Fravega e Mathilde Chénin è stato sviluppato in una residenza di ricerca presso Viafarini tra il 29 Settembre e il 29 Ottobre A ottobre , Viafarini accoglie per une mese di residenza di ricerca, un workshop e un evento performativo gli artisti francesi Emilie Parendeau, Simon Fravega e Mathilde Chénin.

Simon Fravega et Mathilde Chénin. Simon Fravega , Emilie Parendeau. Whilst we have certainly seen a merging, or crossover of practice between curators and artists over the past ten or twenty years, an artist curating is a different beast to a curator curating.

Artists will always take more risks, because they are interested in that stuff of mistakes and failure as a means to begin an artistic process. It is often within the hic-cups and stumbling inherent to mistake making that contact-points are made in order to generate new ideas and work. It is impossible to define what happened, although suggestion of a few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at once.

As with anything produced creatively, therein lies a contribution that ignites further conversations and thinking, a tributary to a landscape of discussion, unconcerned of becoming actualised by becoming something tangible and accessible.

The programme regularly perceived the exhibition as one multi-authored artwork rather than a space in which to show separate hermetic works, bringing a greater sense of authorship to exhibition making.

The following questions acted as research for the programme: Can we become our own public s? Each artist produced and presented new work in the gallery space at different times during the exhibition, choosing either to use or disregard what had gone before them.

Each artist took on the gallery as a temporary workplace akin to that of a studio, in which they found things which they must work with in some way. Despite the artists being in a group exhibition together, they did not personally meet during the exhibition, due to the applied curatorial structure concentrating on time rather than space.

Urgency, quickness, response, co-authoring of works, audience communication. A reinvention of the solo show. Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator. The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist.

The solo artist is still the solo artist. Six curators, one artist, one gallery, three weeks. The focus of Notes for an Exhibition was a move away from methods of teleological exhibition-making toward action, response and production, with an emphasis on collaboration and discussion, association and conversation.

I invited in the curators with a proposal: They therefore selected Desmond Church, who is an artist who works with proposals and propositional-based work. He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works. There was an events programme curated by Limbo neighbouring art space. Four events — a t-shirt sale, a talk, a gig then a screening — occured throughout the timescale of the exhibition, physically and conceptually shifting the exhibition continually, each event leaving a short-term legacy on the spatial framework before the next.

So before each event we would make way for it, by moving and repositioning artworks. After the event, the artworks remained in place, they were not moved back, so allowing for a kind of physical legacy of what had happened each time, shifting the exhibition radically from beginning to end.

The show was not about Punk-rock. More over, the 3 minute punk-rock song was used as a framework in which to align certain artworks and artists together. The works dealt with errors, spasms, glorious hiccups and splutters, reminiscent of our everyday stumblings.

They dealt with a certain kind of generosity; a generosity of quickness, urgency, interruption and blurring. It was a project that concentrated on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing.

It attempted to unravel working and thinking and push these often hidden processes public. This lead to A Way of Doing Things , where notions of the natural evolution of ideas and things become secondary to pragmatism and a sense of wanting to get things done. A Way of Doing Things was a reference point for discussion and thinking, which moved on to form something else.

So Event Show began with an idea that the artists involved could maybe use The Way Things Go as an analogy and a model for practice and art-making. Rather than simply seeing TWTG as a film to be consumed and enjoyed, is it more interesting to use it as a tool in order to make new work from? My suggestion was based on the notion of replacing the objects in the film binbags, tyres, models, etc. The suggestion was to try and focus on the strands linking events rather than the events themselves, so that through a series of events, the links connecting them could be where concentration is placed, leading to some kind of recollection of TWTG.

I explained my proposal to the artists to produce this series of interconnected events. This allowed for an anonymous collaborative discussion between the artists, with the curator acting as facilitator through the entire process. Questions were sent by the facilitator curator to each expert artists. The artists would respond, then the facilitator would collate, edit and send the experts the condensed answers along with new questions relating. This process was repeated until the events could be forecasted.

The process of using The Delphi Method allowed the artists to incrementally refine their ideas for Event Show , which lead to 5 separate actions as part of one overall event, which happened on 3 June. The Press release read as follows:. What makes it unique both locally and internationally? We try to fulfill this desire. Moreover, I think that the Museum is quite a unique place, for some very specific reasons. The collection and the exhibition spaces are in a Renaissance church, which was renovated in by the great Leon Battista Alberti.

In the last two centuries the building had changed several times its identity: Afterwards for a very long time it was an army deposit, until its final destination: The artist decided to ask two of his close friends, whose master had been the famous architect Giovanni Michelucci, to think about the renovation of the building and they made a very special project with brutalist roots and references to Albini, Scarpa and Michelucci.

A few years ago I decided to start the restoration of the Rucellai Chapel by Leon Battista Alberti, a great masterpiece of the Italian Renaissance, that originally was part of the church. In the 19th century the passage between the Chapel and the church had been closed, and I decided to re-open it and connect it again to the museum. It seems to me that now the museum is a kind of time machine: The second reason that makes the museum unique is that we invest all our budget in production, production, production.

How do you articulate contemporary creations and emerging art with the work of Marino Marini, who could be defined as a modern sculptor? The exhibitions and the joint programmes dedicated to performance, music, dance, cinema, and literature are related to sculpture and to its transformations from the legacy of Marino Marini — both archaic and modernist — to the new generations of artists.

Marino Marini is a truly representative modern sculptor. Why including a programme of contemporary art in a museum —and one could also say in a city— which is dedicated to the research and conservation of a specific heritage? As we live in a city with a glorious past, whose artistic achievements have been so influential in the Western world, we have decided to operate in the present, counting on a heritage which is almost unique in its richness.

We mean to address the citizens of Florence and its metropolitan area, who participate in this heritage while needing to live in dialogue with the present time. We are one of the few institutions in Florence that focuses its activity on the local community. The dialogue with our everyday present is the key focus of our work. PIANO intends to create a network of art spaces working together, exchanging and interacting.

Why did you decide to join the project and how are you participating in it? We have decided to participate in PIANO because sharing ideas and projects with other countries stimulates cultural and artistic growth. That is why we thought of profiting of this opportunity in the best possible way. Our experience about the project Alfred Jarry Archipelago is giving excellent results and the French Institutions, even those that are active in Italy, have worked with us and they have offered a great collaboration.

Museo Marino Marini Protagonists: Alberto Salvadori, Leonardo Bigazzi. Che cosa lo rende unico a livello locale e internazionale? Il nostro obiettivo è realizzare questo desiderio. Penso che il museo sia un luogo unico per diverse ragioni. In seguito, per un lungo periodo di tempo, il sito fu usato come deposito di armi, fino alla sua destinazione finale, quella di sede del Museo Marino Marini.

Il risultato fu un progetto molto particolare con radici brutaliste e riferimenti ad Albini, Scarpa e Michelucci. Alcuni anni fa ho deciso di avviare il restauro della Cappella Rucellai di Leon Battista Alberti, un grande capolavoro del Rinascimento italiano, originariamente parte integrante della chiesa. Il passaggio tra la cappella e la chiesa, chiuso nel XIX secolo, è stato riaperto e collegato nuovamente agli spazi del museo. Ora il museo è una sorta di macchina del tempo: Il secondo elemento che rende il museo unico è la nostra scelta di investire tutto il nostro budget in produzione, produzione, produzione.

Marino Marini è una figura chiave della scultura moderna. Desideriamo rivolgerci ai cittadini di Firenze e della sua area metropolitana, che fanno parte di questa eredità e hanno allo stesso tempo il bisogno di vivere in dialogo con il presente. Siamo una delle poche istituzioni della città che concentra la propria attività sulla comunità locale. Il dialogo con il nostro presente e la nostra quotidianità è la chiave del lavoro che svolgiamo. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione?

Abbiamo deciso di prendere parte al programma PIANO perché la condivisione delle idee e dei progetti con altri Paesi stimola la crescita culturale e artistica. È per questo che abbiamo deciso di approfittare di questa opportunità nel miglior modo possibile. La nostra esperienza con il progetto Alfred Jarry Archipelago sta dando eccellenti risultati e le istituzioni francesi, anche quelle attive in Italia, hanno lavorato con noi offrendo grande collaborazione. Overview of the ground floor 3.

Andrea Baccin When did the collaboration between you and Mark Manders begin, and why did you decide to start a publishing house? Roger Willems We worked together for the first time in After that we started Roma Publications.

We enjoyed making books independently and made our living with our other work. Over the years it slowly took over my practice and I hardly do commissioned work anymore. What is your approach to making a book? What are your selection criteria and what is the mission of Roma Publications? Often new books are connected to previous ones, with artists we worked with before. Besides that we choose intuitively and try not to do too many things. Our goal is to keep it close to ourselves and grow steady by going on for many years.

Not by making more books per year. What is the relationship between the book and the exhibition space? What is the relationship between exhibiting the book as an object and actually reading it? Most of the time books travel alone and end up in an endless amount of different contexts.

Like a family reunion. We are tiny and unskilled in what most professional publishers do such as distribution, but in the few years it has existed, it does create a sense of a group of people and interests. What makes your publishing house different from the others? We are busy with other questions than to try and be different. Each publication seems to be a nice opportunity to try something.

On a practical level the production money comes from different channels than sales so it frees us from a certain pressure other structures could have. Do you publish self-productions or books on commission?

Both, it is increasingly difficult to make a difference between the two, especially when we also design books elsewhere for other publishing companies or commissioners. What is your view on exhibiting a book in an exhibition space versus reading it? The journey to find it was as exciting as reading it.

What is your approach to graphics in your projects, and what are the criteria in selecting the books you publish? There is a form of authorial translation but we suspect the whole thing is to broaden friendship… which leads to thinking that most people we have published are friends or have become one. Keren Detton Le Quartier was founded in on the initiative of the former director of the Quimper art school, Michel Pagnoux.

Its underpinnings were the intense competition in art, literature and film in Quimper and the implementation of the decentralisation policies initiated by Jack Lange in the mids. Le Quartier was set up in the same building as the art school but operated autonomously, enabling it to be part of a professional network to which students had special access.

Subsequently, the implementation of a contract with the state, region and department guaranteed that it would be possible to work with the public in a sustained way, particularly through the assistance they provided for the production of works and for mediation activities. Charles Esche described his ideal museum as fundamentally uncertain: The idea was to shake up the annual programme, introduce different rhythms, play on synchronic or diachronic effects, while preserving an artistic research space over the long term and continuing to do creative work with publications catalogues, anthologies of texts, artist books.

I also wanted to work on the porosity between the inside and outside in order to shatter the military aspect of this former barracks and highlight the seeing conditions.

It was as if visitors were both surprised and relieved to see the works integrated into their day-to-day life. Recently, artist and architect Catherine Rannou offered a visit to the worksite of an exhibition setup tackling architecture through language and imagination, radically transforming the institution. I find it very stimulating when works speak to visitors on the level of their relationship to the body and to language. Le Quartier will be celebrating its 25th anniversary in a shaken political, economic and media context.

As we speak, Le Quartier is being threatened by drastic budget cuts, and yet its balance sheet has been unanimously praised by all of its public partners. It runs an untimely programme alongside artists, investigates our visual cultures through images and language, and merrily crosses the boundaries between disciplines. Yet it is being told to justify its legitimacy.

Le Quartier is in a prime position between the art school, to which it offers genuine professional springboards, and the fine art museum, with which it collaborates regularly.

But above all it is a place of emerging forms and ideas, passions and questions. It is rooted in its territory and resonates with places elsewhere, and keeps up a dialogue with artists and visitors.

Why did you wish to participate and what programme are you proposing? Alfred Jarry Archipelago was born of the desire to understand artistic creation today through Alfred Jarry, the father of pataphysics. The project has turned into an open curatorial platform, which apprehends the legacy of the author of Ubu Roi not historically but speculatively.

Since he was a well-informed observer of the artists of his time, we decided to make way for Alfred Jarry the curator!

Leonardo Bigazzi, curator at the Museo Marino Marini in Florence, is presenting a programme of performances. Eva Wittocx, curator at M — Museum and for the Playground Festival in Leuven Belgium is joining us by linking monographic exhibitions and performances. The project framework is open enough to incorporate different points of view on this subversive figure full of contrasts, and to more closely examine his relationship to theatre, his projection of bodies and desire, his use of codes and absurdity, and the mixing of genres and identities.

A publication in the form of an almanac will be the receptacle of this multiplicity of perspectives, with supplements provided by new contributors, authors and artists.

Charles Esche a décrit son musée idéal comme étant fondamentalement incertain: Je voulais aussi travailler sur la porosité entre le dedans et le dehors pour casser le côté militaire de cette ancienne caserne et mettre en exergue les conditions du regard. Le Quartier fêtera ses 25 ans cette année dans un contexte politique, économique et médiatique bouleversé. Pourtant, on le somme de justifier sa légitimité.

Par ailleurs, Eva Wittocx, curatrice au Museum M et pour le Playground Festival à Louvain Belgique nous a rejoints en associant des expositions monographiques et des performances.

Dorothée Dupuis Could you talk about your formal influences? What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere? It seems that the language of abstraction is still important for you. Clémence Seilles I regularly go back and see images by my classical masters: Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes.

I proceed from what societies tangibly produce to build themselves. I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories.

I idly drive through industrial estates in Italy, France, Germany and Holland. On YouTube I watch guitar swirling in garages and industrial plastic machining. In this context, the work is at once an everyday object and something fantastical: Although my training as a designer informs manipulations of conventions much more than manipulations of shapes , the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere.

Are you more of a Fassbinder, Wako or Beverly Hills ? A gang can be Philip K. Cain , alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation.

The gang — made up of artists, designers, composers, curators and architects who are all fanatical about hard beats — lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious. The action hierarchies are healthy, made of individuals who do their singular research and can take turns implementing or supporting a project.

PostNorma, a fabulous squat conquered and dissolved in one year, which generated workshops and various events. The Dirty Art department, an institutional bouillabaisse that made lots of meetings and journeys possible. SANKS, a design company among friends. Cicciolinas, unifying techno parties. What is you position in all of this relative to institutions and the art market?

My artistic commitment is romantic. It is to create an optimal climate for creativity, establishing circumstances that produce autonomous strengths and attitudes without excluding myself from society — quite the opposite.

I practice lateral thinking and oblique strategies. Each card contains a cryptic phrase or comment to meditate on, one that can be used to overcome a creative block or dilemma. It is based on imagination and on putting forward impossible, absurd, unrealistic theories in order to create springboards towards other ideas that are themselves achievable. Embodied in my practice, this means that I go off into fairly diverse application areas and development structures, working with people who are also very different and sometimes have polar opposite ways of thinking.

This makes it more tiring and difficult to exist in different markets instead of only one, since people still have a strong tendency less in English-speaking countries to recognise only a single profession for each person.

Exhibition as Research Space: Dorothée Dupuis Peux-tu me parler de tes influences formelles? Clémence Seilles Je vais régulièrement revoir des images de mes maîtres classiques: Les formes primordiales telles cercles, triangles, carrés… me permettent de me concentrer davantage sur les narrations, les circonstances et les procédés. Je pars de ce que les sociétés produisent de tangible pour se construire. Une bande, ça peut être Philip K.

Cain , seul et condamné. PostNorma, un squat fabuleux conquis et dissout en une année, qui généra workshops et évènements divers. Le département Dirty Art, bouillabaisse institutionnelle qui permit beaucoup de rencontres et de voyages.

SANKS, une compagnie de design entre amis. Les Cicciolinas, fêtes technos fédératrices. Je pratique pensées latérales et stratégies obliques. Les stratégies obliques est un set de cartes inventées par Brian Eno et Peter Schmidt en Exhibition views, Clémence Seilles, Bassin ouvert.

It therefore grew out of the need to create a kind of institution that was lacking here in Milan, and to experiment with this kind of hybrid structure. So one of the first thing spurring us on was the desire to examine what the role and future of the art institution could be today.

Everything that is not strictly necessary to the work and its presentation — which is the purpose of a show — is a superstructure. In the dialogue with the artist, which is a fundamental part of constructing any exhibition, the positions, thoughts, and needs of the curator should never prevail over or obscure those of the artist and of the work.

All the exhibitions organized by Peep-Hole are developed in this spirit: The name itself is an answer to your question. A peep-hole has a fisheye lens that allows a wide field of vision without being visible from outside.

Whatare the main challenges for a space that wants to remain independent? PIANO is aimed at creating a network of art spaces that work together, exchanging ideas and interacting with each other. The program Six Ways to Sunday , which consists in inviting an institution to do a show in our space as if it were a satellite project room, is one example. The project we are participating with, The Book Society 02 , in collaboration with the Synagogue de Delme, is devoted to the most experimental forms of publishing, and intends to investigate the potential of the book as a form of expression.

Publishing is indeed a space in which not only is something conveyed, but content is created. Nowadays many well-established or newly founded independent publishers and countless text-based artistic practices have accelerated the development of this format as one of the most interesting phenomena on the current art scene. The book society Vincent Honoré Quando avete dato vita a Peep-Hole e cosa vi ha spinto ad aprire questo spazio a Milano?

Tutte le mostre organizzate da Peep-Hole sono sviluppate secondo questa idea: Lo stesso nome dello spazio fornisce una risposta alla tua domanda. Quali sono le sfide maggiori per uno spazio che ambisce a rimanere indipendente?

Tuttavia gli spazi di quel periodo erano vere alternative ai contesti istituzionali e alla loro legittimazione ufficiale del valore artistico.

Oggi le cose sono cambiate, le istituzioni si sono trasformate divenendo più flessibili, più aperte al dialogo, per cui gli spazi come il nostro in realtà non sono tanto alternative quanto derivazioni di esse. Per quale motivo avete deciso di prendere parte al progetto e come si realizza la vostra partecipazione? Il progetto con cui partecipiamo, The Book Society 02 , in collaborazione con la Synagogue de Delme, è dedicato alle forme più sperimentali di produzione in ambito editoriale e mira a investigare il potenziale del libro come forma di espressione.

Per Book Society 02 abbiamo trasformato lo spazio di Peep-Hole in una reading room in cui sono presentate le pubblicazioni di alcune delle case editrici europee più interessanti. Adriano Costa, How to be Invisible in High Heels , , concrete, sand, red soil, iron, 50 x 5 cm, variable heights. Installation view at Peep-Hole, Milan, Courtesy: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc.

An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year. And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates.

I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way. It is a process that takes time, but some good steps have been made in this direction. We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet.

Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo. Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc.

Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie. Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale.

È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione. Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet. Constellation of One and Many , The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened.

The work and the exhibition have a specific relation to the Bolzano context. Bernhard Rüdiger I spend a lot of time in that region, and I was aware of various aspects of the context of history shared between Austria and Italy. The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent. Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction. The view from the 4th floor of Museion offered a symbolic top-down point of view.

The museum is built on the boundary that is the river. This already emphasised that kind of point of passage, but from the opposite point of view. This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa. The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout. Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects.

By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide. How did these questions of passage and perspective-reversal affect your proposal? The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city.

Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city. The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere? It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play? This metaphor in the state of language becomes a physical act as soon as you experiment with it.

The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze. The two works operate in opposite ways, but actually express something very similar.

Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning. It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture. Speaking of local culture, can we discuss the title?

Thinking again of the belvedere, is the title therefore a clue about how to use the work? The third word is in the Tyrolean dialect and expresses the idea of looking past appearances to understand reality.

At the same time, people only understand a third of the title, since each of these languages is only spoken by some of the population.

It reconsiders questions about the activation of perspective, which are important for Bernhard, through my own methods, including the production of a condition of incisiveness when regarding what is already present on-site, without adding objects. The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool. Émile Ouroumov Pourriez-vous me décrire votre intervention pour Soleil politique au Museion de Bolzano?

La réalisation de ce dispositif, dans sa forme et dans sa durée, peut être limitée par les autres activités du musée qui imposeraient que des volets soient ouverts.

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