Events

The public pro­grams of the exhi­bi­tion A Hard White Body were con­ceived by Lotte Arndt in col­lab­o­ra­tion with Temporary Gallery, Cologne. They are part of a series of events enti­tled Disturbing Objects,Disquiet Objects. Going Beyond Classificatory Certainties taking place over both loca­tions between September and December 2017.

At Bétonsalon - Center for Art and Research, Paris

Aykan Safoğlu, still from Off-White Tulips, 2013, video, 24’.

Saturday, September 9, 3 p.m.

Precarious Homes with Jamika Ajalon, Candice Lin, Aykan Safoğlu
Screening: Aykan Safoğlu, Off-White Tulips (2013), 24’
A screening selected by Clara López Menéndez

James Baldwin’s state­ment that he only felt at home in places where he was a stranger tes­ti­fies to his con­sti­tu­tive expe­ri­ence of un-belonging. His fre­quent jour­neys away from the United States, exile and trav­el­ling appear as pre­car­ious strate­gies to escape from racism and homo­phobia, without ever suc­ceeding. His never fully sat­is­fied longing for domestic sta­bility was inti­mately related to the preva­lent haunting racist dis­crim­i­na­tion sur­rounding him and his rest­less efforts to struggle against it. Beyond the United States, his stays in Paris, Istanbul and ulti­mately Saint-Paul-de-Vence came to be more or less hos­pitable sta­tions in Baldwin’s life, enabling strong friend­ships to develop and pro­viding tem­po­rary relief from his social and emo­tional suf­fering as well as col­lec­tive and indi­vidual hard­ships.

In Baldwin’s writ­ings, home appears as the pre­car­ious result of daring to rad­i­cally engage in emo­tional bonds, chal­lenging racial and sexual norms, cat­e­gories, and taboos, which he describes as the “stink of love” in Giovanni’s Room. One of his last unfin­ished texts, The Welcome Table, was inspired by late night gath­er­ings on the ter­race of his house in Provence. Today threat­ened by the planned con­struc­tion of luxury apart­ments, it gave shelter to an emerging com­mu­nity con­sti­tuted by chosen alliances with close friends and former strangers, brought about through night-long dis­cus­sions, con­fronta­tions, rec­on­cil­i­a­tions and mutual care.

The artists par­tic­i­pating in this public event opted to relate to Baldwin by elec­tive affinity, to bring into res­o­nance their own dias­poric tra­jec­to­ries with the writer’s life-long wan­der­ings, and to nav­i­gate ever shifting lines of racial and sexual attri­bu­tions and desires.

3 p.m. Guided tour in the exhi­bi­tion with Candice Lin

3.45 p.m. Welcome and intro­duc­tion with Lotte Arndt, Lucas Morin (cura­tors) and Regina Barunke (Temporary Gallery, Cologne)

4 p.m. Squatting Giovanni’s Room, an audio-visual anti-lec­ture by Jamika Ajalon

“The per­for­ma­tive lec­ture will focus on the com­plex­i­ties of oth­er­ness as James Baldwin describes them in his writ­ings. It con­cen­trates on his works Notes of a Native Son, Another Country and Giovanni’s Room, and inter­weaves these frag­ments with an autobio-mythog­raphy: Baldwin not only reas­sured me, at a time when I felt most acutely alien. He also inspired me to look with a ‘futur­istic’ eye, going beyond essen­tial­ized con­cep­tions of iden­tity. While the white hege­monic dis­course, a simple ‘black versus white’ polarity but also the codes of black­ness in use in large parts of the afro­cen­tric rhetoric fre­quently excluded the expe­ri­ences of queer and alter­na­tive People of Color, Baldwin’s mul­ti­faceted nar­ra­tives gen­er­ously artic­u­late the com­plex­i­ties of inter-sub­jec­tive iden­ti­ties. They thus pro­vided a pre­car­ious home for the dias­poric expe­ri­ence of mine – as a fem­i­nist Black American artist who has lived and worked in Europe for nearly 20 years.The audio-visual anti-lec­ture will dwell in these moving in-between spaces, bringing into res­o­nance sound, philo­soph­ical notes, video loops and prose/ poetry all through an afro-futur­istic lens.”

About Jamika Ajalon
Jamika Ajalon is an inter-dis­ci­plinary artist for­tu­nate enough to have col­lab­o­rated with many bril­liant cre­atives across the globe. Mediums include written and spoken word, sound, pho­tog­raphy, film, video, text, and music. She grew up in the United States, grad­u­ated from Goldsmiths, University of London, and lived and worked in Europe for more than 20 years.

4.45 p.m. break

5.00 p.m. screening of Aykan Safoğlu’s Kirik Beyaz Laleler (Off-White Tulips), TUR/GER 2013, Turkish with English Subtitles, 24’

In his dense film essay, Aykan Safoğlu weaves together the nar­ra­tive of James Baldwin’s time in Turkey with auto­bi­o­graph­ical ele­ments. Between 1961 and 1971, the black American writer spent extended periods of time in Turkey, allowing him to get some space and to focus on his writing. Although he was warmly wel­comed by Turkish friends, writers and artists, he also expe­ri­enced racism and was vio­lently beaten up during his stay. As Magdalena J. Zaborowska sug­gests in her study of Baldwin’s con­nec­tions to Turkey, these stays allowed him to "re-imagine him­self as a black queer writer and to revise his views of American iden­tity and U.S. race rela­tions as the 1960s drew to a close." Safoğlu him­self grew up in Istanbul in the 1980s and 1990s. As an adult, he left Turkey to live in Berlin, a city pro­viding wider pos­si­bil­i­ties for his aspi­ra­tions as a queer artist, but also exposing him to the pre­car­i­ous­ness of short-term res­i­dence per­mits and racism in Germany.

Through archival mate­rial, the film­maker inter­twines Baldwin’s artistic evo­lu­tion, rep­re­sen­ta­tions of him by other artists, including one of the famous Beauford Delaney paint­ings and a Sedat Pakay pho­tograph of the writer, and traces of his own child­hood and teenage life. Resistance strate­gies to racism and homo­phobia in dif­ferent con­texts run through this account. While Safoğlu points to the aspi­ra­tion for blond­ness and white­ness in Turkish and US-American pop­ular cul­ture in the 1990s, he is also becoming aware that his own sexual desire con­flicts with heteronor­ma­tive rep­re­sen­ta­tions. On his analog copy stand, Safoğlu engages in a trans-his­toric dialog with Baldwin that allows the writer’s choices and expe­ri­ences to res­onate with his own.

Awarded at the International Short Film Festival Oberhausen in 2013.

The screening was selected by Clara López Menéndez.

About Aykan Safoğlu
In his art prac­tice, Aykan Safoğlu forges rela­tion­ships - friend­ships, even - across cul­tural, geo­graphic, lin­guistic, as well as tem­poral bound­aries. Beginning these friend­ships in his research, Safoğlu queers, com­pli­cates and revises the his­to­ries of famous fig­ures such as writer James Baldwin, or artists Paul Thek and Ulay, by weaving them together with his own. Working across film pho­tog­raphy and per­for­mance, he makes open-ended enquiries into cul­tural belonging, cre­ativity and kin­ship.

Born in Istanbul in 1984, Safoğlu studied at Universität der Künste, Berlin, and Milton Avery Graduate School of the Arts at Bard College, Annandale-on-Hudson, and was res­i­dent at SAHA studio, Rijksakademie van Beeldende Kunsten in Amsterdam. He has par­tic­i­pated in group exhi­bi­tions such as Father Figures are Hard to Find, nGbK, Berlin (2016); THE BILL: For Collective Unconscious, Artspace, Auckland, (2016); Home Works 7, Ashkal Alwan, Beirut (2015), and has screened at var­ious inter­na­tional film fes­ti­vals. He lives and works in Berlin.

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Saturday, October 21, 3 p.m.

Bathing in Contagious Liquids with Élisabeth Lebovici, Clara López Menéndez, Petra Van Brabandt
Screening: Vladimir Ceballos, Maldito sea tu nombre lib­ertad
(1994), 61’
A screening selected by Clara López Menéndez

In Candice Lin’s exhi­bi­tion, cir­cu­lating liq­uids con­nect ani­mate and inan­i­mate bodies and bring into res­o­nance appar­ently dis­tant (his-)tories. The Atlantic Ocean, pre­sent throughout the nar­ra­tives of the exhi­bi­tion, holds the memory of the enslaved Africans who were thrown over­board for mon­e­tary com­pen­sa­tion. The same ocean allowed James Baldwin to spend years far enough from the USA to be tem­porarily less exposed to its racist struc­tures, and focus on writing.
Liquids are con­sti­tu­tive of bodies, and simul­ta­ne­ously dis­solve their delim­i­ta­tions to each other. In the exhi­bi­tion space, a mix­ture of dis­tilled piss, water from the Seine river, and infused plants is pumped through a sprin­kling system that keeps the unfired porce­lain room moist. It pro­duces a humid smelly air that fills the room and involves–indis­crim­i­nately of their ani­mate status–all the pre­sent bodies.
The invited speakers engage with liq­uids and artistic prac­tices, specif­i­cally in the con­text of the AIDS epi­demic, as well as with queer and fem­i­nist prac­tices in the field of art, and beyond.

3.00 p.m. Guided tour of Candice Lin’s exhi­bi­tion A Hard White Body with the cura­tors

3.30 p.m. Welcome and intro­duc­tion by Lotte Arndt and Lucas Morin (cura­tors of the exhi­bi­tion)

3.45 p.m. Petra Van Brabandt: To Heat by Melting
What do Cabanel’s Birth of Venus, Klein’s Anthropometry, or Kusama’s Self-Obliteration have in common? What relates Picasso’s Woman Pissing to Marlene Dumas’ water­colours and Tejal Shah’s Between the Waves? All these art works are deploying wet aes­thetics. This refers to an aes­thetic expe­ri­ence that is real­ized by the per­cep­tual inter­ac­tion with wet­ness: an aes­thetics that affords a strong erotic or sexual res­o­nance and that pro­duces specific vis­ceral effects in the viewer’s body.

Petra Van Brabandt is a philoso­pher; she teaches semi­otics, art theory, and cul­tural crit­i­cism at St Lucas School of Arts, Antwerp, Belgium. She is member of the research group Art&Narrativity. Her research focuses on sociopo­lit­ical dimen­sions of art. She writes and lec­tures about art and fem­i­nism, pornog­raphy, post­colo­nialism, and lazi­ness. Her cur­rent research con­cerns wet aes­thetics in art and pornog­raphy.

4.30 p.m. screening of Vladimir Ceballos’ Maldito sea tu nombre, lib­ertad, USA, 1994, 61’. Spanish with English sub­ti­tles.

The postwar con­fronta­tion between the com­mu­nist and cap­i­talist blocks came to its end in 1989. While Cuba, heavily depen­dent on funding from the Soviet Union, was desta­bi­lized eco­nom­i­cally, Fidel Castro’s gov­ern­ment rein­forced so-called socialist values. These were said to be in sharp con­trast with the musical and aes­thetic pref­er­ences of young Cuban rock enthu­si­asts, called roquer@s, who were con­sid­ered by the regime to embody ideals of indi­vid­u­alism and disidencia [dis­si­dence] and were severely repressed as a result. In response to the harsh police harass­ment of this sub­cul­ture, a sig­nif­i­cant number of its mem­bers decided to delib­er­ately con­tract HIV in order to escape manda­tory mil­i­tary ser­vice, forced work, or incar­cer­a­tion. They lived their short lives inside the sana­toria cre­ated by the Cuban gov­ern­ment to con­tain the epi­demic. Maldito sea tu nombre, lib­ertad is a pre­cious doc­u­ment acknowl­edging that this phe­nomenon was in response to polit­ical repres­sion. Shot secretly in the Cuban province of Pinar del Río over a weekend in 1994 using bor­rowed equip­ment, this film pre­sents one of the few existing doc­u­ments of this com­plex social tragedy.

Vladimir Ceballos is a film editor based in Providence, Rhode Island, USA.
The screening was selected by Clara López Menéndez who intro­duces the film.

5.30 p.m. Élisabeth Lebovici and Clara López Menéndez in con­ver­sa­tion around Vladimir Ceballos’ film, the "pre­cious liq­uids" ana­lyzed by Lebovici in her recent book What AIDS has done to me (Les presses du réel, 2017), and the porosity, fragility and relat­ed­ness of bodies.

Élisabeth Lebovici is a his­to­rian, art critic, activist and writer. She has been a jour­nalist at Libération, writing in its cul­tural column from 1991 to 2006. She wrote Femmes Artistes/Artistes Femmes (Hazan, 2007) in col­lab­o­ra­tion with Catherine Gonnard and runs the blog http://le-beau-vice.blogspot.com.
In 2017, she pub­lished Ce que le sida m’a fait/What AIDS has done to me (Paris, Les presses du réel), an inti­mate and polit­ical account of inter­sec­tions between art and activism, seen through the AIDS epi­demic in the 1980s and 1990s in France and the United States.

Clara López Menéndez is an art worker prac­ticing in the fields of cura­tion, art crit­i­cism, ped­a­gogy and per­for­mance. She is cur­rently a vis­iting artist at the California Institute of the Arts. She directed the BOFFO Fire Island Art Residency in 2014 and 2015, and is the director of the exper­i­mental film plat­form Dirty Looks LA. Her writing has appeared in Mousse, Art News, Bomb, Little Joe, and Girls Like Us. She’s cur­rently working on the pro­ject A new job to unwork at which will cul­mi­nate in an exhi­bi­tion at Participant Inc. in NYC in the summer of 2018.

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Saturday, November 25, 4 p.m.

IN ANY (WAY,) SHAPE OR FORM with per­for­mances by Géraldine Longueville (Paris) and Simon Speiser (Berlin), invited by Marie Sophie Beckmann (Goethe-Institut Fellow 2017)

A single sock and a pair of men’s under­pants are solid­i­fied in their crum­pled state as porce­lain objects. Plants, blos­soms and herbs appear as draw­ings, they grow out of sculp­tures and are hung up to dry. Hair and dust stick to the moist sur­face of the porce­lain bed­room, mold is growing, pud­dles of dis­tilled piss are forming on the sheets. A dis­em­bodied voice inhabits the space. Moving images appear on wafting, semi-trans­parent sheets. 
Candice Lin’s exhi­bi­tion A Hard White Body, in itself an unstable sculp­tural ecosystem, visu­al­izes the ongoing (re-)appearing, (re-)con­necting and (re-)shaping of liq­uids, bodies, mate­rials, and nar­ra­tives.

Picking up on these pro­cesses, the per­for­ma­tive works by the artists Géraldine Longueville and Simon Speiser explore moments of exchange, trans­la­tion and trans­for­ma­tion. IN ANY (WAY,) SHAPE OR FORM is an after­noon of sharing water and sto­ries (of plants and places) amidst the instal­la­tion by Candice Lin.

4 p.m. A State of Water. Performance by Géraldine Longueville
*in French

Each plant derives from a source, car­ries a story, con­tains knowl­edge. Géraldine Longueville offers a degus­ta­tion of plant and herb infused waters in which these sto­ries are told, the sources revealed, and the knowl­edge shared. The taste? Bitter.


Géraldine Longueville lives and works in Paris. Her prac­tice started in 2005 as a curator by exploring for­mats of the exhi­bi­tion. She nur­tured the artists’ inven­tive­ness by cre­ating flex­ible and mul­tiple modes of exhibiting and sharing it with an audi­ence in the form of a show, a res­i­dency, a song, a poem, or a meal. From 2011 to 2013 she col­lab­o­rated with the artists David Bernstein and Jurgis Paskevicius under the name Juguedamos. In 2014 she founded Black garlic a studio for art and gas­tronomy run with the chef Virginie Galan and the graphic designer Commune. Since 2015 she col­lab­o­rates with La Piscine, a chore­o­graphic pro­ject made for a single audi­ence with mul­tiple tools, ini­ti­ated with the artist Myriam Lefkowitz. Since then she makes drinks and potions that ques­tion notions of wel­coming, medi­a­tion and trans­mis­sion. She is cur­rently working on a tailor made bitter com­mis­sioned by the Contemporary Art Center CAC Bretigny for its col­lec­tion in 2018.

5 p.m. Performance by Simon Speiser
*in English
"In the forest, the act of love builds a bridge between the species as the flora uses the agility of the fauna to impreg­nate from a dis­tance" – Simon Speiser reads from a new short story with a Sci-Fi twist about loving trees, while trans­fer­ring a nat­ural land­scape into a black and white dig­ital print on site. 

Simon Speiser (b. 1988 in Regensburg, Germany) is cur­rently based in Berlin. Working with sculp­ture, text, video, and prints, he "draws exper­i­mental fic­tions out from a beyond only recently per­ceiv­able, where art embar­rasses science fic­tion, where sculp­ture pen­e­trates fan­tasy, and the reader must encounter per­haps the strangest rec­og­niz­able texts yet con­cocted out­side her own head." (Mark Von Schlegell). Simon Speiser studied Fine Arts at the Akademie der Bildenden Künste, Stuttgart with Prof. Christian Jankowski and Prof. Alexander Roob. In 2014, he grad­u­ated from the Staatliche Hochschule für bildende Künste Städelschule, Frankfurt/Main, having studied with Willem de Rooij, Michael Krebber and Mark von Schlegell. Over the last four years he has par­tic­i­pated in sev­eral group and solo shows in insti­tu­tions, gal­leries and pro­ject spaces such as the Frankfurter Kunstverein; MMK Museum für mod­erne Kunst Frankfurt am Main; Alexander Levy Gallery, Berlin; Croy Nielsen, Berlin; Oracle, Berlin; and MMCA Seoul. 

IN ANY (WAY,) SHAPE OR FORM is orga­nized in the con­text of the Goethe-Institut Fellowship 2017.

The Goethe-Institut and Villa Vassilieff cre­ated together in 2016 a research res­i­dency pro­gram for German cura­tors. Every year, a curator is invited to develop a research pro­ject at Villa Vassilieff, in part­ner­ship with a German insti­tu­tion and has the pos­si­bility to dia­logue with sev­eral inter­na­tional insti­tu­tions (museums, archives, schools, civil­ians. This grant is attributed in par­allel to the Focus pro­grams, orga­nized each year by the Goethe-Institut in a German city or a Land.

Marie Sophie Beckmann (b. 1989 in Bremen, Germany) is Goethe-Institut Fellow 2017. She lives and works as a writer and curator in Berlin. She received her MA in Curatorial Studies at the Goethe-Universität and Staatliche Hochschule für bildende Künste – Städelschule in Frankfurt/Main in 2016 with a thesis on the Cinema of Transgression. In 2015, she co-founded the cura­to­rial ini­tia­tive EVBG which focuses on con­tem­po­rary film, video art and fem­i­nist art prac­tices. Marie Sophie Beckman is a PhD can­di­date in the post grad­uate pro­gram Konfigurationen des Films (Configurations of Film) at the Goethe-Universität in Frankfurt/Main.

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Gaston Velle, still from Living Flowers (Les fleurs animées), 1906

Saturday, December 2, at 3 p.m.

Stowaways with Samir Boumediene, Teresa Castro, Laura Huertas Millán
*in French

At a time when botany was an inte­gral part of transat­lantic explo­rations, the young peasant and herbalist Jeanne Baret dis­guised her­self as the valet of her mentor and lover, the botanist Philibert Commerson, and boarded L’Étoile, one of the ships of the Bougainville expe­di­tion (1766-1769). An impe­rial trav­eler, this key figure in Candice Lin’s exhi­bi­tion A Hard White Body occu­pies a trou­bled and ambiguous place: with her journey, she claimed the pos­si­bility of a life then denied to women. However, the journey at the same time con­tributed to an under­taking of con­quest and the col­o­niza­tion of knowl­edge by the clas­si­fi­ca­tion of the col­lected plants found in the Americas and on the islands of the Indian Ocean.

Baret’s activity was at the heart of the con­nec­tion between plants and empire, between Western con­cepts and mas­cu­line dom­i­na­tion and cun­ning resis­tance, mul­tiple and prac­tical. Establishing transat­lantic con­nec­tions, exploratory jour­neys were never one-way traffic. On the con­trary, among the stow­aways were, in addi­tion to human beings, trav­eling in secret or under the guise of a bor­rowed iden­tity, seeds, bac­teria and viruses, plants and ani­mals that spread on both sides of the ocean. Indomitable powers, these bodies without pass­ports or inven­tory record eluded from the will of mas­tery, were scat­tered, encrusted and mul­ti­plied in inter­ac­tion with their new home­lands.

Samir Boumediene: On magic love

"Tobacco, coca, cin­chona, cocoa, guaiac, peyote, poi­sons, abortives... From 1492 to the middle of the eigh­teenth cen­tury, Europeans in America appro­pri­ated count­less medic­inal plants. Through sci­en­tific expe­di­tions and inter­ro­ga­tions, they col­lected the knowl­edge of Native Americans or enslaved pop­u­la­tions to market drugs and develop with them the first health poli­cies. At the same time, inquisi­tors and mis­sion­aries for­bade the ritual use of cer­tain plants and saw them­selves con­fronted by the resis­tance of healers. Botany, fraud and witchcraft: between the American forests and the courts of the Old World, the study of Samir Boumediene tells the European expan­sion as a coloni­sa­tion of knowl­edge."



Samir Boumediene is a his­to­rian, researcher at the CNRS (IHRIM, ENS Lyon). He is author of The Colonization of Knowledge. A History of Medicinal Plants of the New World (1492-1750), Editions des mondes à faire, 2016.

Teresa Castro: Cinema and some of its veg­etable fables


In cinema, plants come to life: trees dance, mush­rooms quiver and flowers whirl. Thanks to its expres­sive resources and its fab­u­la­tive power, cinema – the medium of moder­nity and the avatar of objec­tivity – thus becomes, para­dox­i­cally, the diviner of the "veg­etable soul", upset­ting the bor­ders of life and engen­dering more or less sur­prising inten­tion­al­i­ties. Starting with some very diverse exam­ples, from science cinema to B-rated movies, this pre­sen­ta­tion explores some of the fables fab­ri­cated by cinema, focusing on how they some­times asso­ciate plants with the fem­i­nine.

Teresa Castro is a lec­turer in Film and Audiovisual Studies at the Sorbonne Nouvelle - Paris 3 University. She is a former post­doc­toral researcher at the Musée du quai Branly and at the Berlin Max Planck Institute for the History of Science, she pub­lished The Cartographic Thinking of Images. Cinema and visual cul­ture (2011) and co-directed with Maria do Carmo Piçarra (Re) imag­ining African Independence: Film, Visual Arts and the Fall of the Portuguese Empire (2017). Her cur­rent research focuses on the links between cinema and animism.

Laura Huertas Millán: Journey to a Land Otherwise Known, 2011, 23 min., color, stereo, DCP.

Screening and dis­cus­sion with the artist on her film
Accompanying impe­rial con­quests, sto­ries of nat­ural and ethno­graphic explo­ration trips con­tributed to the inven­tion of the col­o­nized ter­ri­to­ries. The recur­rence of cer­tain tropes, an almost uni­versal dra­maturgy that let this new world emerge for Westerners, shows how much the expec­ta­tions of impe­rial trav­elers shaped their object.
Journey to a Land Otherwise Known is based on a broad body of these sto­ries of explo­ration and ques­tions the per­sis­tence of exotic imag­i­naries in con­tem­po­rary cinema. It is entirely shot in an equa­to­rial green­house in Lille, built in 1970 by the archi­tect Jean-Pierre Secq. Just as it was up to the Armchair Ethnologists to can­onize knowl­edge about col­o­nized lands and their inhab­i­tants, the imag­i­nary of the Americas is com­posed here through nar­ra­tives that pre­figure the gaze. The film invests this imag­i­nary and imme­di­ately desta­bi­lizes it by intro­ducing shifts, cam­ou­flages as well as minor and major irri­ta­tions.

Laura Huertas Millán (1983) is a French-Colombian artist and film­maker. A grad­uate of the Fine Arts School of Paris and Le Fresnoy, she holds an art prac­tice-based PhD on "ethno­graphic fic­tions" (ENS Ulm, Beaux-Arts de Paris). In 2014, she was a vis­iting fellow at the Sensory Ethnography Lab. Between 2014 and 2017, she was a fellow at the Film Study Center at Harvard University. 
Her films cir­cu­late in both art and cinema venues. Sol Negro (2016), her latest film, was awarded at FIDMarseille (France), Doclisboa (Portugal) and Fronteira Film Festival (Brazil). 
Laura Huertas Millán´s hyphen­ated works inter­twine genres, crossing doc­u­ments and dif­ferent forms of fic­tions. Using writing as an exten­sion of film­making, she has recently pub­lished in Spike Art Quaterly, in col­lab­o­ra­tion with Raimundas Malasauskas.

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At Temporary Gallery, Cologne
Friday, October 13, 7 p.m.
Matter in Process: Erasures and Resurgences with Mathieu K. Abonnenc, Susanne Leeb
Screening : Mathieu K. Abonnenc, An Italian Film. Africa Addio. First Part: Copper (2012), 27’

Friday, November 3, 7 p.m.
Border Crossers. On Strange Growth and Collections in Turmoil with Pauline M’barek, Tahani Nadim, Kerstin Stoll

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Disturbing Objects, Disquiet Objects. Going Beyond Classificatory Certainties is spon­sored by Perspektive - Fund for Contemporary Art and Architecture, a pro­gram ini­ti­ated by the Bureau for Visual Arts of the Institut français Germany.