![Il ne faut pas oublier le futur [We must not forget the future] – 2025 ADAGP / Bétonsalon research and production grant - Bétonsalon](https://www.betonsalon.net/wp-content/uploads/2025/06/img-85691001.jpg)
No Anger, “L’Arbre à corps” [ The Tree of Bodies], Photo: Simon Bruneel.
No Anger, “L’Arbre à corps” [ The Tree of Bodies], Photo: Simon Bruneel.
Il ne faut pas oublier le futur [We must not forget the future] – 2025 ADAGP / Bétonsalon research and production grant
No Anger
ADAGP – French royalty collecting and distribution society et Bétonsalon – center for art and research (Paris), in partenership with the Archives de la critique d’art (Rennes)
The artistic committee of the ADAGP / Bétonsalon research grant met on 10 June 2025 and chose No Anger as the laureate. They are the eighth artist to receive this grant after franck leibovici (2017), Liv Sculman (2018), Euridice Zaituna Kala (2019), Anne Le Troter (2021), Abdessamad El Montassir (2022), artist duo Irma Name (2023), and Florian Fouché (2024).
The ADAGP / Bétonsalon grant is an endowment of €15,000 intended to support an artist in a research project over the course of several months. Bétonsalon – centre for art and research supports the artist in the research and production process. The artist receives €4,000 in fees and €8,000 for production.
The artistic project
Il ne faut pas oublier le futur [We must not forget the future]
How can dissident bodies disrupt a patriarchal writing of the future, resist it, and turn hope into a political act? Invoking Donna Haraway’s cyborg figure, No Anger aims to propose alternative narratives to the relationship of human/machine subordination, through experimentation with forms of codependence and hybridity that escape the normative and validist visions of technology. In particular, it will involve rethinking the narrative of the destinies assigned to marginalised and invisibilised bodies through cyber-feminist hacking strategies that challenge dominant ontologies and temporalities. Following Nathalie Magnan’s reflections on the media construction of identities deemed subversive, this research aims to highlight the counter-visualities generated by the tactical media invested by activist collectives, as well as the representations of a minority common that they help to shape and spread. Looking at piracy and virality as tools for derailing, contaminating and reconfiguring dysfunctional networks and institutional structures, this project aims to cripple our imaginations by exploring “futurographies” that break with binary and technophobic schemas. Through the intersection of lesbian, queer and disabled experiences, No Anger aims to question the perception and encoding of ‘states of body’ based on a relationship of complementarity and reciprocity with the technologies that support and structure her daily life.
Drawing on the visual grammar of Nathalie Magnan’s film Lesborama (1995) and the programme L’Œil du Cyclone (broadcast on Canal+ from 1991 to 2000), No Anger will make a film combining extracts from written and film archives in Nathalie Magnan’s collection with textual, vocal and performative experiments co-constructed with a robot. Deeply rooted in personal narratives, this work will draw multiple connections from the testimonies of people affected by these issues, enabling us to cross-reference visions of desirable and emancipatory futures within different communities and historical contexts.
No Anger
Through their artistic practice, which combines video, performance and writing, No Anger questions the ways in which bodies are expressed and displayed. Inscribed in a common language and imaginary, shaped by relationships of domination, words and images convey a vision of the world that validates certain realities over others, ranking bodies in a hierarchy. No Anger aims to express the experience of minoritised bodies that free themselves from their hegemonic representation, while exploring the notion of hybridity and the ways in which mechanical prostheses, far from amplifying or replacing bodies, can open up other creative possibilities.
Since 2015, they have maintained a blog entitled À mon geste défendant, in which they develop a critique of validism based on feminist and queer thought and their own experience. In 2019, they obtained a doctorate in political science from the École Normale Supérieure in Lyon. In their thesis, they analyse how the hegemonic imaginary has an impact on the perception of women’s and queer people’s bodies and sexualities, and how this hegemonic reading can be challenged. Drawing on their academic research, No Anger’s artistic work explores the potential of her lesbian and disabled body, proposing to reinvent the imaginary.
In 2022, together with Lucie Camous, they co-founded the Ostensible collective, a research-creation structure dedicated to disability and crip studies, which leads an intersectional reflection on validism.
Winner of the Prix Utopi-e 2023, No Anger has presented their performances and works at ENS Lyon, MAC VAL – Musée d’Art Contemporain du Val-de-Marne, Bétonsalon – centre d’art et de recherche, Palais de Tokyo, Centre Pompidou (Paris), Mucem (Marseille), Silent Green Film Feld Forschung (Berlin), Magasins Généraux (Pantin), Centre Régional d’Art Contemporain de Sète, T2G (Gennevilliers).
ADAGP
Created in 1953, ADAGP is the French royalty collecting and distribution society. It intervenes in the field of graphic and visual arts.
Supported by a global network of almost 55 sister companies, it currently represents more than 260,000 artists in all disciplines of visual arts: painting, sculpting, photography, architecture, design, comic strips, manga, illustrating, street art, digital creation, video art, etc.
In addition, ADAGP encourages the artistic scene by initiating and providing financial support for projects designed to stimulate and enhance creative activity, and to promote it nationally and internationally.
The Archives de la critique d’art
The Archives de la critique d’art (ACA) focuses its missions and activities on French and international art criticism. By preserving the memory of art news and discourse from 1945 to the present day, the ACA fosters the development of research into contemporary art and its actors, networks, forms of mediation and institutions in France and abroad. Research programs enable these resources to be exploited and scientifically valorized through events such as symposiums, exhibitions and public meetings organized in partnership with other institutions and cultural actors, in territories ranging from local to national and international. Since 1993, the bilingual biannual magazine CRITIQUE D’ART, published by the ACA, has commented on the latest French and international publications on contemporary art, with contributions from over 80 editors per issue. The INHA-Archives de la critique d’art collection bears the Collex-Persée label, awarded to heritage collections of excellence.
The 2025 artistic committee
Mathilde Belouali, director of Les Capucins contemporary art center, Embrun
Peggy Pierrot, intellectual worker and Erg teacher, Bruxelles
Émilie Renard, director of Bétonsalon, Paris
Marie Tchernia-Blanchard, director of The Archives de la critique d’art, lecturer in contemporary art history, Rennes 2 University
Shanta Rao, artist, member of the ADAGP
The ADAGP/Bétonsalon research and production grant
This research grant enables artists to undertake the production of new works in a context conducive to experimentation with non-linear models of production and distribution of knowledge between researchers, artists, institutions and the public. The grant will be associated in 2025 with the Archives de la critique d’art, in Rennes, based on the Nathalie Magnan archival collection.
For this edition, the laureate’s work will be presented in a double exhibition dedicated to the legacy of Nathalie Magnan at the contemporary art center Les Capucins, in Embrun, Hautes-Alpes, and at Bétonsalon, in the second half of 2026.
