Events

Saturday, April 23, 5 to 6 p.m.
Discussion between Anne Le Troter, Émilie Renard and Mathilde Belouali-Dejean

"Every evening a group of old people empty cans in front of Bétonsalon. There is a blond woman and a lot of dogs putting their wet and warm truffles against the two-taste windows of the institution that they lick and decorate all year long. Having massaged the floor for the exhibition, caressed the concrete in search of the holes, cracks and fissures in the surface before settling in, I understand them. Bétonsalon is erotic" - Anne Le Troter, March 2022.

On the last day of the exhibition Les volontaires, pigments-médicaments, in conversation with Émilie Renard and Mathilde Belouali-Dejean, Anne Le Troter will talk about the creation of her sound installations, through her poetic writing process, her relationship with the place and spatialization of listening, as well as the place she gives to the social and sensual body.

Past events

Thursday 17 March from 6 to 8 pm
[Re]production, thinking motherhood in contemporary art
Discussions, readings, performances with Nour Awada, Émilie McDermott and Anne Le Troter

Echoing Anne Le Troter’s exhibition The Volunteers, pigment-medicine around the health booklet, the artist invites Émilie McDermott and Nour Awada for a discussion, readings and performances traversing the genesis and issues of the project [Re]production, thinking about motherhood in contemporary art.

Anne Le Troter, The Volunteers, pigment-medicine, 2021-22, drawing, oil pastel on paper. Courtesy Anne Le Troter and gale­rie frank elbaz, Paris.
View of the exhibition by Anne Le Troter, The Volunteers, pigment-medicine, 2022, Bétonsalon — centre for contemporary art and research, Paris © Antonin Horquin.

[Re]production, thinking motherhood in contemporary art is a research project conducted by Émilie McDermott and Nour Awada since 2020. Through this study on the impact of motherhood on the professional careers of women artists in France, the two artists are conducting a political and collective reflection on motherhood in contemporary art. How do women artists integrate motherhood into their artistic careers? What place does the art world, as a social and economic system, give to motherhood? Both artists and mothers, they first questioned together the triangle of motherhood/creation/career, before opening the research to new testimonies.
The [Re]production project is supported by L’ahah and the Ministry of Culture’s Equality and Diversity mission

Nour Awada
Born in 1985 in Beirut, Nour Awada lives and works between Rome (IT) and Paris (FR) . She graduated from the École Nationale Supérieure des Beaux-Arts de Paris in 2012 and founded LAP in 2018 - Laboratoire des Arts de la Performance. Her work has been presented at the François Schneider Foundation, the Francès Foundation, Mains d’Œuvres, the Palais de Tokyo, the Lafayette Anticipations Foundation, the French Institute in Milan and the International Triennial in Istanbul, among others.

Émilie McDermott
Émilie McDermott is a Franco-American artist who works between Besançon and Paris. She graduated from the École Nationale Supérieure d’Arts de Paris Cergy in 2013. Her work has been shown at the Palais de Tokyo, the Traverse Vidéo festival in Toulouse, the Oeil d’Oodaaq festival in Rennes, the FRAC Franche Comté and the UrbanApa festival in Helsinki, where she worked from 2013 to 2015. She recently received a grant from the DRAC Bourgogne Franche-Comté for Homing, an olfactory installation project in progress.

Saturday 26 March from 5 to 6 pm
De la ThéraPoésie
A performance by Martin Bakero

Martin Bakero offers a performance based on a recording made with Anne Le Troter and the Radio Metanoia collective from the Ville-Evrard hospital in Bondy, France.

Poet, composer and psychotherapist (TheraPoet), Martin Bakero has explored the boundaries of what he calls “acous(e)mantic poetry”. After his musical training at the University of Chile’s music school, he continued to study electro-acoustic composition at the Paris Conservatory. He is now a researcher at the University of Paris.
Working on material and immaterial supports, he leads free associations with artist, mystic and scientist friends and explores resonance, string physics and super-asymmetries. Through the use of radio devices, antennae, sensors and the discovery of new reading and writing technics, he explores the boundaries between sound, sense, smell, vision, action, hallucination and gesture in poetry.
Bakero has initiated several revolutions, including the creation of the Pneumatic Cabaret, the FESTINA LENTE festival (a laboratory of acousmantic electropoetry), and the founding of poetry movements such as “Poetic Revolution”, Casagrande and “Foro de Escritores”. His explorations have given rise to “eletropneumatic” and “acousmantic” poetry.
Martin Bakero tries to propose a new relationship between reality and poetry. Developing the concept of therapy as an art, he conducts cures, reading groups and seminars on madness, poetry and the poetics of uncouscious.
His work takes the form of performances, lectures, films, exhibitions and radio actions, and has been presented throughout Europe and the Americas. He has done sound and performance residencies in Avatar (Quebec), the National Arts Center (Mexico), and the Center for Contemporary Culture of Barcelone. He has also participated in workshops with artists such as Meredith Monk, Joan La Barbara and Alejandro Jodorowsky.

THERAPOETICS

Saturday 9 April from 5 to 6 pm
"Un énoncé surpris par hasard"
Même pas l’hiver Publishing
Lecture by Lytle Shaw

When Allen Ginsberg records himself on a tape recorder and fortuitously picks up radio broadcasts, wind chimes and conversations, FBI and CIA agents listen in, searching for unwitting confessions. Considering these agents as serious theorists of poetry, Lytle Shaw shows that they are inspired by avant-garde experiments and transform a liberating technique into a repressive tool.

Lytle Shaw teaches literature at New York University. He published Frank O’Hara: The Poetics of Coterie in 2006 (University of Iowa Press) and Fieldworks: From Place to Site in Postwar Poetics in 2013 (University of Alabama). In 2021, New Grounds for Dutch Landscape (OEI) was published.

Même pas l’hiver
Même pas l’hiver is a publishing house founded by François Aubart and Camille Pageard. It publishes books on art and poetry, diffusing engaged and inventive voices that mix singular positions and renewal of writing forms.

Friday 15 April from 7pm to 9pm
Presentation - Discussion on the statement "To put an end to the logic of aid and guarantee a right to continuity of income for art workers".

Alongside the Syndicat des travailleur-euses Artistes-Auteur-ices (STAA), the Syndicat National des Artistes Plasticien-nes (SNAPcgt) and with the support of the Syndicat National des Écoles d’Art (Snéad-CGT) and SUD Culture Solidaires, La Buse has co-authored a statement aimed at guaranteeing continuity of income as a right for art workers.

This proposal has been echoed by political groups such as France Insoumise and the French Communist Party - the latter is currently working on a bill to be presented to the National Assembly at the end of the year. We now want to publicise this statement by organising a tour to present the platform in several cultural venues in France.

In addition to a presentation of our proposals, discussions will be held with the main stakeholders, both art workers and structures, to consider the implementation of these proposals.

Thus, several members of La Buse will replace the statement in its writing context and will then come back in detail on this project of improvement of the artists-authors system in which we advocate a facilitated access to the social rights accompanied by an accessible unemployment insurance at a low threshold, as well as a recognition of work accidents and professional diseases for all self-employed art workers.