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  • Bétonsalon - centre d'art et de recherche

    9 esplanade Pierre Vidal-Naquet

    75013 Paris
    +33.(0)1.45.84.17.56
    Adresse postale
    Bétonsalon - centre d'art et de recherche
    Université de Paris
    5 rue Thomas Mann
    Campus des Grands Moulins
    75205 Paris Cédex 13
  • Ways of Publishing #1 / May 22th, 2021
  • Ways of Publishing #2 / June 5th, 2021
  • Ways of Publishing #3 / June 19th, 2021
  • Ways of publishing #4 / July 3rd, 2021
  • Ways of publishing #5 / July 10th, 2021
  • Ways of Publishing #6 / December 3rd, 2021
  • Ways of Publishing #6 / December 3rd, 2021

    Friday, December 3rd from 6pm to 8pm
    Ways of Publishing #6

    Interconnected Magazines : sika (Brussels) and Lili, la rozell et le marimba (Rennes)

    A conver­sa­tion bet­ween ayoh kré Duchâtelet and Estelle Lecaille (sika, Brussels), with Katia Kameli (artist) and Sophie Kaplan (direc­tor of La Criée, Rennes, Lili, la rozell et le marimba) and Baptiste Brun mode­ra­ted by Lotte Arndt, fol­lo­wed by a rea­ding by Vir Andrès Hera and a per­for­mance by Nadjim Bigou-Fathi and Soto Labor.

    The form of the reviews is poly­pho­nic : orches­tra­ted by edi­to­rial com­mit­tees, made with gra­phists and prin­ting pres­ses, deve­lo­ped in dis­cus­sion with authors and artists, often defen­ded against pre­ca­rious finan­cial condi­tions, the issues weave a thread, build a rhi­zo­ma­tic net­work, create momen­tary com­mu­ni­ties of thought around them to share the move­ment of mul­ti­ple reflec­tions. With their frag­men­tary, unfi­ni­shed, deeply incom­plete and imper­fect forms, they exempt them­sel­ves from the cons­traints of a uni­fying and syn­the­si­zing way of thin­king. Polyphonic in their essence, the reviews appear in cons­tel­la­tions : an arti­cle is rarely limi­ted to itself as it often refers to ano­ther ; an image evokes ano­ther. Nonetheless, this ongoing thought pro­cess regu­larly adopts a shape ; an issue that can be unders­tood as an indi­ca­tion of a phase. A mate­rial object, com­plete in itself, even if it is part of an ongoing pro­cess – the next issue that is already pen­ding.

    While pre­pa­ring the third issue of sika and the fourth of Lili, la rozell et le marimba, connec­ted by nume­rous ongoing edi­to­rial conver­sa­tions seve­ral mem­bers of the edi­to­rial com­mit­tees of both the maga­zi­nes get toge­ther for a launch and dis­cus­sion eve­ning. This is fol­lo­wed by a rea­ding by Vir Andres Hera (author, member of Qalqalah قلقلة’s edi­to­rial com­mit­tee and contri­bu­tor to the next issue of Lili, la rozell et le marimba), and a per­for­mance by Nadjim Bigou-Fathi and Soto Labor. The eve­ning is orga­ni­zed around lan­gua­ges, their mul­ti­pli­city and intert­wi­ning, the way they are codi­fied and clas­si­fied, their sub­ver­sive uses and exu­be­rance.

    Programme

    6pm : The reviews sika and Lili, la rozell et le marimba.
    Conversation bet­ween ayoh kré Duchâtelet and Estelle Lecaille (sika, Brussels), with Katia Kameli (artist) and Sophie Kaplan (direc­tor of La Criée, Rennes, Lili, la rozell et le marimba), mode­ra­ted by Lotte Arndt.

    7pm : Vir Andres Hera and Minia Biabiany, Cartilages archi­pels
    Excerpts read by Vir Andres Hera
    In a tur­bu­lent text that explains Vir Andres Hera’s and Minia Biabiany’s theo­re­ti­cal, poli­ti­cal, and poetic ins­pi­ra­tions, the authors express their desire to see Afrodescendant and Afrodiasporic figu­res sup­port the cons­truc­tion of a contes­ted Mexican natio­nal nar­ra­tive. (Qalqalah قلقلة)

    Performance by Nadjim Bigou-Fathi and Soto Labor
    FRSH (search for an object in a pocket)
    Groping, bodies, saliva and conver­sa­tions from ♪ Là à là. La à là la à ici. D’ici, ici à là, si, si si, la ♪ are Frsh methods to ques­tion the way dis­course is manu­fac­tu­red and the rela­tion­ship of subor­di­na­tion bet­ween scores, per­for­mers, authors and audien­ces. It is an invi­ta­tion to reshuf­fle the cards to faci­li­tate the crea­tion of nar­ra­ti­ves of his­to­ries and their dis­so­nant but conti­guous inter­pre­ta­tions.

    An event co-pro­du­ced with La Criée, Centre d’art contem­po­rain , Rennes

    The reviews

    sika is a space of mul­ti­ple words and wri­tings, where the voca­bu­la­ries of contem­po­rary artis­tic crea­tion encoun­ter the move­ments of post-colo­nial thin­king. Born out of the convic­tion that our glo­ba­li­sed world cannot unders­tand itself without loo­king at the under­lying his­to­ri­cal and asym­me­tri­cal power rela­tions, the review sika offers an oppor­tu­nity to take stock of these rela­tion­ships, loo­king at Brussels, a city-world, that is part of colo­nial his­tory and the cons­truc­tion of European policy net­works.
    N° 1 and 2 : summer and autumn 2021, cura­ted and edited by Estelle Lecaille for mòsso & ayoh kré Duchâtelet.

    N° 1 and 2 : summer and autumn 2021, cura­ted and edited by Estelle Lecaille for mòsso & ayoh kré Duchâtelet.

    Lili, la rozell et le marimba
    While the dis­tance bet­ween loca­ted expres­sion and a freely cir­cu­la­ting hege­mo­nic culture increa­ses, nume­rous coun­ter­cultu­res are resis­ting and emer­ging across the world today. With this they demons­trate the desire of the men and women who ani­mate them to adapt to spe­ci­fic units, to be part of spe­ci­fic sites and to speak the lan­gua­ges from a spe­ci­fic ter­ri­tory. Forms of ver­na­cu­lar rene­wal appear like a vector for roo­ted­ness, making it pos­si­ble to slow down and build new col­la­bo­ra­tions.
    Questioning the rela­tion­ships bet­ween pro­duc­tions, local know­ledge and contem­po­rary crea­tion, the the­ma­tic cycle Lili, la rozell et le marimba—a contem­po­rary and ver­na­cu­lar crea­tion (2019-2022) at La Criée, contem­po­rary art centre in Rennes, is accom­pa­nied by a review that aims to pro­long and extend the ques­tions raised by the artists invi­ted to par­ti­ci­pate in the exhi­bi­tions and resi­den­cies that punc­tuate the cycle.
    Each issue gathers contri­bu­tions by artists, thin­kers and resear­chers from dif­fe­rent hori­zons, with a desire to sup­port mul­ti­ple voices and view­points, and pri­ma­rily to pro­vide a plat­form for artists’ voices to be heard.
    The edi­to­rial com­mit­tee consists of Lotte Arndt, Jean‑Roch Bouiller, Baptiste Brun, John Cornu, Katia Kameli, Sophie Kaplan and Émilie Renard. Whether they are artists, resear­chers or cura­tors, the com­mit­tee mem­bers share the same inten­tions in terms of paying atten­tion to the other, and to other ways of being, while they also stand out for their some­ti­mes dif­fe­rent fields of research and view­points.

    N°1 : September 2020, N°2 : January 2021, N°3 : June 2021, N°4 : April 2022

    Biographies

    Lotte Arndt
    Researcher and cura­tor, Lotte Arndt (Paris) sup­ports the work of artists who ques­tion the post­co­lo­nial pre­sent and the contra­dic­tions of moder­nity from a trans­na­tio­nal pers­pec­tive. In the context of the inter­na­tio­nal pro­ject Reconnecting Objects. Epistemic Plurality and Transformative Practices in and beyond Museums, she is cur­rently wor­king on an inter­na­tio­nal research pro­ject on the contra­dic­tions of pre­ser­va­tion in eth­no­gra­phic museums. From 2014-2021, she taught at the École supé­rieure d’art et design in Valence Grenoble. She is a member of the art research groupOn-Trade-Off, cofoun­der of the online review Trouble dans les col­lec­tions, and a member of the edi­to­rial com­mit­tee for the review publi­shed by La Criée, art centre in Rennes.

    Nadjim Bigou-Fathi (1990, FR) is a desi­gner, visual artist and per­for­mer, living bet­ween Brussels and Narbonne. He gra­dua­ted from the Ecole Européenne Supérieure d’Art in Brittany (Rennes), and from the Sandberg Institute (NL). His prac­tice ques­tions the arbi­trary nature of the pro­duc­tion of norms and truths, thus ques­tio­ning the deve­lop­ment of power rela­tions and their legi­ti­macy. Using cura­to­rial, sculp­tu­ral, or per­for­ma­tive mecha­nisms, he stages wait and see situa­tions invol­ving Promethean figu­res.
    He heads the research module Sparring (Académie des Beaux-Arts, Brussels, 2021) along­side the cho­reo­gra­pher Mathilde Klug where, along with the stu­dents, they explore the rituals of encoun­ters in their eco­nomy and their per­for­ma­ti­vity. He has col­la­bo­ra­ted with the Belgian archi­tec­tu­ral office B612 (BE) and co-mana­ges the artist-run space LOTO RUN in Brussels. He recently per­for­med at KANAL POMPIDOU (Morphing, Group show, BE), and at ARV.I (Zorro, Solo, BG) and is cur­rently wor­king on the per­for­mance FRSH (collab. Soto Labor) recently shown at Eeeeh (Nyon, Switzerland).

    Vir Andrés Hera(1990, Yauhquemehcan, Tlaxcala, Mexico) is a video artist and resear­cher. He gra­dua­ted from Mo.Co. - Montpellier Contemporain (2015), the Fresnoy studio natio­nal des arts contem­po­rains (2020) and the University of Quebec in Montreal (2020). He was an artist member of the Casa de Velázquez, Madrid (2015-2016). He tea­ches at the ESAAA - école supé­rieure d’art
 Annecy-Alpes. In 2019, he joined Qalqalah-قلقلة’s edi­to­rial com­mit­tee. His work was recently shown at : La Gaité Lyrique, Paris (2022) ; Art-by-Translation, Lisbonne-Cergy (2022) ; Dare-Dare, Montreal (2021) ; the MUCEM, Marseille (2021) ; the Institut Français, Rome (2021) ; the FRAC Occitanie, in Montpellier (2020) ; at La Kunsthalle, Mulhouse (2020).
    Vir Andres’s prac­tice is mul­ti­dis­ci­pli­nary. His ima­gi­nary, loca­ted in the inters­ti­ces of sound and video expe­ri­men­ta­tion, seeks to reflect on spaces sur­roun­ding film prac­tice, ora­lity and lite­ra­ture. In his work, all the rea­li­ties of lan­gua­ges mingle : Aztec, Fon, Arabic, Creole, Otomi and other secret lan­gua­ges. Narrative is cen­tral to his works, often dotted with strange sto­ries and anec­do­tes, lite­ra­ture and dis­tant nar­ra­ti­ves, reli­gious myths and onei­ric figu­res, and sacred land­sca­pes. Through his films, ins­tal­la­tions and texts, he dis­lo­ca­tes the signi­fi­cant, atro­phies simi­la­ri­ties to gene­rate inters­ti­ces.

    Katia Kameli is a Franco-Algerian artist and film direc­tor. She was born in 1973 in Auvergne, from the incongruous mee­ting, on a dance floor, of Moussa, an Algerian worker with an Afro hair­style, and Danièle, a young nurse from the Berry region. Her prac­tice is based on a research approach : the his­to­ri­cal and cultu­ral fact enri­ches the mul­ti­ple forms of her visual and poetic ima­gi­nary She sees her­self as a “trans­la­tor”.
    Translation is not a mere shift bet­ween two cultu­res, nor a simple act of trans­mis­sion, but it also works as an exten­sion of mea­ning and forms. The act of trans­la­tion decons­tructs the binary and some­ti­mes hie­rar­chi­cal rela­tion­ship bet­ween the idea of the ori­gi­nal and the copy. Within her work we find rewrit­ten texts. She high­lights a global his­tory, made up of porous boun­da­ries and reci­pro­cal influen­ces, in order to open up a reflexive and gene­ra­tive path to a cri­ti­cal view of the world.

    Sophie Kaplan has been direc­tor of La Criée contem­po­rary art centre since 2012. She holds a degree in modern lite­ra­ture and art his­tory and is an art his­to­rian and exhi­bi­tion cura­tor. She worked at the École natio­nale supé­rieure des beaux-arts in Paris from 1999 to 2007 and, in paral­lel, cura­ted exhi­bi­tions in Germany and England. Director of the Rhineland centre for contem­po­rary art in Altkirch from 2007 to 2012, she also taught at the Haute école des arts du Rhin (Strasburg). She has cura­ted nume­rous exhi­bi­tions and regu­larly publi­shes cata­lo­gues and artists books. Her cri­ti­cal approach and her cura­to­rial prac­tice deve­lop around the impor­tance attri­bu­ted to col­la­bo­ra­tion—par­ti­cu­larly with artists ; the room left for nar­ra­ti­ves as motors of research, crea­tion and trans­mis­sion, the inte­rest in the inter­sec­tions of the arts, dis­ci­pli­nes and know­ledge.

    ayoh kré Duchâtelet
    ayoh kré Duchâtelet’s approach invol­ves a docu­men­tary inves­ti­ga­tion into situa­tions of colo­nial and contem­po­rary his­tory. The research leads to hete­ro­ge­neous fic­tio­nal pro­duc­tions ; texts, images, video ins­tal­la­tions… His prac­tice also deve­lops by paying atten­tion to mee­tings and col­la­bo­ra­tions. In 2021, in dia­lo­gue with Sammy Baloji, he began a pro­ject that deals with the rela­tion­ship bet­ween the dif­fe­rent forms of Belgian Art Nouveau, or the “Style Congo” and the impe­rial expan­sion at the begin­ning of the 20th cen­tury. He occa­sio­nally col­la­bo­ra­tes with Sophie Sénécaut in the context of the “CRAWL” pro­ject (resi­dency at the Laboratoires d’Aubervilliers in 2021). Since 2018, He has been explo­ring dif­fe­rent moda­li­ties to hybri­dise art research methods with Déborah Levy, Lionel Maes and Antoine Wang. In 2021, they pre­sen­ted the exhi­bi­tion "What Does It Have To Do With Everything Else" at iMAL, Brussels. he is also cofoun­der of the review (four issues) “sika” with the asso­cia­tion mossò, and he tea­ches at the gra­phic research school (Erg), where from 2018 to 2021 he coor­di­na­ted the mul­ti­dis­ci­pli­nary work­shop pro­gramme Design et poli­ti­que du mul­ti­ple. Since 2009, at the gra­phic and digi­tal design work­shop at Villa Hermosa, he has been wor­king with and for col­lec­ti­ves, ins­ti­tu­tions, sites and asso­cia­tions where he choo­ses to share the res­pon­si­bi­lity for their actions for a cer­tain period, whe­ther these acti­vi­ties are social, cultu­ral, artis­tic or acti­vist.

    Soto Labor (1993, FR) is a visual artist, poet, and per­for­mer. He focu­ses on the condi­tions under which dis­course is exer­ci­sed and the way it is enun­cia­ted. He enga­ges with this field by manu­fac­tu­ring sce­na­rios that he most often embo­dies in col­la­bo­ra­tion with other artists. The acces­so­ries and ele­ments used in his per­for­man­ces are very often pre-made or cob­bled toge­ther. A low-fi and low-tech sculp­tor, he crea­tes forms that coin­cide with his imme­diate envi­ron­ment in a low budget eco­nomy based on dirty objects and col­lage.
    He sup­ports the cho­reo­gra­pher and resear­cher Pauline L. Boulba in her play Ôno-sen­sa­tion (CND Pantin, 2019) and is accom­pa­nying her in her ongoing crea­tion with Aminata Labor, J.J. (2021). Invited by Théo Robine-Langlois, he publi­shes Trompette a publi­ca­tion that appea­red in the Présage Pamphlet series, After8books. He is cur­rently wor­king on the FRSH per­for­mance (collab. Nadjim Bigou-Fathi) recently shown at Eeeeh (Nyon, Switzerland).

    Estelle Lecaille is an art his­to­rian and cura­tor at mòsso in Brussels, an inde­pen­dent col­la­bo­ra­tive plat­form for contem­po­rary artis­tic prac­tice that desi­gns and sup­ports inter­na­tio­nal pro­jects in Europe with coun­tries of the South. Since 2013, within this struc­ture she deve­lo­ped the artis­tic exchange pro­ject bet­ween Belgium and Benin dokoun­tin, which means there where wealth is found in Fon. In 2015, she orga­ni­zed the exhi­bi­tion Incarnation(s) at the Maison des Cultures in Molenbeek Saint Jean, which gathe­red artists from various hori­zons around the ques­tion of the invi­si­ble. The same year, she was res­pon­si­ble for the edi­to­rial coor­di­na­tion of books by the pho­to­gra­phers Teddy Mazina and Kiripi Katembo, publi­shed by Africalia. She col­la­bo­ra­tes with the maga­zi­nes IAM, Diptyk, l’art même and the online plat­form Afrique In Visu. Since 2016, she has been wor­king with the Congolese artist Sammy Baloji, par­ti­cu­larly for the Lyon Biennial, the Dakar Biennial, and the Kassel and Athens edi­tions of Documenta.

    Baptiste Brun is a contem­po­rary art his­tory tea­cher-resear­cher. He co-super­vi­ses the master’s Métiers et arts de l’expo­si­tion Exhibition pro­fes­sions and arts) at the University of Rennes 2, a cura­to­rial course that has orga­ni­sed nume­rous solo exhi­bi­tions at the Art & Essai Gallery (Sammy Baloji, Harun Farocki, Ben Kinmont, Zineb Sedira). His works deal with the inte­rac­tions bet­ween artis­tic crea­tion, art his­tory, anthro­po­logy and psy­chia­try in the second half of the 20th cen­tury and the epis­te­mo­logy of art his­tory viewed in com­pa­ri­son to pri­mi­ti­vism. He has contri­bu­ted to various publi­ca­tions like the issue of the Almanach de l’Art Brut (5 Continents, 2016) and is the author of Jean Dubuffet et la beso­gne de l’Art Brut : cri­ti­que du pri­mi­ti­visme (Presses du réel, 2019). As an exhi­bi­tion cura­tor, he was nota­bly res­pon­si­ble for the exhi­bi­tion Jean Dubuffet, un bar­bare en Europe (Mucem, Marseille ; Ivam, Valencia ; MEG, Genève, 2019-2021). He is cur­rently resear­ching the way eth­no­gra­phers res­pon­ded to objects from Alpine cultu­res in the last cen­tury. In paral­lel to these acti­vi­ties, he heads a study of confe­rence-per­for­mance that deals with a cri­ti­que of the autho­rity of dis­course in the SHS (Les schi­zo­mè­tres de Marco Decorpeliada, with Marcel Bénabou, Dominique Deliège, Jean-Luc Deschamps, Yan Pélissier and Olivier Vidal ; Les Conférences du Docteur Bâton).

    mòsso is a not-for-profit asso­cia­tion, foun­ded in 2014 by Estelle Lecaille, Lucrezia Cippitelli and Rosa Spaliviero in Brussels. The asso­cia­tion’s aim is to do research and contri­bute a reflec­tion on contem­po­rary crea­tion ema­na­ting from coun­tries in Africa, the Caribbean, the Pacific and Latin America. They also seek to deve­lop las­ting inter­na­tio­nal artis­tic col­la­bo­ra­tions bet­ween Europe and coun­tries in Africa, the Caribbean, the Pacific and Latin America, help emer­ging artists living in Belgium gain visi­bi­lity, more spe­ci­fi­cally Congolese artists and the Congolese dia­spora, to pro­mote cur­rent cultu­ral inno­va­tion and rea­lise artis­tic pro­jects on cur­rent envi­ron­men­tal and socie­tal chal­len­ges. mòsso orga­ni­ses exhi­bi­tions, film scree­nings, inter­sec­ting artists’ resi­den­cies, publi­shes texts and pro­du­ces artist videos and films.

    Event co-pro­du­ced with La Criée centre for contem­po­rary art, Rennes.

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