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.