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  • Bétonsalon - Center for Art and Research

    9 esplanade Pierre Vidal-Naquet

    75013 Paris
    +33.(0)1.45.84.17.56
    Postal address
    Bétonsalon - Center for Art and Research
    Université de Paris
    5 rue Thomas Mann
    Campus des Grands Moulins
    75205 Paris Cédex 13
  • Katia Kameli -Yesterday is returning and I can hear it
  • Press Release
  • Events
  • Workshops
  • Events

    Wednesday, January 18, from 4 to 7 pm at Bétonsalon,
    and from 6 to 9 pm at the Institut des Cultures d’Islam, Paris

    Opening of the exhi­bi­tion by Katia Kameli,
    "Yesterday is returning and I can hear it"

    Friday, January 20, from 5 to 6 pm
    Visit of the exhi­bi­tion at the ICI Stephenson
    with Katia Kameli and Bérénice Saliou

    From Monday, January 23 to Thursday, February 2nd, in the hall of Grands Moulins, building A
    Short films pro­gram pro­posed by the stu­dents of the asso­ci­a­tion Cinésept
    In part­ner­ship with the Culture Department of Paris Cité University
    As part of the exhi­bi­tion Yesterday is returning and I can hear it by Katia Kameli, the stu­dents of the asso­ci­a­tion Cinésept offers a selec­tion of short films echoing the artist’s research on the place of images in indi­vidual and col­lec­tive mem­o­ries (in french ony):

    • Ulysse, Agnès Varda (1983) - 22’03
    • Kwa Henri Mandima, Robert-Jan Lacombe (2010) - 10’30
    • [sic], Éric Baudelaire (2009) - 15’01
    • Dad’s Stick by John Smith (2012) - 5’

    Saturday, January 28, from 2:30 to 5:30 pm
    TaxiTram, in part­n­er­­ship with the ICI, on reg­is­­tra­­tion: tax­itram@­­tram-idf.fr
    Meeting at Bétonsalon at 2.30 pm, visit of the exhi­bi­tion with the artist
    then shuttle to the ICI for the rest of the exhi­bi­tion visit. With Katia Kameli, Emilie Renard and Florence Marqueyrol

    Saturday, February 25, from 5 to 7 pm
    Meeting on Assia Djebar’s cin­e­mato­graphic writing
    with Marie Kondrat, researcher in com­par­a­tive lit­er­a­ture and teacher at the University of Geneva and Akila Kizzi, teacher and researcher in gender studies at the University of Paris 8

    Marie Kondrat is a researcher in com­par­a­tive lit­er­a­ture and a spe­cialist in the­o­ries of the image.
    Her book on the con­cept of off-screen (“hors-champ”), cur­rently being pub­lished, was awarded of the Barbour Prize in Literary and Aesthetic Criticism and the Latsis University Prize 2022.
    She writes in French, Ukrainian and English, and reads in Italian and Russian.
    Her cur­rent research pro­ject focuses on women with a double activity, as film­maker and writer.

    Akila Kizzi is a lec­turer in depart­ment of Gender Studies at University of Paris 8. She is a member of gender studies and sex­u­ality Research Laboratory. Her research work focuses on women writers and artists in North Africa, and trans­lating eth­nicity and sub­jec­tivity into art.
    In her doc­toral research, she worked on the intel­lec­tual and polit­ical career of the first north African woman writer Taos Amrouche in a colo­nial and post­colo­nial con­text, pub­lished by Fauves Passions et déchire­ments iden­ti­taires chez Taos Amrouche (2019).
    She also wrote a chapter in a col­lec­tive book Under the skin: Feminist art from the middle east and north Africa today on Indigenous Algerian Women Artists in the French Landscape: Baya Mahieddine and Taos Amrouche, pub­lished by British Academy in 2020.

    Saturday, March 11, from 6 to 8 pm
    La Nouba des femmes du mont Chenoua by Assia Djebar (1977)
    Screening fol­lowed by a dis­cus­sion with Katia Kameli and Ahmed Bedjaoui, pro­ducer of the film

    Ahmed Bedjaoui is a jour­nalist, pro­ducer and pro­fessor of com­mu­ni­ca­tion at the University of Algiers 3. He holds a PhD in lit­er­a­ture.
    Laureate of the "Institut des Hautes Etudes Cinématographiques" (IDHEC - Paris), he is the artistic director of the Algiers Festival of Engaged Film, and also President of the Algerian Film Fund.
    He pro­duced and pre­sented the pro­gram "Télécinéclub", broad­cast for 20 years on the Algerian national channel and pro­duced for it about 76 films, among which the two films of Assia Djebar, Nahla by Farouk Beloufa, or How much I love you by Azeddine Meddour.
    Ahmed Bedjaoui has pub­lished dozens of arti­cles in inter­na­tional jour­nals and Algerian news­pa­pers.
    He is the author of five books including: Cinema and Arab Literature, Cinema in its Golden Age, pub­lished in November 2018 and most recently Cinema and Algerian War of Independence.In 2015, UNESCO awarded him the Federico Fellini Medal for his con­tri­bu­tion to world film cul­ture. In 2019, he pre­sides the fic­tion jury at the fiftieth anniver­sary of FESPACO.

    Saturday, March 25, from 5 to 7 pm
    Meeting with Sawsan Noweir, actress in La Nouba, and Mireille Calle-Gruber, pro­fessor of lit­er­a­ture and aes­thetics at La Sorbonne Nouvelle, author of the book Assia Djebar, le manuscrit inachevé (2021)

    Born in 1946 in Egypt, Sawsan Noweir is a retired pro­fessor of archi­tec­ture.
    She studied archi­tec­ture and Egyptology in Egypt and France. After two years in France, she met Assia Djebar in 1975 in Paris. From 1976 to 1978, she spent two years in Algeria, for Assia Djebar’s film La nouba des femmes du mont Chenoua, and as a pro­fessor of archi­tec­ture at the Institute of Architecture of Constantine.

    Mireille Calle-Gruber, Professor of lit­er­a­ture and aes­thetics at La Sorbonne Nouvelle and writer super­vised the pub­lishing of Oeuvres Complètes de Michel Butor (La Différence, 2006-2010), wrote with Butor Le Chevalier morose (story script), co-super­vised the Dictionnaire Universel des Créatrices (des Femmes, 2013 - dig­ital since 2016).
    She co-organ­ised the Colloque de Cerisy, Assia Djebar, lit­téra­ture et trans­mis­sion, (Presses Sorbonne Nouvelle, 2009) and pub­lished two mono­gra­phies : Assia Djebar, la résis­tance de l’écriture (Maisonneuve & Larose, 2001), Assia Djebar, une surabon­dance dans le coeur (Ministère des Affaires Etrangères, 2006). Mireille Calle-Gruber is life member of the Academy of Arts, Letters and Humanities of The Royal Society of Canada, and she is doc­teur honoris causa of the Aristotle University of Thessaloniki.
    She recently pub­lished Assia Djebar, le manuscrit inachevé (PSN, 2021).

    Thursday, April 13, from 6 to 8 pm
    Conferences by Nabil Djedouani, director, actor and researcher, founder of the Digital Archives of Algerian Cinema, and Natasha Marie Llorens, writer, inde­pen­dent curator and pro­fessor of art theory at the Royal Institute of Art in Stockholm

    Nabil Djedouani is a director, actor and researcher. After studying cinema at the University Louis Lumière in Lyon, he co-directed a doc­u­men­tary film with Hassen Ferhani enti­tled Afric Hôtel (2010). He then worked with film­maker Rabah Ameur-Zaïmeche as assis­tant director and actor for the films Histoire de Judas (2015) and Terminal Sud (2019). In 2012, he cre­ated the web­site Archives Numériques du Cinéma Algérien to make avail­able to everyone on his Facebook page and YouTube channel for­gotten Algerian cin­e­mato­graphic works that he col­lects and restores. He began a work of research and dis­sem­i­na­tion around the music of Algerian expres­sion via the plat­form Raï & Folk. In 2019, he directed a doc­u­men­tary essay enti­tled Rock Against Police.

    Natasha Marie Llorens is a writer, inde­pen­dent curator, and pro­fessor of art theory at the Royal Institute of Art in Stockholm.
    She writes about con­tem­po­rary art and film with a focus on the rep­re­sen­ta­tion of vio­lence and decolo­niality in the arts and its insti­tu­tions. Llorens’s writing has been fea­tured in pub­li­ca­tions including Arab Studies Journal, art-agenda, Artforum, ArtReview, BOMB, Contemporary Art Stavanger, CURA, frieze, Ibraaz, the Journal of North African Studies, Kunstlicht, PARSE Journal, Modern Painters, La Belle Revue, World Policy Journal, and the WdW Review, among other arts pub­li­ca­tions and cat­a­logues.
    She has been a fellow at the American Institute for Maghrebi Studies, at the Centre national des arts plas­tiques (Cnap), the French-American Cultural Exchange (FACE Foundation), and the Jan van Eyck Academie. Graduate of the Center for Curatorial Studies at Bard College, she also holds a PhD in modern art his­tory from Columbia University. She won the Andy Warhol Foundation Arts Writers Grant in 2022 for short-form writing. Llorens is cur­rently working in col­lab­o­ra­tion with Tours-based artist Massinissa Selmani on a two-year artistic research pro­ject about “1,000 Socialist Villages,” an urban plan­ning ini­tia­tive launched in Algeria in the mid-1970s. The first exhi­bi­tion asso­ci­ated with this pro­ject will open in Algiers in rhi­zome spring 2023.

    Saturday, April 15, from 5 to 6 pm
    Discussion with Katia Kameli, Bérénice Saliou and Émilie Renard


    Parallel events:

    Friday, January 27, February 24, March 24, Wednesday, March 8, from 6 to 8:30 pm
    Cap pour l’île des vivantxs: a pro­gram­ming around les­bian and queer writ­ings, with Monique Wittig and beyond
    A pro­posal by Mathilde Belouali-Dejean, in col­lab­o­ra­tion with Les Ami·es de Monique Wittig, Suzette Robichon and Stéphanie Garzanti 
    First encounter on Friday 27 January at 6pm at Bétonsalon: col­lec­­tive reading of Le Corps Lesbien (in French), pre­sented by Catherine Ecarnot, and pre­ceded by "J/E", a radio broad­­­cast by Syn Guérin and Eugénie Kuffler

    Thursday, February 2, from 1 pm to 2 pm
    Midi-deux: meeting by and for stu­dents
    Talk with the stu­dents of the Cinésept asso­ci­a­tion for the closing of their pro­gram of short films pre­sented in echo of Katia Kameli’s exhi­bi­tion from from January 23th to Febuary 2nd in the hall of the Grands Moulins, Building A, with the films Ulysse by Agnès Varda, Kwa Henri Mandima by Robert-Jan Lacombe, [sic] by Éric Baudelaire and Dad’s Stick by John Smith

    Friday, February 3, April 7, from 6 to 8:30 pm
    Writing with mit­tens: writing work­shop on and around, for, with, under and alongside art
    Can you write about art with mit­tens? Having your hands full of plaster? Having you nose to the grind­­s­tone? What does the color of the exhi­bi­­tion floor, a rum­bling stomach, boredom or the bus ride to get here do to our per­­cep­­tion of art­­works? So many impor­tant ques­tions that may not be answered.

    Friday February 17, from 3 to 6pm
    Béton Book Club : col­lec­tive sur­veying ses­sion around Edward Saïd’s book, L’Orientalisme. L’Orient créé par l’Occident (1978)
    From Aeschylus to Kissinger, from Marx to Barrès, the West has had a dis­course on the East (the “Orient”). But, since the “Orient” does not exist, where does this dis­course come from and how can its aston­ishing sta­bility through the ages and ide­olo­gies be explained? This sur­veying ses­sion will be devoted to the col­lec­tive reading of the book of the Palestinian-American lit­erary the­o­rist and his crit­ical arche­ology of the dis­course on the "Orient"

    Thursday, March 2, April 6, from 12 to 2 pm
    Midi-deux: meeting by and for stu­dents

    Friday, March 10, from 3 to 6 pm
    Parties prenantes : ret­ro­spec­tives on the his­tory of Bétonsalon

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