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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
  • Maryam Jafri, The Day After
  • Events
  • Images
  • BS n°18
  • Events

    LISTEN TO THE RECORDINGS on RADIO 22 TOUT-MONDE!

    R22 Tout-monde is a web radio launched in June 2014 by Khiasma, a cul­tural plat­form and art center based in Les Lilas (93), a suburb close to Paris. It cir­cu­lates and shares sound doc­u­ments of all forms, pro­duced by an ensemble of con­trib­u­tors from all over the world. These doc­u­ments are con­ceived of as living archives and resources for action. R22 Tout-monde is a partner of The Day After and Bétonsalon - Centre for Art and Research.


    Wednesday March 11 / 7-9pm
    MARYAM JAFRI at SOMETHING YOU SHOULD KNOW

    Off-site: EHESS

    Maryam Jafri pre­sents her work in the frame of Something You Should Know (artists and pro­ducers today), a sem­inar con­ceived and organozed by Patricia Falguières, Elisabeth Lebovici, Hans-Ulrich Obrist and Nataša Petrešin-Bachelez


    Tuesday march 17 / 6-9pm
    THE DAY AFTER EXHIBITION OPENING
    & LAUNCH OF QALQALAH


    Saturday March 21
    Taxi Tram

    TRAM, the con­tem­po­rary art net­work of Paris / Ile-de-France orga­nizes a bus trip to dis­cover three exhi­bi­tions: Monologue by Vandy Rattana at Jeu de Paume, Mongkut by Arin Rungjang at Maison d’art Bernard Anthonioz and The Day After at Bétonsalon – Centre for Art and Research. Info : 0033 1 53 34 64 43 or tax­itram@­tram-idf.fr


    Friday March 27 / 2-4pm
    The artist as researcher and dig­ital her­itage

    off­site: Paris Diderot University

    In the frame­work of the Usages des Patrimoines Numérisés (uses of dig­i­tal­ized her­itage) net­work, the Intermediality (EMOI) sem­inar orga­nized by Isabelle Barbéris wel­comes Maryam Jafri, in con­ver­sa­tion with Isabelle Barbéris (Lecturer in Performing Arts and Live Arts), Virginie Bobin (Associate Curator, Head of edu­ca­tion at Bétonsalon - Centre d’art et de recherche) and Emmanuelle Raynaut (artist).


    Tuesday 7 - Thursday 9 April
    NATIONAL DAYS FOR ARTS and CULTURE in the UNIVERSITY Paris Diderot

    Tuesday April 7, noon-2pm
    An Unverifiable Attempt to Enter History
    Guided tour with par­tic­i­pants from Denis Diderot work­shop and Soufiane Ababri. (see p. 27)

    Thursday April 9, 1-3pm
    Guided tour with stu­dents from Master 1 Journalisme, Culture et Communication sci­en­tifique (Paris Diderot University).


    Friday April 10 / 10.30am – 5.30pm
    Boys don’t cry

    Off-site: MAC/VAL

    Artist Soufiane Ababri is invited to pre­sent the work devel­oped during the work­shop An Unverifiable Attempt to Enter History in the frame­work of a 3 days pro­gram of meet­ings, per­for­mances and screen­ings con­ceived in echo with Cherchez le garçon , an exhi­bi­tion he is taking part of at MAC/VAL. April 10, 11 and 12, full pro­gram avail­able on www.macval.fr/
    Free entrance.


    Saturday April 11 / 2-7pm
    IMAGES IN DEPENDENCES

    With, among others: Maryam Jafri, Dominique Malaquais (Researcher at the Center for African Worlds Studies, CNRS) and Cédric Vincent (Doctor in Anthropology and researcher at the Center for Anthropology of writing, EHESS), Soufiane Ababri (artist), Sarah Frioux-Salgas (Head of Archive at Collections doc­u­men­ta­tion, Quai Branly Museum)...

    How is his­tory framed by its rep­re­sen­ta­tions? How are images and their sig­ni­fi­ca­tions affected by their con­text of cir­cu­la­tion? In the com­pany of Maryam Jafri and her guests, pho­tographs, magazines and films will serve as a trigger to explore the itineraries of images and the suc­ces­sive webs of mean­ings pro­duced by his­tor­ical nar­ra­tives and rep­re­sen­ta­tions, from post­colo­nial, non-aligned per­spec­tives.


    Saturday April 25 / 2-7pm
    OUT of FRAME: AN AMBIVALENT AFTERNOON

    With par­tic­i­pants from the research group égalité / hybridité / ambiva­lence at the Ecole Supérieure d’Art et de Design Toulon Provence Méditerranée : Anaïs Dormoy, Jean-Loup Faurat, Géraldine Martin, Julie Origné, Axelle Rossini, Ian Simms, Mabel Tapia and Margaux Verdet. Guest: Maxime Guitton. In the pres­ence of Maryam Jafri.

    In the course of an after­noon, the exhi­bi­tion The Day After wel­comes ambiva­lent nav­i­ga­tions, trav­eling through film abstracts, read­ings, per­for­mances and hybrid sound­scapes that infil­trate the inter­stices between Maryam Jafri’s images. Over the last few months, the research group égalité / hybridité / ambiva­lence ini­ti­ated at the ESADTPM (an art school in Toulon, France) has attempted to map the pos­sible genealo­gies, dis­place­ments and the­o­ret­ical links between, on the one hand, a prin­ciple of equality under­stood as an eth­ical, polit­ical and aes­thetic prin­ciple; and, on the other hand, notions of hybridity, ambiva­lence and decen­tering, from heteroge­nous per­spec­tives. The resources they have accu­mu­lated are recom­posed and shared through Renkan, a tool for the cre­ation of col­lab­o­ra­tive, heuristic maps.

    Following a week-long work­shop within the exhi­bi­tion The Day After, nur­tured by meet­ings with Maryam Jafri (artist), Maxime Guitton (pro­grammer, curator), Olivier Marboeuf (writer, curator, director of Espace Khiasma) and Em’kal Eyongakpa (artist in res­i­dency at Kadist Art Foundation), artists from the research group invite the audi­ence to embark on mul­tiple jour­neys through the pro­lif­er­ating space of heuristic maps and the more mate­rial space of the exhi­bi­tion.

    2-3.30pm: Compositions / recom­po­si­tions
    Following his exchanges with par­tic­i­pants from the research group, Maxime Guitton (pro­grammer, curator) pro­poses a public lis­tening ses­sion where activist, pop­ular and high music are com­posed and recom­posed through a series of back-and-forth between North America and India (among others).

    3.30-6.30pm: Diagonal lines
    Visual, sound and per­for­ma­tive doc­u­ments are acti­vated by artists and researchers from the ESADTPM research group, taking the exhi­bi­tion The Day After as a starting point.

    This event is sup­ported by l’Ecole Supérieure d’Art et de Design Toulon Provence Méditerranée.


    Wednesday May 13 from 7 to 9 pm
    Screening of La Pyramide Humaine by Jean Rouch
    (1961, 1h30)
    Off-site: Buffon audi­to­rium, Paris Diderot uni­ver­sity

    One year before the Ivory Coast became inde­pen­dent, Jean Rouch invites white and black high school stu­dents from Abidjian to stage a friend­ship. Proposed by stu­dents from Master I Journalisme, Culture et Communication Scientifiques from University Paris Diderot in the frame of CinéDiderot, in part­ner­ship with the ser­vice Culture of Paris Diderot uni­ver­sity. More info here.


    Thursday 21 May / 5-7 pm
    Archive in Echo : Rethinking the Memories and Imaginaries of Colonial Independences.
Ses­sion 2/3: Independences in ques­tion: an ellipsis within human and social sciences?

    A sem­inar orga­nized by the research group Le noeud du monde : poli­tique du corps (post)colo­nial: Jephthé Carmil (PhD in Sociology at Université Paris 7 – Paris Diderot and at the Nantes art school), Maïa Hawad (PhD in Political Philosophy at Université Paris 7 – Paris Diderot and in Anthropology at EHESS) and Pauline Vermeren (Doctor in Political Philosophy and Associate researcher at the Laboratoire de change­ment social et poli­tique (LCSP) at Université Paris 7-Diderot).

    By deter­ri­to­ri­al­izing archives from their con­ven­tional uses and recon­tex­tu­al­ising them within the sphere of art, Maryam Jafri ques­tions the pro­duc­tion and man­age­ment of col­lec­tive memory. What does this archival nomadism pro­duce, and how does it operate in rela­tion to the writing of colo­nial his­tory ? What other kinds of dis­courses and nar­ra­tives does Jafri’s method­ology allow to emerge ? How does her archival deter­ri­to­ri­al­iza­tion relate to con­tem­po­rary post­colo­nial sit­u­a­tions and their cur­rent debates ?

    Next and last ses­sion: June 18.


    Thursday May 28 from 5 to 7pm // Parallel event

    Launch of L’homme qui mordit son chien, an edi­to­rial pro­ject by stu­dents from the writing work­shop of Licence 3 Arts, Lettres, Langues at Paris Diderot uni­ver­sity, under the super­vi­sion of Julie Ramage.


    Friday May 29 from 6 to 6.30pm // Parallel event

    Pourquoi Moi, a choral per­for­mance by Emmanuelle Raynaut with Johanna Korthals Altes, Satchie Noro, Emmanuelle Raynaut and Kerwin Rolland.

    After an invi­ta­tion by Isabelle Barbéris (lec­turer at Paris Diderot uni­ver­sity), in the frame of the UDPN - Usages des pat­ri­moines numérisés (Idex SPC) pro­gram, artist Emmanuelle Raynaut pre­sents a ver­sion of Pourquoi Moi, a cre­ation, born out of res­i­den­cies in Beirut and in Rome, in the archive of NGO UMAM and the Vatican storage.

    Produced by AREP-Cie Région Centre, co-pro­duced by UMAM-dg The Hangar, ZINC-Friche Belle de Mai, CORSINO-Studio-44, Cie Maroushka/ Festival Ecoute Voir, LIEUX FICTIFS, La Muse en Circuit, le CERILAC and UDPN, with sup­port from Dicream.


    Saturday May 30 from 3 to 6pm

    Exercizing Doubt : Exhibition as a Medium for Research

    JPEG - 69.1 kb
    Popular ball in the Andravoahangy neighborhood the night of the "fête de la République" on Saturday October 21, 1958. ANTA Fund, Madagascar.

    With Emanuele Guidi (artistic director, ar/ge kunst, Bolzano), Invernomuto (Simone Bertuzzi & Simone Trabucchi, artists), Virginie Bobin (asso­ciate curator, head of public pro­grams at Bétonsalon – Centre for Art and Research) and Rémi Parcollet (art his­to­rian).

    An after­noon of visual and the­o­ret­ical essays around exhi­bi­tion as a medium for research, where time allows to rethink the rela­tions between art and the public sphere, beyond dis­ci­plinary cat­e­gories.

    PROGRAM

    3 pm: Welcome

    3.10 – 3.30 pm: Emanuele Guidi, Situating Research: Between the Institution and the City

    While posi­tioning ar/ge kunst, the art centre he directs in Bolzano, within the cul­tural and polit­ical land­scape of South Tyrol (a bilin­gual region of Italy on the border with Austria), Emanuele Guidi will weave together specific exam­ples of artistic and cura­to­rial prac­tices, the pol­i­tics of dis­play and modes of research that broaden the space and time of the exhi­bi­tion format so as to facil­i­tate forms of shared knowl­edge pro­duc­tion. Guidi will focus on one case study in par­tic­ular: Gareth Kennedy’s pro­ject “The Uncomfortable Science”, which took place in Bolzano in 2013/14 as part of “One Year-Long Research-Project”, an ongoing series of research and pro­duc­tion res­i­den­cies at ar/ge kunst.

    3.40 – 4 pm: Invernomuto, Hit by the Archive

    Italian duo Invernomuto retraces the paths of two ongoing pro­jects: Negus, a series of films exploring the metaphor of the Negus and its con­nec­tion to the colo­nial past of Italy, while retracing the Jamaican musical tra­di­tion of ver­sioning; and Malu - Lo Stereotipo della Venere in Italia, which looks at a very specific archive of Italian Mondo Movies and Mondo Sexy from the 60s and 70s. Both pro­jects took shapes through a suc­ces­sion of exhi­bi­tions, films and pub­li­ca­tions – including pro­tag­o­nists such as the legendary musi­cian Lee “Scratch” Perry. Invernomuto’s research revolves around dif­ferent out­puts: the exhi­bi­tion con­sti­tutes only one of them. (in English)

    4.15 – 4.35 pm:Virginie Bobin, WEAVING (from a Dance to a Fire to a Bouquet of Flowers)

    Looking at a 1958 pho­tograph of a tra­di­tional dance in Madagascar; deci­phering the con­se­quences of a crim­inal fire at the library of the uni­ver­sity of Algiers in 1962; tracing the many lives of a flower bou­quet from 1960 to today: through the exam­i­na­tion of specific ele­ments con­tributed respec­tively by an aca­demic, stu­dents and an artist to Maryam Jafri’s cur­rent exhi­bi­tion at Bétonsalon – Centre for Art and Research, Virginie Bobin will unwind the web of rela­tions, prac­tices and tem­po­ral­i­ties that con­sti­tute and expand an exhi­bi­tion con­ceived as an active plat­form for the cir­cu­la­tion and con­tam­i­na­tion of dif­ferent forms of knowl­edge. (in English)

    4.45 – 5.05 pm: Rémi Parcollet, Documenting exhi­bi­tions, exhibiting doc­u­ments

    The archive (notably the visual one) of Harald Szeemann’s exhi­bi­tion “Live in Your Head. When Attitudes Become Form: Works – Concepts – Processes – Situations – Information” (1969 Bern) have played a cru­cial role in the recon­sti­tu­tion that Germano Celant orches­trated with Thomas Demand and Rem Koolhaas at Fondazione Prada in Venice in 2013. How did the research on the doc­u­men­ta­tion of the orig­inal exhi­bi­tion struc­ture, influ­ence and deter­mine this « recon­struc­tion » ? (in French)

    5.15 – 6pm : Discussion with the audi­ence

    Participants

    Virginie Bobin is asso­ciate curator and head of public pro­grams at Bétonsalon – Centre for Art and Research. She has worked notably at Witte de With Centre for Contemporary Art in Rotterdam and Les Laboratoires d’Aubervilliers, while devel­oping inde­pen­dent cura­to­rial and edi­to­rial pro­jects, with a specific interest in the inter­sec­tions between artistic prac­tices, research and col­lab­o­ra­tive ways of working.

    Emanuele Guidi is a writer and curator. Since July 2013, he has been the artistic director at ar/ge kunst, the Kunstverein of Bolzano (Italy) where he develops a pro­gram around artistic posi­tions that reflect on exhi­bi­tion-making as medium of research and on the rela­tion­ship between visual art and design, dance, pub­lishing and theory (www.argekunst.it). Previous pro­jects and exhi­bi­tions include, a.o.: How to Tell a Story (DEPO, Istanbul 2013, curated with Cathy Larqué); Between Form and Movements (Galleria E.Astuni, Bologna, 2012), Rehearsing Collectivity – Choreography Beyond Dance (Tanzfabrik, Berlin, 2011, curated with Elena Basteri, Elisa Ricci and Aldo Giannotti), Collective Body (Liquid Loft, Vienna, 2010, curated with Aldo Giannotti).

    Invernomuto is a duo formed by Milan-based artists Simone Bertuzzi and Simone Trabucchi in 2003. Their medium of choice is sound and the moving image. Other forms with which they are inter­ested are sculp­ture, pub­lishing, and live actions. Their most recent solo shows and per­for­mances include: The Celestial Path (GAMeC, Bergamo, 2013), I-Ration (ar/ge kunst, Bozen, 2014), Negus – Far Eye (Museion, Bozen, 2014), Marsèlleria (Milan, 2014), Anabasis Articulata (Triennale di Milano, Milan, 2014), ArtSpeak (Vancouver, 2015) and Wondo Genet (AuditoriumArte, Rome, 2015). Their work was also fea­tured in such group shows and fes­ti­vals as Biennale Architettura 11 (Venice, 2008), Hors Pistes 2009 (Centre Pompidou, Paris, 2009), Milano Film Festival (Milan, 2013), Black Star Film Festival (Philadelphia, 2014), Bozar (Brussels, 2015), Nero su Bianco (American Academy in Rome, 2015) among others.

    Rémi Parcollet is a his­to­rian of con­tem­po­rary art. He works on the his­tory of exhi­bi­tions, from con­tem­po­rary per­spec­tives on bodies of visual archive, her­itage and dig­ital human­i­ties, on the treat­ment of images in the his­tory of museums, and on visual tes­ti­monies in the artistic and cul­tural field. He is the co-editor of Postdocument magazine.

    In col­lab­o­ra­tion with ar/ge kunst, in the frame­work of PIANO, Prepared Platform for Contemporary Art, France–Italy 2014-2016, ini­ti­ated by d.c.a / French asso­ci­a­tion for the devel­op­ment of cen­tres d’art, in part­ner­ship with the Institut français in Italy, the French Embassy in Italy and the Institut français, with the sup­port of the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and Fondazione Nuovi Mecenati.

    JPEG - 36.8 kb
    Invernomuto, Negus, 2013 (set picture). (c) Invernomuto.

    Sunday May 31 / 11am - 5pm
    CRISS-CROSSING the ARCHIVE

    Artist talk and work­shop by Maryam Jafri
    Off-site: University of the Arts, Central St-Martins, London

    Organized by Making Public(s), an online pub­li­ca­tion plat­form for Exhibition Studies ini­ti­ated by the stu­dents of the MRes: Art Exhibition Studies pro­gramme at Central Saint Martins, University of the Arts London.

    Program and infor­ma­tion here.


    Monday 1 and Tuesday 2 June
    IS THERE A POSTCOLONIAL REGIME for the ARTS ?

    Off-site: Paris Diderot University - Amphi Buffon (Monday June 1) / Amphi Turing (Tuesday June 2)

    The glob­al­iza­tion era is, evi­dently, post­colo­nial. Yet, the post­colo­nial is often pre­sented as the reverse of glob­al­iza­tion rather than as its cor­re­late. To wonder if there is a post­colo­nial regime for the arts is to ques­tion the post­colo­nial dimen­sion of artistic glob­al­iza­tion. Today, art, like money, ignores bor­ders: it is the most fluid of cul­tural exchanges. We will attempt to seize what is hap­pening in the arts today, not from the view­point of the West and glob­al­iza­tion, but from “the rest of the world” and post­colo­niality, crossing per­spec­tives from “here” and “there”.

    Organized by Seloua Luste Boulbina, with the Laboratoire de change­ment social et poli­tique and Afrikadaa magazine.

    Detailed pro­gram and prac­tical infor­ma­tion avail­able here.

    The event will con­clude with a guided tour of Maryam Jafri’s exhi­bi­tion The Day After at Bétonsalon.


    Saturday June 13 / 10am – 7pm
    OTHER GESTURES: PRACTICES OF HERITAGE

    PNG - 275.7 kb
    Extract from Emma Wolukau-Wanambwa’s contribution about "La Croisière Noire" for Qalqalah, n°1, 2015

    With Lotte Arndt (theory pro­fessor at École d’art et design in Valence), Marian Nur Goni (his­to­rian), Nana Oforiatta-Ayim (writer and his­to­rian), Franck Ogou (archivist, head of pro­grams at Ecole du Patrimoine Africain), Zineb Sedira (artist), Ashok Sukumaran (artist), Françoise Vergès (polit­ical sci­en­tist) and Emma Wolukau-Wanambwa (artist).

    Other Gestures gives voice to artists, researchers, col­lec­tives and insti­tu­tions who ques­tion the modal­i­ties of col­lecting, pre­serving, cir­cu­lating and acti­vating archival and her­itage mate­rials, notably through dig­i­tal­iza­tion. The Day After and Maryam Jafri’s work tes­tify for the com­plex role that tools for pre­serving and cir­cu­lating her­itage (some­times others’ her­itage) played in the iden­ti­tarian and ide­o­log­ical con­struc­tion of States after inde­pen­dence. Today, the legit­i­macy of the very idea of Nation is reassessed by glob­al­iza­tion, and this has an impact on what is at stake in archive and her­itage. We wonder what rela­tion­ships do the « imag­ined com­mu­ni­ties » described by Arjun Appadurai enter­tain with mate­rial and imma­te­rial her­itage, when the most priv­iledged way of accessing it is through dig­ital repro­duc­tion. What are pos­sible alter­na­tives to the national insti­tu­tion of the archive? What ges­tures, uses and net­works are at play to turn her­itage into a tool for eman­ci­pa­tion and knowl­edge?

    Interventions will take place in French and in English. Translation will be pro­vided in both lan­guages.

    The day will con­clude with the launch of Qalqalah, a Reader, in the pres­ence of the edi­to­rial team (Bétonsalon – Centre for Art and Research and Kadist Art Foundation Paris) and con­trib­u­tors Lotte Arndt, Marian Nur Goni and Emma Wolukau-Wanambwa.

    PROGRAM

    10.30 a.m. – Welcome and Introduction

    1st Part: PRESERVING and DISPLACING HERITAGE

    11 - 11.30 a.m. – Franck Ogou (archivist, head of pro­grams at Ecole du Patrimoine Africain), in con­ver­sa­tion with Marian Nur Goni (his­to­rian): African Photographic Archive: Current Status and Preservation Initiatives

    Who are the actors who are attempting at pre­serving pho­to­graphic archive on the African con­ti­nent today? What are the means and the range of their actions ? And how did prece­dent ges­tures and exper­i­ments of pro­mo­tion impact this long-term endeavor ? These are some of the pressing issues that Franck Ogou and Marian Nur Goni will address during their con­ver­sa­tion, with a par­tic­ular focus on the pro­ject of the Ecole du Patrimoine Africain (Porto-Novo), around Cosme Dossa’s archive.

    11.40 a.m. - 12.10 p.m. – Emma Wolukau-Wanambwa (artist): THE SEEABLE, THE SAYABLE AND THE SYSTEM*

    In her pre­sent engage­ment with archives, Emma Wolukau-Wanambwa explores their func­tions as mech­a­nisms of con­trol. She is inter­ested in how soci­eties use them, in their varying mate­rial and imma­te­rial forms, to shape and to govern what is known, what is said and what is seen. In her pre­sen­ta­tion, she will address these issues with ref­er­ence to the British gov­ern­ment’s han­dling of its offi­cial colo­nial archives, and to her recent expe­ri­ences of researching the archive of ’La Croisière Noire’ - the 30,000km journey over­land from Algeria to Madagascar that was con­ceived by the French car man­u­fac­turer Citroën and spon­sored by Louis Vuitton.
    (*Title is bor­rowed from a lec­ture by Stephen Dixon.)

    12.10 p.m. - 12.30 p.m. – Discussion mod­er­ated by Lotte Arndt (theory pro­fessor at École d’art et design in Valence)

    12.30 - 2 p.m. – Lunch break
    Light meals will be avail­able for sale.

    2nd Part: PARA-INSTITUTIONS of the ARCHIVE

    2 - 2.30 p.m. – Nana Oforiatta-Ayim (writer and his­to­rian): Cultural Encylopaedia: The Archive as a Work of Art

    The Cultural Encyclopaedia is a large-scale doc­u­men­ta­tion and archive pro­ject, ini­ti­ated by Nana Oforiatta-Ayim, in order to facil­i­tate the re/ordering of knowl­edge, nar­ra­tives and rep­re­sen­ta­tions from and about the African con­ti­nent. The Cultural Encyclopaedia is rep­re­sented as a dig­ital plat­form, in pub­lished vol­umes, and through living his­tory hubs, and is intended to provide a foun­da­tion for alter­na­tive nar­ra­tives of devel­op­ment by gen­er­ating, col­lecting and sharing knowl­edge.

    2.40 - 3.10 p.m. – Ashok Sukumaran (artist and member of Camp) ): Don’t Wait for the Archive

    The expe­ri­ences with Pad.ma, a plat­form for video footage mate­rial we run for seven years, tell us that the approach to the big word Archive is always pro­vi­sional and incom­plete. We are always imag­ining uses and abuses of the archive, before we have an archive as such. This is its strength. It describes the power of a "plat­form" to pro­duce imag­i­na­tion, as a place from where the world looks dif­ferent. It is also the prac­tical form in which small groups of people and com­puters are taking over what was his­tor­i­cally a func­tion of the state, and where it is clear that the state has failed us.

    3rd Part: LIVING ARCHIVE

    3.20 - 3.50 p.m. – Screening of Gardiennes d’Images Part. I by Zineb Sedira (2010)

    4 - 4.30 p.m. – Zineb Sedira (artist): Memory Keepers

    Gardiennes d’images is a por­trait of Safia Kouaci, the widow of Mohamed Kouaci, an Algerian pho­tog­ra­pher who doc­u­mented the war of inde­pen­dence and died in 1996. Safia is not the only cus­to­dian of the archive, as together with Zineb Sedira they go back through the past to recall and record sto­ries and images. The work is a double homage to Safia and Mohamed, a remark­able couple, a his­tor­ical doc­u­ment, and a filmic reflec­tion on aging and soli­tude.

    4.40 - 5 p.m. – Closing remarks by Françoise Vergès (polit­ical sci­en­tist)

    5 - 5.30 p.m. – Discussion mod­er­ated by Virginie Bobin (co-curator of The Day After)

    5.30 - 7 p.m. – Drinks and launch of Qalqalah , a reader co-edited by Bétonsalon – Centre d’art et de recherche and Kadist Art Foundation Paris.

    The event is co-orga­nized with the Chaire Global South(s), held by Françoise Vergès in the frame of her sem­inar at Collège d’études mon­di­ales de la Fondation maison des sciences de l’homme. It receives sup­port from the Collège d’études mon­di­ales and from the UDPN - Usages des pat­ri­moines numérisés (Idex SPC) pro­gram. Nana Oforiatta-Ayim’s par­tic­i­pa­tion is orga­nized with Kadist Art Foundation Paris. Ashok Sukumaran’s par­tic­i­pa­tion is orga­nized with the sem­inar Something You Should Know - Artists and Producers Today.


    Thurday 18 June / 5-7pm
    Archive in Echo : Rethinking the Memories and Imaginaries of Colonial Independences.
Ses­sion 3/3: "Postcolonial turn": its adven­ture in the con­tem­po­rary art field

    A sem­inar orga­nized by the research group Le noeud du monde : poli­tique du corps (post)colo­nial: Jephthé Carmil (PhD in Sociology at Université Paris 7 – Paris Diderot and at the Nantes art school), Maïa Hawad (PhD in Political Philosophy at Université Paris 7 – Paris Diderot and in Anthropology at EHESS) and Pauline Vermeren (Doctor in Political Philosophy and Associate researcher at the Laboratoire de change­ment social et poli­tique (LCSP) at Université Paris 7-Diderot).


    Jeudi 25 juin / 19-20h
    A CONSERVATOR’S TALE

    Performance by Kapwani Kiwanga

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    Kapwani Kiwanga, "Forms of absence", video still, 2014.

    In A Conservator’s Tale, Kiwanga assumes the role of a con­ser­vator in charge of very specific and sub­jec­tive archives. She makes silent objects speak, embodies for­gotten accounts and tells fan­tas­tical sto­ries. Unusual anec­dotes, unspoken facts and myth­ical beasts all have their place in the sto­ries told by Kiwanga. By com­bining read­ings, sound and video extracts, the artist explores the status of the doc­u­ment, but also the pos­si­bil­i­ties of oral trans­mis­sion.

    This event con­cludes the sem­inar The Place from Where We Look orga­nized by Kadist Art Foundation from June 23 to 25, 2015 in Paris, in the frame of Collecting Matters, a pro­gram ini­ti­ated in 2012 by Kadist Art Foundation (Paris), Nomas Foundation (Rome) and David Roberts Arts Foundation (London), to encourage new ways of thinking, sharing and thinking the notion of col­lec­tion. The Place from Where We Look is sup­ported by Contemporary Art Heritage Flanders (CAHF).

    Bétonsalon - Centre for Art and Research con­tributed to select the group of inter­na­tional par­tic­i­pants for the sem­inar - Marianna Hovhannisyan, Yu Ji, Moses Serubiri, Simon Soon, Yesomi Umolu and Natalia Zuluaga – and hosts the last day of pro­fes­sional encoun­ters.

    More infor­ma­tion about the public pro­gram of events is avail­able on
    www.kadist.org / http://col­lecting-mat­ters.tumblr.com

    Kapwani Kiwanga wishes to thank Jeu de Paume, Marta Ponsa and Nataša Petrešin-Bachelez.


    Sunday July 5 / 1-7pm
    HOSPITALITÉS 2015

    With Soufiane Ababri, Nelson Bourrec Carter and Camille Ayme, as well as Barbara Manzetti (with Tanguy Nédélec) and Philippe Artières, guests of Hospitalités 2015.

    MAC VAL, Bétonsalon – Centre for Art and Research et and Ygrec, Ensapc gallery pro­pose a dis­covery of the exhi­bi­tions Cherchez le garçon, The Day After and State of the Road, unfolding sub­jec­tive sto­ries as a pos­sible resis­tance against nor­ma­tive power struc­tures. In the frame of Hospitalités, an event orga­nized by the TRAM net­work.

    Participation : 7 euros per pers. (4 euros reduced fare : stu­dents, unem­ployed). Information : 01 53 34 64 43 or tax­itram@­tram-idf.fr - www.tram-idf.fr


    Friday July 10 / 2-3.30 p.m.
    Histories of Contestatory/Contested Photographs

    Off-site: La Sorbonne

    Histories of Contestatory/Contested Photographs is a panel orga­nized by Erika Nimis and Marian Nur Goni, two researchers asso­ci­ated with the exhi­bi­tion The Day After, in the frame­work of ECAS (the European Conference for African Studies). Historians Helihanta Rajaonarison and Jürg Schneider, who also con­tributed to The Day After, will par­tic­i­pate.

    Following the path of a growing number of works (Christraud Geary, 2002 and Estelle Sohier, 2012) ana­lyzing the social and polit­ical life of pho­to­graphic images pro­duced on the African con­ti­nent since the second half of the 19th cen­tury (in order to enlighten his­tory with renewed tools while enriching a global his­tory of pho­tog­raphy), this panel aims at bringing to light the var­ious con­texts in which pho­tographs, their uses and the cir­cu­la­tions of their media, have been able at some point to dis­pute the pre­vailing views of their times. Read more here.

    Detailed list of par­tic­i­pants here.


    Saturday July 11 / 4 p.m.
    FINISSAGE and PERFORMANCE by ANNE HISTORICAL

    Competitors Leave at Dawn: the race from Johannesburg
    A per­for­mance lec­ture by Anne Historical (Bettina Malcomess)

    A per­for­mance that forms part of pro­ject, ’The Memories of Others’: a series of appear­ances working with voice, ges­ture and moving image. The work begins begins from news­reel footage of the ‘Great African Air Race’ from the United Kingdom to Johannesburg. With only one plane actu­ally fin­ishing and 3 fatal acci­dents en route, the race was a failure. The nar­rator of the per­for­mance is a char­acter afflicted with the ability to remember the mem­o­ries of others. This is not unlike the mech­a­nism of film: a recep­tacle for mem­o­ries never expe­ri­enced. Working with the nar­ra­tive of a journey never wit­nessed, the piece reflects on the colo­nial imag­i­na­tion of the con­ti­nent as a single ter­ri­tory.

    In the con­text of Africa Acts, a week­long arts and cul­ture event ded­i­cated to per­for­mance art from Africa and her dias­poras (5-12 July 2015), an ini­tia­tive of the European Conference on African Studies, devel­oped by Institut des Mondes Africains (IMAF) and Les Afriques dans le Monde (LAM) / CNRS, in col­lab­o­ra­tion with l’agence à paris. With thanks to Dominique Malaquais.

    About the European Conference on African Studies and Africa Acts

    The sixth edi­tion of the European Conference on Africa Studies (8-10 July 2015) is struc­tured around the fol­lowing theme: Collective Mobilizations in Africa: Contestation, Resistance, Revolt. Music, graf­fiti, cinema, the­atre, dance: art has had, and con­tinues to have, a pow­erful effect on the kinds of mobi­liza­tions ref­er­enced here. From Cairo to Cape Town, per­for­mance and pol­i­tics are inti­mately linked and bring rad­ical heft to move­ments and moments alike. Echoing this key role of the arts, for the first time the European Conference on African Studies wel­comes over thirty panels focusing on visual and expres­sive cul­tures. See detailed pro­gram here.

    Paralleling the European Conference on African Studies, Africa Acts has been devel­oped in con­cert with a wide variety of cul­tural spaces across the city of Paris. Intended for a broad public of Parisians and vis­i­tors, Africa Acts will offer ambi­tious and inno­va­tive pro­graming high­lighting the speci­ficity and the orig­i­nality of boundary-breaking artists. These are artists whose work speaks truth to power, taking to task and, simul­ta­ne­ously, tran­scending the social, eco­nomic and polit­ical vio­lence of our 21st cen­tury world. Individually and as a group, they seek to re-enchant their envi­ron­ments: to dream and rethink them in light of imag­i­naries crafted to do away, once and for all, with ready-made ideas and clichés.



    WORKSHOPS


    AN UNVERIFIABLE ATTEMPT TO ENTER HISTORY

    A work­shop led by Soufiane Ababri, as part of Paris Diderot University’s Ateliers Diderot

    From February 3 to April 7
    Every Tuesday noon - 2pm

    How to enter his­tory? Through which ways? Alone, or as a group? Can we write his­tory via side ways, unof­fi­cial and unver­i­fi­able paths? Using a wide range of tools (inter­views, inves­ti­ga­tions, image anal­ysis), artist Soufiane Ababri invites us to col­lec­tively ques­tion our capacity to "enter his­tory" (to figure in it, to play a part in it, to trans­form it). Each ses­sion will bring together a range of mate­rials (TV archive, films, texts, art­works) from a variety of sources. Rather than acquiring "tech­niques" (no prior knowl­edge or expe­ri­ence is needed), the aim of this work­shop is to imagine ways for art to become a medium for research and a polit­ical tool.

    The work­shop is open to all. Registration required. Sign up with the Cultural Services of Paris Diderot uni­ver­sity: ser­vice.cul­ture (at) univ-paris-diderot.fr / 01 57 27 64 36 / 01 57 27 59 37

    More infor­ma­tion here.

    About Soufiane Ababri
    Born in 1985 in Tangiers, Soufiane Ababri grad­u­ated from the National Superior School of Decorative Arts and from the Superior School of Fine Arts of Montpellier Agglomération. His work was exhib­ited at the French Institute in Amsterdam in 2013 and at In Between in Brussels in 2014. In 2015, he par­tic­i­pates in « Cherchez le garçon », a col­lec­tive exhi­bi­tion at MAC/VAL and is a res­i­dent at Cité des Arts in Paris. Together with curator Karima Boudou, he is editing a magazine-exhi­bi­tion to be launched at Cube in Rabat in the Fall of 2015.

    //

    IMAGES IN DEPENDENCE: MEDIA CIRCULATIONS

    A work­shop orga­nized in col­lab­o­ra­tion with the master 1 Journalisme, Culture and Communication Scientifique (Paris Diderot University) and Thierry Lefebvre.

    With Sarah Balfagon Viel, Anne-Sophie Boutaud, Sarah-Louis Filleux, Barbara Gineau Delyon, Numa Journiac, Laurène Levy, Alice Mounissamy, Léo Tessier, Cécile Thibert, Benjamin Vignard, Océane Vincent.

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    Stamp of the festival Festac,, (c) Dominique Malaquais and Cédrid Vincent.

    Taking the pho­tographs from Independence Day 1934-1975 as a starting point, this work­shop pro­poses to observe the itineraries of images and the sto­ries asso­ci­ated to them, in col­lab­o­ra­tion with Maryam Jafri, Virginie Bobin, Dominique Malaquais (Researcher at Center for African Worlds Studies, CNRS) and Cédric Vincent (Doctor in Anthropology and researcher at the Center for Anthropology of writing, EHESS), and Sarah Frioux-Salgas (Head of Archive at Collections doc­u­men­ta­tion, Quai Branly Museum). Their work will be pre­sented in the exhi­bi­tion, on a blog and during guided tours.

    Visit the diary of the work­shop.

    //

    WRITING AN EVENT

    Writing work­shop orga­nized in col­lab­o­ra­tion with Julie Ramage, in the frame of UFR LAC at Paris Diderot University.

    From January 9 to May 9

    Transforming a fact into an event require the inter­ven­tion of writing, whether visual or tex­tual; an event is defined in the modal­i­ties of this nar­ra­tion. Writing the ordi­nary or the extraor­di­nary result from the same pro­cess of medi­atic trans­for­ma­tion. The work­shop will look at con­tem­po­rary artists using video, per­for­mance, instal­la­tion and lit­er­a­ture to write the banal, the daily affairs or national events. An edi­tion will be avail­able at Bétonsalon – Center for Art and Recherche and on Paris Diderot’s campus after the work­shop.

    //

    OUT OF FRAME: EGUALITY / HYBRIDITY / AMBIVALENCE

    A work­shop orga­nized in parten­er­ship with Ecole Superieure d’Art and Design of Toulon Provence.

    April 20-24. Public event on Saturday April 25

    With Anaïs Dormoy, Jean-Loup Faurat, Géraldine Martin, Edouard Monnet, Julie Origné, Axelle Rossini, Ian Simms et Mabel Tapia.

    Reluctant to oppose a cer­tain number of founding ideas under­lying mod­ernism and the the­o­ret­ical tools devel­oped in the field of cul­tural studies that they find just as per­ti­nent, the research pro­ject at the Toulon School of Art (ESADTPM) endeav­ours to trace the genealogy, migra­tions and the­o­ret­ical links and shifts between what one could term on the one hand, the prin­ciple of equality and, on the other hand, notions such as hybridity, ambiva­lence and decen­tering. The research group will gather for a week during the exhi­bi­tion The Day After to ques­tion the spaces beyond the visual in Maryam Jafri’s work in con­nec­tion with the research group’s own pre­oc­cu­pa­tions.

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