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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
  • Practical sessions directed by Ève Chabanon
  • Workshop « Le Passe-muraille » by Anna Holveck
  • Workshop with Anna Holveck
  • Practical sessions directed by Ève Chabanon

    As part of Bétonsalon Academy 2020, the Center for Art and Research is devel­oping a pro­gram for sev­eral uni­ver­si­ties of the 13th arrondisse­ment of Paris, a dynamic stu­dent dis­trict.

    Our neigh­bours from Inalco (University of Languages and Civilizations) have thus col­lab­o­rated with artist Ève Chabanon on the elab­o­rating medi­a­tion objects around her exhi­bi­tion The Surplus. Over six face-to-face ses­sions and a rig­orous work at a dis­tance, con­strained by the period of con­fine­ment due to the COVID-19 san­i­tary crisis, the stu­dents of the Communication and Intercultural Training Course of the LLCER Bachelors Degree at Inalco bril­liantly trans­formed their pro­jects in order to pro­pose dig­ital ver­sions launched online on Bétonsalon - Center for Art and Research’s web­site.

    Discover the four pro­jects :
    "Art in exile", a ped­a­gogic plat­form
    "Zéro pointé", the review
    Mapping of arti­sanal poetry tech­niques around the world
    "Hands"

    Questions of ethics and posi­tioning towards the Other in the fields of the infor­ma­tion and com­mu­ni­ca­tion sciences are key issues: how to avoid the pit­falls of exo­ti­za­tion, mis­er­abilism and cul­tural appro­pri­a­tion when working with people in exile?
    In what ways can medi­a­tion be made as lively as the long-term work car­ried out by Ève Chabanon and her col­lab­o­ra­tors; Yara Al Najem, Abou Dubaev, Olivier Iturerere, Nassima Shavaeva, Aram Ikram Tastekin, Abdulmajeed Haydar, the teams and stu­dents of the Lycée Julie-Victoire Daubié in Argenteuil?
    How to bear wit­ness to a specific time and space, how to involve the vis­itor in this human pro­ject above all?

    The stu­dents were able to ben­efit from the artist’s expe­ri­ence and advice, from a tailor-made pro­ject follow-up, group by group, of the Art Center in order to carry out the logis­tical and admin­is­tra­tive aspects, from exciting the­o­ret­ical inter­ven­tions and from training on pro­ject man­age­ment tools.

    Team:

    Guest artist: Ève Chabanon

    Conception and coor­di­na­tion: Nöemie Desseaux, Adrien Lecerf et Fanny Spano

    Guest researcher: Jöelle Le Marec

    Professor-researcher: Eva Sandri

    Students: Imène Benmansour, Mélissa Bignon, Camille Bonsergent, Sule Cifti, Lucie Clavier-Chretien, Louise Courjault, Denise Di Gennaro, Rajaa Elmanaa, Anouk François, Clélia Frouté, Kimberley Garnier, Pénélope Girard, Anne-Laurence Hamer, Joséphine Lemercier, Lauriane Limonet, Sriyaphone Manivong, Amina Mansouri, Pauline Naillon, Korridwenn Ogier, Hanna Pasquier, Célia Pondi, Marine Sadikhossen, Hana Zouari, Pauline Ginisty, Aysha Zamuel.

    Supported and funded by Daniel and Nina Carasso Foundation.


    "Art in exile", a pedagogic platform

    « Art is a force to create, next to the real world, a more human world. » André Maurois.

    Art in exile has many mean­ings: one which we retain is a metaphor­ical approach, and another is a part of a time and space. The time refer to cul­tural, soci­etal, social and there­fore, polit­ical events.

    Europe is nowa­days living one of the biggest pop­u­la­tion move­ment of these 70 past years. According to the French office of state­less per­sons and Refugees’s Protection, about 132 700 asylum appli­ca­tions have been reg­is­tered in 2019, a 7% increase, com­pared to 2018. Among these per­sons are some artists that are forced to flee their coun­tries. Through these artists’ voices, the coun­tries at risk’s cul­tures can be per­pet­u­ated. This is why it’s impor­tant that artists can con­tinue to prac­tice their art.

    However, since the 1980s, the number of artist has tripled in France but the employ­ment oppor­tu­ni­ties have advanced slower. The result is that artists make less and less money and are increas­ingly finan­cially inse­cure. This pre­car­ious sit­u­a­tion is exac­er­bated for exiled people.

    The exile got a strong metaphor­ical power, which is due, according to Sarah Sakji, to a feeling of exclu­sion, a break, a dis­tancing. Going into exile is an oppor­tu­nity to « think else­where », as Montaigne said. This evokes to her the artists who take sideroads and foster wan­dering as a pro­cess. Art is eva­sion, in itself, from wan­der­ings emerge ideas, expe­ri­ences, sur­prises, dis­cov­eries . It is when we don’t totally belong some­where that we can unlearn how we see the world.

    The Art in exile pro­ject took form as a part of an aca­demic pro­ject, col­lab­o­ra­tively between the Communication and inter-cul­tural studies 3rd year Bachelors Degree from INALCO 2019-2020’s class and Bétonsalon - Center for Art and Research.

    The projet Art in exile has been cre­ated as part of an aca­demic pro­ject, a part­ner­ship between the Communication and inter­cul­tural for­ma­tion 3rd year Bachelors Degree 2019-2020 from INALCO and Bétonsalon - Center for Art and research. Through Ève Chabanon’s exhi­bi­tion The Surplus, a few stu­dents have been inspired by the artist’s col­lab­o­ra­tive pro­fes­sional career. They con­se­quently decided to develop an event to high­light the topic of art in exile.
    The event was sup­posed to offer dif­ferent work­shops and panels for this class, to allow stu­dents to develop their crit­ical and artistic spirit, as well as to broaden their hori­zons.
    Coronavirus health crisis changed plans, but the event pro­ject has been adapted, and was trans­formed into an edu­ca­tional plat­form, in which our artists-col­lab­o­ra­tors and other stu­dents from CFI L3 (Communication and inter-cul­tural for­ma­tion) sug­gest con­tents for the plas­tics arts class. This plat­form will serve as a tool for Luce Mongo-Mboussa as part of her art class. This will also enable to create a link between her class and the artists. The pur­pose of the plat­form is to inspire the stu­dents on their pro­duc­tions using plat­form con­tents

    Click here to access the Art in exile plat­form

    Conception and real­iza­tion by:

    Clélia Frouté
    INALCO stu­dent, pro­ject coor­di­nator, prospecting, editing and mon­i­toring col­lab­o­ra­tions,

    Amina Mansouri
    INALCO stu­dent, internal and external com­mu­ni­ca­tion man­ager, editing, com­mu­nity man­ager, con­tent trans­lator,

    Sule Cifti
    INALCO stu­dent, graphic cre­ation and panel co-respon­sible (planned for the event),

    Rajaa Elmanaa
    INALCO stu­dent, admin­is­tra­tive ref­erent, editing, internal com­mu­ni­ca­tion assis­tant,

    Imène Benmansour
    INALCO stu­dent, budget man­ager, uploading respon­sible and panel co-respon­sible (planned for the event),

    Hana Zouari
    INALCO stu­dent, uploading respon­sible and panel co-respon­sible (planned for the event).

    Special thanks to:

    Eva Sandri, for having trusted us and given the oppor­tu­nity to carry out this partner pro­ject, and for having advised us,

    Ève Chabanon, for inspiring us,

    Fanny Spano, for her sup­port, set­ting up the pro­ject and Bétonsalon - Center for Art and Research, for having trusted us and for sup­porting us set­ting up this pro­ject,

    Luce Mongo Mboussa, for her interest and moti­va­tion in the goal of car­rying out a pro­ject with common objec­tives,

    Guillaume de la Chapelle, Muhammad Hirzalla, Sarah Sakji, Mojtaba Ahmadi, Moggan, Alice Amoroso and to all the artists we men­tioned, because thanks to them we were able to provide mate­rial,

    All the stu­dents of our class CFI L3 2019-2020, for their con­tents and pro­duc­tions.


    "Zéro pointé", the review

    Zéro pointé is an art review on con­tem­po­rary art, written by a group of stu­dents majoring in com­mu­ni­ca­tion and inter­cul­tural training at the INALCO. The main goal of this review is to make this artistic time period acces­sible and under­stand­able by an audi­ence as wide as pos­sible, whichever back­ground they may or may not have in art his­tory. In a way, this review reflects on the ini­tia­tory journey these seven col­lege stu­dents took during these past few weeks: the ques­tions they asked them­selves regarding con­tem­po­rary art and Ève Chabanon’s exhi­bi­tion, and the answers they put together after thor­ough research. Coming out of reading these arti­cles should hope­fully leave you with a better under­standing of con­tem­po­rary art and many of its cur­rent and recur­ring ques­tions.

    Click here to dis­cover the review Zéro pointé

    Conception and real­iza­tion by Hanna Pasquier, Célia Pondi, Joséphine Lemercier, Louise Courjault, Lauriane Limonet, Denise Di Gennaro & Sriyaphone Manivong.


    Mapping of artisanal pottery techniques around the world

    While pot­tery is a common artistic expres­sion throughout the world, dif­ferent char­ac­ter­is­tics and methods exist within this ances­tral knowl­edge that are still largely unknown to the gen­eral public. In this pro­ject, we try to high­light some of them that appeared in dif­ferent regions of the world, such as Asia, America, Africa and Europe. Whether it is the mod­elling and painting tech­niques or the firing tech­nology, each craftsman pro­ceeds fol­lowing tech­niques that have been passed on to him across gen­er­a­tions. All the essen­tial ele­ments that are required in pot­tery, which are the colours, the tools, and the clay besides other ele­ments extracted from the ground, vary according to the cli­matic, geo­graph­ical and cul­tural con­text of each country. Historical and cul­tural rich­ness, which had been largely unknown up until now, are revealed through the var­ious tech­niques pre­sented hereby. Additionally, this pro­ject show­cases sim­i­lar­i­ties between the know-how of dif­ferent coun­tries. What specific tech­niques can be iden­ti­fied and how can they be dis­tin­guished from those found in other remote cul­tural areas?

    As part of our work with Bétonsalon - Center for Art and Research, we have decided to focus on this artistic medium and tried to pre­sent in the most con­cise and sim­plest way var­ious pot­tery tech­niques that will attract ama­teurs as well as pro­fes­sionals.

    Click here to dis­cover the tech­niques and their speci­fici­ties

    Conception and real­iza­tion by Pauline Ginisty, Korridwenn Ogier & Marine Sadikhossen.


    "Hands"

    The movie Hands offers to show the making pro­cess of the hands pre­sented in the exhi­bi­tion Ève Chabanon’s The Surplus. This short movie focuses on the hands’ pro­duc­tion. The artist stands within the exhi­bi­tion space at Bétonsalon – Center for Art and Research. Sitting there, she achieves her piece in a snap : a hand. As it is for the others scat­tered throughout the space, she pro­ceeds this way and lays them down beside ceramic cups, which she also imag­ined and crafted. Her move­ments are fast and brief, but every time, from her art­work, appears unique piece. None are alike. The hands arise from small rollers of red clay, slowly rounded up under the artist’s palms. She han­dles, sep­a­rates, shapes and smoothes out the clay. Bit by bit, Ève Chabanon’s own hands turn red in con­tact with the red loam. The clay hands get a darker hue by drying. With damp fin­gers, the artist care­fully cre­ates her com­po­si­tion. Ten min­utes goes by. The piece is done. Ève Chabanon leans it against a sup­port. The hand curves. It will be one with turned-up palm. As it dries, the shape becomes clearer and more dis­tinct. A couple of hours is enough. The hand is done.

    Conception and real­iza­tion by Mélissa Bignon, Anouk François & Pauline Naillon for Apomé Production.

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