• Jagna Ciuchta: The Fold of the Cosmic Belly
  • Events
  • Workshops
  • Images
  • BS n°30 - Exhibition publication
  • Press release
  • Exhibition plan
    •

    Events

    If you require the pres­ence of a for­eign or sign lan­guage inter­preter, please let us know at least 4 days ahead of the event that inter­ests you, at the fol­lowing e-mail address:
    pub­lic­s@­be­­ton­salon.net

    PAST EVENTS

    Saturday 25 September, 6pm to 8pm
    HYPHEN#1 ABOUT REFUSAL
    (Feminist economies in a prison envi­ron­ment)

    Testimonials around the pro­ject designed by Julie Ramage,
    con­ducted in col­lab­o­ra­tion with:
    Farah, Gitane, Kitty, Marina Ledrein, Bénédicte Ledru, Lola, Mimi, Sara Ouhaddou, Hélène Périvier, Julie Ramage, Gaëlle Renaudin, S.B., Mamie Sexy, Annie Vanderstein

    Major luxury brands sub-con­tract pro­duc­tion activ­i­ties related to tex­tile and leather working to con­victs at the Fleury Mérogis women’s prison. The women working in these work­shops have set up an under­ground exchange net­work, based on their pro­duc­tion tools and the skills acquired through their activity, to repair their own worn-out clothing. The devel­op­ment of these cir­cular economies, or sol­i­darity net­works, tol­er­ated by the pen­i­ten­tiary admin­is­tra­tion, con­joins the his­tory of the ges­tures of weaving, braiding, and knit­ting, activ­i­ties tra­di­tion­ally asso­ci­ated with fem­i­ninity. According to Silvia Federici they shifted to the sphere of unpaid domestic work during the tran­si­tion to cap­i­talism. The his­tory of fem­i­nist strug­gles against this eco­nomic oppres­sion is enriched by reap­pro­pri­a­tions of these prac­tices by women ranging from witches to today’s eco-fem­i­nists.

    Supported by: SPIP 91, DISP, DRAC IDF, Cité inter­na­tionale des arts, Bétonsalon – centre d’art et de recherche, Fondation Daniel et Nina Carasso, Ateliers Médicis, Musée d’Art Moderne de la Ville de Paris, Cité du Genre, Faculté Sociétés et Humanités de l’Université de Paris, lab­o­ra­toire CERILAC d’Université de Paris, lab­o­ra­toire PHARE de l’Université Panthéon-Sorbonne.

    Monday 27 September & Tuesday 28 September, at 11am, 1pm, 3pm & 4.30pm
    The Book Club, extended ver­sion.

    With Alkis Hadjiandreou, Julie Laporte, Myriam Lefkowitz, Simon Ripoll Hurier and Yasmine Youcef

    One hour ses­sions at 11am, 1pm, 3pm and 4:30pm
    One of the three ses­sions at 11:00 am and 3:00 pm will be in English; one ses­sion at 1:00 pm and 4:30 pm can be in French or English, as desired.

    The Book Club pro­poses a reading expe­ri­ence in the form of a dia­logue between an artist and a vis­itor who is invited to lie down and close his or her eyes for an hour, a form of attune­ment that takes its source in the sharing of a mod­i­fied state of atten­tion, close to hyp­notic induc­tion.
    Gathering a corpus of texts bringing into play specific alliances between humans and non-humans, The Book Club is a col­lec­tive exper­i­ment that spec­u­lates on a form of reading where thinking, feeling, imag­ining, dreaming, being moved... are asso­ci­ated and gen­erate an alter­na­tive mode of under­standing and thinking, as many new fac­ul­ties to appre­hend the world that comes.

    Conception: Myriam Lefkowitz and Cécile Lavergne, in col­lab­o­ra­tion with the artists Alkis Hadjiandreou, Julie Laporte, Florian Richaud, Yasmine Youcef, and in dis­cus­sion with Igor Krtolica.

    One-hour ses­sions, reg­is­tra­tion required here.

    Saturday 2 October, 8pm to mid­night
    Zizanies, a poly­phonic vigil for the Nuit Blanche 2021
    A pro­posal by Clara Schulmann, with Phoenix Atala, Sheila et Aïcha Atala, Maïder Fortuné, Victoire Le Bars, Clotilde Le Bas, Anne Le Troter, No Anger, Gaëlle Obiegly, Cécile Paris, Prichia, Rosanna Puyol, Eden Tinto Collins, etc.
    The poly­phonic vigil, Zizanies brings together the voices of artists, writers, singers, researchers, beat­boxers, etc. who decide col­lec­tively to think aloud. During the vigil, the guests can par­tic­i­pate one after the other in this ephemeral com­mu­nity of voices, cre­ating a long col­lec­tive and fes­tive per­for­mance.
    More about this event

    sophie rogg, Il faut se lever tôt, si tu veux voir un monde sans cou­­leurs, goua­­che, 2021

    Monday 11, 18 & 25 October, from 4pm to 7pm
    The reversal expe­ri­ence
    A series of work­shops and events asso­ci­ating stu­dents, col­lec­tives, and speakers, designed by Duncan Driffort, Alexandra Mallah, Laure Manissadjian, stu­dents from the Ensa Paris-Val de Seine, in col­lab­o­ra­tion with Guillaume Meigneux, uni­ver­sity lec­turer, archi­tect and video maker, a Bétonsalon Academy pro­ject.

    Monday 11 October, 4pm - 7 pm, at Bétonsalon – centre d’art et de recherche
    Creative work­shop on mes­sages you can wear – by Bouillons – ate­lier

    In this cre­ative work­shop, the par­tic­i­pants will com­pose a mes­sage on the themes of fem­i­nism and inter­sec­tion­ality, and then apply it to a piece of clothing to give it a new lease of life. They will reap­pro­priate the tech­niques of embroi­dery, sewing, patch­work— tra­di­tional women’s work tech­niques—to com­pose a mes­sage they believe in, and can wear with pride. There will be a first period of reflec­tion on style and con­tent, then a second phase of cre­ation using recov­ered mate­rials (threads, beads, sequins, fabric), which may loosen ties and tongues.
    The par­tic­i­pants are requested to bring a gar­ment (shirt, jacket…) from their wardrobe, to give it a new lease of life! Everyone will leave with their gar­ment man­i­festo.

    No sewing or embroi­dery skills are required.
    Given the lim­ited number of places avail­able, reg­is­tra­tion is manda­tory: public­s@­be­ton­salon.net

    Bouillons – ate­lier
    Bouillons is a design work­shop com­mitted to cur­rent eco­log­ical issues, both envi­ron­mental and social. The mem­bers of this work­shop have dif­ferent and com­ple­men­tary skills: craft paper, nat­ural dyes, ceramics, manual weaving and sewing. We invest these skills in moments of cre­ation, encoun­ters, sharing and trans­mis­sion that we set up in dif­ferent con­texts with a range of audi­ences. We enjoy intro­ducing design and cre­ation in sec­tors that do not see them­selves as the recip­i­ents of these skills., just as we enjoy it when other worlds and pro­fes­sions insert them­selves into our activity. We like mixing our skills with the skills of others who belong to a com­mitted ecosystem. Bouillons is also a pro­duc­tion work­shop for objects and ideas: we start with scrap mate­rials to create some­thing beau­tiful and to sen­si­tize var­ious audi­ences to reuse and trans­for­ma­tion.

    Saturday 23 October, 5pm to 6pm
    Talk on Alina Szapocznikow’s work by Valentin Gleyze, fol­lowed by a con­ver­sa­tion with Jagna Ciuchta.

    Alina Szapocznikow, Fotorzeźby [Photosculptures] (detail), 1971/2007, twenty orig­inal gelatin-silver prints and a col­lage with text on papier, 24 x 30 cm and 30 x 24 cm (each). Shot : Roman Cieslewicz © ADAGP, Paris, 2021. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris / Hauser & Wirth

    The Polish sculp­tress Alina Szapocznikow (1926-1973) set­tled in Paris in 1963, in a par­tic­u­larly rich con­text. She men­tored other artists, was friends with art critics, fre­quented art dealers, vis­ited exhi­bi­tions, read widely, and was involved in pas­sionate debates. For a few years while she was there, she con­tinued the work she had begun just after the Second World War, exper­i­menting with rep­re­sen­ta­tions of the body in volume, using tra­di­tional (plaster, stone, or bronze), and new mate­rials (syn­thetic plastic mate­rials derived from oil). Then, right at the begin­ning of the 1970s, going against her ear­lier approach, Szapocznikow began to exper­i­ment with con­cep­tual art. The series Photosculptures (1971) pre­sented in Jagna Ciuchta’s exhi­bi­tion The Fold of the Cosmic Belly, is par­tic­u­larly rep­re­sen­ta­tive of this. Here, the sculp­tress pre­sents twenty black and white pho­tographs of a chewed-up piece of chewing gum, where her body only exists to provide a sense of scale. The con­fer­ence will be fol­lowed by a con­ver­sa­tion with Jagna Ciuchta, which will be an oppor­tu­nity to dis­cuss Szapocznikow’s career more freely, revealing how her work res­onates with this exhi­bi­tion.

    “The expe­ri­ence of reversal” a cycle of events designed by Duncan Driffort, Alexandra Mallah, Laure Manissadjian, stu­dents at the Ensa Paris-Val de Seine school of archi­tec­ture, as part of the Bétonsalon académie pro­gramme, sup­ported by the Daniel & Nina Carasso Foundation.

    Monday 25 October, 5pm - 7 pm, at Bétonsalon – centre d’art et de recherche

    Off the beaten track. Discussion on ecofem­i­nism between Constance Rimlinger, soci­ol­o­gist, and Stéphane Arnoux, film maker and art-ther­a­pist.

    In the face of the social, envi­ron­mental, exis­ten­tial, and polit­ical crisis, what utopias actu­ally exist? How do we give meaning to and become part of a sus­tain­able future?

    The temp­ta­tion of going back to the land, with a fem­i­nist and lib­er­tarian per­spec­tive, will be the starting point for a dis­cus­sion at the cross­roads of soci­ology and cinema. Constance Rimlinger, author of a thesis on ecofem­i­nism within the back to the land move­ment, will be in dis­cus­sion with Stéphane Arnoux, film­maker and art ther­a­pist, whose last doc­u­men­tary fol­lows the bifur­ca­tions and ques­tion­ings of a queer fem­i­nist activist. The dis­cus­sion on ecofem­i­nism, its imag­i­nary and its poten­tial for trans­for­ma­tion, will be based on images, nar­ra­tives from the field, clin­ical cases and echoes of strug­gles.

    “The expe­ri­ence of reversal” a cycle of events designed by Duncan Driffort, Alexandra Mallah, Laure Manissadjian and stu­dents at the Ensa Paris-Val de Seine archi­tec­ture school, in the con­text of Bétonsalon Academy, sup­ported by the Daniel & Nina Carasso Foundation.

    After a master’s at Sciences Po in International Relations, spe­cial­ising in human rights and human­i­tarian action and a Master’s in gender studies, Constance Rimlinger, a doc­toral stu­dent in soci­ology at the EHESS, wrote a thesis titled: “Fémin­istes des champs. L’espace de la cause écoféministe au sein du mou­ve­ment de retour à la terre. France, États-Unis, Nouvelle-Zélande.1970-2019” – “Field Feminists. The space of the ecofem­i­nist cause within the back to the land move­ment France, United States, New Zealand. 1970-2019”). She is also a yoga teacher and is studying per­ma­cul­ture.

    Stéphane Arnoux has directed four fea­ture films, both fic­tion and doc­u­men­tary, that ques­tion the con­nec­tion between the inti­mate and the polit­ical. He is also a musi­cian, pho­tog­ra­pher, art medi­ator at a day centre for people in sit­u­a­tions of social vagrancy, and an art-ther­a­pist.

    Saturday 30 October, 5pm to 6pm
    Collective sound per­for­mance by Anna Holveck.
    Word of Mouth/Bouches à oreilles

    From one mouth to the next, the repeated words slowly lose their pre­ci­sion. The rapid flow of this simul­ta­neous trans­la­tion requires com­plete atten­tion. Syllable after syl­lable, whis­pered into an ear, the words chip away at each other and are dis­torted, the vowels are elon­gated and deformed. Simultaneously words of a song, a score and a pro­tocol, the text inhabits the col­lec­tive hum with its dynamics, its tempo, its images and the grey of its typog­raphy. Despite intense con­cen­tra­tion, the chewed-up words are grad­u­ally altered to emerge as song.

    With: Avec la par­tic­i­pa­tion de : Ebbane Augé-Visa, Lola, Benjamin Bahloul, Margot Bonnery, Anne-Lise Danloup, Garance Dufeutrelle, Anna Emelianenko, Isaure Lefebvre, Claire Garrot, Odile Gheysens, Sacha Grolleau, Aurélie Manesse, Gilles Fra, Sephora Metry, Mathilda Mikulic, Sacha Morzy, Julie N’Guyen, Alice Quérel, Loïc Risler, Lamia Tazi, Chloé Vieyra, Sébastien Walczyszyn, Anaëlle Zana.

    Anna Holveck is a visual artist, com­poser, and singer. She lives and works in Paris. At the cross­roads of sev­eral dis­ci­plines, she weaves con­nec­tions between the expe­ri­ence of sound, per­for­mance, voice, video, writing and musical com­po­si­tion. By con­fronting these prac­tices with the envi­ron­ment and dif­ferent con­texts, she reflects upon how the nature of a space influ­ences the mor­phology of sound, gives rise to a specific reading, responds to the com­po­si­tion, and res­onates with the body. Her per­for­mances are inter­preted by the artist her­self or groups of per­formers, whom she ini­ti­ates into her approach to voice, the body and space. Several of her pieces have recently been included in the Frac Île-de-France public col­lec­tion and were included in the Frac Franche-Comté col­lec­tion in 2017. Her work has been per­formed at var­ious places including the Centre Pompidou, the Pernod Ricard Foundation, Creux de L’enfer, chez Pauline Perplexe and Actoral, the con­tem­po­rary poetry fes­tival. At the begin­ning of the aca­demic year 2021, she joined the Art Contemporain et Temps de l’Histoire (Contemporary Art and History) team in Lyon. Her work will soon be per­formed at La Vitrine du Plateau in Paris and at Panorama’s Nuit Verte (Green Night) to be held in Bordeaux, in 2022.

    Thursday 18 November, 6.30pm to 8pm
    
S’assou­vrir (The Satisfaction of Opening up) a per­for­mance designed and directed by Eden Tinto Collins with Nicolas Worms, Nicolas Vair and Céline Shen.
    Screening of the film by Suzanne Husky, Earth Cycle Trance, led by Starhawk.


    Eden Tinto Collins, Proposition d’image pour s’assou­vrir, 2021 © Eden Tinto Collins

    
S’assou­vrir
    In the guise of an operetta or a release party, the per­for­mance 
S’assou­vrir invites Medea, the destruc­tive matrix figure, into Jagna Ciuchta’s exhi­bi­tion The Fold of the Cosmic Belly. Her story, recalling the des­tiny of the divas of yes­terday and today, is re-set to music in orig­inal cre­ations and rear­ranged com­po­si­tions from Nuages by Claude Debussy to Chemins d’amour by Jean Anouilh and Francis Poulenc, and vibes by Ariana Grande, Beyoncé, or Toni Braxton.
    
S’assou­vrir is a musical inter­pre­ta­tion that seeks to make use of the dra­maturgy employed in the Numin pro­ject, ini­ti­ated by Eden Tinto Collins. Numin oscil­lates between poetry, net-art, in situ per­for­mance and space opera. Seen as a strange object by the mem­bers of the pro­ject who do not really want to set it to music, 
S’assou­vrir is like a techno hit, yet another highly fem­i­nine pop hymn

    Suzanne Husky
    Earth Cycle Trance, led by Starhawk , 2019, Video, 32’, com­mis­sioned by the 16th Istanbul Biennale, pro­duced with the sup­port of Berrak & Nezih Barut

    An ecofem­i­nist activist, per­ma­cul­ture teacher and American author, will­ingly claiming the title of witch, Starhawk (born in 1951) speaks can­didly to Suzanne Husky. The inter­view takes place during a ritual, like those she has been con­ducting since the 1980s at polit­ical demon­stra­tions, con­gresses and during retreats. A fixed frame against a black back­ground, holding in one hand a drum on which she plays a few cap­ti­vating notes, she guides the audi­ence through a nar­ra­tive that traces a cycle of growth and life, decom­po­si­tion, and death then renewal. Her spring­board is an organic and sen­sory expe­ri­ence of matter that tran­scends inter-species rela­tions. For Starhawk, ritual is a polit­ical and col­lec­tive mech­a­nism, to be reap­pro­pri­ated as a tool and a means of action.
    Commissioned from the Franco-North American artist, Suzanne Husky, for the 16th Istanbul Biennale in 2019, this film is part of her mul­ti­dis­ci­plinary prac­tice, which incor­po­rates and min­gles sculp­ture, weaving, ceramics, and video, with agri­cul­tural tech­niques and garden land­scaping.

    Eden Tinto Collins
    Poetess, video maker, visual artist, per­former and singer, Eden Tinto Collins develops a hyper media prac­tice rooted in col­lab­o­ra­tion and the cir­cu­la­tion of words, images and motifs. Often co-signed with other artists, her cre­ations take dif­ferent forms, but share a rhythm and a prin­ciple of super­po­si­tion bor­rowed from obses­sive dig­ital scrolling. Not without humour, her short films borrow clichés from super­hero and horror films, or from tuto­rials, enhancing these homages with com­men­taries on racist and ableist dis­crim­i­na­tion, and on fem­i­nist issues. Eden Tinto-Collins pays atten­tion to lan­guage, its codes and its pol­y­semy; across dif­ferent mediums she reuses and trans­forms a con­ti­nuity of tex­tual ele­ments and ref­er­ences, along with her alter ego fig­ures Layla Numin and Jane Dark.
    For Jagna Ciuchta’s exhi­bi­tion The Fold of the Cosmic Belly, she invented a per­for­mance using Medea, the matrix and destruc­tive figure as her starting point.

    Eden Tinto Collins (born in 1991) devel­oped her artistic prac­tice studying at the École nationale des beaux-arts in Paris-Cergy (2011-2018) and during an intern­ship in Ghana (2015) at New Morning man­aged by Bibie Brew. A hyper media “po­et­i­cian”, she col­lab­o­ra­tively explores the idea of net­works and inter­de­pen­dency, f.r.ictions and mytholo­gies. The rela­tional and noetic (con­necting thought and mind) mech­a­nisms she uses are deployed across the spec­trum of per­for­mance and exper­i­mental cinema. She is part of sev­eral groups like the le Gystère live Gang, the Black(s) to the Future Collective and Yoke, and has appeared in sev­eral films, shows and per­for­mances. With Nicolas Worms, she is devel­oping the group pro­ject Numin, that oscil­lates between poetry, net art, in situ per­for­mance and space opera.

    Suzanne Husky
    Suzanne Husky is an artist, gar­dener, and mother, she has taught land­scape his­tory and eth­nob­otany in the School of Art and Design in Orleans (France), and Plant Matters at the San Francisco Art Institute. For the past 20 years, Suzanne Husky has devel­oped a mixed-media cre­ative prac­tice focused on human, plant, and earth rela­tions. She’s a founder of the artistic french duo Le Nouveau Ministère de l’Agriculture that cre­ates art­work on agribusi­ness and agtech but also regen­er­ates soil and plants forest gar­dens. Suzanne Husky studies agroe­cology and agro­forestry and imple­ments it inland she stew­ards and spaces she’s invited to land­scape as an artist. Suzanne Husky’s pod­cast called Mother Goose and other earth sto­ries threads con­nec­tions between mythology, agroe­cology, and earth knowl­edge, it’s broad­casted on Point Reyes Radio Station. She cur­rently vol­un­teers weekly at Alemany, a farm ded­i­cated to food jus­tice in San Francisco.

    Céline Shen
    Céline Shen is a French artist and designer. Trained in Paris, she studied phi­los­ophy at the Sorbonne University. Her pas­sion for fashion and dance led her to train as a designer at the Ecole nationale supérieure des Arts Décoratifs, while studying chore­og­raphy at the Académie royale des Beaux-Arts in Brussels. Her col­lec­tion is inspired by the tra­di­tional bridal trousseau and cou­ture craft tech­niques learnt at the fashion house Alaïa. Between art and fashion, her cre­ations are at the cross­roads of sev­eral dis­ci­plines: dig­ital arts, pho­tog­raphy, per­for­mance, instal­la­tion, video and chore­og­raphy.

    Nicolas Vair
    After grad­u­ating from the sound sec­tion of the ENS Louis Lumière in 2016, he cul­ti­vated his interest in var­ious fields of sound that evolve in par­allel and some­times meet. Mixing and musical pro­duc­tion, sound cre­ation and exper­tise for busi­nesses spe­cial­ising in sound, are some of the domains that keep him busy since he grad­u­ated. Since 2019, he has been working with Eden Tinto Collins on sev­eral pro­jects involving sound (radio play, short films, musical pieces and stage pro­jects…).

    Nicolas Worms
    Born in Paris in 1993, Nicolas Worms, attracted by the rela­tion­ship between music and dance, com­poses and plays on stage for chore­og­ra­phers like Radhouane El Meddeb and Bruno Bouché. Alongside com­po­si­tion, his activity as a music arranger has led him to work with the Orchestre Philharmonique de Radio France, l’OFJ and numerous fes­ti­vals while com­posing for clas­sical ensem­bles. He has also orches­trated and recorded orig­inal sound­tracks for fea­ture films by Christophe Honoré, Eric Judor, Christian Schwochow and Quentin Dupieux. He is cur­rently working on “Numin”, a space opera, in col­lab­o­ra­tion with the artist Eden Tinto Collins and “l’Île de Pâques”, a music-fic­tion.

    Saturday 27 November, 5pm to 6pm
    
Con­ver­sa­tion between Jagna Ciuchta, Émilie Renard and Mathilde Belouali-Dejean.

    For the last day of the exhi­bi­tion The Fold of the Cosmic Belly, in con­ver­sa­tion with Mathilde Belouali-Dejean and Émilie Renard, Jagna Ciuchta will look at the pro­cesses imple­mented in her work, and her posi­tion as artist and curator inter­vening at the scale of the exhi­bi­tion. She will also dis­cuss her rela­tion­ships with the artists and authors she invites, her visual archives, and maybe the meta­mor­phoses taking place in her work.