INFINITE VILLAGE
MANIFESTA 13 MARSEILLE / PARALLELES DU SUD
28.08.2020 – 05.12.2020
concept: cora von zezschwitz & tilman / artistic director: francisca viudes /production: The(He)artfor(He)artprogram, curators: cora von zezschwitz, francisca viudes, tilman / tables rondes: sigrid pawelke
ESPACE JOUENNE: 39/41 RUE MONTGRAND, 13006 MARSEILLE
LE 109, 89 RUE DU TURIN, 06003 NICE
HOTEL WINDSOR, 11 RUE DELPOZZO, 06000 NICE
ARTISTS AND PARTICIPANTS
ALISON AMBROSIO – BLOND & GILLES – CHOEUR TAC-TIL – FLORE SAUNOIS – GWENOLA WAGON, STEPHANE DEGOUTIN & PIERRE CASSOU NOGUÈS – COLLECTIF DING – JAKOB KNUDSEN & LORENZ VON SEIDLEIN – KJELL BJORGEENGEN & INGA MARGRETE AAS – LUCIA LEISTNER – GUILLAUME DU BOISBAUDRY – TEKSAS.DK & BILLY GRUNER – YIFAT GAT - MICHELANGELO PISTOLETTO - SHEZAD DAWOOD - LUCY & JORGE ORTA - DOUGLAS WHITE - ILYA & EMILIA KABAKOV - PETROC SESTI – ARJUNA NEUMAN & DENISE FERREIRA DA SILVA – HILARIO ISOLA – PELAGIE GBAGUIDI – MOSTAPHA ROMLI – SHIVA LYNN BURGOS – DIMITRI MALLET – FILIP VAN DINGENEN – PERRINE LACROIX – GREEN KISS – SIGRID PAWELKE – AMIR HABIBI – PHIL NIBLOCK & KATHERINE LIBEROVSKAYA – CHRISTOPHER ROTH – CORA VON ZEZSCHWITZ & TILMAN - STUDIO DRIFT - SUZANNE HUSKY - ELISABETH VON SAMSONOV
DUE TO THE NATIONAL AND INTERNATIONAL SANITARY REGULATIONS AND/OR OTHER TECHNICAL DIFFICULTIES, PROJECTS BY ERIC VAN HOVE, HALIL SAMI HILAL, SIMON COUVIN, VIK MUNIZ, REYNA LEVYA NOVO, DIALOGIST-KANTOR, ISABELLE DANTO, ROLAND FISCHER, YAHON CHANG AND MARINE
DUBOSQ COULD NOT BE REALISED OR FACILITATED.
` THE FLAG` BY Cora Von ZEZSCHWITZ
ARTISTS AND PARTICIPANTS
FILIP VAN DINGENEN
Filip Van Dingenen is a multidisciplinary artist and co-founder of the Ecole Mondiale in Brussels. He is currently PHD researcher at LUCA School of Arts in Ghent/Brussels and affiliated researcher at the Laboratory of Education and Society at KU Leuven.
In his process-based art practice he uses a broad range of different methods and outputs merging participatory strategies with a social and ecological relevance, in between leisure and education. The last years he worked extensively on zoological issues and observed the phenomena of zoo culture from different angles.
With the Argentinian choreographer/dancer Barbara Pereyra he co-founded Fantaman Productions & Matelisto Contemporary Movements, a platform for developing projects in between performance and visualarts. He was researcher at the Jan Van Eyck Academy (2013), associate artist in residence with Mark Dion at ACA (2008) and developed projects in Artist Residency Programs at Irish Museum of Modern Art (2008), Wiels Art Center (2009) Banff Art Center (2013), Center for Contemporary Art Ujazdowski Castle (2015) and worked in Ireland, Argentina, Benin, and Equatorial Guinea. He has written numerous articles for journals and magazines and has authored several artist books.
His works and performances are presented at Casablanca Biennale (2018), Istanbul Design Biennial (2018), Lismore Arts Castle (2018), Ghetto Biennale, Port-au-Prince (2017), Lofoten Art Festival (2017), Bozar, Brussels (2016), the Royal Museum for Central Africa, Tervuren (2013), Onomatopee Foundation, Eindhoven (2011), Gallery fur Landschaftkunst, Hamburg (2011), Galway artcentre (2010), Museu da República, Rio de Janeiro (2009), Centro Cultural Español en Bata (2008), Santa Monica Art Center, Barcelona (2006), 7hours Haus19 - Humboldt University & Museum for Natural History Berlin (2005). He is represented by Waldburger Wouters in Brussels.
THE PLATFORM ON ALGAE DIPLOMACY ambitions to host the dynamics and narratives of local seaweed communities in global perspectives. The platform would like to encourage working towards the inclusion of different voices and multiplying the perspectives on sea plants and kelp forests in relation with the oceans who are hosting these ecosystems. Algae Diplomacy focusses on the inclusion on seaweed rights and seaweed spirits. SEAWEED CCCP started in Ireland and investigates the histories on seaweed cuttings/cultures and the still-unresolved nature of local/global harvesting rights, along with the wider ecological impulses that must be spoken of – all to remove the divide between human and nature, and challenges the alienation of contemporary life from the environments, spirits and ancestors as plants, forests and oceans. Algae diplomacy wants to explore how seaweed communities interact with the sea plants who inhabit and entangle with complex ecosystems and how the other-thanhuman encounters can be validated and can give us directions to connect with the broader OCEAN as a SPACE
The Platform on Algae Diplomacy acts as a model to identify and promote the needs and urgencies of indigenous critical resistance, to expand narratives and supports the inclusion & equality of multiple voices. Seaweed CCCP realized workshops and exhibitions in Ireland, Norway, Belgium, France, Morocco and looking for forthcoming partnerships in Haiti, El Salvador, Hawaii, Chili and Argentina working towards a bottom up-civil-everyday-diplomacy. Seaweed CCCP's aim is to include and inquire the state of the intertidal zone and iincollaboration with local participants,tol earn from and together with sea plants along coast. The Institute for Algae Diplomacy can contribute to reflections on modes of diplomacy and how Algae Diplomacy iis affected byprotocols (cultural,economic, scientific, legal), how this iintertwines with the potential of an everyday diplomacytowards the delicate world we inhabitandthechangingenvironments.
The opacity of an Algae diplomacy is PLAY
AMIR HABIBI
Born in Teheran, Iran in 1973 Amir Habibi lives and works in Paris, where he graduated from the Ècole Nationale Superieure d’Arts Paris-Clergy. In his photographic practice, which can be described as dreamlike and narrative he is interweaving personal experience and classic themes of art history.
Amir Habibi is part of a generation of Iranians, who left their country after the 1979 revolution without having the opportunity to return. This uprooting was slow and gradual.
Cinema, photography and the arts in general, but also the internet and social networks, allowed Amir Habibi to reconnect with his origins, to face memories and new challenges.
The image of a mosque in Isfahan which is utilized in the series produced during the Manifest 13, was purchased on Ebay. In the same city, but years apart, Pier Paolo Pasolini was shooting scenes from the film `Arabian Nights` and later Agnes Varda produced the short film `Plaisirs d’amour en Iran`.
By way of the superimpositions of portraits and sets from Iran, this project ( a nomadic photographer`s studio) is an invitation to travel in a bygone era and inaccessible location – it is an projection into an impossible and forgotten world.
www.amirhabibi.com
ARJUNA NEUMANN & DENISE FERREIRA DA SILVA:
A philosopher and a film-maker, Denise Ferreira de Silva and Arjuna Neuman, imagined the possibilities of a world without time, without measure, without accounting or notions of value: a world free from the destructive consequences of the Western mind.
`4 Waters: Deep Implicancy is an immersive film installation by Denise Ferreira da Silva and Arjuna Neuman, which considers urgent global issues including migration, displacement, legacies of colonialism and ecological devastation, and asks what is possible if ethical thinking is stripped of value? Presenting a reimagined cosmos—an alternative to the violent, segregated world we have inherited—the film seeks a primordial moment of entanglement prior to the separation of matter evolving into the planet we know, a time that Ferreira da Silva describes as "Deep Implicancy."
Crossing four waters: the Mediterranean, the Pacific, the Atlantic and the Indian Ocean, we follow the displacement of peoples alongside the movement of clouds, ideas, earth, and migration of matter, at a quantum level, from one state to another. Taking a planetary view of the world as a single mass, the human and the non-human are part of each other joined through water, the life source, in flux and flowing. Water is also the usurper—breaking-up and dissolving structures in its wake. The geological rumblings of the planet have still the power to overthrow.
Engaging our whole being and embodied modes of consciousness-the visual and aural are combined to produce a polyrhythmic entanglement, displacing colonial hierarchies of conceptual and rational experience. An accompanying archive will expand the work providing cognitive knowledge, research, and contextualisation for the film.
Denise Ferreira da Silva
Denise Ferreira da Silva is director and professor at the University of British Columbia’s Social Justice Institute (GRSJ) and a 2019 Wall Scholar. Her academic and artistic works address the ethico-political challenges of the global present. She is the author of Toward a Global Idea of Race (2007) and A Divida Impagavel (2019), and co-editor (with Paula Chakravartty) of Race, Empire, and the Crisis of the Subprime (2013) Her artistic work includes the films Serpent Rain (2016) and 4Waters-Deep Implicancy (2018), in collaboration with Arjuna Neuman; and the relational art practices Poethical Readings and Sensing Salon, in collaboration with Valentina Desideri. She lives and works on the traditional, ancestral and unceded territory of the Musqueam (xʷməθkʷəy̓əm) people.
Arjuna Neuman
Arjuna Neuman, is an artist and film-maker. In collaboration with Denise Ferreira da Silva he directed 2 films: `Serpent Rain` and `4 Waters: deep implicancy `
Both films raise questions of how to get to the post-human without technology. Subjects which float between the subject of matter of life, between the state of changes off elements, timelessness and its inflictions on our being. What becomes of the human if expressed by the elements?
STILL FROM `4 WATERS: DEEP IMPLICANCY`
SHEZAD DAWOOD
Shezad Dawood works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across multiple audiences and communities. Through a fascination with the esoteric, otherness, the environment and architectures both material and virtual, Dawood interweaves stories, realities and symbolism to create richly layered artworks.
At INFINITE VILLAGE Shezad Dawood will present the world premiere of `Episode 6` of the `Leviathan series`.
`Leviathan `is an ambitious ten-part film cycle designed and directed by Shezad Dawood. This series inaugurated in Venice in May 2017 to coincide with 57th Biennale, examining some of the pressing issues of our time.
In dialogue with a wide range of marine biologists, oceanographers, political scientists, neurologists and trauma specialists, Leviathan envisions a very similar future to our presence
To examine possible links between borders, mental health and marine well-being. Each episode is taken from the perspective of a different character and their journey. The project also contains a vibrant series of textiles, sculptures and neon lights, collectively imagining a world where the dividing lines between these entities are not fully understood or to which it is not answered.
STUDIO DRIFT
Lonneke Gordijn & Ralph Nauta
Dutch artists Lonneke Gordijn (1980) and Ralph Nauta (1978) founded DRIFT in 2007. With a multi-disciplinary team of 64, they work on experiential sculptures, installations and performances. DRIFT manifests the phenomena and hidden properties of nature with the use of technology in order to learn from the Earth’s underlying mechanisms and to re- establish our connection to it. With both depth and simplicity, DRIFT’s works of art illuminate parallels between man-made and natural structures through deconstructive, interactive, and innovative processes. The artists raise fundamental questions about what life is and explore a positive scenario for the future. All individual artworks have the ability to transform spaces. The confined parameters of a museum or a gallery does not always do justice to a body of work, rather it often comes to its potential in the public sphere or through architecture. DRIFT brings people, space and nature on to the same frequency, uniting audiences with experiences that inspire a reconnection to our planet.
DRIFT has realized numerous exhibitions and projects around the world. Their work has been exhibited at Victoria & Albert Museum (2009, 2015); Met Museum (2010); Stedelijk Museum (2018); UTA Artist Space (2019); Garage Museum (2019); Mint Museum (2019); Biennale di Venezia (2015); Pace Gallery (2017) amongst others. Their work is held in the permanent collections of the LACMA; Rijksmuseum; SFMOMA; Stedelijk Museum; and Victoria & Albert Museum. In 2014, Drift was awarded the Arte Laguna Prize, Venice.
PERRINE LACROIX
Perrine Lacroix graduated from the National School of Decorative Arts in Paris. Perrine Lacroix developed a nomadic artistic practice – installation, video and photography form the basis of her visual language. Interested in architectures and constructions, she explores the relationships between the exterior and the interior, completed and unfinished, empty and full, as in the series of photographs `Castles of Spain`. From life-size models to interactive installations, she blurs the traditional perception of codes of architecture and is
Particularly interested in heterotopias (hetero/other-topi/space) of which the philosopher Michel Foucault speaks.
Perrine Lacroix does not have a workshop practice but develops her field work in situ. This Is why she is often invited to residencies in France (Cluses, Eyguieres, Mont Lozere..) and also abroad (Australia, Austria, Tasmania, Algeria, Romania, Marroc etc.). She attaches particular interest to the context and the memory of places. She is inspired by the stories, sounds and images that compose them, permeates testimonies, archives, legends, chronicles as much as geography, landscape, activity or architecture, which constitute them. She is particularly interested in the work`s relationship to space, both in her artistic and curatorial approach. Thus in her last two solo exhibitions, at Galerie Michel Journiac as well as at the Kunsthalle Krems (AT), she explores the presence and the resonance of the works in our collective memory, their impregnation in our consciousness in connection within our culture, but also in relation to spaces and modes of exhibition.
PERRINE LACROIX `VIA AEREA`
HILARIO ISOLA
In the INFINITE VILLAGE, Hilario Isola presents the installation and performance `La Meira di Rosina`.
In this installation, the artist presents a loaf of cheese covered with mold, which was produced in the mountainous region of Piedmont, Italy. Over time the organic matter will be transformed into a mountainous landscape. During a performance, the artist will cut the `sculpture` into slices and offer it to the audience, who will taste the offering and at the same time witness the gradual disappearance of the artwork.
During the performance, the life experience of an elderly shepherdess named Rosina will be exposed. A friend and guide of the artist, she became legendary in the Piedmont valleys, where shepherds moved around with their herds. Rosina embodies a series of values and realities hidden by the contemporary world for the way of living and thinking freely, as well as for the personal and cultural bond that she maintains with her environment. `La Meira di Rosina` offers different levels of reading and perception. It offers multiple point of view on nature, ranging from the microcosm of the mold to the psychological dimension of country life through art and ancestral practices to the macrocosm of issues like climate and cultural change within today`s societies.
PETROC SESTI
Neuropsychologist and Art Critic Phillip Romero wrote that Sesti’s work “pushes the boundaries of art and science and goes beyond both”. Sesti is particularly interested in themes such as motion, chaos, light, and void, exploring in particular the ever-changing relationships between artwork, environment and the viewer. He is most noted for the production of artwork that lies at the intersection between art and science. His work has been exhibited internationally and is part of private and public collections. He has exhibited at the Louis Vuitton Foundation in Paris, the 13th Manifesta Biennale in France, and represented Great Britain at the 9th Shanghai Biennale.
The video installation of the immersive work `Solar Relay` (in partnership with NASA), allows the viewer to study the disturbing nature of coronal mass ejections, waves of high-energy particles that manage to escape from the sun`s gravitational pull and travel into space. These are the same waves that create the Northern Lights, but are simultaneously responsible for damaging our satellite fleets and our power grids.
The work `Sagittarius A`, confronts the viewer with 50.000 points of light, that shimmer as they interact with the viewer`s movement in the room. Based on NASA`s star map of the heart of the Milky Way, each star is a perforation extending Lucio Fontana`s exploration of the space behind the canvas into an idea of the infinite.
For the romantic poets, the wildness of nature was set against the effects of industrialization and urbanization that was beginning to irrevocably change the world. They found in sublime vistas of the sky, sea and land both, refuge and other wells of meaning beyond the human. Sesti`s series with its own romantic engagement with the vastness of the universe, should also give us pause to reflect on our ravaged world, n which we still stand, still searching wonder.
SAGITTARIUS A - NEBULA, by PETROC SESTI
FLORE SAUNOIS
In her installations, sound pieces, performances, sculptures and publications, Flore Saunois explores the materiality of language. She is interested in the threshold between the appearance and disappearance of things, how the act of naming creates the real. To draw out the fleetingness of an object, an event, or phenomenon; to sketch out the contours of possibilities; these are all means of evoking and questioning their conditions of existence. Her work offers a rereading of the principles of conceptual art, playfully exploring the gap between the trivial and the extraordinary, finding latent poetry in the derisory.
Born in 1987 in Pertuis, Flore Saunois graduated from the Universität der Künste Berlin (2012), the Academy of Theatre of Rome (2014), and the Beaux-Arts de Marseille (2018).
Her work has been presented at the Reid Gallery, Glasgow; France Culture (2017); APA (A performance Affair – Art fair), Brussels; MAC (Musée d’Art Contemporain de Marseille); CipM (Centre International de Poésie Marseille); Château de Servières, Marseille (2018); Institut Français de Hambourg; Collection Lambert, Avignon (2019); MAMC+ (Musée d’Art Moderne et Contemporain de St-Etienne), Manifesta 13, Friche la Belle de Mai, Galerie des Grands Bains Douche, Marseille (2020).
Her texts have been published by the Centre Internationale de Poésie, the Bureau des Positions, Novo, and Éditions Extensibles.
FLORE SAUNOIS ` POUR LES POSSIBLES MALLEABLES`
LUCIA LEISTNER
Lucia Leistner is Franco-Brazilian and architect. She practiced this profession for 25 years, while enriching it with a brief stint at the School of Fine Arts and a strong association commitment. His career has been accompanied by a desire to associate architecture with a larger multidisciplinary network; associative, artistic, literary, educational. “I have always thought that the architecture generated should be, first of all, generous and benevolent, I remain very attached to the idea of an artisanal and contextual exercise of architecture; I still believe in its social role ”. Lucia is interested in the nonconformist views linked to the practice of architecture, to the rebirth of alternatives to the industrial whole and is now developing a self-taught translation project. The first, “L'architecte aux pieds nus, manuel d'autoconstruction” by Johan Van Lengen (links below for the book), is due out in October by Parenthèses. In parallel to Eclat, she offers the Portuguese translation of "The architecture of survival, a philosophy of poverty" by Yona Friedman. She carried out the "scientific advice" of the "enchanting reality" exhibition in 2017 (Bel Ordinaire, Pau) mixing art and architecture, intervenes in schools to talk about alternative and frugal architecture, co-founded the Paloise association in 2018 IDRE (http://www.idre-dc.org/), for the deconstruction and reuse of materials as well as a collective for reflection on the practice of architecture, campaigns for the preservation of urban trees, etc. “Today, when ZADs are cited by thinkers as a virtuous example in how to build shelters that are cheap, fast, efficient in resources and in connection with their immediate environment, a real paradigm shift is necessary. This dilution of rights, know-how and responsibilities is at the origin of a social evolution, necessary for a change, called by the scarcity of material resources and available energies, and by a real desire to reweave social links ”. Lucia and her husband, an artist, have built their house on their own, starting from an almost 300-year-old shed in the city center of Pau. *
DOUGLAS WHITE
Douglas White presents the sculpture `Black Palm` , a sculpture composef or recycled car tires, at Espace Jouenne, Marseille as well as at Le 109, Nice.
`Nothing is lost, nothing is created, everything is transformed` as stated by the artist, describes very well his work processus. Known for his use of found objects and materials, Douglas White is fascinated by life, death and rebirth, which he sublimates through his sculptures – using nature and recycling the remains of society.
By recovering and assembling these elements, the artist weaves new poetic and exuberant possibilities stemming from discarded everyday objects into works of art.
He breaks down the meaning and the power of everyday remains in a practice which explores the aesthetic and narrative possibilities of materials that would otherwise be left behind.
DOUGLAS WHITE `BLACK PALM`@ Le 109 AND `INFINITE VILLAGE/WHEN `I` BECOMES `US` BY
CORA VON ZEZSCHWITZ & TILMAN
GUILLAUME DE BOISBAUDRY
Titre : Jardin-forêt spéculatif
Le jardin forêt est un écosystème de plantes vivaces associées, multi-étages. Les plantes ont une utilité alimentaires, médicinales, tinctoriales et autre.
Par l’exemple d’un projet de jardin-forêt en île-de-france, nous proposons une spéculation concernant le choix des plantes et leurs diverses variétés prenant en compte les différentes possibilités du réchauffement climatique.
Guillaume du Boisbaudry, architecte, développe une recherche théorique et pratique concernant les expériences radicales de vie en forêt et de culture forestière. Il dirige la revue «Nécessaire», revue en ligne de philosophie et d’art. Il a été enseignant en philosophie de l’art durant cinq ans à L’Ecole d’Architecture de Paris-La Villette. Il cherche, par ses voyages en France, en Pologne, en Écosse, à rencontrer diverses utopies réalisées que sont: le jardin-forêt de Steve Page, les propositions architecturales d’auto-construction en forêt mouvante (Reforesting Scotland) ou alors les expériences de culture forestière et de forêt communautaire de Croft 7 près d’Inverness. Cela le mène à des propositions pour de nouvelles approches du vivre en forêt en France, comme, par exemple, les forêts comestibles urbaines.
conférence sur le mode de vie durable… et des échanges participatifs
ELISABETH VON SAMSONOV
The video of the performance `La Femme Habitable`, unfolds the registers of dwelling on a site within the LAND OF GODDESSES (Alberndorf and Pulkautal, Lower Austria), which was purchased and founded by a group of artists and cultural workers in 2020.
The Land of Goddesses Foundation, was motivated by he large number of prehistoric Venuses, which were discovered in Lower Austria, among them the renowned Venus of Willendorf. A Mongolian yurt, designed as the in-situ parliament of The Land of Goddesses provides the stage set for a series of gestures by which the performer and co-performers scan ecologically relevant intertwinements of bodies: the body of Gaia, mother Earth, the landscape, the surrounding horizons, the woods, the humans and other beings, plants and fruit. The Mongolian tent, built upon paleolithic mammoth hunters site from the time of the Venus of Willendorf, acts like a hot spot or trigger point in this setting – like a portal for entering the fairy tale dimensions of the land. Theagencement of mother Earth, the middle and the performer bodies unveil the `body-producing body`, the female body, who serves as an origin to all forms of habitat.
BILLY GRUNER
Collective Monochrome Nr.33
Collective Monochrome No.26 introduces to audiences of the Festival an opportunity to experience a conceptual art practice that works towards both visual and philosophical outcomes. The audience and other artists of the Festival are invited to assist in making ‘Collective Monochromes No.33 and 34’ as a publicly assisted contemporary art works, from Billy Gruner.
The project was represented by Teksas.dk, an artist-run initiative from Denmark
The Collective Monochrome is an ongoing international contemporary art project already seen in 25 locations worldwide. The assisted painting created with the audience, becomes a place of mediation. Basic materials include a can of paint and a brush that are placed alongside a canvas on an easel. A Collective Monochrome is simply developed over a period of time as a group effort. That is, one layer forms over the previous making a classic monochrome. The previous and first series of works were done in blue, the second in yellow, this latest and fourth series are all done in green selected by the host. Participants‘ sign-on’ via the provenance sheet as part of the ‘collective action’ and through a willingness the final work becomes a relic or symbol of a certain time, place and people.
BILLY GRUNER, `COLLECTIVE MONOCHROME #33`@ ESPACE JOUENNE, MARSEILLE
SUZANNE HUSKY
The cheerful and equally disturbing creations of the very committed French-American artist Suzanne Husky, mix a classic aspect (textiles and ceramics) with an inspiration drawing from ecofeminism, a movement initiated by personalities like Starhawk, who relates the love of the earth to a feminist and spiritual world`s vision.
"I was offered 3 important things when I was young, outdoor time, a pruner and Les Jardins of Michel Baridon, history of gardens through literature. Ever since I always have a pruner in my bag for plants and safety and have kept learning about agriculture systems.
At some point in my 20ies, I realized I did not know the names of the plants. After a year in China(2002-2003) where the air was unbreathable, bok choy was grown on the smallest patches of land and amended with poo, waters were spoiled, and forests were being torn out to be planted in cities for “green city” competitions; I went back to school for four years of landscape horticulture studies in Oakland California. I became a gardener and plant consultant for a landscape designer. As a gardener I worked for wealthy folks and my co-workers were Mexicans, we were cheap labor - that is the first politic of plants point I encountered; the social status of the gardener; 1 - the gardeners, primary caregivers of earth is a non valued worker, 2 - nongardeners do not know how to interact with their gardens, gardens are sets for hosting, real estate value, social status, “nature” etc
The landscape world holds the complexity of the situation we are in, the spectrum of practices is vast. I worked with indigenous plants from native nurseries with permaculture techniques to planting tropical landscapes in our drought California landscapes. As a plant consultant, I was petrified with anxiety all the time; will the plants handle this soil, the weather, the pollution, the sun exposure, will the future caretakers understand the plants and let them become what they have to become etc etc. There are a lot of things to weigh in and mostly we had to work fast and make spectacular gardens (a little like in the art world !). No slow soil building, no patience for the delicate more discreet plants, no rain catchments etc. I was quickly disillusioned by the landscaping world where the plants are all patterned and mass-produced. But I never left that world, i just stepped into a place where my relation to earth was healthier. Now I built soils, it’s my passion. I used my art to research the history of landscape, ethnobotany, politics of weeds, ag.tech etc. (I also taught Landscape in the art school of Orleans and "Plant matters" at the San Francisco Art Institute)
Other books that changed my life (there are many, we’ve had a book group on those topics for years and have grown together) Forest, the shadow of civilisation of Robert Pogue Harrison and Tending the Wild, Native American Knowledge and the Management of California's Natural Resources by Kat Anderson. Anderson’s book is a history of the California landscape and how food abundance had been created over a period of 12 000 years, which taught me to work with what is there as opposed to against it. Of course, she deconstructs John Muir philosophy of “virgin landscapes” that have just set a stage for contemporary fire issues and so much more. Starhawk is also core as she unpacks how the domination of woman and nature are the same thing, but also teaches land regeneration and permaculture and eco-spirituality!"
MICHELANGELO PISTOLETTO
Terzo Paradiso
`What is TERZO PARADISO? It is the fusion of the first and second paradises. The first is where humans were fully integrated into nature. The second is the artificial paradise, developed by human intelligence into the global dimensions reached today with science and technology. This paradise is made of artificial needs, artificial products, artificial comforts, artificial pleasures and other type of artifice. A real artificial world has been formed, which – with exponential progression – generates, in parallel with the beneficial effects, irreversible processes of degradation and consumption of the natural world.
The third paradise is the third phase of humanity, which takes place in the balanced connection between artifice and nature. The third paradise means the path to an unprecedented stage of planetary civilization, essential to ensure human survival. To this end, the ethical principles and behaviours that guide common life must be reformed.
Terzo Paradiso is the great myth that leads everyone to assume a personal responsibility in the global vision. The term paradise derives from the ancient Persian language and means `protected garden`.
We are the gardeners who must protect this planet and heal the human society that inhabits it. The symbol of Terzo Paradiso, a reconfiguration of the mathematical sign for infinity, is composed of three consecutive circles. The two outer circles represent all the diversity and antinomies, including nature and artifice. The central one is the interpretation between the opposite circles and represents the generating uterus of the new humanity.
MICHELANGELO PISTOLETTO, TERZO PARADISO
CORA VON ZEZSCHWITZ
Cora von Zezschwitz, born in Toronto (CN) lives primarily in France since 1990. Attending the Ecole National Superieur des Arts de Cergy, she acquired an acute curiosity for transgressing habitual borders in the Arts. Having travelled extensively to more than 30 countries, she has made the world and its citizens her workspace.
In Paris, Cora von Zezschwitz started her works in public space by manipulating the way people view mainstream media, by using suggestive material with ulterior objectives. As part of the collective “the Last Girls in Yokohama” she questioned the onslaught of the loneliness of the virtual realities, the power of the group in the creative process and women’s empowerment as an integrative, inclusive force.
Having done large scale in situ projects like “Orient-ations” 2010, which spread throughout the city of Blois, her interest in inhabiting public spaces escalated, along with the premise of bringing art and thought to a wider audience. Her current work is based on the exploration of the ephemeral, and is realized through the use of various medias, like photography, video, sculpture and large scale in-situ installations.
The works of Cora von Zezschwitz are an exploration of the moving spaces that unfold as they are discovered. Her installations in space always encourage a participative interactivity that calls the spectator to appropriate a poly semantic dimension. She is interested in creating strong emotions through connotated objects, which she uses as a building material. Her installations often question underlying tension and forces that evoke a formal and psychological mutation.
Her national and international career has been constructed through various ways of questioning open space and its appropriation by the individual. She has always wanted to bring to the aesthetic a surprising atmosphere, which is conducive to a reflection through a contrast, interaction or derision.
Her work has been illustrated through various galleries, contemporary art centers, project calls and participations and artist residencies.
In 2016 she launched in cooperation with German-born artist Tilman the collaborative project INFINITE VILLAGE. The collaborative project INFINITE VILLAGE has been presented in different versions in: St Therese UAV, Venice (2017), Campo dei Gesuiti, Venice (2018), Biennale of Grenchen (2019), Eglise des Célèstins (Avignon), A Farm, Ho Chi Minh City (Vietnam, 2019) and at M-17 Art Center in Kiev (UA, 2019)
CHRISTOPHER ROTH & BRANDLHUBER+
Christopher Roth
Christopher Roth is a German film editor, director, Screenwriter and film producer born in Munich (GER) and lives in Berlin and Zuerich.
Christopher Roth’s practice may be best understood as a kind of proactive intellectual scholarship that combines the factual and fictitious, with both analytic and poetic qualities.
Roth’s work seeks to understand how information, words, pictures and ideas are received, travel and are mediated at a constantly accelerating pace. Since the 1990s, Roth has focused on the “emptiness” of single images and certain generic imagery that surround us. These images only accrue meaning in context—a function easily manipulated by the mass media. This knowledge — acquired and practiced as an accomplished film editor and director of feature films, and given theoretical underpinnings by his engagement with cultural history and philosophy—informs his entire practice.
Roth’s films also excel at channeling a characteristically voracious intake of images and ideas, giving them a visual equivalent without imposing an order, which he considers arbitrary by definition. Instead, his work relies on an active, engaged audience to draw its own inferences.
www.christopherroth.org
Arno Brandlhuber
A graduate of the Technological University of Darmstadt and of Fine Arts in Florence, Arno Brandlhuber has been practicing architecture and town planning since 1992 through numerous partnerships. He founded Brandlhuber + in 2006.
The Brandlhuber + agency relies on multidisciplinary collaborations. This is how the restructuring of a building on Brunnenstrasse, in Berlin (2009), the fitting out of the Antivilla, in Krampnitz (2014), or the transformation of St. Agnes, in Berlin ( 2015). The artist residency Terrassenhaus Berlin, designed with Emde and Burlon / Muck Petzet, was a finalist for the 2019 Mies van der Rohe Prize. Professor of Architecture and Design at ETH Zurich, Arno Brandlhuber teaches and studies new methods of representation in architecture and media, using the television tool. Moreover, it is concerned with demonstrating the influence of Legislation, property and land tenure on German architectural production.
Architecting after Politics (the 2020-cut)
ARCHITECTURING AFTER POLITICS
87 minutes, 2018
music by Cosimo Flohr
Who designs laws? Who owns the land? What designs architecture?
Who builds the world?
Architecting after Politics is longer, deeper and more result-oriented than Legislating Architecture or The Property Drama and ends up in the crucial question of our time:
Who architects?
From London in the early 1980s with Margaret Thatcher’s Popular Capitalism to the near future of self-owning eco-systems.
With ExRotaprint, Phyllis Lambert, Oana Bogdan, Patrick Schumacher, Luigi Snozzi,Terra0, Charlotte Malterre-Barthes, Gerold Schneider, Hans-Jochen Vogel, Keller Easterling,James Bridle, Leo van Broeck, Jonas Staal, Stephan Trüby, Raquel Rolnik,
Yohashiro Tsukamoto and many more.
© 2020 Brandlhuber+ and Christopher Roth
COLLECTIF DING
In 2011 Lyn Nékorimaté and Jean Paul Labro create the DING Collective*. The two-headed collective implements several production and distribution projects in France and Indonesia. At the crossroads of practices, mediums and genres, their works, video, sound, performative, multimedia and architectural creations form a set of autonomous objects which find in the narrative of the exhibition a statement of their approach, which is supported on the `in progress` nature of the project, mobility, collaborative intention and willingness to pass on. The artist duo works in immersion during creation residencies. They regularly involve residents in their production process and also other creators. At the heart of their work, the Ding collective questions various subjects they make meet, relate and cross paths with: the community, the territory, the environment, the memory of places are all subjects that interest them. Their Travelling Natures' project is animated by questions related to narrative, to micro-communities for their modalities of concrete actions in the environment, their representations and ritual objects in the dimensions of the sacred and the profane. Their work has been promoted by Le Bel Ordinaire in Billère, the CICM, the MSH and Synesthésie in Saint-Denis, the Maison Salvan in Labège, the French Institute and HONF in Yogyakarta and the Paradise gallery in Nantes… To finance their projects, they have won several creation grants (DICREAM, FNAGP, Institut Français, DRAC Aquitaine, etc.). In 2019, they finalized a public order for a digital work as artistic 1% for the Collège Pierre Emmanuel de Pau: ipotetu.com
COLLECTIF DING, STILL FROM FILM `HISTOIRES DE NUITS, LE RETOUR DE CEBALONG`
LUCY & JORGE ORTA
The two artists will exhibit a version of their `Universal Antarctic Passport Distribution Office`, which be accessible to the public throughout the period of Manifesta 13, in both locations (Marseille and Nice)
The Antarctica Project, is concerned with issues relating to relating to our environment, politics, autonomy, mobility and human relations. For Lucy & Jorge Orta, the Antarctic embodies an incredible utopia: a continent, whose extreme climate requires mutual and aid and solidarity, independence of research, sharing and collaboration for the good of the planet. A place of immaculate whiteness, the Antarctic concentrates all the wishes of humanity into the idea to spread a message of hope to future generations.
LUCY & JORGE ORTA, `DELIVERY OFFCE FOR ANTARCTICA PASSPORT`, ESPACE JOUENNE, MARSEILLE
DIMITRI MALLET
We face a surge of images to which we are subjected in the era of speed and zapping. Dimitri Mallet, in a counterpoint exercise, invites the viewer to take his/her time to reflect upon time. Through the painted or filmed `Landscapes series (2017)`, the artist transcribes the light spots which can be observed with closing one`s eyes. In his painting and video works Dimitri Mallet expresses an inner necessity, in the sense in which Vassily Kandinsky proclaimed this phenomene in `The Spiritual In Art` and in painting in particular (1911).
Michel Henry`s analysis in `Voir Invisible (1988), shows that painting `economizes on language`. This is what abstract painting teaches us and this is what gives it its capacity for expression. If indeed the color does not relate to the feelings of our soul by way of an external relation, but finds in them its true being – which is a pure sensation, as a pure experience – then it does not have even in translating, in the manner of a means, this. Abstract content of our invisible life. It coincides with this, it is its pathos, ts suffering, ts boredom, its dereliction or its joy.
Besides his video projection, Dimitri Mallet also inhabits the exhibition space with short sentences, hidden and scattered throughout the space. He thus offers us to slowly appropriate our own visions.
www.dimitrimallet.com. https://www.youtube.com/watch?v=qJtqTCVjbFA&t=42s
BLOND & GILLES
Since 2013 Blond & Gilles have been working as an artist duo with various cooperations nationally and internationally. They take topics from happiness research (How does a moment of happiness arise and how does it shape up in everyday life?) examine fiction about its reality content (through fictional travel, clichés are brought into a discourse), or they examine and artistically treat neuronal symptoms such as digital overstimulation and loss of reality (Art as Therapy). Blond & Gilles work conceptually (installations, performances, films, photography and linguistics).
CHŒUR TAC-TIL
Chœur Tac-Til is a mixed choir composed of sighted and blind performers. The choir was founded in 2012 by Natacha Muslera.
The choir can be described as a living organism, an echoing of realities, in which what is common is invented in a ephemeral and discreet manner.
Choeur Tac-Til goes beyond purely musical or aesthetical isues. The choir forms a (common) ground for reflection for the participants as well as the participative audience. It creates an sensitive and intellectual adventure, which attempts new forms of representations and readings. The choir interrogates what emanates from automatisms, forms of perceptual hierarchies and it explores various formulations during performative concerts. The choir associates its research ancestral vocal practices, which are in the process of vanishing from our culture.
Voice Mafalda Da Camara, Mélodie Duchesne, Gihane Elhassouni, Chérifa Harzallah, Angélique Huguenin, Natacha Muslera, Franck Omer, François Parra, Alex Querel, Bruno Raby - initiated by Natacha Muslera
Choeur tac-til invites you to make a choir bourdon-drone :
Masked or unmasked it is possible to sing in "bone voice", i.e. the conduction of sound is done through the bones (closed mouth) and not through the air (open mouth). It is also a strategy to emit a sound, without distinguishing where the source comes from... these sounds emitted collectively constitute as much a tool of care, as a tool of resistance, threatening, unassignable…
« For women, and for any group contesting oppression, healing is a political act. » Starhawk, Rêver l’obscur
Son https://choeurtac-til.bandcamp.com/releases
Wikipédia https://fr.wikipedia.org/wiki/Choeur_tac-til
Site http://choeurtactil.wixsite.com/accueil
Co-production Off-cells
CHOEUR TAC-TIL, PERFORMANCE SONORE, ESPACE JOUENNE, MARSEILLE
GWENOLA WAGON & STÈPHANE DEGOUTIN & PIERRE CASSOU-NOGUÈS
Gwenola Wagon & Stéphane Degoutin
Stéphane Degoutin and Gwenola Wagon work alone, together or with other persons : Méryll Ampe, Raphaël Bastide, Laurence Bonvin, Pierre Cassou-Noguès, Lou Delamare, Marika Dermineur, Louise Drulhe, Julien Imbert, Agathe Joubert, Jeff Guess, Alex Knapp, Elie Kongs, Judith Lavagna, Nicolas Maisonneuve, Lola Perez-Guettier, Olivier Peyricot, Clémence Seurat, Matthias Stevens, Geoffroy Wagon.
They fight against mankind's planned obsolescence (Cyborgs in the Mist), denounce the automation of the processing of products, life and data (Erewhon, The World as an Automated Warehouse, Stockorama), ask researchers to live in the forest, naked but connected to the network (World Brain), experiment alternative lifestyles in the society of hyper-information (Controlled Schizophrenia Laboratory), investigate the Umwelt of the Internet (Globodrome, Society as Cloud, Telepathic Mice, Haunted by algorithms), collect viral images of the society of trash (Dance Party in Iraq), explore the mythology of the international airport (Psychoanalysis of the International Airport, Terrorism Museum), organize burn-out parties (Neoteny Institute for the End of Work, Work Theme Park La Défense), promote inter-species love (Cat Loves Pig, What does it feel like to be a firefly ?), capture the vital energy that circulates through artificial mountains (A Visual History of Artificial Mountains), drift with counter-used geolocation technologies (Moillesulaz Full Scale, Random GPS), build habitable miniature paradises (Emma, Umwelt, Eden, On and On), analyze the city after the public space (Voluntary Prisoners of the American Dream, After Vegas), hijack a search engine (What Are You ?, Googlehouse), invent utopias for outlying areas (Hypnorama, Vincennes Zoo Research Lab, Utopia Factory Abraxas, Sex Park), survey the virtual globe (Globodrome, Blackpool-Manchester), roam the Parisian suburbs (Postcards from the Paris Suburbs, Lost in Créteil), wander through concrete islands (La Défense Endless Tour, Voyage immobile).
Pierre Cassoui-Noguès
Pierre Cassou-Noguès, philosophe, écrivain est professeur à l’université Paris 8-Vincennes-Saint-Denis. Ses recherches portent sur l’histoire de la philosophie en France et, dans une perspective héritée de Bachelard, sur le rôle de l’imaginaire dans la constitution de rationalités. Il a notamment travaillé sur des figures de savants « fous » (Les démons de Gödel, Seuil, 2007 ; Les cauchemars cybernétiques de Norbert Wiener, Seuil, 2014) et sur les fictions sous-jacentes aux nouvelles technologies (Lire le cerveau, Seuil, 2011). Il a publié une dizaine d’essais. Son dernier livre Technofictions (Cerf, 2019) est un recueil de nouvelles qui interrogent les potentialités imaginaires d’une série de dispositifs technologiques. Il est également co-éditeur de la revue SubStance (John Hopkins University Press)
`EREWHON`
Pierre Cassou-Noguès, Stéphane Degoutin and Gwenola Wagon
2019
Erewhon emerges from images circulating on the Internet. It's a fable about how humans live in a world where automation has been fantasized to its extremes. The Erewhonians are relieved of heavy chores and devote themselves to playful occupations. Robot seals take care of the elderly and purr according to artificial intelligence software. Pigs see their brains networked and augmented. Algorithms give voice to the dead.
Like Butler’s story, Welcome to Erewhon paints a portrait of a city in a present parallel. Work as we know it is gone. Factories produce everything that is necessary for life. Storage and handling are outsourced to hangars outside of town, without humans. Farms cultivate and process plants and animals. Vehicles deliver them. Software optimizes the system. The inhabitants are relieved of arduous tasks and devote themselves to playful occupations. Robots massage the inhabitants or prepare food for them. Cats equipped with GPS map the territories. Automatic vacuum cleaners awaken to sensuality. Pigs see their brains networked and augmented.
https://welcometoerewhon.com/
Production: Lissandra Haulica, Irrévérence films
Director: Pierre Cassou-Noguès, Stéphane Degoutin and Gwenola Wagon
Co-production: Jeu de Paume virtual space
Device for multimedia creation, CNC - Dicréam.
Artec, National Research Agency
YIFAT GAT
Yifat Gat`s work focuses on intuitive geometry on different media: canvas, paper and wall. Her work has been shown mainly in Tel Aviv, Sweden, the Netherlands, UK, France and New York.
Yifat Gat seeks to express herself by using structures, in a contemporary context in its most elementary form, drawing, which thus finds itself, permanently, at the center of her work. Process. Forms and frames in a semi-architectural environment, are the main means of her research in a process that is both intuitive and clearly define.
She will particpate at INFINITE VILLAGE with two performances `Marble Dust` and `Killing The Whale`, which can be described as locational drawings, may it be on the floor, on windows or walls. "
Over he years she engaged in the dissemination of artistic ideas on a local and international level, creating work-shops and actively curating exhibitions, mending relations between the artist and the public.
YIFAT GAT, PERFORMANCE `KILLING THE WHALE` @ LE 109, NICE
PELAGIE GBAGUIDI
Pélagie Gbaguidi (from Benin born in Dakar in 1965), lives and works in Brussels. Gbaguidi calls herself a contemporary "Griot". A "Griot" questions the individual as he or she moves through life by absorbing the words of the ancients and modeling them like a ball of fat that he places in the stomach of each passer-by with the ingredients of the day. In the practical sense, it breaks the commonplace rhythm by inserting subtle incidents integrating its part of eternity. Her work is an anthology of signs and traces on the trauma. In fact, it is one of her recurrent subjects, evidenced by the acquisition of 100 drawings of the Code Noir (1685) series at the Memorial Act in Guadeloupe. Her focus of interest is centered on the colonial and postcolonial archives and on the unmasking of the process of forgetting in history. This readjustment of the imaginary arouses in the artist the urgency to give it form, a writing of liberating images and a corpus to draw contemporary forms.Has participated in numerous international exhibitions such as ; Biennale of Dakar (2004, 2006 , 2008, 2014, 2018) ,“Asyl Stadtmuseum”, Stadtmuseum, Munich (Germany) 2013, “Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists”, MMK Museum für Moderne Kunst, Frankfurt (Germany ) 2014, “Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists”, National Museum of African Art - Smithsonian Institution, Washington (USA) 2015,“El iris de Lucy”, Musac, Castilla y León (Spain), “L’iris de Lucy”, Musée Rouchechouart, (France), " El iris de Lucy" CAAM Spain 2017 ; "Afriques Capitales" Gare de Saint Sauveur Lille 2017 ; "The Beauty of the Difference" Palace of Lieberose Germany 2017 . Recently, she took part in the last Documenta 14 in Athens and Kassel and contributed in the last book « Why Are We 'Artists'? » 100 World Art Manifestos from Jessica Lack. In October 2018 , she received a scholarship from Civitella Ranieri Foundation. In 2019, she participated in "Decolonizing the Body" at Eternal Network Gallery in France and in May at the Exhibition "Multiple Transmissions: Art in the Afropolitan Age" at Wiels (Brussels) and at the Biennial of Lubumbashi , at the Frohner Museum ( Austria ) in October.
`Somewhere In The World``
The boundary or the masquerade of power
Who defines boundaries? What are their limits? The last centuries have been marked by the conquests of ideological, political and economical fortifications around the world. At what time gets the individual involved in their buildings or their deconstructions? At what time will this concept nourish or enriche our way of thinking? We must build a world with self-esteem. We must reinvent a language which is intangible and tangible. If everyone would participate, the boundaries can create a space for communication at the very place where different cultures coexist. To eye the imbalances, to denounce the faults of a system, to readjust the values and traditions in a time-space continuum. 'Somewhere in the world' is a film that reflects on the excessive representation of the other and the avatars of the colonial past.
Pélagie Gbaguidi 2009
PELAGIE GBAGUIDI, STILL FROM VIDEO `SOMEWHERE IN THE WORLD`
ILYA & EMILIA KABAKOV
Drawing studio for children
Simultaneously to a drawing work-shop for children, with the goal to create a `Wall of Tolerance` (organized by co-curator Francisca Viudes to be presented at Le 109 in Nice as part of INFINITE VILLAGE), the video `The Ship of Tolerance`, by renowned artists Ilya & Emilia Kabakov will be screened.
`The Ship of Tolerance`, aims to reflect upon how diverse cultures interpret the idea of tolerance. The ships sails are assembled from drawings by hundreds of local school children of different ethnic and social backgrounds, which convey a message of tolerance and hope.
By participating in the creation of the ships sail, the children learn to respect diverse culture, while appreciating how they differ from their own. Through this creative and shared process they demonstrate and engage in a vibrant lesson of togetherness and tolerance for other.
LYNN SHIVA BURGOS
Shiva Lynn Burgos is the first international contemporary artist to work in Mariwai, a small Kwoma village located in the Upper Sepik River, Papua New Guinea. She has returned six times following her first trip there in 2013 during which the idea for the project first came about. Although it is not part of Kwoma custom for women to paint and carve she was accepted as an artist.
She carved monumental wood totems and painted bark panels alongside the other Kwoma artists that together form the construction of the new spirit house constructed to replace the “houseboy” from the 1970’s. We witnessed and participated in the naming ceremony and opening celebrations which lasted for five days in August 2016. We filmed these extraordinary ceremonies using photography and video as well as both aerial drone technology and also the latest innovations in a 360 degree virtual reality filming. These new components have been edited to create an immersive experience thereby allowing the viewer to “enter” the spirit house as a participant in the ceremonies.
In addition, Burgos intervenes using western materials and techniques to bridge the contemporary with the ancient spiritual traditional art practices. She creates live performance installations that invite the villagers to interact with a contemporary western dialogue. She uses photography and film as a creative tool to capture and document the project and to reveal a wider story about the value of allegory, myth and the spiritual intentions imbued into physical objects. Through her anthropological research and collaborations with museums and field experts her proposition is to illuminate the relationship between the artists and the works they created now held in those museums.
At the infinite village, the artist presents a group pf tapestries created in collaboration with a group of village women (The Women`s Tapestry Initiative): using embroidered tapestry as a means of artistic expression by applying the thread onto a vinyl mesh substrate, this project has a commercial purpose as a mosquito net.
In collaboration with The Women`s tapestry Initiative the artist created a series of tapestries that combine the representation of symbols, such as fish and birds, as well as bilum-style patterns. This project and collaboration creates a new form of art, in which women can fully participate. All sales directly benefit the health of the village, education, the preservation of indigenous culture and Akama women weavers.
Using a similar formula of collaboration, the artist invites the audience to participate in a interactive installation in Marseille as well as in Nice (Le 109)
SHIVA LYNN BURGOS, INSTALLATION AT HOTEL WINDSOR, NICE
JAKOB KNUDSEN & LORENZ VON SEIDLEIN
Jakob Knudsen
Jakob Knudsen graduated from the School of Architecture at the Royal Danish Academy of Fine Arts, Copenhagen, where he is today an associate professor. The 53-year-old owner of Copenhagen-based architecural studio Ingvartsen has worked on a startlingly diverse series of projects—both at the studio level and in a personal capacity—that embrace the Scandinavian "culture of efficiency," as well as the time-honoured concepts of tropical architecture. In Tanzania, especially, his architectural footprint has left an indelible mark because of his lifelong advocacy of mitigating the menace of malaria via empathetic design.
Lorenz von Seidlein
After years of aimless drifting Lorenz von Seidlein studied medicine in Ireland, specialized as pediatrician in Miami, Florida and later infectious diseases at the UCLA in Los Angeles. In 1995 Lorenz moved to The Gambia to work on the first antimalarial ACT trials in Africa and has since worked in tropical medicine in Asia and Australia. Lorenz von Seidleinworked in the first phase of the International Vaccine Institute in Seoul, Korea to coordinate field studies in Indonesia, Vietnam, Thailand, India, Pakistan and Mozambique where he spent most of the following 6 years. In 2006 Lorenz moved to Tanzania to coordinate a of set of trials of the malaria vaccine RTS,S/AS01 and ended up in 2014 in Bangkok working on mass administrations of antimalarial drugs, in Myanmar, Vietnam, Cambodia and Laos. More recently Lorenz is assessing the benefits of Asian rural housing, elevated homes with optimized airflow in rural Africa. Lorenz von Seidlein is currently working on the COVID vaccine trials to be conducted in Latin America, Asia, and Africa.
The Star Homes Project
Malaria Houses / Healthy Housing in Tropical Zones: Improving rural housing in Asia and Africa.
Director: Christopher Roth
The development of a healthier house design for sub-Saharan Africa began in 2009 with a comparative study of housing design in Asia (Philippines and Thailand) and Africa (The Gambia and Tanzania). 1 Asian traditional houses incorporate structures that increased airflow, are cooler and minimize contact with vectors. The data were used to develop computational flow dynamic models that predict the optimal construction components required for comfort in hot, tropical climates. 1 A previous study demonstrated that bednets (depending on mesh size) reduce airflow by 60%, highlighting the link between attenuated airflow and decreased bednet use. 2
In a pilot study from July 2014, to July 2015, we constructed, six prototype houses in Magoda, Tanzania; one single-story and one double-story building each with one of the following claddings: bamboo, shade net, and timber. 3 Our prototype houses were designed to reduce malaria by using screening to keep out mosquitoes and keep the house cool to increase bednet use. There was a 95% reduction in mosquito house entry in double-story buildings and a 70% reduction in screened single-story buildings compared with the unmodified reference houses. Both single and two-storey buildings were 2.3°C (95% CI 2·2–2·4) cooler than traditional housing. We concluded that two-storey buildings were the best structures for protecting people from malaria since they were cool and provided the greatest barrier against mosquitoes. The residents especially liked the privacy and security of upstairs bedrooms. Although respiratory tract and diarrhoeal infections were not measured in the pilot study, we also designed the prototype houses to decrease these threats. The risk for respiratory tract infections was reduced by increasing ventilation and airflow in the house and including a chimney in the kitchen to prevent wood smoke inhalation. To reduce diarrhoeal diseases, we included easily cleaned latrines and the collection of rainwater that was filtered and collected in water tanks. The construction of the prototype houses allowed us to field-test these designs. In the present study we are seeking to enhance disease protection by including other novel technologies.
In 2018, the Star Homes Project/Ingvartsen Architects obtained $1.5 Million funding from the Hanako Foundation and local regulatory approvals to build 110 identical novel-designed houses, known as Star Homes, which are currently under construction in Mtwara, Tanzania (Figure 1).
JAKOB KNUDSEN AND LORENZ VON SEIDLEIN, `STAR HOMES PROJECT`, TANZANIA
MOSTAPHA ROMLI
Presents his short film `CONTINUACION DE LA PRIMAVERA`
Born in 1968 in Touissit, for Mostapha Romli, the photo should not be a reproduction but rather a reconstruction of something. Before the final click, which is only a point in time, there is a whole preliminary reflection, the intervention of the photographer who brings his artistic touch and his sensitivity, a work of staging, the choice of the technique according to the desired result,… A pioneer, he will be among the initiators of the first International Festival of Photographic Hunting 1989 then will leave Oujda, his hometown, to experience the emergence of advertising and Moroccan magazines in Casablanca. First cover in 1993 and above all a long collaboration with the biggest Moroccan magazines which resulted in more than 250 covers and the opening of the first image production company in Morocco. He also simultaneously leads a visual work where the photographic shooting is, as Mostafa Chebbak emphasizes, “articulated according to two structures: one iconographic, the other plastic. Romli brings them together, intersects them and finally merges them into a whole paradigm. And this is where we realize that a finely crafted conceptual scheme has always been in operation for him ”. Mostapha Romli is Director of the Artist Residence Ifitry and Secretary General of the International Biennale of Casablanca
PHIL NIBLOCK & KATHERINE LIBEROVSKAYA
Phil Niblock
Phill Niblock is an intermedia artist using music, film, photography, video and computers. He was born in Indiana in 1933. Since the mid-60's he has been making music and intermedia performances which have been shown at numerous venues around the world. Since 1985, he has been the director of the Experimental Intermedia Foundation in New York - www.experimentalintermedia.org - where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 and the curator of EI's XI Records label. Phill Niblock's music is available on the XI, Moikai, Mode and Touch labels. A DVD of films and music is available on the Extreme label. He is a retired professor at The College of Staten Island, the City University of NewYork. In 2014, he is the recipient of the John Cage Award from the Foundation for Contemporary Arts.
Phill Niblock is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, slides, or computer driven black and white abstract images floating through time. He was born in Indiana in 1933. Since the mid-60's he has been making music and intermedia performances which have been shown at numerous venues around the world. Since 1985, he has been the director of the Experimental Intermedia Foundation in New York where he has been an artist/member since 1968. He is the producer of Music and Intermedia presentations at EI since 1973 (about 1000 performances) and the curator of EI's XI Records label. In 1993 was formed an Experimental Intermedia organization in Gent, Belgium - EI v.z.w. Gent - to support the artist-in-residence house and installations there. Niblock has no formal musical training. His minimalistic drone approach to composition and music was inspired by the musical and atistic activities of New York in the 1960s (from the art of Mark Rothko, Carl Andre, Sol LeWitt, Donald Judd, Robert Morris to the music of John Cage and Morton Feldman's Durations pieces). Niblock's music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. Niblock's work continues to influence a generation of musicians, especially younger players from a variety of musical genres. Much of his pieces are based on collaborations with specific musicians. Over the years he has thus worked with a large number of the most diverse players including: Susan Stenger, Robert Poss, Jim O'Rourke, Ulrich Krieger, Seth Josel, Tom Buckner, David Watson, David First, String Noise (Pauline Kim Harris and Conrad Harris), and many many others. He is the recipient of the prestigious 2014 Foundation for Contemporary Arts John Cage award. His music is available on the XI, Moikai, Mode Records, and Touch labels. DVDs of films and music are available on the Extreme, Mode, Die Schachtel and VonArchives labels.
www.experimentalintermedia.org
Katherine Liberovskaya
Katherine Liberovskaya is a Canadian intermedia artist based in New York City. Involved in experimental video since the 80's, she has produced numerous single-channel video art pieces, video installations and video performances, as well as works in other media, that have shown around the world. Since 2001 her work predominantly focuses on the intersection of moving image with sound/music in various both ephemeral and fixed forms (projections, installations, performance), notably through collaborations with many composers and sound artists in improvised live video+sound concert situations where her live visuals seek to create improvisatory "music" for the eyes. In 2014 she completed a PhD in art practice entitled "Improvisatory Live Visuals: Playing Images Like a Musical Instrument" at the Universite du Quebec in Montreal (UQAM).
Katherine Liberovskaya is an intermedia artist based in New York City. Involved in experimental video since the 80s, she has produced many single-channel videos, video installation works and video and music performances which have been presented at a wide variety of events and venues around the world. Among these: MOMA PS1 PrintShop NYC; The Oaxaca Museum of Contemporary Art (MACO), Mexico; The Duolun Museum and The Aurora Museum, Shanghai, China; The Museum of Arts and Design, NYC; The Bitola Museum, Macedonia (FYROM); The Musée des Beaux-Arts de Besançon, France; The Tito Museum, Belgrade, Serbia; The Kyoto University Museum, Japan; The Serralves Contemporary Art Museum, Porto, Portugal; The Roskilde Museum of Contemporary Art, Denmark; The National Center for Contemporary Art, Moscow, Russia; The Beirut Art Center, Lebanon; The Contemporary Art Center Bunkier Sztuki, Krakow, Poland... Since 2001 her work predominantly focuses on the intersection of image and sound, in solo video-audio installation/environments and often in collaborations with composers and sound artists notably in live video+sound performance. Frequent collaborators include Phill Niblock, Al Margolis/If,Bwana, Keiko Uenishi, Mia Zabelka, David Watson, Shelley Hirsch, Guy de Bièvre... among many others. Since 2003 she has been exploring improvised video in live video+sound performance situations where her live visuals seek to create improvisatory "music" for the eyes. Over the years she has performed in concert with numerous artists including: Anthony Coleman, Laura Ortman, Leslie Ross, David First, Kristin Norderval, Monique Buzzarte, Nao Nishihara, André Eric Letourneau, Doug Van Nort, Anna Homler, Chantal Dumas, Richard Garet, Dorit Chrysler, Emilie Mouchous, Erin Sexton, Jim Bell. Corinne Rene and Philippe Lauzier, Magali Babin, Sonia Paço-Rocchia, Anne Wellmer, Tom Hamilton, Margarida Garcia, Manuel Mota, Barry Weisblat, Mazen Kerbaj, murmer, Andre Gonçalves, Giuseppe Ielasi, Alessandro Bossetti, Jason Khan, David Grollman. Recent solo projects include: the audiovisual installations "Colorlocution"(2019), "3 Island Wind Songs" (2018), "Insular Air-Play" (2017), "Mise-en-Abyme Cu29" (2016), "Rake" (2015-16), "sonimaginations tissulaires" (2014-16), "NoizeBreeze" (2014-19), "Air-Play" (2013), "Amplifontana" (2012-16) and "Shines" (2008-16) and the intermedia installation "Muidebrugge Wave (Matisse/Haacke Blues)" (2015). Since the late 1980s she has received over 30 grants and arts awards in Canada, U.S.A. and France. Concurrently she curates and organizes the Screen Compositions evenings at Experimental Intermedia, NYC, since 2005 and, since 2006, the OptoSonic Tea salons with Ursula Scherrer at Diapason, NYC, and in various nomadic locations, in New York, North America and Europe, with OptoSonic Tea On the Road. In 2014 she completed a PhD in art practice entitled "Improvisatory Live Visuals: Playing Images Like a Musical Instrument" at the Universite du Quebec in Montreal (UQAM).
"Video-Audio Variations" A selection of audiovisual works by Phill Niblock and Katherine Liberovskaya
Pieces that are neither video with accompanying sound nor audio with accompanying moving images but "video-audio" works where both the visual and the sonic play roles of equal importance, are equal protagonists. Different variations of relationships between image and sound from the sound of the image and the image of the sound to sound or music as a separate entity in dialogue with the moving image and vice versa. All video footage by the artists with some sounds by themselves and some by other composers or musicians.
- “Fullfilment of the Event” (2014), 4:17, HD video: Phill Niblock ; music: Rhodri Davies
- “SpinOptique” (2018), 4:30, HD video: Katherine Liberovskaya ; sound (glass optical sound disks and spinning): Ranjit Bhatnagar
- “HookerNiblock” (2015-19), 17:49, HD video: Phill Niblock ; music: William Hooker
- “Crossing” (2018-20), 15:45, HD video: Katherine Liberovskaya ; sound collage: Phill Niblock
- “Rake” (2015), approx. 15:00, HD video & sound: Katherine Liberovskaya
- “Four-Wheel Drive” (2008), 5:00, SD video: Katherine Liberovskaya ; sound collage: Phill Niblock
- “Tilting at Windmills a.k.a. Aqualib Spin” (2015), 9:00, SD video: Katherine Liberovskaya ; sound collage: Phill Niblock
- “Muna Torso” (1992), 21:00, SD video & music: Phill Niblock
PHIL NIBLOCK & KATHERINE LIBEROVSKAYA, AUDIO-VISUAL PERFORMANCE @ DOLCEACQUA ARTE CONTEMPOREANA
KJELL BJORGEENGEN & INGA MARGRETE AAS
Kjell Bjorgeengen
Kjell Bjørgeengen's art practice is an investigation of reality.
Recently Kjell has put an emphasis on working live with a wide range of musicians. The live works feature the production of flicker videos, which have also been presented in various exhibitions since 2002.
The flicker is sound given video sync, thus becoming video and revealing the self -identity of the two. The flicker image is perhaps the most simple and fundamental image we can think of, the oscillation between shades of light and darkness, given from the outside as a simple binary pairing of the visual experience. The flicker videos came about as a counteraction to an easy intellectual approach to art viewing. The flicker works can be harsh to watch, as they are perceived on a physical level. The black and white works are often perceived in colours. There is a threshold that needs to be overcome. A still image from the video reads like a minimal work; set in motion the work turns into its opposite. The art work, having all the traditional marks of the art-making process, turns into a phenomenon and touches the demarcation line between art and non-art.
Inga Margrete Aas
Inga Margret Aas, is a musician working in the field of contemporary, classical and experimental music. Aas plays double bass and viola da gamba. Her main projects are the duo VILDE&INGA and the classical chamber orchestra ENSEMBLE ALLEGRIA. Aas is also playing in the free folk group O,with the experimantalduo PARA, the improvising trio AZKADENYA and working with Swedisch-Norwegian collective SENTER FOR KOLLETIVD SKAPARIDE.
KJELL BJORGEENGEN, VIDEO STILL
TILMAN
His working process focuses on the exploration of light and space using a variety of media. A painter by origin, his work developed over the years into a physical and mental research of the constitutes of painting and its perception, embracing architecture and the essence of light.
After realizing several large scale in-situ installations (Vienne (FR), Lyon Biennale Resonances (FR), Toowoomba (AUS), Braine- l`Alleud (B)), which he labels as `artitectures` as part of an expansive painting process, he - in collaboration with Canadian-born artist Cora von Zezschwitz – launched the project INFINITE VILLAGE in 2017.
Under the title iNFINITE VILLAGE both artists created large in-situ installations in Venice (UAVA, 2017, Campo dei Gesuiti (2018)), Biennale de Grenchen (CH), (2018), Eglise des Célestins, Avignon (2018), A Farm, Ho Chi Minh City (Vietnam, 2019) and M-17 Art Center, Kiew (UA, 2019).
His work is shown extensively since 1992 in Europe, Etat-unis, Australia, Japan).
Besides his artistic career he also was artistic director and co-founder of CCNOA (Center for Contemporary Non-Objective Art/ 1999-2010) in Brussels and currently runs his privately-run art space DAC (Dolceacqua Arte Contemporanea) in Italy. He also was director of Petra Bungert Gallery, New York (1995-1998) and founder of H 29 an artist run space in Brussels (2004-2009). As curator he organized about 40 exhibitions (Europe, Etats-Unis, Australia).
SIGRID PAWELKE
Sigrid Pawelke, Ph. D. is a German curator, a performance and art historian, currently based in Aix en Provence, France. Pawelke has come to specialize in art projects in the urban realm and the ecological sphere. She worked at PS1 Center of Contemporary Art in New York, the Fondazione Pistoletto in Biella, the Beirut Street Festival and the Nuit Blanche in Paris and is especially interested in the social relevance and impact of her projects and interventions. She collaborates with artists such as Jochen Gerz, Lucy and Jorge Orta, Michelangelo Pistoletto among others. Her project UNLIMITED BODIES co-designed together with choreographer and CalArts Dean Dimitri Chamblas was part of PERFORMA biennal in New York in 2019.
She has been teaching performance in theory and practice at the Sorbonne Nouvelle Paris III, Paris VIII and Parsons Paris and art history at the School of Visual Arts in Aix-en-Provence. As a Bauhaus and Black Mountain specialist, she publishes and is active internationally, and regularly gives talks and workshops in cities such as Beirut, Berlin, Budapest, New York, Paris, Stockholm, Vilnius. She has been a guest speaker at the Centre Pompidou in Paris, the Kunst-Werke Institute for Contemporary Art Berlin, the Bauhaus Dessau, Pratt Institute New York and Manifesta 13 in Marseille as part of the « Infinite village ».
ALISON AMBROSIO
Alison Ambrosio is a music curator and event planner, since
2010 she has been producing her own series of live events, building a growing community of creatives based in Paris, Mexico City and New York City.
For the past 10 years, she has been well immersed in the culture industry— project managing online art galleries, collaborating with event agencies and planning cultural events. In 2015, she became the Art Director for various venues in Paris and hosted acclaimed artists such as Alicia Keys, Tony Allen and many more. Since moving to New York City, Alison has been a music curator for popular venues in Brooklyn and worked on various culturalprojects.