Barcelona

Un atelier de création de cartes postales autour de la mer pour les familles, inspiré des œuvres du Musée d'art moderne André Malraux - MuMa. À partir de chutes de voiles, les participants créent leurs propres petits bateaux sur fond de carte postale bleue.

A guided tour of the artworks of Un Été Au Havre for all publics. Let yourself be guided along the quays, discovering artworks from Un Été Au Havre inspired by Le Havre’s landscape and its maritime identity.

Led by anthropologist Géraldine Le Roux, this talk traces the metamorphosis of these "ghost nets": from lethal waste to memorial sculpture, woven with marine myths and the sacred bond that ties coastal peoples to the living world. Echoing the Muséum du Havre, home to Europe's first public collection of its kind, it reveals how contemporary Australian art transforms a global pollution into an ecological plea.

Five women stand motionless, faces streaked with tears. What grief do they carry — and does it truly belong to them? With Bouffées, Leïla Ka imagines how to heal the "incurable": not to erase it, but to transform it into collective strength and renewal. Created in 2022 for the Danse Élargie competition at the Théâtre de la Ville in Paris — where it won 1st prize — this striking 15-minute piece has since toured internationally, entered the repertoire of the Wiesbaden Ballet in Germany, and amassed over 15 million views on social media.

The proposed DJ set is not conceived merely as musical entertainment, but as a sonic extension of the event - a performance piece that engages in a dialogue with the featured artworks and artists, as well as the space hosting them.

“Level Up” is an excerpt from DUB, which Amala Dianor sees as an open, joyful, and utopian space for exploration, where diversity is a source of richness and people are beings seeking to share.

The proposal is entitled In the Depths and takes the form of a performative lecture. It begins with the real history of the Atlantic as a space of violence and memory: the slave trade, ports with a Black presence in Spain (Barcelona, Seville, Cadiz), and how this past has been silenced or fragmented. From there, it takes a creative leap into the realm of the imaginary: how artists such as Drexciya have paved the way for thinking about the ocean not only as a tomb, but also as an archive, as a place of possibilities and future.

Inspired by Nkisi’s ongoing research into the ethnographic music archives (1893 till present), ‘Serpent Songs’ invokes the serpentine movements of sound and the migratory paths of its vibrations. The musical composition delves into the psycho-acoustics inherited from ancient musical traditions. Here, music emerges as an enchanted consciousness; a vessel for its mythopoetic remembrance. Inspired by the primordial snake ancestors of these ancient traditions who shaped landscapes, rivers, and hills, ‘Serpent Songs' traces the trails of music they left behind.