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The artists residencies Art Explora – Cité internationale des arts

Art Explora is sustainably associating with the Cité internationale des arts to co-construct a new biannual residency program for international artists and researchers. This program offers the possibility for artists and researchers to carry out research and creation work in the heart of Paris, in connection with the French artistic and professional scene.

The first session started in March 2021 with 13 residents.

The residents 2022

First session - as of March 2022

Programme SOLO

photo de l'artiste résident
Brook Andrew

Australia

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Brook Andrew, Australia

Project: Guulany

 

The artist:

Brook Andrew was born in 1970 in Sydney. He lives and works in Melbourne, Australia on the lands of the Kulin Nations.  He is an artist, curator and scholar who is driven by the collisions of intertwined narratives, often emerging from the mess of the “Colonial Wuba (hole)” and is driven from his perspective as a Wiradjuri and Celtic person: His matrilineal kinship is from the kalar midday(land of the three rivers) Australia. His artworks, research, leadership roles and curatorial projects challenge the limitations imposed by power structures, historical amnesia and complicity to centre and support Indigenous ways of being through systemic change and yindyamarra (respect, honour, go slow and responsibility). Apart from drawing inspiration from vernacular objects and the archives he travels internationally to work with artists, communities and various private and public museum and gallery collections.

His work has been shown in several institutions and exhibitions around the world.

 

The project :

During his residency, Brook Andrew will create new work based on the collections of the Musée du quai Branly-Jacques Chirac, long inspired by the dendroglyph carvings of guulany/tree of his Wiradjuri Aboriginal Nation in Australia. He will also work on issues of repatriation and restitution of cultural objects in museums as well as on an experimental theatre script called GABAN (which means strange in Wiradjuri).

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Evan Ifekoya

Nigeria

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Evan Ifekoya, Nigéria
Projet : A Ripple Reflected, Devotion Divined

The artist:

Evan Ifekoya was born in Iperu, Nigeria in 1988 and currently lives and works in London. Ifekoya’s work in sound, text, video and performance is an extension of their calling as a spiritual practitioner. They view art as a site where resources can be both redistributed and renegotiated, whilst challenging the implicit rules and hierarchies of public and social space.

Their work has been shown in a number of institutions and exhibitions around the world, including: Migros Museum für Gegenwartskunst (2022, Switzerland); Herbert Museum andGallery Coventry (2021, UK); CAPC Bordeaux (2020, France); Gasworks London(2018, UK) ; Stevenson Gallery (2016, South Africa); Serpentine Galleries(2016, UK).

 

The project:

Evan Ifekoya is developing research for an artist's book exploring contemporary mysticism and the transformative potential of sound- from the cellular to the cosmic. The book is part of a larger body of research that includes lectures, performance and workshops investigating the sacredness and healing potential of sound with the elevation of black consciousness in mind.

Ifekoya will hold space for multidimensional being and doing with others, drawing on the elements of water and fire to create ritual instruments within their studio.

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Agnieszka Kurant

Poland

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Agnieszka Kurant,Poland

Project: Singular Plural

 

The artist:

Agnieszka Kurant was born in 1978 in Lodz, Poland. She lives and works in New York. Kurant is a conceptual artist whose work investigates collective intelligence, the future of labour and creativity, and the exploitations in surveillance capitalism. Kurant is currently an Artist Fellow at the Berggruen Institute Transformations of the Human programme and was an artist in residence at MIT CAST between 2017 and 2019.

 

The project:

Agnieszka Kurant's project consists in the production of a short film investigating the direction in which human culture is presently evolving, the various forms of collective subjectivity and the future of labor and creativity. It will explore the role of crowds as assets of late capitalist economy, the "self" as a polyphony of agencies, as well as the human and non-human collective intelligences, from microbes, viruses and animals to social movements and artificial intelligence. Singular Plural probes the transformations of the human, and the self-organization of communities to rebuild the commons. The film speculates about the future of cinema and cultural production in general, based on complex, collective forms.

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Adam Linder

Australia

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Adam Linder, Australia

Project: Nureyev inParis

 

The artist:

Adam Linder was born in Sydney,Australia in 1983. He lives and works between Los Angeles and Berlin. AdamLinder is a dancer and choreographer. His works are often presented in theatre and exhibition contexts; in which text, costuming, sound production and film are all considered part of his role as choreographer.

The project:

The years of Rudolf Nureyev's direction of the Paris Opera Ballet will be the main focus of Adam Linder's residency in Paris. Adam Linder will dig into historical archives, whilst also speaking to former associates of the Opera during this period. Through this field work he will try and understand the spirit that characterized this 80s moment in ballet, when younger choreographers were responding with a playful (post-) modernizing of the form with Nureyev's decline from AIDs in the background of this illuminating era.

With this research, Adam Linder will be inspired to build material for a new ballet that reflects the times we are in today by retaining an umbilical cord to the formal ruptures of the past.

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Salman Nawati

Palestine

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Salman Nawati,Palestine

Project: Imaginary Museumof Gaza

 

The artist:

Salman Nawati was born in 1987 in Palestine. He lives and works in the Gaza Strip. He is an artist and works as well as an administrative coordinator for the Art programme in Qattan Foundation/Gaza center. He has been working as an art teacher at the Fine arts college and at Al-Aqsa University. He has also been art director for several art festivals in Gaza. His practice spans different artistic fields such as drawing, sculpture, installations, design, photography, filmmaking, theater, music, and art therapy. In his artistic project, Salman Nawati focuses on expressing himself as a human.

The project:

In the absence of a responsible authority for the protection of the antiquity and artistic property in the Gaza Strip, Salman Nawati, along with, artist Mohamed Abusall and architect Sondos El Nakhala, will collaborate on an imaginary museum, a museum focusing on the historical and artistic heritage of the Gaza Strip, which would be accessible to all. This museum will not be physically present but will be a digital incubator gathering an assortment of antique objects, cultural relics, and artworks, for some completely imagined, in the format of digital replicas. This project is jointly developed with Mohamed Bourouissa who will also produce a video showing the entire production stages of the museum. The final product of this project will be a virtual reality presentation to be exhibited at the Palais de Tokyo in2023, where the public will discover the Imaginary Museum of Gaza through this virtual portal.

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Christelle Oyiri

France

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Christelle Oyiri, France

Project: Gentile Battle

 

The artist:

Born in 1992 in the Paris region, Christelle Oyiri is a Paris-based French producer, DJ (under the pseudonym Crystallmess),writer, and artist of Ivorian and Guadeloupean origin. Combining film, music, performance, and sculpture, her radically interdisciplinary work deals with themes of colonial alienation and alternative temporalities. Faced with the deliberate erasure of narratives outside the dominant canon, Christelle Oyiri looks for information between the lines. Her research is focused on the tonalities, textures, and visual vernacular of the music, art, popular culture, and youth cultures within and outside the African diaspora.

Her work has been shown in several institutions and exhibitions around the world such as Cinéma Nova, Brussels, Gaîté-Lyrique, Lafayette Anticipations, Centre Pompidou, Paris, and Festival Les Urbaines, Switzerland.

 

The project:

Christelle Oyiri’s project Gentle Battle examines her research on belligerence, defense mechanisms, and trauma responses through her relationship with one of her countries of origin: Ivory Coast. Her focus is on Logobi, a dance from the streets of Abidjan, whose movements are based on the art of bluffing and mimicry. Logobi never reallyexisted as an actual dance on the dance floor, gaining relevance and strength through battles, competitions, and confrontations. At the end of the 2000s, it became a phenomenon amongst black French youth from the Paris banlieues. Atribute to logobi’s influence on Parisian urban culture, Christelle Oyiri’s project will take the form of a video, featuring dancers as well as interviews with therapists, psychiatrists, and members from the African communities in theParis region.

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Fátima Rodrigo Gonzales

Peru

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Fátima RodrigoGonzales, Peru

Project: Vital infrastructures : rethinking the modern through subaltern

 

The artist:

Fátima Rodrigo Gonzales was born in 1987 in Lima, Peru, where she currently lives and works. Using different media, she explores the definition of modernity as opposed to Latin American repressed histories. Her work questions the power regimes naturalized by artistic modernity in a post-colonial context, that continue to organize the world in hierarchical binaries.

 

The project:

In the context of a global health crisis that continues to exacerbate social and environmental inequalities, Fatima Rodrigo Gonzales proposes to devote the period of her residency to highlight indigenous technological developments in the field of construction. Her project aims to disrupt the idea that indigenous practices are primitive and alien to the development of new technologies by creating a three-dimensional artwork and a platform video game. Vital infrastructures questions the universal notion of technology and the environmental consequences of excluding indigenous practices in development processes.

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Emilija Škarnulytė

Lithuania

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Emilija Škarnulytė,Lithuania

Project: Fluvial Extents

 

The artist:

Emilija Škarnulytė was born in 1987 in Vilnius,Lithuania. As a visual artist and filmmaker working between documentary and the imaginary, Emilija Škarnulytė makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. She is a founder and currently co-directs PolarFilm Lab, a collective for analogue film practice located in Tromsø, Norway and is a member of artist duo New Mineral Collective, recently commissioned for a new work by the First Toronto Biennial.

 

The project:

Emilija Škarnulytė wants to trace the flow of water, the world beneath the waves, trawling the benthic zones of the riparian and lacustrine for the lasting effects of human intervention. Working with photogrammetry and underwater lidar remote sensing, for Fluvial Extents she wants to picture what was already lost beneath the flow of water of the Rhône river, what scars and stains humans are depositing there, and imagine what will appear and disappear in the wash of millenia. Tracing the flux of rivers and lakes in Europe, Emilija Škarnulytė  wants to explore both their hydrologies and mythologies, imagining through the depths of time what has already passed and what is yet to come.

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Charwei Tsai

Taiwan

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Charwei Tsai, Taiwan

Project :Touching the Earth

 

The artist :

Charwei Tsai was born in Taiwan in 1980. She lives and works in Taipei. Charwei Tsai uses a variety of media such as video and calligraphy in a performative and politically engaged practice. Her interest in spirituality manifests itself in the calligraphic writing of mantras on various and often living media: trees, tofu, mushrooms, lotus leaves... Highly personal yet universal concerns spur Charwei Tsai’s multi-media practice. Geographical, social, and spiritual motifs inform a body of work, which encourages viewer participation outside the confines of complacent contemplation. Preoccupied with the human/nature relationship, Charwei Tsai meditates on the complexities among cultural beliefs, spirituality, and transience. Since 2005 she has published an independent curatorial journal,Lovely Daze, which is included in the library collections of the Tate Modern,Centre Pompidou, MoMA, and the Museum of Contemporary Art in Barcelona.

 

The project :

Throughout her residency, Charwei Tsai intends to develop a project, entitled Touching the Earth project by producing a sound-based performance with musician Stephen O'Malley to create a ritual with sounds and vibrations from nature. This performance will be accompanied by the release of a new issue of her magazine Lovely Daze on the themes of art, ecology, technology and science. Her overall project will explore central questions at the intersection of science, technology and spirituality such as: How do science and technology help us to slow down? How do science and technology help us to touch the earth? How do science and technology help us to deconstruct our habit of identifying ourselves as permanent and independent entities?

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Martha Wilson

USA

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Martha Wilson, USA

Project: Generations of Feminism in France

 

The artist:

Martha Wilson was born in 1947 in Philadelphia,USA. She lives and works in New York. She is a pioneering feminist artist and art space director, who over the past four decades has created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion and preservation of artist books, temporary installation, performance art, as well as online works. Martha Wilson is represented by P.P.O.W Gallery in New York.

 

The project:

During her residency, Martha Wilson intends to continue her practice and creation of artworks rooted in a feminist, social and political context. As part of her project, she will record the oral histories of French feminist figures of all generations. This project is a continuation of her work started in 1981 on different feminist communities in collaboration with Suzanne Lacy and Susan Hiller. The aim of this experiment is to examine six generations of feminists in France, to compare their work and their feminist, social and political attitudes.

Programme DUO

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Raphaël Grisey and Bouba Touré

France and Mali

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Raphaël Grisey and Bouba Touré, France and Mali

Project: Digitalization of the photographic archive of Bouba Touré

 

The artists:

Raphaël Grisey was born in 1979 in France, and lives and works between Berlin and Trondheim in Norway. Bouba Touré was born inMali in 1948 and died in France in January 2022. Raphaël Grisey uses film, editorial and photographic works to address politics of memory, architecture, migration and agriculture. Bouba Touré was a photographic researcher. He studied at Vincennes University and was a projectionist at Cinema 14 Juillet and L’entrepôt, Paris. Photographer since the 1970s, he documented the lives and struggles of migrant workers and peasants in France and Mali. Bouba Touré co-founded the Co-op of Somankidi Coura in 1977. In 2015, he published the book Notre case est à Saint Denis.Since the 1980s, Touré has exhibited works and given talks in associative and foyer’s circles and more recently in art institutions. Touré and Grisey worked together over fifteen years on collaborative projects under the current name of Sowing Somankidi Coura, a Generative Archive. This collaboration led to various workshops, film and theatre production for example with the theatre group Kaddu Yaraax in 2017 and 2019, as well as publications and texts, such asSowing Somankidi Coura, a Generative Archive (2017,Archives Book).

 

The project:

Their residency looks back on the long-time collaboration between Raphaël Grisey and Bouba Touré. Raphaël Grisey will digitize and activate the photographic archive of Bouba Touré. A first complementary indexation work of the archive will be produced by the duo which will then be complemented by partners who will be invited to interpret, refine the indexing, and propose research angles and new contributions. The final production will consist in the production of a sound piece, which will accompany the photographs of Bouba Touré.

Second session - as of September 2022

No items found.

The selection committee 2021

The selection committee is made up of leading figures from the world of art and research.
photo du membre du comité de selection
Diana Campbell Betancourt

Artistic Director, Samdani Art Foundation and Chief Curator, Dhaka Art Summit (USA & Bangladesh)

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Diana Campbell Betancourt is an American curator who has been working in South and Southeast Asia since 2010, primarily in India, Bangladesh, and the Philippines. She is committed to fostering a transnational art world, and her plural and long-range vision addresses the concerns of underrepresented regions and artists alongside the more established in manifold forums. 

Since 2013, she has served as the Founding Artistic Director of Dhaka-based Samdani Art Foundation, Bangladesh and Chief Curator of the Dhaka Art Summit, leading the critically acclaimed 2014, 2016, 2018, and 2020 editions. She has developed the Dhaka Art Summit into a leading research and exhibitions platform for art from South Asia, bringing together artists, architects, curators, and writers from across South Asia through a largely commission based model. Concurrent to her work in Bangladesh from 2016-2018, Campbell Betancourt was also the Founding Artistic Director of Bellas Artes Projects in the Philippines, a non-profit international residency and exhibition programme with sites in Manila and Bataan.


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Vinciane Despret

Philosopher of sciences and professor, University of Liège and ULB, Belgium

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Philosopher and psychologist Vinciane Despret teaches in the Liège University Philosophy department. Her passionate interest in ethology led her to choose it as her research topic. In “Naissance d’une théorie éthologique : la danse du cratérope écaillé/Birth of an Ethological Theory: The Dance of the Arabian Babbler”, she went on to relate her first fieldwork with birds in 1996. Other publications were to follow, including “Bêtes et Hommes/Beasts and Men”, (after the exhibition of the same name at the Grande Halle de la Villette in 2007-2008 for which she was Scientific Curator); “Etre bête/Being beastly”, co-written with Jocelyne Porcher, “Les faiseuses d’histoires/Historymakers” with Isabelle Stengers and “Penser comme un rat;  Que diraient les animaux si on leur posait les bonnes questions?/Thinking like a rat; what would animals tell us if we asked them the right questions?” Her latest book, “Habiter en oiseaux/Living as birds”, looks at the question of territories. The common thread throughout her research is the question of how to do research well: how do we succeed (or fail) in our efforts to make living beings interesting?


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Christine Macel

General Heritage Curator Head of the Contemporary Art and Prospective Creation Department at the Pompidou Centre National Arts Museum, France

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Since 2000, art historian and exhibition curator Christine Macel has been Head Curator of the Contemporary Art and Prospective Creation Department at the Pompidou Centre, where she has held numerous exhibitions. She was director of the 2017 Venice Art Biennial, 'Viva Arte Viva'. Her essay, "Le Temps Pris/Taking Time", was published in 2020 by Editions Champs d'art Flammarion. She was joint Curator of "Global (e) Resistance" at the Pompidou Centre in 2020 and is currently preparing the "Elles font l'abstraction/Women in abstraction" exhibition at the Pompidou Centre (May 2021) and the Bilbao Guggenheim (October 2020).

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Simon Njami

Curator and artistic director, Dakar Biennale, Cameroon & Switzerland

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Simon Njami is a Paris-based independent curator, lecturer, art critic and novelist. Njami was the co-founder and editor-in-chief of Revue Noire, a journal of contemporary African and extra-occidental art. He has served as artistic director of the first Johannesburg art fair in 2008, the Bamako photography biennale for ten years and the Dak’art Biennale (2016-2018). He co-curated the first African pavilion at the 52nd Venice Biennale in 2007. He also curated Afriques Capitales (Paris, Lille 2017), African Metropolis (Maxxi 2018), The Studio (Kampala Biennale 2019), This space between us (Las Palmas 2020), Materia Prima (San Giminiano 2021), amongst others.

Njami has curated numerous exhibitions of contemporary art and photography, including Africa Remix (2004-2007) and the first African Art Fair, held in Johannesburg in 2008. In 1998, he created the Pan African master classes in photography, with the Goethe Institut and directed it over 12 years, and set up the collection of contemporary art for the Memorial Acte museum in Guadeloupe. He published and edited numerous books among which the latest Stories Histories, the story of Revue noire (2020).

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Hans Ulrich Obrist

Artistic director, Serpentine Galleries, UK

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Hans Ulrich Obrist b. 1968, Zürich, Switzerland) is Artistic Director of the Serpentine Galleries in London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup (The Kitchen Show)’ in 1991, he has curated more than 300 exhibitions.

 

Obrist has lectured internationally at academic and art institutions, and is a contributing editor to Artforum, AnOther Magazine, Cahiers D'Art, and 032C; he is a regular contributor to Mousse and Kaleidoscope and he writes columns for Das Magazin and Weltkunst. In 2011 he received the CCS Bard Award for Curatorial Excellence, and in 2015 he was awarded the International Folkwang Prize for his commitment to the arts.


His recent publications include Ways of Curating (2015), The Age of Earthquakes (2015), Lives of the Artists, Lives of Architects (2015), Mondialité (2017), Somewhere Totally Else (2018) and The Athens Dialogues (2018).


Crédit photo : Tyler Mitchell

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Philippe Vergne

Director, Serralves Foundation, Portugal & France

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Philippe Vergne has been serving as director of Serralves Museum of Contemporary Art, Porto, since April 2019. He was director of The Museum of Contemporary Art, Los Angeles (MOCA) from 2014 to 2018. Prior to his appointment at MOCA, Vergne served for five years as director of the Dia Art Foundation, New York. Before his tenure at the Dia Foundation, Vergne was Deputy Director and Chief Curator at the Walker Art Center in Minneapolis. From 1994 to 1997, Vergne was Director of the MAC, Musée d’Art Contemporain de Marseille, France.


Philippe Vergne dirige le musée d’art contemporain de Serralves, à Porto, depuis avril 2019. De 2014 à 2018, Il a été directeur du musée d’art contemporain de Los Angeles (MOCA). Auparavant, il a tenu les rênes, cinq ans durant, de la fondation DIA à New York, après avoir été directeur adjoint et conservateur en chef du Walker Art Center de Minneapolis.<br/>De 1994 à 1997, Philippe Vergne a assuré la direction du musée d’art contemporain de Marseille (MAC).


The residents 2021

First session - as of March 2021

SOLO Program

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Dineo Seshee Bopape

Artist, South Africa

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Dineo Seshee Bopape

Dineo Seshee Bopape was born in 1981, on a Sunday. the Boeing 767 makes its first airflight; Umkonto We Sizwe performs numerous underground assualts against the apartheid state. There was an earthquake that killed maybe 50 people in China; an International NGO Conference on Indigenous Populations and the Land is held in Geneva, The name ‘internet’ is mentioned for the first time; Hosni Mubarack was elected president of Egypt; there is a coup d’etat in Ghana; princess Diana of Britain marries Charles; Bob Marley dies; apartheid SA invades Angola; AIDS is identified/ created/named; Salman Rushdie releases his book “Midnight’s Children”; the remains of the Titanic are found; Muhamed Ali retires; Winnie Mandela’s banishment orders are renewed for another 5 years; the first test tube baby is born, Thomas Sanakara rides a bike to his first cabinet meeting; Machu Pichu is declared a heritage site; her paternal grandmother dies affected by dementia; that very year millions of people cried tears(of all sorts), spoke words in many languages and billions of people dreamt…. somethings continued, somethings transformed others ended(?), The world’s human population was then apparently at around 4.529 billion… today she (Bopape) is one amongst 7 billion – occupying multiple adjectives.” She is the winner of the Future Generation Art Prize 2017, as well as the Sharjah Biennial Prize 2017. She is represented by the galleries Sfeir-Semler (Beirut) and Bendana Pinel (Paris).

The project: Vibe: Sa lerole ke kosha

I want to do research related to earth, one of my favourite elements. For a number of years I have been exploring this element(earth) from various perspectives and through various perspectives that are intricately connected to the socio-political: the histories of land possession and dispossession, the socio- economic-political histories of mining of various kinds (minerals, metals, nutrients…) and its implications on our collective body and the body of the earth. I will study the base elements, minerals, compounds and look for their energies, resonances, and translate them into songs. The research will take the form of a song: making a song of the earth, making songs for the earth and record it in different places.

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Akram Zaatari

Photographer and videographer, Lebanon

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Akram Zaatari

Born in 1966, Akram Zaatari has produced more than 50 films and videos. These all share an interest in writing histories, pursuing a range of interconnected themes, subjects and practices related to excavation, political resistance, the lives of former militants, the legacy of an exhausted left, the circulation of images in times of war, and the play of tenses inherent to various letters that have been lost, found, buried, discovered, or delayed in reaching their destinations. Zaatari has played a critical role in developing the formal, intellectual, and institutional infrastructure of Beirut’s contemporary art scene. As a co-founder of the Arab Image Foundation (1997), he has made invaluable and uncompromising contributions to the wider discourse on preservation and archival practice. One of the most important artists on the Lebanese scene, having represented Lebanon at the Venice Biennial in 2013, Akram Zaatari is represented by the galleriesSfeir-Semler (Beirut), Thomas Dane (London) and Kurimanzutto (Mexico).

The project: FATHER AND SON

The project FATHER AND SON looks at two archeological missions that took place in Sidon in the mid-nineteenth century and that led to the discoveries of two sarcophagi belonging to a father and a son; kings Eshmouazar II (now in Paris) and Tabnit (now in Istanbul). The project imagines reuniting, possibly in the same space, but maybe symbolically or even virtually, the two sarcophagi through an art work. The project explores alternatives to restitution. This will happen first through 3D scanning, later through printing and hopefully reaching to their display together to tell the story of their separation.

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Mohssin Harraki

Artist, Morocco

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Mohssin Harraki

Mohssin Harraki, born in Assilah (Morroco) in 1981, is a multidisciplinary artist whose drawings, videos, exhibitions and photographs are all ways of questioning social and political issues. The artist questions both the ways society builds cultural memory and collective imagination. He is interested in the mechanisms of building collective imaginary memories. He is also interested in subjects such as genealogy, the transmission of power and education. His exhibitions explore history, writing and images, notably his exhibition ‘Illusions: the presence of images contribute to their disappearance’ at the Imane Farès Gallery (Paris). His work has been presented in numerous institutions including the Centre Pompidou in Paris, France in 2020, the Frac Nouvelle-Aquitaine MECA, Occitane-France in 2020, Beirut Art Center, Beirut, Lebanon in 2019, Group exhibition at the Castelli Gallery, New York, United States in 2019, at the Dakar biennial , Senegal in 2018, at the Hessel Museum of Art, at the Gwangju Museum of Art, South Korea in 2014 and 2013. He presented his project ‘Absence-Presence Twice’ with Joseph Kosuth at the Imane Fares Gallery (Paris). He is represented by the gallery Imane Farès (Paris).

The project : Image interdite/image manquante

My residency project is a research on the birth of the photo, the passage to the image and its circulation. In the project Forbidden Image / Missing Image, I try to question the ban on the image and the degree of lack it produces, while evoking the means of production of the archive and its relationship with History in its Moroccan context and that of Arab countries in general. I am interested in the relationship to the history of the ban on images in the Arab countries, a history to be imagined from words, from the absence, the invisible, the lack of image. Is there a possible encounter with emptiness through words? A missing image is not simply the absence of something that perhaps reveals its real nature, but this absent image as such. Talking about an image through another image without taking an image, for example, taking a picture of a photographer taking a picture of the photographer taking the picture (image), is like talking about the third witness of a photo.


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Maya Minder

Artist, Switzerland

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Maya Minder

Maya Minder, born in 1983 and lived in Zurich, is a performing artist and feminist, who based her researches into the importance of microbes for daily life and cooking. Her work is about cultivating communities and culinary delights. Similar to the concept of culture, Food has its roots in an agricultural context and now encompasses concepts related to knowledge as one of her research. She has received several awards and nominations : Kadist Award, Pro Helvetia, Pax Award. She has also been exhibited in several international exhibitions and festivals: Ars Electronica, AEGardens2020, Austria, Piksel Spill Fest, Norway, Kunsthalle Zurich, Klöntal-Triennale, Food Culture Days, Swiss. In her work she focuses on food and how we are connected to this world to earthly ways. Food has become essential since it is socio- political and economical interrelated and finally understood as a human cultural heritage and alchemy. Eating as an act of nutrition uptake is not only a physical activity, but also bounds us within a daily rhythm and interspecies and microbial exchange and continues update.

The project: Green Open Food Evolution

With Green Open Food Evolution – A dietary proposal for an endosymbiotic co-evolution to become Homo photosynthetic I want to propose an artist research project for the residency. The Research is open ended and the final result of this research project would be a speculative cooking book on a potential dietary program accompagned by performative lectures, workshops and dinner- performances on the subject of Homo photosynthetic. The project will be developed in collaboration with the interdisciplinary artistic research project « Roscosmoe – The worm that wanted to go into space » initiated by Ewen Chardronnet and the marine biologists Xavier Bailly and Gaëlle Correc (researchers at the Roscoff Biological Station, Finistère – CNRS Sorbonne Université).

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Sara Ouhaddou

Artist, France

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Sara Ouhaddou

Born in France in 1986 to a Moroccan family, Sara Ouhaddou’s artistic practice is influenced by the continuous language of her dual culture. Beginning her career as a fashion designer, she then developed more artistic and social techniques, addressing the challenges faced by Moroccan craftsmen. She used this forum to question the role of art as a tool for economic, social and cultural development, particularly in the Arab world. By sharing her examination of the changes in her cultural background, she juxtaposes traditional Moroccan art with the conventions of contemporary art so as to highlight the realities of forgotten cultures. She has participated in the following exhibitions: Islamic Art festival, Sharjah (2017-2018), Crafts Becomes Mordern, Bauhaus Dessau Foundation (2017); the Marrakech Biennale (2016). His monographic exhibitions have been presented at the Moulin d’Art Contemporain de Toulon (2015); Gaité Lyrique, Paris (2014); and the Institut Français de Marrakech (2014). Among the awards she has received: Arab Fund for Art and Culture (2014); and Un Pourcent Art Contemporain NYC, Little Syria Project (2017). She is represented by the gallery Polaris (Paris).

The project : Des Autres

Des Autres is a research project which treats all divine, human and monstrous figures in the culture of the ancient Amazighs* people of North Africa. And in parallel, the typological history of places of knowledge: libraries, media libraries and museums. This geographical crossover study, over time, between Europe and North Africa is intended to allow me to build a work of art as a new physical, ethereal or performance space superimposed on all other knowledge. By highlighting the Amazigh mythology, I question our spaces of learning and knowledge transmission in a wider sense.

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Hamedine Kane

Artist, filmmaker, Mauritania

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Hamedine Kane

Hamedine Kane, Senegalese and Mauritanian artist and film director, lives and works between Brussels and Dakar. Through his practice, Kane frequents borders, not as signs and factors of impossibility, but as places of passage and transformation, as a central element in the conception of itinerant identity. He uses words and images to highlight the notions of exile, wandering, and movement but also to replace political time with living time. He developed a strong interest in memory and heritage which reflected in The School of Mutants with Stéphane Verlet-Bottero, a research project that intermingles with the past and the future, transgressing and irrigating the limits of space and time. Kane’s latest works were exhibited at the last Dak’art Biennale under the direction of Simon Njiami, at Documenta 14 :“Every Time A Ear Di Sound” curated by Bonaventure Soh Bejeng Ndikung, Elena Agudio and Marcus Gammel. In 2018 his work was the subject of a solo exhibition in Mumbai at Clark House Initiative, commissioned by Sumesh Sharma with whom he continued a collaboration at The Showroom in London. In 2018 Kane also exhibited at the FIAC and The Colonie in Paris. Kane participated in the TaipeiBiennial 2020, he will be part of the Casablanca Biennale 2021. His film The Blue House received a special mention from the jury at IDFA in Amsterdam in 2020.

The project: Trois Américains à Paris

My particular interest for literature and the book as an object, vector for my artistic creation, comes above all from my previous work as librarian in Senegal and Mauritania. This experience was to become an important marker in my artistic development. At the same time, I also developed an interest in the influence that African, Afro-American and African diaspora literature and its authors have, as source of inspiration for current generations in their political social and environmental struggles. The residency will allow me to continue this research and to create a new season of work around this literature. It so happens that the three American writers which with whom I would like to launch this new creative research (Richard Wright, Chester Himes and James Baldwin), following the series ‘Salesman of Revolt’ (2018), lived in and created the majority of their work in Paris. The work of these three writers was for me a great source of inspiration and comfort during my European exile. I know that they were also a great inspiration to many before me.

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Achraf Touloub

Artist, France

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Achraf Touloub

Achraf Touloub explores the links between tradition and modern life in a globalised world. His pictorial work brought him to focus on diverse forms of visual art, with an alternative treatment of perspective: a motif of multitude of intersecting lines was born. He is represented by the Belgian gallery Baronian Xippas.

The project: Une fenêtre pour UN monde

For his residential project Art Explora, Achraf Touloub will be developing a new series of drawings and paintings as a starting point to discuss the question of reality in an ever more connected world governed by omnipresent communication technologies. Since starting this journey, the artist has considered initiative and immersive dimensions unique to technology and merged them with traditional forms of representation. This immersive dimension now disrupts the way in which we understand and come to terms with the modern era. So many current events leave the impression that they are choreographed, engulfing us in what seems to be a preordained script. This heady feeling of finding ourselves both actor and spectator in these images is one of the major consequences of communications technologies on our existence. The dizzying feeling we face conduces the artist to invent and experiment with new forms of perception and his attempt to navigate the multiple superimposed dimensions which make up the contemporary world. Achraf Touloub expresses his work with pictographic research and immersive formats, which take the physical representation first and foremost as a carnal and intuitive experience. It is about giving the visual image a function, of generating a space in which we can reconnect with our primal self.

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Stéphane Verlet-Bottéro

Artist, France

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The project : Small grains cosmology

Stéphane Verlet-Bottéro is fascinated by Millet and other ‘grain diets’: for him, these forgotten cereals, left aside on the scrapheap of techno-scientific modernism, embody imperialism, patriarchal oppression a continued resistance to homogenisation. This is also about a resilient plant which, in a drier and less stable climate, could play an important role in improving food sovereignty and the future of agriculture. By sharing the requirements of other ways of looking at the world, his project tries to develop an agricultural universe around Millet, in relation with farming communities which are concerned for their survival. Building on his in-depth survey of interviews and the archives of specialist institutions, his project will include artistic creations, research into sleep and a dining performance.

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Dineo Seshee Bopape

Artiste, Afrique du Sud

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Dineo Seshee Bopape

Artiste, Afrique du Sud, 1981

Dineo Seshee Bopape est née un dimanche de 1981. Le Boeing 767 effectue son premier vol et Umkonto We Sizwe mène de nombreuses attaques de sabotage contre le régime de l’apartheid. Un tremblement de terre fait une cinquantaine de morts en Chine ; des ONG internationales se réunissent à Genève pour une conférence sur les populations indigènes et leurs terres. Le terme « Internet » fait son apparition pour la première fois ; Hosni Moubarak est élu président de l’Égypte ; un coup d’État a lieu au Ghana ; Diana épouse le prince Charles en Grande-Bretagne ; Bob Marley disparaît ; l’Angola sombre dans l’apartheid ; le SIDA est identifié/créé/nommé ; Salman Rushdie publie son livre « Les Enfants de minuit » ; l’épave du Titanic est retrouvée ; Mohamed Ali prend sa retraite ; les ordres de bannissement de Winnie Mandela sont renouvelés pour 5 ans ; le premier bébé-éprouvette naît ; Thomas Sanakara se rend à vélo à la première réunion de son cabinet ; le Machu Picchu est classé au patrimoine mondial ; sa grand-mère paternelle meurt de démence ; cette année-là, des millions de personnes ont versé des larmes (pour diverses causes), ont prononcé des mots dans de nombreuses langues et des milliards de personnes ont rêvé… Certaines choses ont continué, certaines ont évolué et d’autres ont pris fin (?). La population mondiale s’élevait alors à environ 4,529 milliards d’êtres humains… aujourd’hui, Bopape fait partie de 7 milliards d’êtres humains et mérite de nombreux qualificatifs ». Elle est lauréate du Future Generation Art Prize 2017 ainsi que du Sharjah Biennial Prize 2017. Elle est représentée par les galeries Sfeir-Semler (Beyrouth) et Bendana Pinel (Paris).

Le projet : Vibe: Sa lerole ke kosha

Je veux faire des recherches liées à la terre, un de mes éléments préférés. Depuis plusieurs années, j’explore cet élément (la terre) sous différents angles et à travers différentes perspectives qui sont intimement liées au socio-politique : les histoires de la possession et de la dépossession des terres, les histoires socio-économico-politiques de l’exploitation minière de divers types (minéraux, métaux, nutriments…) et ses implications sur notre corps collectif et sur le corps de la terre. Je vais étudier les éléments de base, les minéraux, les composés et rechercher leurs énergies, leurs résonances, et les traduire en chansons. La recherche prendra la forme d’une chanson : faire une chanson de la terre, faire des chansons pour la terre et l’enregistrer dans différents endroits.

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Akram Zaatari

Photographe et vidéaste, Liban

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Akram Zaatari

Photographe et vidéaste, Liban, 1966

Né en 1966, Akram Zaatari a produit plus de 50 films et vidéos. Tous ont en commun le souci de raconter des histoires et explorent une série de thèmes, de sujets et de techniques touchant à la recherche historique, à la résistance politique, à la vie des anciens militants, à l’héritage d’une gauche épuisée, à la diffusion d’images en temps de guerre et au jeu de tensions inhérent aux lettres qui ont été perdues, trouvées, enterrées, découvertes, ou qui sont arrivées en retard. Zaatari a contribué de manière déterminante au développement formel, intellectuel et institutionnel de la scène artistique contemporaine beyrouthine. En tant que co-fondateur de l’Arab Image Foundation (1997), il a contribué très largement et sans compromis à élargir la réflexion sur la préservation et les pratiques d’archivage. Artiste parmi les plus importants de la scène libanaise, ayant représenté le Liban à la Biennale de Venise en 2013, Akram Zaatari est représenté par les galeries Sfeir-Semler (Beyrouth), Thomas Dane (Londres) et Kurimanzutto (Mexico).

Le projet : FATHER AND SON

Le projet FATHER AND SON se penche sur deux missions archéologiques qui ont eu lieu à Sidon au milieu du XIXe siècle et qui ont conduit à la découverte de deux sarcophages appartenant à un père et son fils, les rois Eshmouazar II (aujourd’hui à Paris) et Tabnit (aujourd’hui à Istanbul). Le projet consiste à réunir, possiblement dans un même espace, mais peut-être symboliquement ou même virtuellement, les deux sarcophages à travers une œuvre d’art. Le projet cherche des alternatives à la restitution. Cela passera d’abord par une numérisation des sarcophages en 3D, puis leur impression et, espérons-le, leur exposition ensemble pour raconter l’histoire de leur séparation.

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Mohssin Harraki

Artiste, Maroc

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Mohssin Harraki

Artiste, Maroc, 1981

Mohssin Harraki, né à Assilah (Maroc) en 1981, est un artiste pluridisciplinaire dont le dessin, la vidéo, l’installation et la photographie sont autant de moyens d’interroger les enjeux sociaux et politiques. L’artiste questionne à la fois la construction culturelle et les mécanismes de constitution de la mémoire et de l’imaginaire collectif. Il s’intéresse à des mécanismes de constitution de la mémoire et de l’imaginaire collectif. Il s’intéresse à des sujets tels que la généalogie, la transmission du pouvoir et l’éducation. Dans ses installations, il explore également les thèmes de l’histoire, de l’écriture et de l’image, notamment dans son exposition «illusions: la présence de l’image contribue à sa disparition» à la Galerie Imane Farès. Son travail a été présenté dans de nombreuses institutions dont le Centre Pompidou, Paris-France en 2020; Frac Nouvelle-Aquitaine MECA, Occitane-France en 2020; Beyrouth Art Center, Beyrouth-Liban en 2019; Exposition collective à la Castelli Gallery de New York en 2019, à la biennale de Dakar, Sénégal en 2018, au Hessel Museum of Art, au Gwangju Museum of Art, Corée du Sud en 2014 et en 2013 il présente son projet « Absence-présence, deux fois » en duo avec Joseph Kosuth à la galerie Imane Fares (Paris). Il est représenté par la galerie Imane Farès (Paris).

Le projet : Image interdite/image manquante

Mon projet de résidence est une recherche sur la naissance de la photo, la passage à l’image et sa circulation. Dans le projet Image interdite / image manquante, j’essaye de remettre en question l’interdiction de l’image et le degré de manque qu’elle produit, tout en évoquant les moyens de production des archives et ses rapports avec l’Histoire dans son contexte marocain et dans celui des pays arabes en général. Je m’intéresse au rapport à l’histoire de l’interdiction de l’image dans les pays arabes, une histoire à imaginer à partir des mots, de l’absence, de l’invisible, du manque d’image. Y a-t-il une rencontre possible avec le vide a partir des mots? Image manquante n’est pas simplement l’absence de quelque chose qui en relève peut-être la nature réelle, mais cette image absente en tant qu’elle. Parler d’une image à travers une autre image sans prendre d’image, par exemple prendre une photo d’un photographe qui photographie le photographe qui prend la photo (image), c’est comme de parler du troisième témoin d’une photo.

DUO Program

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Maarten Vanden Eynde

Artist, Belgium

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Oulimata Gueye

Oulimata Gueye is an art critic and curator based in Paris (FR) studying the impact of digital technology on urban popular culture in Africa. Her fields of investigation include the potential of fiction to develop critical analysis and alternative positions. She holds a Master in cultural management delivered by the Paris 8 University, and studied Art and Language the École des Hautes Études en Sciences Sociales in Paris (FR). From 2020 to 2023 she is the external advisor to Maarten Vanden Eynde’s PhD candidature in the Artistic Research Project ‘Matter, Gesture, Soul’ at the University of Bergen in Norway.

Maarten Vanden Eynde

Maarten Vanden Eynde is a visual artist based in Brussels (Belgium) and Saint-Mihiel (France). He graduated from the free media department at the Gerrit Rietveld Academy in Amsterdam (NL) in 2000, participated in the experimental MSA Mountain School of Arts in Los Angeles (US) in 2006 and finished a post graduate course in 2009 at HISK Higher Institute for Fine Arts in Ghent (BE). His practice is embedded in long term research projects that focus on numerous subjects of social and political relevance such as In 2005 he founded Enough Room for Space (ERforS), an interdependent art initiative that initiates and coordinates events, residencies, research projects and exhibitions worldwide, together with Marjolijn Dijkman.In 2005 he founded Enough Room for Space (ERforS), an interdependent art initiative that initiates and coordinates events, residencies, research projects and exhibitions worldwide, together with Marjolijn Dijkman. post-industrialism, capitalism and ecology. His work is situated exactly on the borderline between the past and the future; sometimes looking forward to the future of yesterday, sometimes looking back to the history of tomorrow. He is represented by the gallery Meessen de Clercq (Brussels).

The project: Ars Memoriae

The “Ars Memoriae” project takes as its starting point the little known Mesolithic site of Fontainebleau and is anchored in a broader research on the material forms of memory and the contemporary challenges of archaeology, particularly with regard to the place it has given to the African continent where the oldest remains of human presence on Earth are to be found. By studying different ways of remembering, it will be a question of imagining / speculating on / what could be the material vestiges that would survive contemporary society in order to propose an alternative historical narrative.

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Oulimata Gueye

Critic and art curator, Senegal

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Oulimata Gueye

Oulimata Gueye is an art critic and curator based in Paris (FR) studying the impact of digital technology on urban popular culture in Africa. Her fields of investigation include the potential of fiction to develop critical analysis and alternative positions. She holds a Master in cultural management delivered by the Paris 8 University, and studied Art and Language the École des Hautes Études en Sciences Sociales in Paris (FR). From 2020 to 2023 she is the external advisor to Maarten Vanden Eynde’s PhD candidature in the Artistic Research Project ‘Matter, Gesture, Soul’ at the University of Bergen in Norway.

Maarten Vanden Eynde

Maarten Vanden Eynde is a visual artist based in Brussels (Belgium) and Saint-Mihiel (France). He graduated from the free media department at the Gerrit Rietveld Academy in Amsterdam (NL) in 2000, participated in the experimental MSA Mountain School of Arts in Los Angeles (US) in 2006 and finished a post graduate course in 2009 at HISK Higher Institute for Fine Arts in Ghent (BE). His practice is embedded in long term research projects that focus on numerous subjects of social and political relevance such as In 2005 he founded Enough Room for Space (ERforS), an interdependent art initiative that initiates and coordinates events, residencies, research projects and exhibitions worldwide, together with Marjolijn Dijkman.In 2005 he founded Enough Room for Space (ERforS), an interdependent art initiative that initiates and coordinates events, residencies, research projects and exhibitions worldwide, together with Marjolijn Dijkman. post-industrialism, capitalism and ecology. His work is situated exactly on the borderline between the past and the future; sometimes looking forward to the future of yesterday, sometimes looking back to the history of tomorrow. He is represented by the gallery Meessen de Clercq (Brussels).

The project: Ars Memoriae

The “Ars Memoriae” project takes as its starting point the little known Mesolithic site of Fontainebleau and is anchored in a broader research on the material forms of memory and the contemporary challenges of archaeology, particularly with regard to the place it has given to the African continent where the oldest remains of human presence on Earth are to be found. By studying different ways of remembering, it will be a question of imagining / speculating on / what could be the material vestiges that would survive contemporary society in order to propose an alternative historical narrative.

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Mélanie Pavy

Artist and filmmaker

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Sophie Houdart

Sophie Houdart is an anthropologist, research director at CNRS (Laboratory of Ethnology and Comparative Sociology). Specialising in Japan, she conducted several research programs on the theme of creation and innovation, in the field of science, arts and architecture. Since 2012, she has been investigating life after the triple disaster in the Fukushima region of Japan in March 2011. She is working in collaboration with a hybrid collective, ‘Call It Anything’ which brings together researchers and artists around converging experiments on grief, damaged land, radioactivity and rebuilding what exists.

Mélanie Pavy

Mélanie Pavy is an artist, filmmaker and researcher. For her first feature film, Cendres (co-directed with Idrissa Guiro and released in theaters in 2015) she will be a resident of the Villa Kujoyama in Kyoto for 7 months. In October 2020, as part of the SACRe doctoral program at PSL University, Fémis and the École Normale Supérieure de Paris, she will defend a practical thesis in cinema on life in a degraded world and the perspective of its disappearance. The installations and videos resulting from this work are shown in solo and group exhibitions at the BAL, the Galerie des filles du Calvaire, the Centre Georges Pompidou, the Grande Halle de la Villette, 116 in Montreuil and the Fémis. Through her work, she questions our capacity to think and to tell the story of loss, and its ultimate corollary, the end of a human world.

The project : Fukushima : reprises

Between excavation and video editing, under the watchful eye of the two tutelaries Alexander von Humboldt (1769-1859) and Matsuo Bashô (1644-1694), our project ‘Fukushima: Reprises’ consists of encapsulating the mass of data from our travels in a region so severely hit by the nuclear catastrophe of March 2011 in Japan. By concentrating on what has not been said, what was barely visible but nevertheless noted, what has been sketched out without becoming salient, what persists, finally, once the text has been written and the film shot, we try to understand how common knowledge is woven around a reality that never ceases to escape us and, by reopening the story and risking it in contact with others, once again learn how it can be emphasised and made to endure.

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Sophie Houdart

Anthropologist, France

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Sophie Houdart

Sophie Houdart is an anthropologist, research director at CNRS (Laboratory of Ethnology and Comparative Sociology). Specialising in Japan, she conducted several research programs on the theme of creation and innovation, in the field of science, arts and architecture. Since 2012, she has been investigating life after the triple disaster in the Fukushima region of Japan in March 2011. She is working in collaboration with a hybrid collective, ‘Call It Anything’ which brings together researchers and artists around converging experiments on grief, damaged land, radioactivity and rebuilding what exists.

Mélanie Pavy

Mélanie Pavy is an artist, filmmaker and researcher. For her first feature film, Cendres (co-directed with Idrissa Guiro and released in theaters in 2015) she will be a resident of the Villa Kujoyama in Kyoto for 7 months. In October 2020, as part of the SACRe doctoral program at PSL University, Fémis and the École Normale Supérieure de Paris, she will defend a practical thesis in cinema on life in a degraded world and the perspective of its disappearance. The installations and videos resulting from this work are shown in solo and group exhibitions at the BAL, the Galerie des filles du Calvaire, the Centre Georges Pompidou, the Grande Halle de la Villette, 116 in Montreuil and the Fémis. Through her work, she questions our capacity to think and to tell the story of loss, and its ultimate corollary, the end of a human world.

The project : Fukushima : reprises

Between excavation and video editing, under the watchful eye of the two tutelaries Alexander von Humboldt (1769-1859) and Matsuo Bashô (1644-1694), our project ‘Fukushima: Reprises’ consists of encapsulating the mass of data from our travels in a region so severely hit by the nuclear catastrophe of March 2011 in Japan. By concentrating on what has not been said, what was barely visible but nevertheless noted, what has been sketched out without becoming salient, what persists, finally, once the text has been written and the film shot, we try to understand how common knowledge is woven around a reality that never ceases to escape us and, by reopening the story and risking it in contact with others, once again learn how it can be emphasised and made to endure.

Second session - as of September 2021

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Adriana Lara

Artist, Mexico

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Adriana Lara

Through her artistic practice, Adriana Lara investigates the links between structures, styles, content and form, in order to restore value and meaning to cultural production. Her installations transpose systems of order into formal and abstract systems of signs, thus highlighting the dominant mechanisms of representation in the world today. She is represented by the Air de Paris gallery (Paris).

The project: Red Social

The diversity of genres, groups and media in which contemporary music is made known is quite extensive, and this political aspect of music is the starting point for red social. Red social is a research-based project: it will result in a series of live music events, with the aim of understanding music in its intersectional dimension. The project is about building a network of individuals locally and internationally who will contribute to the creation of a socially oriented live art project in Paris.

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Anri Sala

Artist, Albania & France

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Anri Sala

Anri Sala, one of today’s most renowned artists, bases his works on time and constructs them from the link between image, architecture and sound: they use it to disrupt and question experience. They investigate linguistic, syntactic and musical ruptures, inviting creative dislocations and new interpretations of history. Anri Sala is represented by Galerie Chantal Crousel (Paris), Kurimanzutto Gallery (Mexico), Hauser & Wirth (London), Marian Goodman Gallery (New York) and Esther Schipper (Berlin).

The project: If Wishes Were Horses Beggars would Ride

In 490 BC, Philippides, a Greek fighter, ran more than 42 kilometres to exclaim, with a last breath: “We have won!”. Anri Sala’s project is inspired by the marathon and its original history: he will replace Philippides’ exclamation with various phrases taken from the Instructions for British Soldiers in France (1944) and the Instructions for British Soldiers in Germany (1944). Uttered by today’s athletes who are crossing the finish line of the Paris marathon, most of them coming from various and sometimes distant origins, the sentences with which the soldiers were once armed, will no longer be pronounced from a position of power and uniformity, but on the contrary, from a position of vulnerability and diversity.

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Chino Amobi

Artist, USA

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Chino Amobi

Chino Amobi is a Virginia-based experimental electronic musician, contemporary artist and producer. He is co-founder of the independent label NON Worldwide. He has previously worked in painting and sound art, and has released albums such as Airport Music for Black Folk (2016) and Paradiso (2017), which explore themes of intercontinental security, post-apocalyptic narratives and The New Global South. He is represented by the Fitzpatrick Gallery (Paris; Los Angeles)

The project: EROICA VOL.II

In 2019, he produced the first part of the Eroica novel trilogy, designed to be an “epic globalist thriller”, between myth and history. The book launch was linked to an exhibition at the Anderson Gallery in Richmond, Virginia, which focuses on the first part of the trilogy. EROICA VOL.II is the second part of his trilogy, blurring the lines between epic storytelling, speculative realism, social science, and global economics. He plans to create artefacts from a variety of media, which will function as a reference index to the novel. Volume 2 will be produced with the help of a multitude of collaborators from the local and international scenes. Paris will be the living museum that hosts the story. The incorporeal elements will be included in the myth of Eroica.

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Liz Johnson Artur

Artist, Russia & Ghana

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Liz Johnson Artur

Liz Johnson Arthur has been a photographer for over thirty years and received a Turner Bursary in 2020 . Her work focuses on documenting the lives of black people from the African diaspora. She has followed international diaspora communities, observing their ways of communicating and representing themselves.

The project: Collecting Evidence

Collecting Evidence will immortalise the stories of the black community living in Paris and the Ile-de-France, integrating them with the perspective of the Afro-European diaspora. Liz Johnson Arthur will link this experience to underlying notions of climate, toxicity, power and capital. She will immerse herself in the atmosphere of Paris, and observe its social fabric by meeting with communities, religious groups, and participating in sports gatherings, concerts, and other experiences of urban life to collect evidence, photographs, and create an installation.

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Monica Narula

Artist, India

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Monica Narula

Raqs Media Collective was formed by Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. The word “raqs” denotes an intensification of awareness and presence attained by whirling, turning, being in a state of revolution. Raqs practices across media; making installation, sculpture, video, performance, text, lexica, and curation. Raqs co-founded Sarai, where they also edited the 9 volume Sarai Reader series. They live and work in Delhi, India. They have exhibited extensively, globally, as well as curated numerous exhibitions, including the Shanghai Biennale 2016, “Why Not Ask Again”, and the Yokohama Triennale 2020, “Afterglow”.

The project: Who’s more human, then? Artistic Research into Automata & Histories of Artificial Intelligence

Monica Narula will embody the Raqs Media Collective during the residency. The collective has an active interest in the intersection between being, and becoming: human, animal, machine (and everything in between!). The term automata comes from a Greek verb meaning ‘to act according to one’s own will’. Raqs consider automata of all kinds to be platforms for the performance and coding of will and intelligence. Monica will explore the Raqs collective’s philosophical curiosity about the relationship between autonomy and predetermination in automata of all kinds. The aim is to extend the vocabulary of Raqs’ artistic practice, and to explore the fabrication of mechanical toys, the programming of artificial intelligence and the design of machines that imitate and refer to human and animal capacities. Monica intends to do this in collaboration and conversation with researchers, scientists, and museums such as the Musée des Arts et Métiers, and the Musée de la Magie.

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Natsuko Uchino

Artist, Japan

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Natsuko Uchino

The art of Natsuko Uchino is defined by her experience in agriculture and artisanal creation and, using ceramics, brings together art, ecology, and convivial food. Her work takes the form of physical pieces, films and performances combining the diverse material aspects of sculpture, functional objects and living beings. The Earth is seen and treated as ‘worldly ingredients’ – resource and essence of all forms of life. Natsuko Uchino is represented by la Galerie Allen (Paris).

The project: Hospitalité et ré-ensauvagement : projection d’un paysage éco-social

This research calls upon notions of eco-design and the usage cycles of materials in temporary, living, and biodegradable forms. The cultivation of fermented products is creative, somewhat spontaneous, and often perpetual. These cultural activities are the source and starting point for diverse experiments into the building of eco-social forms. The desire is to make the residency a place of thought and practice around food production in an urban context through the association of and symbiosis with living things, writing and cooperative performances. An inclusive presentation is planned with the exhibitions of various actors, workshops, a laboratory, and a written publication.

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Nicholas Grafia

Artist, Germany, USA & Philippines

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Nicholas Grafia

Nicholas Grafia’s artistic practice combines painting, performance and time based media installation to discuss the formation of political, cultural and social memory. Through the use of a theoretical framework concerned with postcolonial issues, the monstrous and post-humanism, as well as references to surrealism, he defines a visual language that serves to analyze the familiar and the strange; the locally specific and the universal.

The project: Channel X-one

The aim of his residency project is to trace down various her- and histories, as well as any form of personal narrative in between, deriving from communities and individuals that have been majorly overlooked, neglected and excluded by Western society at large, in order to put forward their ideas on a number of social issues, departing, for instance, from social dynamics within, both, their immediate local surroundings, living in the metropolitan region of Paris, as well as the country as a whole. The results of his research will then be presented on a transmission platform, which will put the invited guests and their personal accounts in the center. He will create a permanent, multi-functional installation where he will conduct different types of interview formats. Among other models, the spatial configuration will serve as a radio station, film set and shooting location, in which, for example, recording and photo sessions will be directed by the interviewees themselves.

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Ramaya Tegegne

Artist, Switzerland

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Ramaya Tegegne

Ramaya Tegegne’s work is derived from the process through which her work is constituted. It focuses on collaborative practices which both today and historically have highlighted social, economic and cultural determinism and the inherent problems of meritocracy and gentrification. The artist approaches these questions by revealing real-life accounts and experiences, stories of the conditions of selection and production in today’s world. She founded the Wages For Wages Against campaign, to fight for fair prices and working conditions for artists.

The project: 36 chambres par jour

Ramaya Tegegne is planning a performance based on the strikes held by cleaning ladies in several Parisian hotels (Ibis Clichy Batignolles, Park Hyatt Vendôme, Hyatt Madeleine, W Opéra, L’Hôtel du Collectionneur, The Clichy Holiday Inn,…). The project will start by looking for a location in Paris to meet with associations and protesting workers. And it will be fleshed out with the creation of a play at the Factory Theatre (Théâtre de l’Usine) in Geneva in 2022. The theme will be cantered around demands for better working conditions. The aim is also to find inspiration for similar struggles in the visual arts.

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Rina Banerjee

Artist, India

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Rina Banerjee

Rina Banerjee’s sculptures, drawings, paintings and videos explore the subject of immigration through a reflection on memory, experience and the mobility of communities. Her work questions the notion of identity, as well as that of femininity and sisterhood. She is represented by the Galerie Nathalie Obadia (France)

The project: In the most foreign of gardens grows Democracy


Rina Banerjee wishes to create a series of portraits inspired by stories of urban Paris, a project that requires her to explore the conditions of the urban as a place of hospitality. She will create sculpture using new methods and processes that will require an understanding of historical colonial artefacts, textile techniques, hybrid cultural designs and ceramic or glass objects created during the development of fashion in France. Rina Banerjee wishes to collaborate with institutions such as the Manufacture nationale de Sèvres or the Gobelins to create part of the Medusa head sculpture she has imagined for her project. Documentary research at the Musée Guimet will be the other essential part of her residency project. Rina Banerjee also plans to explore the photographic collection of the Bibliothèque nationale de France and the encounter between researchers and scientists to address the theme of identity from a different perspective. The contemporary and the urban, our new global home, a single address, Earth offers a benevolent and aspiring creator, Medusa. She is a multifarious being a magnificent Nature. Medusa’s tangled crown of snake heads are a symbol of our woven, interlocked human community. We are a interracial and inter faith one and willingly we are ready to stare back at democracies demons to love, embrace our humanness.

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Tomo Savic-Gecan

Artist, Croatia & The Netherlands

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Tomo Savic-Gecan

Tomo Savic-Gecan is an artist who, as a rule, exhibits ‘nothing’. Conceived as a tabula rasa, his projects function as empty spaces filled with various charges, hidden tensions, references and interconnections. By intervening in space, the basic ‘material’ of his work, the artist initiates marginal and unusual interactions between space, viewer and the non-existent object of the exhibition.

The project: Untitled 2021

Tomo Savic-Gecan won the Accelerate award as part of the Arts at CERN programme, which gave him the opportunity to realize his work in collaboration with scientists. He is now interested in how nanomaterials can act as a ‘bridge’ to transmit information between the physical boundaries of the gallery or museum space and the visitors. The level of information transfer, which is in itself a dialogue, is open-ended, and will be researched during the residency.

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Adriana Lara

Artiste, Mexique

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Adriana Lara

Artiste, Mexique

Par sa pratique artistique, Adriana Lara analyse les relations entre les structures, les styles, le contenu et la forme dans le but de redonner de la valeur et du sens à la production culturelle. Ses installations transposent des systèmes ordonnés en systèmes de signes à la fois formels et abstraits, mettant ainsi en lumière les mécanismes de représentation dominants du monde contemporain. Elle est représentée par la galerie Air de Paris (Paris).

Le projet : Red Social

La diversité des genres, des groupes et des médias qui font connaître la musique contemporaine est assez considérable, et cet aspect politique de la musique est le point de départ de Red Social. Red Social est un projet orienté sur la recherche : il donnera lieu à une série d’événements musicaux en direct servant à comprendre le caractère multidimensionnel de la musique. Ce projet entend constituer un réseau d’individus au niveau local et international qui collaboreront pour créer un spectacle d’art vivant à dimension sociale à Paris.

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Anri Sala

Artiste, Albanie

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Anri Sala

Artiste, Albanie & France

Les œuvres d’Anri Sala, qui compte parmi les plus célèbres artistes contemporains, ont pour thème le temps et sont construites autour du lien entre l’image, l’architecture et le son : elles en tirent parti pour déstabiliser et remettre en question la réalité. Elles explorent les ruptures linguistiques, syntaxiques et musicales et invitent à des dislocations créatives et à de nouvelles interprétations de l’Histoire. Anri Sala est représentée par la Galerie Chantal Crousel (Paris), la Galerie Kurimanzutto (Mexique), Hauser & Wirth (Londres), la Galerie Marian Goodman (New York) et Esther Schipper (Berlin).

Le projet : If Wishes Were Horses Beggars would Ride

En 490 avant J.-C., Phidippidès, un soldat grec, a couru sur plus de 42 kilomètres pour s’exclamer, dans un dernier souffle : « Nous sommes victorieux ! » Le projet d’Anri Sala s’inspire du marathon et de son histoire originelle : il remplacera les mots de Philippidès par diverses phrases tirées des Instructions données aux soldats britanniques mobilisés en France et en Allemagne en 1944. Prononcées par des athlètes contemporains franchissant la ligne d’arrivée du marathon de Paris, pour la plupart issus d’origines diverses et parfois lointaines, ces phrases, autrefois employées par les soldats afin d’asseoir la puissance militaire et exprimer une certaine uniformité, exprimeront cette fois une attitude de vulnérabilité et une volonté de diversité.

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Chino Amobi

Artiste, USA

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Chino Amobi

Artiste, USA

Chino Amobi est un compositeur de musique électronique expérimentale, artiste contemporain et producteur vivant en Virginie. Il est le cofondateur du label indépendant NON Worldwide. Il a déjà travaillé dans les domaines de la peinture et de l’art sonore et a publié plusieurs albums, parmi lesquels Airport Music for Black Folk (2016) et Paradiso (2017), qui abordent les thèmes de la sécurité intercontinentale, du post-apocalyptique et des nouveaux pays pauvres. Il est représenté par la galerie Fitzpatrick Gallery (Paris, Los Angeles).

Le projet : EROICA VOL.II

En 2019, il a signé le premier volet de la trilogie romanesque Eroica, conçue comme un « thriller mondialiste épique », entre mythe et récit historique. Le livre fut lancé dans le cadre d’une exposition à la Anderson Gallery de Richmond, en Virginie, consacrée au premier volet de la trilogie. EROICA VOL.II est le deuxième volet de sa trilogie, qui mêle récit épique, réalisme spéculatif, sciences sociales et économie mondiale. Il projette de créer des œuvres d’art à partir de divers médias, qui serviront d’index de référence au roman. Le volume 2 sera élaboré avec l’aide d’une multitude de collaborateurs appartenant à la scène locale et internationale. Paris constituera le musée vivant où se déroulera l’histoire. Les éléments immatériels feront partie du mythe d’Eroica.

The selection committee 2021

The selection committee is made up of leading figures from the world of art and research.
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Vinciane Despret

Philosopher of sciences, Professor at the University of Liège and at the Université Libre de Bruxelles (Belgium)

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Philosopher and psychologist Vinciane Despret teaches in the Liège University Philosophy department. Her passionate interest in ethology led her to choose it as her research topic. In Naissance d’une théorie éthologique : la danse du cratérope écaillé/Birth of an Ethological Theory : The Dance of the Arabian Babbler, she went on to relate her first fieldwork with birds in 1996. Other publications were to follow, including Bêtes et Hommes/Beasts and Men (after the exhibition of the same name at the Grande Halle de la Villette in 2007-2008 for which she was Scientific Curator); Etre bête/Being beastly, co-written with Jocelyne Porcher, Les faiseuses d’histoires/Historymakers with Isabelle Stengers and; Penser comme un rat; Que diraient les animaux si on leur posait les bonnes questions ?/Thinking like a rat; what would animals tell us if we asked them the right questions? Her latest book, Living as birds, looks at the question of territories. The common thread throughout her research is the question of how to do research well : how do we succeed (or fail) in our efforts to make living beings interesting ?

© Sylvère Petit

photo du membre du comité de selection
Christine Macel

General Heritage Curator. Head of the Contemporary Art and Prospective Creation Department at the Pompidou Centre

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Since 2000, art historian and exhibition curator Christine Macel has been Head Curator of the Contemporary Art and Prospective Creation Department at the Pompidou Centre, where she has held numerous exhibitions. She was director of the 2017 Venice Art Biennial, ‘Viva Arte Viva’. Her essay, “Le Temps Pris/Taking Time”, was published in 2020 by Editions Champs d’art Flammarion. She was joint Curator of “Global (e) Resistance” at the Pompidou Centre in 2020 and is currently preparing the “Elles font l’abstraction/Women in abstraction” exhibition at the Pompidou Centre (May 2021) and the Bilbao Guggenheim (October 2020).

© Jean-Claude Planchet

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Hans-Ulrich Obrist

Artistic Director of the Serpentine Galleries in London (UK)

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Hans Ulrich Obrist b. 1968, Zürich, Switzerland is Artistic Director of the Serpentine Galleries in London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup (The Kitchen Show)’ in 1991, he has curated more than 300 exhibitions. Obrist has lectured internationally at academic and art institutions, and is a contributing editor to Artforum, AnOther Magazine, Cahiers D’Art, and 032C; and he writes columns for Das Magazin and Weltkunst. In 2011 he received the CCS Bard Award for Curatorial Excellence, and in 2015 he was awarded the International Folkwang Prize for his commitment to the arts.

© Tyler Mitchell

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Nataša Petrešin-Bachelez

Interdependent curator, editor and writer

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Nataša Petrešin-Bachelez is an interdependent curator, editor and writer. Among the exhibitions she curated are Contour Biennale 9 : Coltan as Cotton (2019, à Malines), Defiant Muses : Delphine Seyrig and the Feminist Video Collectives in France (1970s-1980s) at LaM, Lille and Museum Reina Sofia, Madrid (2019, with Giovanna Zapperi), Show me your archive and I will tell you who is in power at Kiosk, Ghent (2017, with Wim Waelput), Let’s Talk about the Weather at the Sursock Museum, Beirut and Times Museum, Guangzhou (2016 and 2018, with Nora Razian), Resilience. U3 – Triennial of Contemporary Art in Slovenia at MSUM, Ljubljana (2013). She was co-director of Laboratoires d’Aubervilliers (2010–12). She is the chief editor of Versopolis Review, and was chief editor of the Manifesta Journal (2012-14) L’Internationale Online (2014-2017). She curates the project Not Fully Human, Not Human At All, organized by KADIST, Paris (2017-2020), whose final exhibition will take place at the Kunstverein in Hamburg in October 2020, co-curated with Bettina Steinbrügge. She is co-founder of the Initiative for practices and visions of radical care, with Elena Sorokina. Together with Patricia Falguières and Elisabeth Lebovici, she runs the seminar Something You Should Know at the EHESS, Paris.

© Hervé Bachelez

photo du membre du comité de selection
Philippe Vergne

Director of the Serralves Foundation (Portugal)

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Philippe Vergne has been serving as director of Serralves Museum of Contemporary Art, Porto, since April 2019. He was director of The Museum of Contemporary Art, Los Angeles (MOCA) from 2014 to 2018. Prior to his appointment at MOCA, Vergne served for five years as director of the Dia Art Foundation, New York. Before his tenure at the Dia Foundation, Vergne was Deputy Director and Chief Curator at the Walker Art Center in Minneapolis. From 1994 to 1997, Vergne was Director of the MAC, Musée d’Art Contemporain de Marseille, France.