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.

It encourages creation in all its forms while facilitating its distribution to the general public. Outreach to all audiences, including the most remote, and the encounter with artists will play an important role in this program, in line with Art Explora’s global mission.

The first session will start in spring 2021 with 13 residents.

Learn more about the artist residency program

The 2021 program

Throughout the residency time, the artists will enjoy customised support and connections with French and international professionals as well as with the other residents in the Cité internationale des arts, more especially thanks to the creation of a new common room in the heart of the Montmartre site.

Art Explora and the Cité Internationale des Arts will also set up a program of meetings with the artists, with visits to the premises and studios as well as workshops, performances, film projections, etc. This program will enable meetings with the artists and the discovery of their work throughout the year.

The residents

First session – as of spring 2021

SOLO Program

Achraf Touloub

Artist, France

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Achraf Touloub

Artist, France

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.

Akram Zaatari

Photographer and videographer, Lebanon

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Akram Zaatari

Photographer and videographer, Lebanon, 1966

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.

Dineo Seshee Bopape

Artist, South Africa

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Dineo Seshee Bopape

Artist, South Africa, 1981

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.

Hamedine Kane

Artist, filmmaker, Mauritania

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Hamedine Kane

Artist, filmmaker, Mauritania, 1983

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.

Maya Minder

Artist, Switzerland

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Maya Minder

Artist, Switzerland, 1983

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).

Mohssin Harraki

Artist, Morocco

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Mohssin Harraki

Artist, Morocco, 1981

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.

Sara Ouhaddou

Artist, France

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Sara Ouhaddou

Artist, France, 1986

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.

Stéphane Verlet-Bottéro

Artist, France

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Stéphane Verlet-Bottéro

Artist, France

Stéphane Verlet-Bottéro est fasciné par le millet et autres “menus grains” : pour lui, ces céréales oubliées, mises au rebut de la modernité technoscientifique, incarnent une résistance continue à l’homogénéisation, l’impérialisme et l’oppression patriarcale. Il s’agit également d’une plante résiliente qui, dans un climat de plus en plus sec et instable, pourrait jouer un rôle clé dans l’avenir de l’agriculture et améliorer la souveraineté alimentaire. Partageant la nécessité d’autres conceptions du monde, son projet tente de développer une agrocosmologie du millet, en lien avec des communautés paysannes soucieuses de leur survie. S’appuyant sur une enquête approfondie à partir d’entretiens et d’archives d’institutions spécialisées, son projet comprendra une création plastique, un travail de recherche somatique et l’organisation d’un dîner-performance.

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.

DUO Program

Maarten Vanden Eynde and Oulimata Gueye

Artist and critic and art curator, Belgium and Senegal

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Maarten Vanden Eynde

Artist, Belgium, 1977

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).

Oulimata Gueye

Critic and art curator, Senegal

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.

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.

Mélanie Pavy and Sophie Houdart

Artist and filmmaker, anthropologist, France

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Mélanie Pavy

Artist and filmmaker, France, 1977

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.

Sophie Houdart

Anthropologist, France, 1971

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.

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

Adriana Lara

Artist, Mexico

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Adriana Lara

Artist, Mexico

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.

Anri Sala

Artist, Albania & France

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Anri Sala

Artist, Albania & France

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.

Chino Amobi

Artist, USA

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Chino Amobi

Artist, USA

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.

Liz Johnson Artur

Artist, Russia & Ghana

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Liz Johnson Artur

Artist, Russia & Ghana

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.

Monica Narula / Raqs media collective

Artist, India

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Monica Narula / Raqs media collective

Artist, India

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.

Natsuko Uchino

Artist, Japan

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Natsuko Uchino

Artist, Japan

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.

Nicholas Grafia

Artist, Germany, USA & Philippines

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Nicholas Grafia

Artist, Germany, USA & Philippines

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.

Ramaya Tegegne

Artist, Switzerland

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Ramaya Tegegne

Artist, Switzerland

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.

Rina Banerjee

Artist, India

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Rina Banerjee

Artist, India

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.

Tomo Savic-Gecan

Artist, Croatia & The Netherlands

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Tomo Savic-Gecan

Artist, Croatia & The Netherlands

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.

The selection committee

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

Vinciane Despret

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

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

Christine Macel

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

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

Hans-Ulrich Obrist

Artistic Director of the Serpentine Galleries in London (UK)

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

Nataša Petrešin-Bachelez

Interdependent curator, editor and writer

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

Philippe Vergne

Director of the Serralves Foundation (Portugal)

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.