Author: Thierry Fournier

EnsadLab Displays research group and the Labex ICCA welcome Lucie Orbie (curator and coordinator of the 50° Nord artistic network) et David Quilés Guilló (creator and coordinator of The Wrong Biennale).

Exocène is a series of four talks organised by the EnsadLab Displays research group and Labex ICCA, dedicated to the new experimental contexts for art exhibitions. This second talk is focused on networked structures conducting experimentation.

Tuesday, November 13th, 2018, 6-9pm
Talk in French and English with simultaneous translation
On booking only at : Facebook group or displays@ensad.fr
EnsAD, 31 rue d’Ulm 75005 Paris – Salle 308, 3e étage

Exocène

Series of talks, EnsadLab Displays research group & Labex ICCA

In the wake of countercultures, ““do it yourself”” movements and artist-run spaces, a growing number of places and networks that create environments which are exogenous to existing art exhibition venues are appearing in France. Such initiatives are part of a broader digital context in which social networks and platforms constitute “third places”, which establish an ““era of the outside” ” (referred to here as “Exocene”), where, by claiming original spaces, it becomes possible to invent new forms of experimentation.

The Exocene meetings welcome curators of these venues and facilities that are creating new environments for experimentation in the realm of art exhibitions. Often (but not systematically) created in precarious economies, these structures are characterised by the innovative spaces they offer and the novel relationships they have with their surrounding communities. Conceived as alternative to institutional structures that sometimes become less effective in their particular setting, and designed to act as levers to create new conditions and public practices in the arts, do these frameworks alter the potential of the exhibitions they host? What is distinctive about the relationships they establish with their immediate surroundings and their audiences? How can we develop counter-spaces while fighting for their necessary recognition?

For each of the program’s 4 long talks, two guests will be invited to engage in a discussion with the Displays research group that will allow in-depth exchanges with the audience : Small is Powerful on October 18th with Juliette Fontaine (Capa Aubervilliers) and Julie Portier (La Salle de Bains, Lyon), In Network on November 14th with Lucie Orbie (50° Nord) and David Quilés Guilo (The Wrong Biennale), Playing collective on November 29th with Clémence Agnez (Glassbox) and a member of the &Nbsp; collective (Clermont-Ferrand), The Big Scale on January 15 with Sylvie Boulanger (CNEAI) and a representative of Lafayette Anticipation (sous réserve).

Talk #2 – November 12th, 2018 – In Network

With Lucie Orbie (curator and secretary general of 50° Nord, one of France’s first artistic networks) and David Quiles Guilló (creator and head of the international online project The Wrong Biennale). Meeting in French and English, with an interpreter.

This meeting is dedicated to two artistic and curatorial platforms, one which is web-based and relayed by numerous geographical venues (The Wrong Biennale) and another, which that covers the area along around the French-Belgian border (50° Nord). It questions explores the potentialities and the critical stakes of contemporary art exhibitions and practices that arise from networks that which go beyond concentrated institutional formats, while putting together a large number of stakeholders of widely varying scales. The relationships these networks create aim to renew curatorial practices, and reach a critical mass that affords them a particular [type of] institutional visibility, one which is usually not available to individual players; this allows the venues to experiment with specific time frames that can challenge exhibition formats. What type of experimentation and which specific critical approaches do these projects allow?

Created in 1997 by small and medium-sized associations, the 50°Nord network now connects over 30 professional production, distribution and academic structures working with contemporary art. Associative galleries, art centers, nomadic structures, artists’ associations, museums, FRAC (French Regional Contemporary Art Funds), training facilities establishments, among others, create artistic projects in very diverse contexts and carry out complementary actions. As a professional platform, which acts as a catalyser for these energies and collaborative projects, 50°Nord is committed to leveraging the influence and expanding the network of its members; it also seeks to value the regional art scene and to broadcast promote contemporary art among the general public. The 50°Northd network is one of the first regional contemporary art networks created in France. The cross-cutting activities of this structure conceived to be the expression of a particular geographic area, constitute a new way of mapping the arts and designing artistic projects.

The Wrong is a decentralized art bienniale dedicated to digital art organised since 2013 by its founder, David Quiles Guilló. Aiming to create and promote contemporary digital art to a wider audience worldwide, bringing together young artists and curators from this scene. The Wrong operates both online and offline ; The online part of the biennale takes place in “pavilions”, curated spaces on the web, where selected works are exhibited. The offline part takes place in “embassies”: art spaces, galleries, institutions and artist-run spaces all over the world. For its third edition in 2017-18, The Wrong brought together 124 curators who selected 1.621 artists.

Introductory seminar offered as part of the Station Scénographique by the Master “Direction de projets artistiques et culturels internationaux” of the Université Lumière Lyon 2, the Master Design of the École supérieure des beaux-arts de Bordeaux, the Master Design-Espace-Exposition of the École nationale supérieure des beaux-arts de Lyon and the Master of Visual Didactics of the Haute école des arts du Rhin.

October 23 & 24, 2018
October 23, École nationale supérieure des beaux-arts de Lyon
October 24th, CFMI – Université Lumière Lyon 2
Coordination Camille Jutant and Patricia Welinsky

Thierry Fournier’s conference 23-10 : Curatorial and situation design

The Station Scénographique is a workshop on exhibition scenography for Master students in design, art and human sciences to question and experiment the role of design in the mediation of knowledge. The 2017-2019 programme focuses on situations and objects conducive to the discovery, knowledge and appropriation of contemporary scientific knowledge.

Download the full programme of the seminar (FR)

EXOCENE
Series of four talks, EnsadLab Displays / ICCA Labex, Paris, Autumn-winter 2018
New contexts of experimentation for the contemporary art exhibitions

TALK #1, SMALL IS POWERFUL: CAPA AUBERVILLIERS / LA SALLE DE BAINS LYON
With Juliette Fontaine (artist, curator, author and head of CAPA – Centre d’Arts Plastiques d’Aubervilliers) and Julie Portier (critic and curator, co-artistic director of La Salle de bains, Lyon). This meeting is dedicated to the experiments carried out by two “small scale” places: CAPA – Centre d’Arts Plastiques d’Aubervilliers and La Salle de Bains in Lyon. The meeting will aim both to present the activities of the two places, questioning how their small scale allows them to develop specific experiments – and also how they can possibly constitute an obstacle.

Thursday, October 18, 2018, 6-8 pm
Ensad, 31 rue d’Ulm, 75005 Paris

In the wake of counter-cultures and the “do it yourself” movements, we observe in France a growing number of places and networks creating exogenous conditions toward the existing art exhibition structures. These initiatives are particularly part of a digital context linked to social networks and platforms such as third places. They draw an “era of the outside” (that we call here “exocene”) where the investment of new spaces leverages to invent new experimentation agencies.

Organized by EnsadLab Displays / ICCA Labex, these four Exocene panels thus welcome those in charge of places and facilities that create new conditions for experimentation in the field of exhibitions. Sometimes (but not systematically) created in precarious economies, they are characterized by innovative conditions of space and relationship to their territories. Thought as alternatives to institutional arrangements that have sometimes become less effective in their context, aiming to leverage the creation of new conditions and public art practices, do these frameworks renew the potential of the exhibitions they host? What is the specificity of the relationships they establish with their environments and the public? How to develop counterspaces while fighting for their necessary recognition?

Organised at the Ensad, this programme will consist of 4 talks, each time bringing together two guests in dialogue with the Displays group, each with a duration allowing an in-depth exchange with the guests and the public. Meetings will be held from October to December 2018.

Guests are chosen among actors whose work the Displays team knows, in order to sometimes continue exchanges already initiated, in a format allowing a real dialogue and deepening with the public – rather than successive conferences. Indeed, since these projects do not fall within the scope of the exhibition curating but define frameworks for action to host it afterwards, it is fundamental to be able to deploy open exchange to assess their conditions, their modalities of action and the issues they raise.

Organisation

Created in 2015 by Thierry Fournier and J. Emil Sennewald, the EnsadLab Displays research group is the first doctoral program in France dedicated to exhibition research and creation. It aims to question and experiment the contemporary forms of exhibition: the evolution of the objects on display (in the broad sense), the roles, spaces and temporalities of exhibitions and the critical positions toward the powers and cultural industries. Its activity includes two components: a “research through exhibition” approach, which deploys exhibition situations as moments of research on its issues; and public exchanges with actors in this field (conferences, meetings, publications). Each time, the latter deliberately adopt very specific protocols and scales, aiming to qualify the interaction modalities between its guests, in order to adapt them to the subjects addressed and to the working methods they relate.

The ICCA Laboratory of Excellence (Cultural Industries and Artistic Creation) is an interdisciplinary research laboratory focused on the practices and markets of culture, art and leisure. Created in 2011, ICCA’s main objectives are to define new economic and regulatory models, study new uses and emerging markets and transform legal frameworks, both in traditional sectors and in the digital world. ICCA brings together teams from several universities in different disciplines (sociology, economics, law, communication, educational sciences, design). ICCA is also a forum for dialogue with professional organizations and industrial actors in the cultural and arts sectors. ICCA is a research program funded by the “Future Investment” program.

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Coordination Thierry Fournier & J. Emil Sennewald
Students-researchers Displays 2018-2019 : Bettina Blanc-Penther, Inés Moreno, Fanny Terno

Image: Claude Lévêque, Cérémonie, in situ installation in a flat, La Maladrerie, CAPA – Centre d’Arts Plastiques d’Aubervilliers, 2017. Photograph Julie Joubert.

EnsadLab Displays is pleased to welcome Bettina Blanc-Penther and Fanny Terno, the new EnsadLab Displays student researchers in 2018-2019.

Bettina Blanc-Penther is a visual artist. Graduated from Le Fresnoy – national studio of contemporary arts in 2018, she holds a DNSEP from the Ecole nationale supérieure des arts décoratifs (Paris) in 2015, after studying Modern Literature at the University Paris IV La Sorbonne.

Fanny Terno is a visual artist. In 2018, she graduated from the DNSEP at the École Nationale Supérieure de Photographie d’Arles. In 2016-2017, she completed an exchange semester in Japan at Kyoto art and design university, photography and contemporary art section, under the direction of Tadashi Ono. She graduated from the École supérieure d’arts appliqués Duperré, Paris in 2014.

Sur-expositions [Over-exposures] – actors, images, projections of a new trend is a research group located at ESACM, École Supérieure d’Art Clermont Métropole and coordinated by Jacques Malgorn, Camille Varenne, J. Emil Sennewald. Starting from the redundant phenomenon of “artafricanism”, its objective is to raise questions about the function and functioning of the exhibition as a device and as a means of identifying artistic places, objects and subjects, particularly at the time of an “overexposure” of artists of a scene identified as “innovative”. This project is intended to be the starting point for future artistic research projects questioning Europe, Africa and the World.

Designed in collaboration with the EnsadLab Displays research group, working meetings scheduled for 7 and 8 December in Clermont-Ferrand will identify main lines of action to discuss explanations of the new Afro-European momentum, raise exemplary positions, particularly in photography and film, analyse the role of festivals, biennales and fairs and specify the ecosystems involved and possible areas of criticism.

By applying the practice of research through art, the group carries out its work not by confirming the emergence of contemporary African art, but rather by acting with. The objective is not to dissociate oneself from the object of research in order to analyze it, but on the contrary to become one, and to experience its different forms and states. Dialogue and exchange are therefore at the heart of the methodology. To articulate this collective thinking, meetings must be built upstream, to strengthen the link and create the conditions for a broader and free flow of information.

These days are therefore mainly dedicated to the organization of “over-exposure” meeting days, which will take place in early May 2018 at ESACM.

For more information contact jesennewald AT esacm.fr

EnsadLab Displays is pleased to welcome Inés Moreno as a student researcher in 2017-2018.

Plastic artist, Inés Moreno holds in 2006 the Higher National Diploma of Plastic Expression (Licenciatura en Bellas Artes, BAC+5) from the Universidad Complutense de Madrid, Facultad de Bellas Artes, and in 2009 a Master 2 Research Master – History and Aesthetics of Dance (Thesis: Dance and Exhibition) from the University of Paris VIII, UFR Arts, Technologies, Esthetics.

In 2010-2012 she attended the doctoral course in Contemporary Art History and Visual Culture at the Universidad Autónoma de Madrid – Museo Reina Sofia (Centro de Estudios), and in 2007 the Professional Training of Choreographic Artist (Ex.e.r.ce 07) with Xavier Le Roy Centre Chorégraphique National de Montpellier Languedoc-Roussillon.

What do we expect of the exhibitions, especially in the context of post-digital cultures? VERSIONS is an international practice, debate and critique workshop-conference to experiment and discuss exhibition forms that will take place at the Maison Populaire de Montreuil (5-16 Sept 2016). in dialogue with the venue’s team and with Vladimir Demoule and Marie Koch, the 2016 season exhibition curators. The process will be documented in real time and a publication will be edited after the event, in late 2016. Unlike a curatorial approach starting from a given project to organize works, Versions will take as its starting point suggestions made by stakeholders themselves, in order to reveal an experimentation of the exhibition’s “conditions of possibility”. Participants will work in groups of three for two weeks: a series of workshop days and two day of public debates, where the public is invited to take part in the discussions “What do we expect of the exhibitions?”

September 5-6, first workshop with Yuk Hui, philosopher, associated researcher at the Center for Digital Cultures, Leuphana University Lüneburg, Jan Kopp, artist, teacher (Esacm Clermont-Ferrand), Mathilde Roman, art critic, curator and teacher-researcher at Pavillon Bosio – École Supérieure d’Art de la ville de Monaco and the Displays team.

September 7th, first public panel “What do we expect of the exhibitions?” with Eli Commins, artist, coordinator for digital policy at French Culture Ministry, Jean Cristofol, philosopher and teacher-researcher at Ecole Supérieure d’Art d’Aix en Provence, Yuk Hui, philosopher, associated researcher at the Center for Digital Cultures, Leuphana University Lüneburg, Jan Kopp, artist, teacher (Esacm Clermont-Ferrand), Claire Malrieux, artist, teacher (Ensci, Beaux-arts Hauts-de France) and researcher at EnsadLab, Mathilde Roman, art critic, curator and teacher-researcher at Pavillon Bosio – École Supérieure d’Art de la ville de Monaco, Ann Stouvenel, curator and head for visual arts at Mains d’Œuvres,

September 8-9, second workshop with Jean Cristofol, philosopher and teacher-researcher at Ecole Supérieure d’Art d’Aix en Provence, Claire Malrieux, artist, teacher (Ensci, Beaux-arts Hauts-de France) and researcher at EnsadLab, Ann Stouvenel, curator and head for visual arts at Mains d’Œuvres and the Displays team.

September 12-13, third workshop with Milad Doueihi, historian and chairman for Digital humanities at University Paris-Sorbonne, Laura Gozlan, artist, Véronique Souben, curator and head of FRAC Haute-Normandie and the Displays team.

September 14th, second public panel “What do we expect of the exhibitions?” with Martin John Callanan, artist, Milad Doueihi, historian and chairman for Digital humanities at University Paris-Sorbonne, Laura Gozlan, artist, Guilhem Pratz, director and producer, Véronique Souben, curator and head of FRAC Haute-Normandie, Pau Waelder, art critic and curator, Marion Zilio, art critic, curator and head of Young International Artists art fair.

September 15-16, fourth workshop with Martin John Callanan, artist, Guilhem Pratz, director and producer, Pau Waelder, art critic and curator and the Displays team.

An event co-organized by the Displays research group, EnsadLab Research Laboratory and the Labex ICCA. The Displays research group is coordinated by Thierry Fournier (artist and curator, EnsadLab) and J. Emil Sennewald (art critic and journalist, ESACM, EnsadLab). EnsadLab / Displays students-researchers: Gaspard Bébié-Valérian, Thomas Cheneseau, Dorian Reunkrilerk. EnsadLab / Displays associated researchers: Pauline Gourlet (designer and postgraduate Université Paris 8), Rahaf Demashki (postgraduate Université Rennes 2). Thanks to Annie Agopian, Floriane Benjamin, Marie Koch, Vladimir Demoule and the Maison Populaire de Montreuil team.

EnsadLab / Displays is thrilled to welcome its students-researchers for year 2016-2017 : Gaspard Bébié-Valérian (artist and curator, co-head of Oudeis, Le Vigan), Thomas Cheneseau (artist and curator), Dorian Reunkrilerk (designer, co-founder of ACA project).