Exhibition hosted by milo : Luce Coquerelle-Giorgi, Lou Ferrand, Beatriz Forti, Julia Henry, Léa Hodencq, Sophie Holmlund, Marina James-Appel, Liza Maignan, Pamela Medina López, Alessia Pascarella, Katia Porro, Yundi Wang.
Marie Losier films somewhat marginal characters, free and joyful, that are colourful, caustic, visionary and slightly crazy. Most are artists she observes, with her 16mm camera, in the process of creating. Pauline Curnier Jardin draws from rites, carnivalesque reversals, grotesque constructions, the circus and avatars.
Cette exposition emprunte son titre et en partie son humeur à la revue Poézi Prolétèr, créée par les poètes Katalin Molnar et Christophe Tarkos, et par l’artiste Pascal Doury à Paris à la fin des années 1990.
A Barbarian in Paris is an exhibition departing from the manifesto Active Art, written by Latvian collector, writer and doctor Andrejs Kurcijs in 1923
“For 20 years, the Fondation d’entreprise Ricard Prize has been supporting and helping build the French art scene in its structures, hierarchies, methods and forms. Year after year, it legitimizes the practices of artists, curators and institutions, while establishing melodic contrasts when it invites artists to do curation and curators to do art.
For the past years, Fabien Giraud and Raphaël Siboni have been working on a protean opus recounting in reverse a history of technology. This exhibition takes shape at the crossroads between the three cycles of works that compose it, reflecting on the recently completed first season The Unmanned, a history of computation in eight films, and prefiguring the trajectories of further seasons, which research notions and narratives of value and negativity.
A new cycle of works titled The Everted Capital debuts here with a thermal camera film and a daily performance that interrogate different modes of accumulation, the reciprocal consolidation between what is held to be valuable and invaluable at different historical junctures. Another new project, The Form of Not is introduced through a sculptural installation, which draws equally on algorithmic calculus and anthropological diagrams to compute the form of the ‘first blade’, around whose action the inaugural event of a ‘first cut’ would have taken place.
Value and negativity, transformation and recursion also underpin The Outlawed, only episode of The Unmanned presented at Fondation d’entreprise Ricard. The film centers on the last part of Alan Turing’s life, enduring an enforced hormonal treatment and undertaking morphological explorations in Greece. It visualizes ‘the cut’ as the negative, reversed form through which politics and bodies, biographies and abstractions, natural and technological becomings both maintain a semblance of separation and are agonically hybridized.
Tarik Kiswanson’s artistic practice—which encompasses sculpture, performance, and poetry— evinces an engagement with the poetics of métissage: a means of writing and surviving between multiple conditions and contexts.