LES FEMMES DANS L’ART (WOMEN IN THE ART WORLD)
Carole Boulbès et Corinne Le Neün
Invitées : Camille Morineau, Marianne Derrien
Seventeen years after the ‘Femmes@centrepompidou’ exhibition, which changed the perception of art in France, we will consider the current position of women in art and society, and their relationships with authority and institutions, by giving the floor to invited art historians and artists, who will share their experiences.
During the seminar, we will read and analyse a corpus of texts and images that raise theoretical, critical and political issues. Visits to studios are also planned.
We will start with various publications on the history of art and aesthetics (catalogues, critical essays, works) and the AWARE website (Archives of Women Artists, Research and Exhibitions). This virtual resource centre was co-founded in 2014 by Camille Morineau, an art historian specialising in female artists. The site is linked to a documentation space in Paris and a residency programme. We will follow the work of two alumni who recently left the ENSAPC: Park Chae Biole and Park Chae Dale from the Nest collective.
MANIÈRES DE FAIRE, FORMES D’ÉNONCIATIONS (WAYS OF DOING, FORMS OF ENUNCIATIONS)
Alejandra Riera, Nicolas Feodoroff (cinema critique and programmer) + 1 surprise guest
Enunciation involves at least two people: the person making their statement and the person receiving it, the addressee. How can we consider in greater depth this relationship that is giving ‘agency’ to the person who receives? What forms of statements are relevant or helpful in emergency situations, war, or circumstances where communication with others is a necessity? What ethics apply to this address? Since utterances function as a means of legitimising or questioning one’s own space, what forms of enunciation do you use in your filmmaking projects?
This year, Manières de faire returns to its line of research by studying ‘forms of enunciation’ in film language. The idea is to encourage you to think about this question, because it involves consideration of the addressee, of the person, close or far, for whom we do what we do. Thus, thinking about enunciation, within a filmic practice or one involving the moving image, will lead us to delve very precisely into the circumstances that trigger and host the enunciation. What circumstances allow communication, which ones are less conducive, and how can we reinvent them, or resist, when communication is difficult or even impossible? The question of the point of view/ listening will be raised: who speaks, in the broad sense (speech being one mode of expression among others), who are we talking about or on behalf of, who are we allowing to speak and under what conditions? How can we make room for others to have the floor without it being given to them? The instances can be human or non-human, which opens up other ‘perspectives’ and requires a form of decentring.
OBLIQUES, POÉSIE VISUELLE, UNE APPROCHE PLASTIQUE DU TEXTE (OBLIQUES, VISUAL POETRY, A VISUAL/CREATIVE APPROACH TO TEXT)
Lead teachers : Alejandra Riera – Carla Adra
Guests : Agnès Thurnauer, Oulimata Gueye, Gabriela Kravietz, Laurence Vidil (see workshop GESTE VOCAL)
What is the reality and future of writing in a visual artwork? This ARC- and line of research- explores writing as a physical material. The idea is to move between forms: visual, auditory, performative, intuitive, asemic, raw. Thus, writing becomes gesture, rhythm, life forms, presence, poetic practice, imprint.
If naming is not showing, how can we make this transition between the written word and its form of presentation? ‘Where does that which cannot be put into words remain?’ writes artist Eva Lotz. How can we conceive of the materiality of writing and the place where it is inscribed plastically—stone, wood, earth, clay, body, parchment, metals, skins, paper, walls, vases, water, sand… dust? We will focus on the act of writing in the broadest sense: writing, how? How to write without writing? Writing one’s life, or rather: how to leave a trace? How can we bring something of the nature of writing into existence without necessarily going through ‘the text’? How can we make the existence of other forms of writing without any text? Those of plants, for example, and their ‘voiceless discourse’, their ‘art of writing without writing’, that of the so-called illiterates, that of dreams? Writing plastically involves not only thinking bodies and hands, but also interaction with and careful observation of the world around us. How can we also create time within time to think of ways of writing -reading events using our own means, languages and artistic tools that take care of ourselves and the world?
TROUVER LE CHEMIN DANS CHACUNE DES ALLÉES QUI OBLIQUENT (Finding the way in every skewing alleys)
Lead teachers : François Aubart et Jagna Ciuchta
Guests : Clara Pacotte, Hélène Giannecchini
Queer theory is often characterised by a distrust of essentialisations and norms that define sexualities and genders according to immutable and definitive criteria. These norms also have a significant influence on our behaviours, interactions and activities, whatever they may be. During these sessions, we will address active disorder as motivation, what queer practices lead us to read, and what queer theories do to our practice.
Can we invent methods that are sceptical of categories? How can we formulate alternatives that do not become entrenched? How can we highlight silenced voices without stifling them? These are some of the questions we would like to explore. Without a pre-established programme, driven mainly by a desire to share and discover, we would first like to discuss together theories and research that we are passionate about, as well as those presented by the participating students and occasional guests. These discussions will hopefully provide the material and leads needed to produce a publication next year.
The name of this ARC and research line is a quote from Monique Wittig’s book “Le Corps lesbien”.
