Prochains vernissageset expositions :
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Home —» by Annabela Tournon-Zubieta
Home —» by Lola Fontanié
Home —» by Katia Porro
Home —» by Sophie Lapalu
Home —» Poem by Costanza Candeloro
A symphony of greed resonates in the exchange floors, where fortunes are played and settled with scores.
The devil's suit is tailor-made, a handmade design,his fork…
Home —» by Diane Réa
Home —» The Fight to Take Back the Power to Judge from Experts: On Pour des écoles d’art féministes ! by Miel Villemot
Last March, I was contacted by the editorial team of La belle revue, who asked me to write about the book Pour des écoles d’art féministes ! [In Favour…
Home —» Writing one’s plurality on Le meilleur système by Anne-Sarah Huet by Mihena Alsharif
“In the train it was no longer a question of being aware of my body in the third person but in a triple person. In the train I…
Home —» Irreverent Knowledge for a Feminist Toolkit by Marie Muzerelle
Although we did not directly affirm any feminist commitment, the beginnings of somme toute1 today seem to me to be indissociable from the political effervescence that followed…
Home —» You shall not think 'the past is finished' / Or 'the future is before us’ by Nadine Droste
Huge scissor arms open towards the visitors and welcome them. Scissors without bodies, larger than life. They occupy the space in order to take hold of the viewers, to…
Home —» Standing on the Faultline by Julie Portier
The 2023 edition of Galeries Nomades has just drawn to a close in the Drôme department of France. Every two years since 2007, this programme headed by the Institut…
Home —» For an infinite negotiation of adjusted considerations by Marie Chênel
For an infinite negotiation of adjusted considerations1
Entitled “Wild Diplomacy”, the current exhibition at the Centre international d’art et de paysage, Vassivière brings together the work of…
Home —» Lili Reynaud-Dewar by Lou Ferrand
I met Lili Reynaud Dewar in Paris— an artist who is also accustomed to interviewing people— so she could tell me about the city where she has been living…
Home —» Fossile Futur by Lola Fontanié
Interview with Grégoire Pérotin and Simon Dubedat (Fossile Futur), and Antoine Beaucourt (In extenso) by Lola Fontanié
December 2022
Lola Fontanié: Can you…
Home —» The Chiaroscuro of Cuteness by Katia Porro
Looking back on our latest special themes—zombies, the night—the obvious progression might not necessarily be that of cuteness, a subject that deviates from the ideal ternary rhythm promised by…
Home —» Our Aesthetic Categories: Zany, Cute, Interesting by Sianne Ngai
Excerpt from the introduction to Our Aesthetic Categories: Zany, Cute, Interesting by Sianne Ngai, published by Harvard University Press in 2012 (pp. 3-25).
Revolving around the…
Home —» Bunny's a Reviewer (Theory Can't Find Her) by Mia Trabalon
Here is an abstract: cute, many icons intertexting—Bunny reviewed here!
Home —» Cute as hell by Elsa Vettier
It's not always pleasant to hear the word, or even worse, to be called cute— this word that has now seemingly replaced its equivalent mignon in the French language.…
Home —» Mike Kelley’s Arenas through the lens of the “cute” by Clara Guislain
“It's always been very important to me that my work has a socialized veneer. I’ve never wanted my work to be associated with the Dada sensibility -…
Home —» Creepy, Cute & Camp by Marie Bechetoille
A conversation between Bernie Poikāne and Marie Bechetoille
April 2023
Marie Bechetoille: What is your relationship to the notion of cuteness in your film practice?
Home —» Dear madcelt2002 by Élise Legal
Dear madcelt2002,
I’m writing to you concerning the order I placed with you on eBay at 4:27 PM on 25th July 2022. The order number was 10-08907-90879. The…
Home —» 5 montages of citations as an attempt to understand a situation between 3 mountains by Théo Robine-Langlois
1) the door’s blue color changed it’s more intense now
being fresh (colloquial)
Home —» I have known what you will never know again by franckDavid
I don’t know Raymonde Morin, I don’t know Bernard Fournier, I don’t know Jean-Marc Gébelin not yet either Françoise Simont. These four are strangers to me, yet not to each…
Home —» Autumn, Autonomy, Crazy Chestnuts, Dead Leaves by Lætitia Paviani
Ethan Assouline’s exhibition “La médiathèque autonome” at La Tôlerie took place in the autumn of 2022.
One could believe that seasons have existed since forever, as they…
Home —» The 16th Lyon Biennale of Contemporary Art: a Manifesto of Fragility? by Tania Hautin-Trémolières
A biennial is often a sprawling event. Dense, immense, dispersed. The Lyon Biennale of Contemporary Art is no exception to this tentacular disposition. Its 16ᵉ edition, conceived by the curatorial…
Home —» “Mood Ring” – Martin Kersels by Katia Porro
The more I think of the title “Mood Ring” the more I am convinced that there exists no other phrase more appropriate to entitle an exhibition. Because an exhibition…
Home —» “OK OK K.O” - Julie Sas by Katia Porro
When I visited Julie Sas’s exhibition “OK OK K.O” at Treignac Projet, I was in denial of anger. I rejected the feeling, believing it was truly a waste of energy,…
Home —» To record and testify by Sophie T. Lvoff
For Thea Djordjadze’s first major presentation in France displaying more than sixty artworks, produced between 1993 and 2021, the gestures in the rooms needed to be powerful, forceful, even. I…
