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—» 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…

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by Lou Ferrand

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—» 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…

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by Katia Porro

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by Elsa Vettier

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by Clara Guislain

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by Marie Bechetoille

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—» 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

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—» 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…

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—» 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…

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—» 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…

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—» “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…

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—» “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,…

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—» 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…