TUESDAY, NOVEMBER 8
#MemoryoftheUniverse observes and absorbs! ( 20’) / Alysse Stepanian (USA)
In a performance during the opening of her video installation, #MemoryoftheUniverse | Syria Planum: For Water for Oil, Alysse Stepanian will deliver a performative presentation regarding her fictional character, a half-human, half-cow creature, and the possibility of breaking free from a destructive human-centered world.
(DEUX [dø] Gallery – 2 rue de la Bibliothèque, 13001)
Alysse’s performance was made possible in part by the Foundation for Contemporary Arts Emergency Grant.
THURSDAY, NOVEMBER 10
New Life / Aziz Boumediene (France)
An itinerant performance, starting at Tour Panorama (Floor 3) and going to Cartonnerie, with the dancers Ivan Bougnoux & Aziz Boumediene.
New Life is a metaphor of the overcoming of visible and invisible borders. Dance is performed as a chance to emancipate, to free from physical and moral barriers. Objects, words are tools to tell a story, the story of human beings in exile, going to an elsewhere, a more hospitable land, a more peaceful self, a new life.
Note: I have been working on the issue of overcoming borders for years. The source of this concern can be explained by my dual citizenship (French-Moroccan). Life going, I overcome this question of citizenship and I have turned my attention to the overcoming of borders in a broader sense. Inner boundaries, spaces boundaries in spaces, boundaries between the variety of possible perceptions, boundaries between disciplines, etc… I am conducting that work in link with my own development,
my every day life and necessarily with the current social and political events. My work is inspired by the reality of the moment, of the space in order to transform our perception.
Frères numains (discours aux classes intermédiaires) (18′ – 2016) / reading by Florence Pazzottu (France)
Text published by Al Dante, afterword by Bernard Noël.
«… alors vous entendez, ça gronde, ça bombe le torse, ça tape du poing et ça sanctionne, les voyageurs sans billets, les profiteurs du rsa, les resquilleurs, les agités, agitateurs, les militants incontrôlables ça dit, ça fait des listes, les délinquants, les activistes, les intégristes, les fraîchement radicalisés, des djihadisés plus ou moins, et s’il y en a un, même un seul, qui, terroriste, l’est ou pourrait l’être, ça justifie toutes les écoutes ça dit, la mise en fiche de tous les autres, car c’est au nom de la Liberté qu’on conditionne les libertés, c’est pas pareil, après la flexisécurité voici la sûreté libérale, ça promet, ça promet des flingues aux vigiles, exit le privilège d’État, et tant pis si ça ouvre la porte aux polices privées, aux milices, ça nettoie, ça intensifie, ça hisse au rang de paradigme la lutte contre le terrorisme, toute la société scrutée, surveillée, mutique par solidarité…»
This poetic speech, written in one stroke on 8 March 2016, now participates in the angry pre-insurrectionary movements that started after 31 March (youth uprising, on a sign held up at a protest one can read “Nuit debout” – “La nuit n’a pas de bout, nous sommes l’aurore” [“Up all night” – “The night has no end, we are the dawn”] – blockades, strikes, convergence of struggles here and there…).
In his afterword, Bernard Noël responds energetically to this “Discours aux classes intermédiaires” [Speech to the middleclass]. Written after March 31, he reads this text in analogy to the current insurgency and uses it to offer some thoughts. He concludes: “We need to accept or fight, but fighting is illegal except in the form of demonstrations or strikes. These days, the authorities have become unbearable with their brutality, hesitation and imbecility. It is possible that the resistance will naturally lead to their fall. However, I realised that despair is not a feeling, it’s an excrement – a piece of waste, that of the failure of the revolution, but this unbearable feeling has the advantage of getting rid of the illusion, allowing me to applaud your challenge to fully acknowledge an incredible future…”.
Ouled Jellaba, sur les traces de ses pas, je danse... (about 30′ – 2016) /
Rochdi Belgasmi (Tunisia) / Dance performance
“Ouled Jellaba” is a known figure in the world of popular arts in Tunisia but, paradoxically, little known among Tunisians. He appeared in the 20s in Bab Souika in Tunis and worked in the singing café “Sallit Dziri”. He was much demanded by the public of the medina, which ignored most of the time his sexual identity. He, and other transvestites dancers were no longer capable of practicing their art once women got the right to dance in public café, thanks to the resistance and women’s liberation movement in Tunisia. Ouled Jellaba is a tribute to figures of folk dancers, less known or which have fallen into oblivion or have been discarded and rejected by the society, such as Ouled Jellaba.
FRIDAY, NOVEMBER 11
A concert by the group Drôles de Drames (France). For our hearts, they hold back the night from its wandering route…..
With Jean-Jacques Blanc, José dos Santos, Rémy Chaillan & Fred Albertini.
In the singular, the name of this group obviously reminds us of the film by Marcel Carné spiced up by the libertarian dialogues of Jacques Prévert. You might remember, for example, the tirade Billy delivers to Eva: “You believe that there are things we’re allowed to do and other things that we shouldn’t do; it’s silly! Look, I kissed you the other day. Apparently this is something that shouldn’t be done but since we did it, it means it can be done … and the things we’ve done, why shouldn’t we do them again if they made us happy, if they made you happy. ”
It is with this kind of delightful reasoning that Instants Vidéo invited this gang of four again! To renew the pleasure. And since the current news seems to be a succession of dramas, let us pull out our weapons: poetry and humour.
SATURDAY, NOVEMBRE 12
5.14pm (in the twilight)
Chœur Tac-Til (Tac-Til Choir) (50′ – 2016) / Visually impaired vocal ensemble with multiple voices. (France) – Concert
with Mafalda Da Camara, Mélodie Duchesne, Gihane Elhassouni, Chérifa Harzallah, Angélique Huguenin, Franck Omer, François Parra, Karine Porciero, Alex Querel, Bruno Raby, Natacha Muslera & the haptic robot.
“A choir of breaths and organic, liquid and gaseous voices. An ethereal, spectral and concrete choir that gives rise to semantic glitches. An amplified choir, which brushes the ears. A choir in the night, glimpsed from the corner of the eye.”
Tonight at dusk, Chœur Tac-Til will present a concert where the listener is plunged into darkness.
Chœur Tac-Til was founded in 2012, by Natacha Muslera. Work is still in progress in the residence of the National Centre for Music Research (Centre national de recherche musicale – gmem-CNCM), in Marseille. At the residences, a system of writing through contact is collectively invented,
These pieces are instantly interpreted by the sense of touch, using a haptic robot, which was created for this ensemble.
A system of writing through contact is created within the group. It is multilingual (10 languages + invented) polyvocal, in constant modulation, ephemeral, barely written and is erased immediately. Based on a non-authoritarian principle, in each element that arises from the code, there is a pre-existing dimension of indeterminacy, leaving space for each interpreter to create.
The choir works with the language (or absence of it), in its heart: a semantic, organic machine that does not cease to burst or split.
The voices emit visions, prophecies; they read reality and transform clichés. The tactile writing weaves a random story impregnated with immediate realities: struggles, events, phenomena, desires, sounds, dreams and excesses.
Thanks to the collaboration with Charles Bascou (engineer-developer and musical assistant) and the technical assistance of Jérôme Decque, together with the robot.
(Translation Juliette Lopez)
Sitting and Smiling (240′) / Benjamin Bennett (USA)
Sitting and Smiling is a series of live web-streams in which I sit motionless and smile at the camera for 4-hour durations. This performance on YouTube channel went viral in 2015 and received mass media coverage, was live-streamed at MOCA Australia, and has received more than 1.5 million views. As of today I have completed 191 episodes. For this festival, I propose web-streaming this 4-hour performance from my studio in Philadelphia.
Grande Entrée (30′ – 2016) by Compagnie Gigacircus : Gustavo Alvarez (Mexique), Lionel Camburet & Sylvie Marchand (France)
In North America, the Grand Entry is a dance that allow all the participants to enter the space for the Pow Wow ritual and to open the social gathering.
To dance or to die say the Raràmuris, to dance and not die. Together.
The performance Grand Entry, a set a actions supported by films, is making a transition to what Crees (Canada) and Raràmuris (Mexico) have been practicing at all time: the creation of a dance corps where everyone is gathering in a living circle.
In the ritual area, the audience in movement together with the native dancers are producing an essential human vibrancy.
Selected readings of Freud and Lacan from dusk (November,12 at 5.14pm) to dawn (November, 13 at 7.29am)
“More than 90 high profile cultural, scientific, political and public personalities of the Marseilles region have accepted to come and read Freud and Lacan – all night long!
Short and spirited excerpts will allow us to discover – or rediscover – the language of the great psychoanalytic masters.
For us, reading Freud and reading Lacan is an act of citizenship. It is all the more important today in a world where “living together” is no longer self-evident. It is a civic act because psychoanalysis – to which we devote our lives – can no longer be the prerogative of psychoanalysts.
The words of Freud and Lacan resonate with life: our private lives, our social lives, and the life of our city. They are words that resound with Civilization (Culture) and its discontents – just as Freud said in 1929.
Following Freud and Lacan, psychoanalysis in the 21st century does not shrink from the real! It objects to a world without the real, without castration, without the impossible – “No praxis is more oriented towards that which, at the heart of experience, is the kernel of the real than psychoanalysis.” Starting from this kernel of the real, reinventing a world can be possible with psychoanalysis.
The standing night of Psychoanalysis, Video Art and Performance will take place within the framework of The 29th International Festival Les Instants Vidéos, one of the most important art video festivals in Europe. Its theme this year is, “State of Poetic Urgency”.
Not only do readings await us, but also video art, music, performances, and round table discussions on such themes as “The Gaze and the Voice” and “Are We Ever Poet Enough?”, as well as a conference with Gérard Wacjman, psychoanalyst in Paris, member of the ECF and author of L’Oeil absolu (Denoël 2010), on “The Pornography of Horror”.
The standing night is open to all. Food and drink will be available on the premises. Come for a few hours, or stay all night for an incredible experience.”
Event coordinated by Hervé Castanet, Pamela King and Dominique Pasco, psychoanalysts in Marseilles, members of the École de la Cause freudienne and the New Lacanian School.
1.Lacan, J., The Seminar, Book XI, The Four Fundamental Concepts of Psychoanalysis, (1964), tr. A. Sheridan, W.W. Norton, 1998, p. 53.