More than 20 installations are presented in Marseille, in Friche la Belle de Mai and in two Ephemeral Popular Art Galleries, ADPEI and SARA Logissol working in the social field.

This year, more than 20 installations are presented in Marseille, in Friche la Belle de Mai, a 600 m2 space dedicated to contemporary art and in two Ephemeral Popular Art GalleriesADPEI and SARA Logissol working in the social field.
What brought us together a few years ago with ADPEI and SARA Logissol, is the desire to get out of our “social grouping”, to break the boundaries, by opening ourselves to a partnership of the human relation, the encounter, the sharing. What we are looking for is to allow art to exist in our lives, where we work, where we dwell, where we assert our existence. Art becomes then a territory that makes it possible to dwell the world and oneself actively. It is a space where encounters can be made, a space to share other sensitive and sharp views of the world. 

ADPEI 18 bd Flammarion – 1er

L’autre rive / François Vogel (France)
A man on a boat tries to cross the river. As it progresses slowly, the spectator can observe the image that decomposes and then recomposes. The man always seems to approach the other shore without ever reaching it.

L’Ouvert (36’ – 2020) / Fatima Bianchi (Italy – France) 
The Open is the space of the infinite that is not hindered by the haunting of death, animated as it is by a perennial breath. The notion of the Open comes from Hölderlin, and Rilke took it up. Rilke invites us not to cling to one side of life, but to place ourselves at the heart of the double realm of life and death. It is then that we participate in the becoming of the eternal current that transcends time. Based on intimate accounts gathered from several women about their childbirth, Fatima Bianchi went in search of the Open.

Les nuances du gris (22’ – 2020) / Maëlie Guillerm (France)
Zeus wants to possess Europe, he decides to kidnap her. Male representations of the myth oppose the feelings of women. Several characters, real and fictional, question the shades of the grey area of consent.

SARA Logisol – 33 Rue Sénac – 1er

Dancing Painting (3’ – 2019) / Dasha Lyubimova (Kazakhstan)
In this project, I have a look at the world famous masterpieces of art from the inside, coming closer to the”human” part of it. I try to get to know the characters, to imagine their stories, sometimes funny, ordinary, vital, and raising sometimes more philosophical questions. I am sure that in these paintings, each of the viewers will find a part of themselves. This project is called the “dance language”.

Friche la Belle de Mai – Tour 5th Floor – 41 rue Jobin 3e

In 1965, the surrealist artist Jean Benoît wandered around dressed with a necrophiliac’s costume on the back of which was written Death, life is stalking you! Today, more than ever, people are forced to dampen their enthusiasm because the worst is threatening them (unemployment, climate warming, attack, virus…). Artists are the andidote to fatality: 17 video installations to take charge of our desires and freedom.

De-Projection (23’17 – 2019/20) / Laurie Joly (France)
The starting point of De-Projection is in the association made between Earth, fertile and nourishing, and women from the point of view of the feminine biological capacities of reproduction and lactation, from where a shift in meaning occurs from Nature to “natural”. In this work breath steps in to annihilate this association, making light of the weight of the construction by the lightness of the process of deconstruction. It is an attempt to erase the gendered projections, normalized and normative, which contain women into biological functions, which assign them fixed roles in the society and impose them rules.

De-Projection (23’17 – 2019/20) / Laurie Joly (France)

Boots and Beret (5’31 – 2018) / Khaled Jarrar (Palestine)
A performance work to deconstruct the stereotype of the male body within the military institution. The artist also denounces the fact that popular resistance groups, used as a model for today authority, perpetuated the myth of the male winner, which totally contradict the will to free bodies.

Endless Landscapes (2020) Nicolas Clauss (France) 
Endless Landscapes is a series of video pieces that usually feature groups of people, crowds, scenes of daily life filmed in public space. In these pieces a very short moment, from one to four seconds, is explored in time and space. The video becomes a moving landscape, without beginning or end, where temporality is dilated, where the filmed image moves away from its original direction and ventures towards other possibilities. The exploration of the image based on algorithmic chance gives a new meaning, a new status to what has been filmed. This work is situated between photography, moving image, documentary, visual arts, visual anthropology can be and undoubtedly choreographic arts.

[SELF]INSERTIONs: Hands dialogue (3’30 – 2020) / Lisi Prada & Jose Cruzio (Portugal)
The self – as the deepest representation of itself – and its intense desire to permeate in the expression and language of the Other, blazes the project [self] Insertions, as another untimely view. It’s not a simple addition, but rather a particular approach about the artist’s | performer’s potential as an inherent part of the work of the Other and its own world. The video and sound will be the most evident media and will be combined in a new work.

La Lune (7’ – 1985) / Jean-Paul Fargier (France)
Michel Piccoli reads the first pages of Victor Hugo’s Promontoire du songe, published with Annie Lebrun’s introduction, in 2012. In his text, Hugo describes his sensations when he sees, enlarged 400 times, the Moon through the telescope of Paris Observatory. His visions drive him into a meditation about the relationships between Dream, Reality and Poetry. 

The Invisible Broadcast (2020) / Alain Bourges (France)
It was in 1954 on National Radio. Sacha Guitry was lecturing there. A great lesson through a hundred works drawn from the history of Art. The show was called Hundred Wonders. It was also the title of the illustrated book with the works evoked by Guitry. With the sound of Guitry’s voice broadcast and the pictures from the book in front of you, you were like watching television. Guitry invented television without television. The Invisible Broadcast was born from an offer from Daniel Arnaison, artist and collaborator of Radio Résonance, a radio station in the Cher region. Taking up Guitry’s idea, I conceived it as a television show whose images would be what listeners would choose to put in front of their eyes while listening to it. The landscape seen through their window, an illustrated book, an exhibition,… It is produced without any radio means, neither studio, nor sound engineer, and it is edited on a video editing software.

Icemeltland Park (39’ – 2020) / Liliana Colombo (Italy/GB)
An amusement park designed for families, couples, friends and everyone wanting to visit. You don’t know where to go on holidays? Or not sure how to spend your honeymoon? Come to Icemeltland Park, you won’t regret it!

Nous n’avons plus sommeil (4’28 – 2020) / Théo Chikhi (France)
The work presents the ascent of a woman on a mountain, questioning herself on her own condition and the world surrounding her. Born and confined on a virtual island, this woman realized the vanity of everything she can do : in this simulated world, the most cruel, the most impossible action become humdrum and boring. Getting bored of death is taking away the meaning of life.The woman dreams of company ; the only thing she miss on this island. A friend, a lover to face the calm and all-powerful nature with, like this virtual ocean, whose avatars like her will never cross

Nous n’avons plus sommeil (4’28 – 2020) / Théo Chikhi (France)

Open (6’06 – 2016) / Leila Bergougnoux & Magali Benvenuti (France) Two women and a city-universe, Berlin.Dance and video.What happens when the inside and the outside are facing each other ? When a once confine feminine intimacy is asserting itself in front of the cold blue city ? Dance or performance. Fantasized or real sound universe. Looking at people looking at a looking and dancing woman…Maybe this film tells us something about what public space is, about the room that bodies occupy, about the look men can still have upon women presences.But this film is not an answer sure of itself. This film is full of flying questions you can pick up if you feel like it…

Re-open (6’54 – 2016) / Leïla Bergougnoux & Magali Benvenuti (France)
Re-open is the second part of the video Open. We had some difficulties with teenagers while shooting in the street. So we decided to keep this version with the dialogues. It seems quite relevant, when examining the place of women in public space, the sexualisation of a naked body and the concept of performance.

Leda and the Swan (11’17 – 2019) / Susan Silas (Hungary – USA)
The premise is straightforward. I, the artist, and a male swan are put into a room together to see what happens. The inspiration for the work is Greek mythology; the seduction (or rape) of Leda by Zeus, who has adopted the form of a swan to deceive Leda, who is married. The seduction/rape of Leda by Zeus has played out in mosaics discovered in Pompeii, in Greek and Roman statuary, in European painting and in 20th century photography. 

Leda and the Swan (11’17 – 2019) / Susan Silas (Hungary – USA)

The Sorrows are behind us (7’40 – 2020) / Peachey & Mosig (Australia)
Arranged as a collection of movements, The Sorrows are behind us, explores the tension between geological time and human scale patterns. Peachey & Mosig move through a variety of landscapes with their children in an attempt to understand timescales vastly different from their day to day lives. This perspective and the way they view human/environment relationships help them to feel a closeness with each other and with the unfolding history of the human story. Their communion with elemental forces serves as acts of healing in a time clouded by uncertainty.

Emerald Green (14’07 – 2016) / Carolin Koss (Germany-Finland)
Emerald Green is an installation about a dystopian world, where nature has been rendered extinct, breathable air has gotten scarce and the sun has vanished due to exploitation of natural resources and human error. The focus is on 3 people who try to survive and escape into their sub-consciousness in order to re-imagine and re-build the contaminated world they live in.

A tribute to Alessandro Amaducci (50’50)  / A proposal by Maurizio Marco Tozzi (Festival Over the Real, Lucca, italie). Alessandro Amaducci is one of the Italian artist the most representative of the international contemporary art scene, having a very innovative vision of the relationship between art and new technologies (video, installations, documentaries, videoclips, multimedia show). Many of his art works suggest the desire of entering a kind of electronic unconscious, a cave of shadows contaminated by new technologies, where can appear ghosts fed by images, archetypal forms and unexpected clichés of the world of the internet, faces travelling the web that we are searching and downloading without really knowing why.
Video selection: Not with a Bang, 2008, 5’12 / Future(ism), 2013, 2’30 /Electric Self, 2006/2016, 4’00 / Discussion on Death, 2006/2018, 6’00 / Fear of Me, 2008/2017, 6’00 / Pagan Inner, 2010, 6’30 / Black Data, 2012, 4’00 / In the Cave (of technology), 2013, 5’38 / I Am Your Database, 2014, 3’53 / Post Rebis, 2016, 3’39 / Shedding, 2010/2018, 7’00 

Unnatural selection (26’30 – 2019) / Van Mc Elwee (USA)
Fragile membranes, porous boundaries, (dis)connective tissue, ethereal plumbing.

Unnatural selection (26’30 – 2019) / Van Mc Elwee (USA)

Balans (20’15 – 2020) / Dragana Žarevac (Serbia)
Rounding up 40 years of work, Dragana Žarevac selected three early performances to re-perform and record. Those performances were completed from November 1979 to April 1986 at the Student Cultural Center in Belgrade and at the ŠKUC Gallery in Ljubljana. Starting from her personal archive – drawings and texts – Žarevac approaches the archive as scores, as a series of clues and directions for re-experiencing the performance situations. In collaboration with the curator Sladjana Petrovic Varagic and returning to the same places where performances were originally performed, Žarevac reviews her artistic starting points and their elaboration in time. Simultaneously, performances are re-contextualized in the space of new states and institutions which have changed.

Élongations  (2015) / François Vogel (France)
Elongations shows us a unique vision of the city. Pedestrians and cars seem to be trapped within an urban landscape that stretches endlessly into abstraction. As a skilful manipulator of image, François Vogel creates new laws of perspective and drives us with humour and poetry into another field of vision, a field of vision where time and space intermingle. This installation was originally made up of a long strip of twelve screens whose images merge and separate within the rhythm of spatio-temporal distortions. The version presented here is a reduced version which condenses the twelve screens into a single projection.

Biblion (13’31 – 2019) / Saara Ekström & Aero Tammi (Finland)
Biblion is a poetic study on the medium of the book. A nocturnal mood leads way to a dreamlike world, where no reading is required and where books are dreaming of their own disappearance.