{"id":3552,"date":"2018-09-27T14:53:55","date_gmt":"2018-09-27T13:53:55","guid":{"rendered":"https:\/\/www.instantsvideo.com\/blog\/?p=3552"},"modified":"2018-10-18T09:33:14","modified_gmt":"2018-10-18T08:33:14","slug":"the-festival-exhibitions-in-marseilles","status":"publish","type":"post","link":"https:\/\/www.instantsvideo.com\/blog\/en\/2018\/09\/the-festival-exhibitions-in-marseilles\/","title":{"rendered":"The festival: exhibitions in Marseilles"},"content":{"rendered":"

ACT IN YOU PLACE, THINK WITH THE WORLD<\/i><\/b>
\n<\/p>\n

AAJT<\/a><\/span>, 3 rue Palestro, 3e
\nNovembre 7 to 30 \u2013 Open 2\/9pm, Monday to Friday.
\nVernissage Wednesday, 7 (5.30 to 7.00pm)<\/h2>\n

No human is legal<\/em> (1\u201925 \u2013 2017) \/ Hamza KIRBAS (Turkey)<\/strong>
\n\u00ab\u00a0The simulacrum is never that which conceals the truth–it is the truth which conceals that there is none.The simulacrum is true.\u00a0\u00bb Jean Beaudrillard
\nIn this video diptych, the artist tries to address the interrelationship of the insensitivity of our society to the conditions migrants and refugees are treated. We are living in a world where abstraction takes over the real: the land exist, but on the paper the space is not big enough for the others, the fictive and figurative borders take over our reality. This work presents the boundary with two screen, one for \u201clegal persons\u201d, the other for \u201cillegal persons\u201d, there is no possible encounters between them.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0No human is legal<\/em> (1\u201925 \u2013 2017) \/ Hamza KIRBAS (Turkey)<\/figcaption><\/figure>\n

SARA<\/span>,\u00a054a rue de Crim\u00e9e, 3e
\nNovember, 8 to 30 \u2013 Open 2 to 5pm, Monday, Thursday and Friday
\nVernissage Thursday 8 (4 to 5pm)<\/h2>\n

Sans toi(t)<\/em> (10\u201911 \u2013 2016) \/ Franck ODDOZ-MAZET (France)<\/strong>
\nPortraits of homeless people from Tolten’s book \u00ab\u00a0L’\u00eatre ange monde\u00a0\u00bb.<\/p>\n

I choose not to<\/em> (2\u2019 – 2017) \/ jola kudela aka YOLA (Poland \u2013 GB)<\/strong>
\nThe project is an art installation, a social and political commentary. It speaks about the lack of political awareness, and our indifference and passivity to what is going on in today\u2019s society.<\/p>\n

ADPEI<\/span>, 18 bd Flammarion, 1er
\nNovember 8 to 30 \u2013 Open 2 to 5pm, Monday, Wednesday and Friday
\nVernissage Thursday, 8 (5.30pm)<\/h2>\n

La limite \u00e9lastique<\/em> (14\u2019 – 2017) \/ Pasty (France)<\/strong>
\nAs my father was a worker, the terms of productivity, deindustrialization, efficiency and maintenance were present every day. He uses me as an interpreter, as a model for this working-class figure in a period of industrial in-between, between the banalisation of robotisation and the maintenance of work on the chain. What will happen after my father? What will be the place of the human body in the industry of tomorrow? The body subjected to repetitive work can also, like a material, reach its limit, break and not regain its original form. This project is a link between the notions of optimisation, technique, fatigue and body becoming, while maintaining a hybrid position between the fascination of technique and my sensitivity to the working class cause. The dialogues are shared between a technical director of a company, a salesman of a robotics company, and one who designs exoskeletons and robots. I wanted to integrate images taken in a school of orthopedics to approach the body aspect in my project. Having myself worn a corset for years, I experienced the physical constraint that can be felt by workers equipped with exoskeletons. In both cases, there is a notion of acceptability for the person, but also the feeling of vulnerability of the body when faced with repetitive gestures or heavy loads.
\nMy intention was to place the spectator at the centre of this conversation, leading to nothing and dividing into two incompatible points of view: the \u00ab\u00a0man\u00a0\u00bb as the workman, and the financial investment; but also to show the absurdity of the relationship between technique (costly progress, noble, representing the future) and the social condition of the worker, at the bottom of the scale than at the top. These exchanges thus question the mutation of the place of the worker in the factory of today in front of the technique and the progress that is imposed on him.<\/p>\n

Night Clerk<\/em> (1\u201935 \u2013 2017) \/ Damon Mohl (USA)<\/strong>
\nA song for a night clerk.<\/p>\n

L\u00b4Usine<\/em> (3\u201944 \u2013 2017) \/ Isabel P\u00e9rez del Pulgar (Spain \u2013 France)<\/strong>
\nThe alternation of schedules and shifts in alternate weeks causes an alteration of the perception of time, meal schedules and sleep. Permanent electrical light in workspaces causes confusion and extranet with respect to timetables and sunlight. The constant noise throughout the day, the lack of communication, repetitive movements, the rhythm of the conveyor belts, the small mobility space, the forced postures, the demands of speed in the execution of the task, the wounds on the hands as a result of the pressure and handling of the knives… all this causes a state of strong stress and anxiety. All the activity is marked by the times from one day to the next in an exact and repetitive way. Succeeding the days in a continuous line divided by invisible weekends.
\nThere is a detachment or unfolding of the \u00ab\u00a0I\u00a0\u00bb within a timeless abyss, in which a dance is created, a choreography of self-sufficient women. Life becomes an alienating loop. The rhythm and execution of the film was conceived as the projection of a film, with the idea of creating the perception of an endless loop. The luminous and chromatic changes are differentiating between the external and internal space of the factory, as well as a retrospection to silent cinema. For the realization of the project I used footages and public domain sounds.<\/p>\n

Le temps est hors de ses gonds<\/em> (7\u201909 \u2013 2018)\/ Bernard Obadia (France)<\/strong>
\nBodies, people, \u00ab\u00a0anonymous\u00a0persons \u00bb, and today world.
\nWith a poem by Jean-Pierre Ostende.<\/p>\n

Friche la Belle\u00a0de Mai<\/span>, 41 rue Jobin, 3e
\nNovember, 9 to December, 2
\nVernissage Friday (6pm) and performance (8 pm)<\/h2>\n

Video and digital artists exhibit (under the sensitive eye of the visitors)<\/strong><\/h3>\n

What about getting out of the habit to consider an artistic exhibition as a cultural pastime or as a space we visit under the pretext of our interest for art but in reality only to exhibit ourself and shop self-serving relationships. Let\u2019s imagine a new May 68 occurred and a poetical whirlwind transformed us. We are not consumers anymore. And what a surprise: video installations become barricades erected against the onslaughts of human, sectarian and nationalist stupidity. All of a sudden, we start wandering with the risk to be shaken, touched, questioned.
\nThis exhibition is made of two spaces. The one downstairs (Salle des Machines) gathers art works where the body is missing. A sign of our times. The time of dematerialisation. The one upstairs (R3) gaze at bodies in any form and style.<\/p>\n

Salle des Machines<\/span>\u00a0\u2013 Open Monday 11am to 6 pm,
\nTuesday to Saturday 11am to 7pm, Sunday 1pm to 7pm<\/h3>\n

\u201cThe body as far as you can see\u201d<\/strong><\/h3>\n

Does the absence of any human presence in a space mean that the space is empty, deserted?
\nThen it would mean that human being is living in a scenery, separated from his environment. But, we finally learnt that human being is no more at the centre of the world than Earth in Universe, that is is part of the eco-system, equal to plants, fauna, air, water and land. So we can consider anymore his absence as a lack. Human being is there but invisible. He exists as far as the eye can see.<\/p>\n

PSL l’\u00eele bricol\u00e9e<\/em> (28\u2019 loop \u2013 2018) \/ Fran\u00e7ois Lejault (France)<\/strong>
\nAn encounter with a land which coastline is always moving, inventing a new story through time. PSL l\u2019ile bricol\u00e9 is a poetic search about the different forms of man adaptation to an environment always changing, unpredictable, sometimes hostile. A glance at history thought the landscapes and bodies transformed by deep economic and ecologic mutations.<\/p>\n

Untitled Painting #12<\/em> (from the serie \u00ab\u00a0Paintings of Ecolonia\u00a0\u00bb) (3\u201908 \u2013 2018) \/ Carolina Jonsson (Sweden)<\/strong>
\nMy works relates to the \u201cin between\u201d that exist amongst humans, human and nature and the natural and the manmade. In this piece of art, a physical and mental experience is presented through an abstract and sensual interpretation of a human shape placed in nature; a roadwork landscape that is both beautiful and daunting, recognizable and alienated. Is this a broken nature or a landscape full of anticipation in the process of changing?\u2028 Untitled Painting #12 is a part of the series Paintings of Ecolonia. Ecolonia is my language, my way of describing the reality we belong to. It is about sensing something hidden and open up for more outside what is already known. Ecolonia cover existential issues that have strong charge. The works becomes a substance out of the experience of beauty, intensity and mystery, resting on the border between reality and fiction.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Untitled Painting #12<\/em> (3\u201908 \u2013 2018) \/ Carolina Jonsson (Sweden)<\/figcaption><\/figure>\n

Travers\u00e9e<\/em> (4\u201925 boucle \u2013 2017) \/ Jeannie Brie (France)<\/strong>
\nA quiet field in the countryside, a video postcard. Slowly, a wall is being built and blocking the view. Only memories are kept on the other side. Clouds continue their way.<\/p>\n

Transitions<\/em> (12\u201948 \u2013 2017) \/ Aur\u00e8le Ferrier (Switzerland)<\/strong>
\nTransitions<\/em> is a journey from the civilizing void of the desert to a maximal urban, capitalistic
\nand hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.<\/p>\n

Friche Tour (3rd floor)<\/span> \u2013\u00a0Wednesday to Friday 2 to 7pm, WE 1pm to 7pm<\/h3>\n

\u201cThere is no absolute peril except for him who abandons himself\u00a0\u201c<\/h3>\n

What about the state of human bodies in these times when a part of humanity allows that their fellows coming from elsewhere are rejected, shunt in camps, abandoned at sea, unwanted…?
\n\u201cWherever you look in the streets \/ or in avenues of the West \/ they walk: a sacred procession \/ look at us and through us \/ Now silence \/ Stop everything \/ They are passing by.\u201d Niki Giannari, Maria Kourkouta (Spectres are haunting Europe).
\nWe can continue to watch the bodies around us as if nothing was happening.
\nThis exhibition is an invitation to seek for a proper attitude, to move to find another perspective that doesn\u2019t mak us blind. And to take a stand.<\/p>\n

Interceptor<\/em> (4\u201932 \u2013 2018) \/ Risto-Pekka Blom (Finland)<\/strong>
\nIn 1989, an unknown person halted the column of armoured troops at Tiananmen Square in Beijing,
\nChina. On the previous day, a demonstration that originated as a student protest, was violently suppressed by the army. In democracies, the use of brutal force has been replaced by structural violence, where the power is centered around a small economical elite pursuing their own interests. The main purpose of the political system is to maintain these power structures.<\/p>\n

Ode to decrepitude <\/em>(3\u201953 \u2013 2017) \/ Clemence BTD Barret (France \/ Morocco)<\/strong>
\nAs Simone de Beauvoir wrote \u00ab Living is ageing. Nothing else.\u00bb However the tyranny of youth obsession and its religion \u00ab the cult of appearance \u00bb is ruling in the so-called developed societies. Ageing became a dangerous enemy. Thanks a lot to Johnny Doyle and Ina Solum, Hope and Matthew.<\/p>\n

00:02:00:00<\/em> (18\u201920 \u2013 2018) \/ Hugo Montero (France)<\/strong>
\nWhat are 2 minutes in a whole day of work? It is the question I asked to 8 keepers of the contemporary museum in Ljubljana (+MSUM). When the job is just \u201cto be present in the museum\u201d, how does the time links with the space, the white walls, the soft lightning or neon lights, the introspections, the audience, the slight movements and the presences?<\/p>\n

Ex Nihilo (<\/em>10\u201948- 2017) \/ Timo Wright (Finland)<\/strong>
\nEx Nihilo is an experimental short documentary about life, death and our attempts to control them. It tells the stories of an advanced humanoid robot, a cryonics facility, where brains of deceased are held and of a seed vault, where crop seed from around the world are kept frozen.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Ex Nihilo<\/em> (10\u201948- 2017) \/ Timo Wright (Finland)<\/figcaption><\/figure>\n


\nWear you all Night<\/em> (4\u201937 \u2013 2017) \/ Sarah Choo Hoo Jing (Singapore)<\/strong>
\nWear you all Night is a double channel video installation, which depicts two individuals co-existing in one space, separated by the camera frame. Recorded over a period of 4 minutes, the stage is set in a boutique hotel room.\u2028The potential narrative here is suggested by the actions of the male and female character, as well as the composition of the set.<\/p>\n

Consecutive Breath (<\/em>12\u2019 -2016) \/ Sarah Choo Jing (Singapore)<\/strong>
\nA composite of documented footages across each and every MTR station in Hong kong.<\/p>\n

Art of the Rehearsal<\/em> (2017) Sarah Choo Jing (Singapore)<\/strong>
\nWhere theatre collapses is the place where \u201crehearsal\u201d starts. \u201cRehearsal\u201d is not a formal performance. Repeatable and likened to an ephemeral experiment, it can turn any social space into a theatre and vice versa. During practice, the theatre is no longer the domain of seeing and being seen, or a performance space that excludes real life reality. It is rather a space subjected to constant self-immersing, interruption and deconstruction. Rehearsing finds itself in the crossroads between the onstage and offstage, theatre and real life.<\/p>\n

Why do you ask ?<\/em> (2\u2019 loop \u2013 2017) \/ H\u00e9la Ammar (Tunisia)<\/strong>
\n\u00ab\u00a0Why do you ask? \u00ab\u00a0deals with the quest for a better future by staging reality and utopia, the present and its trace. The video presents a series of sentences that follow one another at the rhythm of the rolling waves.\u2028Considered as fragments of answers to a question that is never asked, these words weave the reality and the illusions of thousands of migrants willing to reach a forbidden elsewhere. Here their words replace the absent image\/subject as site of politics and trauma.<\/p>\n

Collective action<\/em> (7\u201952 \u2013 2013) \/ Raoof Dashti (Iran)<\/strong>
\nWe have always seen martyrs with closed eyes and motionless bodies steeped in blood, but sometimes people die with open eyes and conscious bodies. Although the road is painted with their red blood, nobody calls them martyrs because their eyes still blink.<\/p>\n

 <\/p>\n

\"\"<\/a>
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Collective action<\/em> (7\u201952 \u2013 2013) \/ Raoof Dashti (Iran)<\/figcaption><\/figure>\n


\nBlack Sun<\/em> (32\u201918 \u2013 2015) \/ Toni Mestrovic (Croatia)<\/strong>
\n\u201cBlack Sun\u201d is the jack (a smaller ball in the traditional game of bocce on the Adriatic coast of Croatia) around which other bocce balls are seen circulating. This typical mediterranean game played by all generations, predominantly the elderly, was recorded in a small island village and shows men of all age who participating in the game and revealing specific island narratives, identities and roles.\u00a0\u2028The play of bocce balls in the dirt field looks like constellation dynamics of planets in the solar system. Their relations and analogies (spheres flying through, knocking others out, touching or missing each other) as seen in close up seem as abstract fields of dynamic spatial and sound compositions.\u2028This video\/audio installation documents and translates specific patterns of micro-identities into almost archetype scenes of planetary relations and tides<\/p>\n

White saucer: surveillant eye<\/em> (8\u201956 – 2018) \/ Cheryl Pagurek (Canada)<\/strong>
\nIn White saucer: surveillant eye, a vintage saucer becomes the lens through which we observe projected footage of natural disasters, world events and a drone\u2019s-eye view of one individual\u2019s daily activities. The camera angles tracking her movements match those in the news, police and military sources. Public and private worlds collide as the omniscient gaze cast by the aerial perspective parallels the wide net of electronic surveillance and data collection that monitors and captures our every day communications, transactions, and locations.<\/p>\n

Host Sapiens<\/em> (15\u201921 \u2013 2018) \/ Mox M\u00e4kel\u00e4 (Finland)<\/strong>
\nMass extinction is here. Our plate will be soon bigger than our planet. Our choice.<\/p>\n

Partenza<\/em> (9\u201922 – 2016) \/ Renata Poljak (Croatia)<\/strong>
\nPartenza express the global insecurity of contemporary society and the fragility of human existence. Metaphorically, they address a story about departure, waiting and separation, dictated by migrations. In the early 20th century, it was usual yet traumatic for men to leave Croatian islands due to poverty and hunger. One of these tragic stories is weaved into the author\u2019s family history. The film is inspired by the life story of Renata\u2019s great-grandmother who lived on the island of Bra\u010d, whose husband went to Chile looking for work in order to secure his family\u2019s future. Like many of the island\u2019s women, she waited for her husband who, like many of the men, never returned. Partenza (Italian for departure, and used in many of Croatia\u2019s island and coastal dialects) is inspired by the contemporary tragedies of migrants at sea. The author uses this phenomenon as a connecting thread and a reminder that not so long ago we were in the same boat.<\/p>\n

Sensory Gating Undone<\/em> (15\u2019 – 2018) \/ Majd Alloush (Syria \u2013 United Arab Emirates)<\/strong>
\nA maggot flies into the window pane – you witness it, but most probably will not recall this occurrence. The Cocktail Party Effect plays an essential role in our lives, but what if the human intelligence never attained such an ability? In \u201cSensory Gating Undone\u201d the Artist deconstructs nature and embodies the human brain in a performance piece\/moving picture. Our brain protects us from reaching a boiling point of insanity, but if we had control over what memories to keep or discard, would we be fair? Biased? Would we still be able to protect our rationality?
\nAre we rational beings to start with, or are we a result of a natural routine?<\/p>\n

\"\"
\u00a0 \u00a0Sensory Gating Undone<\/em> (15\u2019 – 2018) \/ Majd Alloush (Syrie \u2013 UAE)<\/figcaption><\/figure>\n

Cut my Tongue and Lips<\/em> (12\u2019 – 2018) \/ Farhana Islam Tani (Bangladesh)<\/strong>
\nMy video installation explores the idea of silence and trauma from my own personal experience. Under the influence of heavily loaded social and religious stigmas, I have often experienced disassociation from my own body and mind. I use various materials and actions that have religious and social associations to Bangladeshi culture. Projecting on broken mirrors fragments the video, indicating schizophrenic identity. In addition, I use braiding and un-braiding of hair as a narrative of control and as means of restriction in Bangladeshi culture.<\/p>\n

Women must be beautiful, Women must be hidden<\/em> (13\u201912 \u2013 2017) \/ Vatankhah Parya (Iran \u2013 France)<\/strong>
\nIn this work I question the situation of women and their freedoms in contemporary Iranian society. In this work, I wear and remove a headscarf over and over again alternately for the duration of the performance. It starts with calm movements, then, the rhythm accelerates gradually. This gesture is repeated so many times until it becomes a violent and overwhelming gesture.<\/p>\n

[\u2018penthaus]<\/em> (3\u201954 \u2013 2017) \/ Yefeng Wang (China \u2013 USA)<\/strong>
\nIn the old Chinese book \u201cA New Account of the Tales of the World\u201d drunk poet Liu Ling, lying wasted and naked in his house, claims the universe as his house, and his house as his underpants. In my opinion, this absurd story of Liu\u2019s delirium possesses a powerful comprehension of our relationship to the world, as well as a strong emotional connection to my on-going sojourn after moving to America. In[\u2019penthaus], I fabricated a metaphorical virtual house with 3D models of a common pair of jeans and daily objects, and created a pig without back-limbs as the main character. It poses an allegorical question: the notion of both the house and the pants are obscure to this character, and at the same time he has no choice but to live in this pants that he can never fit on.\u00a0\u2028Video sound by Tim Fodness.<\/p>\n

Post Apocalypse Dream<\/em> (8\u201923 \u2013 2017) \/ QIn Tan (China)<\/strong>
\nPost Apocalypse Dream compiles captured footage, pictures, and sounds to create an imaginary post apocalypse universe. In this universe, footage of religious sanctuaries, natural landscapes, art pieces, and human tools are collaged to form a new digital landscape; one that is absurd, fictional, and without human presence. The visual narration of the video takes inspiration from traditional Chinese ink paintings and ancient scrolls, revealing the details of the landscape through an 8 minute camera pan from left to right.<\/p>\n

art-cade*, la vitrine<\/span>, 35 bis rue de la Biblioth\u00e8que, 1er
\nNovember, 9 to 30 \u2013 Open everyday 6 pm to 12 pm.<\/h2>\n

La Laiti\u00e8re (Milkmaid)<\/em> (3\u2019 in loop \u2013 2010\/11) \/ Richard-Giacobetti (France)<\/strong>
\nParadigm of the representation of Christ. Instead of illustrating the son of God bleeding from his hands, \u00ab Milkmaid \u00bb bleeds from the dark place of desire and central point of the origin of humanity. The whole is in a milky world symbolizing purity and breast milk. As simple by its aesthetics and complex by its reading it evokes in particular the multiplicity of cycles. That of breathing that lasts a few seconds, the menstrual cycle that takes place over a few days, pregnancy over 273 days, life over several decades and humanity for several thousand years. Paradox of this painting that lasts a few minutes.<\/p>\n

\"\"
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0La Laiti\u00e8re (Milkmaid)<\/em> (3\u2019 in loop \u2013 2010\/11) \/ Richard-Giacobetti (France)<\/figcaption><\/figure>\n

Machine pneumatique<\/span>, Traverse du Regali, 16
\nNovember 9 to December 2 \u2013 Open Monday 8am to 5pm, Tuesday to Thursday 8am to 9pm, Friday 8am to 12pm<\/h2>\n

Mes apocalypses<\/em> (20\u2019 – 2017) \/ Dominique Comtat (France)<\/strong>
\nOur social space is getting smaller, our adventure space is being cut, biodiversity is reducing, our space of freedom is decreasing, our natural space fading away.<\/p>\n

Cartoline Video<\/em> (20\u201909 – 2016) \/ Marc Mercier (France) & Matteo Fadda (Italie)<\/strong>
\n13 video postcards made with migrants in Cagliari (Sardinia) in the frame of the project \u201cNavigare i confini\/MigrArti \/ Tra Asia e Africa in un\u2019isola che c\u2019e\u201d, organised by Carovana SMI
\nWith the participation of Etienne (Cameroon), Ndiaga (Senegal), Peter (Nigeria), Halyne (Ukraine), Roric (Costa Rica), Raphael (Greece), Necati & Muhammed (Turkey), Rendell & Ralph (Philippines), Ousman (Gambia), Yaiu Yaiu (China), Reda (Morocco), Modou Lobba (Gambia), Yaya (Senegal), Sokou (Gambia). I also want to thanks Ornella d\u2019Agostino & Alessandro Alessandro Melis for the elegance and the relevance of this project.
\nTo migrate: to cross a border, a mountain, the sea\u2026 But not only. It is also to move from one language to another one, from one culture to another. Between the space we leave to the one we find, a period of adjustment is necessary. When the home culture is yet the past, when the host culture is still the future, when the present leaves you speechless: what can I say about my life, my pains, my desires, when I don\u2019t have the words to explain myself?<\/p>\n","protected":false},"excerpt":{"rendered":"

ACT IN YOU PLACE, THINK WITH THE WORLD<\/p>\n","protected":false},"author":9,"featured_media":3659,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[48,32],"tags":[],"class_list":["post-3552","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2018-en","category-non-classe-en"],"_links":{"self":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts\/3552","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/comments?post=3552"}],"version-history":[{"count":16,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts\/3552\/revisions"}],"predecessor-version":[{"id":3788,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts\/3552\/revisions\/3788"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/media\/3659"}],"wp:attachment":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/media?parent=3552"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/categories?post=3552"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/tags?post=3552"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}