Lea 28 et 29 avril aura lieu le colloque "Créations à l'épreuve de l'exil de guerre", co-organisé par Anthony Blanc, Elena Gordienko, Kateryna Lobodenko, Danilo Sannelli et Guglielmo Scafirimuto.
À la maison de la recherche - Sorbonne Nouvelle. 4 rue des Irlandais / Salle Athéna - 75005 Paris.
Vous y trouverez ma présence virtuelle, sous forme de vidéo, réalisée grâce à la sensass Natasha Nedelkova, puis ma présence physique. "De la frontière comme spectacle au spectacle de la violence des pays en guerre : créations et appropriations à l'épreuve de l'exil" est le titre de mon intervention.
Un bout (biaisé) du programme apparaît dans le dernier slide, mais je vous invite à en consulter la totalité en ligne, il s'annonce très très riche.
http://www.univ-paris3.fr/creations-a-l-epreuve-de-l-exil-de-guerre-773897.kjsp
🎬 Join us for our Cine-Club on November 24, 2025, at 6:30 PM at Sputnik Kino (Hasenheide 54/5th)!
We’ll screen Xaraasi Xanne – Crossing Voices, followed by a discussion with Raphaël Grisey (co-director) and Coline Rousteau (CMB researcher).
Using rare cinematic, photographic and sound archives, Xaraasi Xanne (Crossing Voices) recounts the adventure of Somankidi Coura, an agricultural cooperative created in Mali in 1977 by western African immigrant workers living in “foyer”, workers’ residences in France. The story of this improbable, utopic return to the Sahel region follows a winding path that travels through the ecological and decolonial challenges and conflicts of agriculture practices and sensing from the 1970s to the present day. One of the major actors of the movement, Bouba Touré, tells this story by plunging into the heart of his personal archives, which document the fights of immigrant workers, over a period of decades as well as those of farmers in France and in Mali. The film is also a story about transmission, friendships and cinematic geographies, where different voices, enter the sound-scape to accompany Bouba Touré’s telling; they bring the tale of a forgotten memory toward a possible future sung by a polyphonic griot.
@raphaelgrisey@philcoline@sputnik_kino
🇫🇷 FRENCH ÉLECTIONS‼️ vidéo dispo sur YouTube link in bio Résiste, prouve que tu existes, vas, bas toi dans ce monde égoiste ! Chanter c’est résister. Unissons nos voix le 30 juin et le 7 juillet pour lutter contre le tournant fasciste que prend la France, et l’Europe ! Votons Nouveau Front populaire ! #frontpopulaire #nupes #uniongauche #gaucheunnie #franceinsoumise #lfi #ps #eelv #pcf #rimahassan #elections #elections2024 #legislatives #nouveaufrontpopulaire #antifa #france #rn #lr #macron #barragerepublicain #beruriernoir
Je suis heureuse de vous annoncer la tenue du Forum Marc Bloch que nous co-organisons avec Alicia Vogt, Ségolène Bulot et Cedric Jürgensen!
Celui-ci se tiendra les lundi 22 et mardi 23 avril 2024 au Centre Marc Bloch Berlin en salle Tillion (7ème étage), et en ligne.
Nos discussions seront enrichies par les projections, lundi soir à 18h, des films Is it a True Story Telling? (2018) & Rhapsodie juridique (2023), en présence de la réalisatrice Clio Simon.
On écoutera les super Myriam Bouabid, Daria Sorokina, Charlotte Koch, Nele Guinand, Diana Bogishvili, Anna Marino, Helen Reichelt et Natasha Nedelkova.
See you around!
*Tanja Ostojić: Non Registered Border Crossing, Art action, 2000. videostills, copyright: T. Ostojić #tanjaostojić
I've seen open letters from academics addressing concerns about academic freedom of speech, and research, coming from occidental countries that are mainly supporting Israel ; have you seen any in Germany?
Regarding the condemnation of violence - how, whom, why - I personally relate to Judith Butler's statements.
*"Condamner la violence" https://aoc.media/opinion/2023/10/12/condamner-la-violence/
*"The Compass of Mourning"
/the-paper/v45/n20/judith-butler/the-compass-of-mourning
📸📣
The sound recording of the BarTeC that we organised with David Gaillard has been published online. This event, which focused on participatory surveillance and the modalities of resistance, or perhaps we should say aesthetic reappropriation, raises the question of sousveillance, or the surveillance of those who are watching us. In a context where 'proof by image', as in the case of the video of Nahel's murder by a police officer on Tuesday 27 June 2023 in Nanterre, is taking centre stage, it seems crucial to reflect on the various initiatives and gestures of sousveillance that are being or should be implemented to activate aesthetic AND political resistance.
L'enregistrement sonore du BarTeC que nous avons organisé avec David Gaillard a été publié en ligne. Cet événement qui portait sur la surveillance participative et les modalités de résistance(s), ou peut-être devrions-nous dire plus justement de réappropriation(s) esthétique(s), pose en creux la question de la sousveillance, à savoir la surveillance de celleux qui nous surveillent. Dans un contexte où la "preuve par l'image", comme c'est le cas de la vidéo du meurtre de Nahel par un policier, mardi 27 juin 2023 à Nanterre, tient le haut du pavé, il apparaît crucial de réfléchir aux différentes initiatives et gestes de sousveillance en oeuvre ou devant être mis en oeuvre pour activer des résistances esthétiques ET politiques.
*Drawing by Stéphanie, daughter of Canadian engineer Steve Mann, who coined the term "sousveillance".
*Neptune Frost, Saul Williams, Anisia Uzeyman, 2021
🏠📲
David Gaillard and I are organizing this fifth session of bArTeC, which proposes to bring together artists and researchers to present and discuss attempts at aesthetic resistance, on the socio-numerical networks and elsewhere. Rather than an umpteenth guide to free (and utopian) technological ways of living outside the shadow of the agents of digital surveillance (sometimes summarised as GAFAM), we propose to discuss potential attempts at poetic and aesthetic resistance.
The exponential multiplication of everyday digital technologies has imposed the tools of surveillance at the heart of our intimacies. As our active and more or less well-informed participation in this generalised surveillance increases, the opportunities for technical disobedience diminish and seem to lose their effectiveness. The possibility of aesthetic resistance then gradually emerges as a potential solution to visual control. Between the intrusive observation that we undergo and the observation of our own participation in the surveillance, a space for negotiation would remain in the work of our own image.
Intervenant.es :
🎭 Natasha Nedelkova : N.N. is a visual artist and researcher interested in the impact of contemporary image culture on self-representation. She is currently preparing a doctoral thesis at Paris 8 entitled Performing masks: poetics of self-representation of the body and face in cinema.
👾 Célin Jiang : A transdisciplinary artist-researcher, C.J. is interested in the perception of identities and the dissident potential of aesthetic and artistic work on socio-numerical networks. She is currently preparing a thesis in research-creation at Paris 8 entitled Fembot Pop Star in Asia and in the West: a comparative analysis through research-creation.
🖲Rémi Lauvin : Ph.D. and ATER at the Université Paris Cité. In his thesis entitled
The Counterfeit of the Self. The cinema in the test of surveillance, he questions the opportunities that the filmic image offers to filmed subjects to alter their appearance and resist the logic of visual control.
*Dragonfly Eyes, Xu Bing *Nightvision, Clara Caus *A Lack of Clarity, @stefankruse *Ailleurs, partout, @isabelle_ingold@vivianne .
