<\/p>\n
<\/a> <\/p>\n <\/a>Camille de Toledo<\/strong> (writer, artist, based in Berlin) <\/p>\n <\/a>Cesar Cornejo<\/strong> (artist, based in Lima) <\/p>\n <\/a>Charles Esche<\/strong> (curator and theorist) <\/a>David Ruffel <\/strong>(artistic director, Masn\u00e2a, lives and works in Casablanca) <\/p>\n <\/a>Eder Castillo<\/strong> (artist, Tlalnepantla, Me\u0301xico) <\/p>\n <\/a>Eduardo Jorge<\/strong> (writer) <\/p>\n <\/a>Elena Sorokina<\/strong> <\/p>\n <\/p>\n <\/p>\n <\/a>Fernando Bryce<\/strong> (artist) <\/p>\n <\/a>Fran\u00e7oise Verg\u00e8s<\/strong> (political scientist) <\/p>\n <\/a>Gustavo Buntinx<\/strong> (art historian, curator, works and lives in Lima, Peru) <\/p>\n <\/a>Ida Soulard<\/strong> (art historian, lives and works in Paris) <\/p>\n <\/a>Jean-Claude Moineau<\/strong> (art theorist, lives and works in Paris) <\/p>\n <\/a> <\/p>\n Joaqu\u00edn Barriendos<\/b> teaches at Columbia University (Department of Latin American and Iberian Cultures). He specializes in Latin American Art Studies, Visual Culture, and Cross-Cultural Museum Studies. In 2010 he was fellow-researcher at the Institute National d\u2019Histoire de l\u2019Art-Par\u00eds (Art et Mondialisation) and in 2009 visiting-researcher in the Program in Museum Studies (New York University). He serves in the Editorial Board of Journal of Visual Culture<\/em> (SAGE), Revista Hisp\u00e1nica Moderna<\/em> (Columbia University, N.Y.) and Shift: Graduate Journal of Visual and Material Culture<\/em>. He founded in 2007 www.culturasvisualesglobales.net, and launched in 2009 a ten-years research project entitled The Rise of Global Art: A Geopolitical View on the International Contemporary Art System<\/em> (University of Barcelona). He has published extensively on the economic, aesthetic, racial, and epistemic asymmetries that give shape to the so-called global art world. His book Geoest\u00e9tica y Transculturalidad<\/em> was awarded in 2007 the annual prize on art theory, conferred by the Fundaci\u00f3 Espais d’Art Contemporani. In 2011 he co-edited the multi-author book Global Circuits: The Geography of Art and the New Configurations of Critical Thought<\/em> (ACCA). He collaborates with diverse networks such as Red Conceptualismos del Sur<\/em>, Visual Culture in Europe, Tristest\u00f3picos<\/em>, and is member of ACCA-International Association of Art Critics. <\/p>\n <\/a>John Peffer<\/strong> (art theorist, based in Johannesburg) <\/p>\n <\/p>\n <\/p>\n <\/a>Kapwani Kiwanga<\/strong> (artist) <\/p>\n <\/a>Kiluanji Kia Henda<\/strong> <\/p>\n <\/a>Lionel Ruffel<\/strong> (literary theorist) <\/p>\n![\"Boaventura](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Boaventura-de-Sousa-Santos-3-218x300.jpg\")
<\/a>Boaventura de Sousa Santos\u00a0<\/strong>is Professor of Sociology, University of Coimbra (Portugal), and Distinguished Legal Scholar at the University of Wisconsin-Madison. He earned an LL.M and J.S.D. from Yale University and holds the Degree of Doctor of Laws, Honoris Causa<\/em>, by McGill University.\u00a0 He is director of the Center for Social Studies at the University of Coimbra and has written and published widely on the issues of globalization, sociology of law and the state, epistemology, social movements and the World Social Forum. He has been awarded several prizes, most recently the Science and Technology Prize of Mexico, 2010,\u00a0and the Kalven Jr. Prize of the Law and Society Association, 2011.\u00a0 His most recent project ALICE: Leading Europe to a New Way of Sharing the World Experiences<\/em> is funded by an Advanced Grant of the European Research Council. The project was initiated in July 2011 and will continue for the next five years. His most recent books in English are: Toward a New Legal Common Sense: Law, Globalization and Emancipation. <\/em>London: Butterworths, 2002; (editor) Democratizing Democracy. Beyond the Liberal Democratic Canon. <\/em>London: Verso, 2005; (co-editor, with Cesar Rodriguez-Gavarito) Law and Globalization from Below: Towards a Cosmopolitan Legality.<\/em> Cambridge: Cambridge University Press, 2005; The Rise of the Global Left: The World Social Forum and Beyond<\/em>. London: Zed Books, 2006; Another Production is Possible: Beyond the Capitalist Canon. <\/em>London: Verso, 2006; Another Knowledge is Possible: Beyond Northern Epistemologies<\/em>. London: Verso 2007; Cognitive Justice in a Global World: Prudent Knowledges for a Decent Life.<\/em> Lanham: Lexington Books, 2007; Voices of the World. <\/em>London: Verso 2010; Epistemologies of the South: Justice against Epistemicide<\/em> (Paradigm Publishers, 2014); If God Were a Human Rights Activist<\/em> (Stanford University Press, 2015, forthcoming).<\/p>\n
\n![\"Camille](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Camille-de-Toledo-photo-150x102.jpg\")
<\/a>Eutopia, the Country Where the Language is Translation<\/strong>
\nWhat history of decentering, imbalance, vertigo, emerges from the space I call \u201cbetween- -languages\u201d? Which worlds, which communities, which affiliations can be apprehended through \u201ctranslation-as-language\u201d? How has working on the gap and the space that opens up between languages helped me to inhabit the non-place, the u-topos in which we find ourselves? Which links are forged between that space and the need to rebuild a horizon of expectations? How do what I call \u201chope\u201d in the sense of Ernst Bloch, or \u201cpotentialities\u201d, \u201cfutures\u201d arise from a fragmented Jewish memory? These are the questions I try to raise by evoking \u201cEutopia\u201d, a multifaceted project with documentary, theoretical, visual, and literary dimensions …
\nCamille de Toledo<\/strong> lives in Berlin. In 2004 he obtained a grant from the Villa Medici in both categories \u201ccinema\u201d and \u201cliterature\u201d. In 2005, he began writing Strates: une arch\u00e9ologie fictionnelle<\/em>, in which the theme of \u201cvertigo\u201d appeared for the first time. In spring 2008, he founded the European Society of Authors, designed as an \u201cinstitutional fiction\u201d. In 2010 he took up residence at the Glass Menagerie. His installation, \u201cHantologie-s: une residence surveill\u00e9e<\/em>\u201d resulted in his eviction. In March 2010, his novel, Vies p\u00f8tentielles<\/em> was published at Editions du Seuil. In 2013 he signed the libretto and the video of the opera The Fall of Fukuyama<\/em> presented at Salle Pleyel. In 2014 in Berlin, he presented \u201cSecession\u201d. With the entity Mittel-Europa, he is currently working on several pieces and narratives, including: \u201cThe Potential Exhibition\u201d, \u201cHistory Reloaded\u201d, and a multidimensional utopia entitled \u201cEutopia: the Country Where Translation is the Language\u201d, under the name CHTO.<\/p>\n
\nPuno Museum of Contemporary Art Conciliating Opposites<\/strong>
\n![\"Cesar](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Cesar-Cornejo-Ruinas-de-Huanchaca-300x263.jpg\")
<\/a>The Puno Museum of Contemporary Art was created in 2007 as a response to the absence of a museum of contemporary art in Peru at that time. It departs from the premise that in order to create a model of museum that responds to the reality of a place of extreme economical, social and cultural differences like Peru, it needs to depart from the existing resources or lack of them, to create a model that embodies the same reality rather than imposing an artificial one. Puno MoCA stands as an alternative to the traditional model of museum at different levels including the exhibition space, relationships between viewer and the host, who beyond benefiting from being part of the experience of having art works displayed in their homes, sees in it the much more mundane but concrete purpose of having their homes improved.
\nCesar Cornejo<\/strong> has received awards from the Creative Capital Foundation, Lower Manhattan Cultural Council, The British Council and the Ministry of Education of Japan among others. He has exhibited and completed public projects in South America, Asia, Europe and the US. His work has been included in exhibitions like V Bienal el Barro, Venezuela, S-Files Museo del Barrio, NY, Busan Biennial in South Korea and Art Positions at Art Basel Miami 2011. His work will also be included in the Havana Biennial 2015 and the In+Out 2015 pilot project for the Poznan Biennial in Poland. He received a PhD in Fine Arts from the Tokyo University of the Arts and a license in Architecture from the Ricardo Palma University in Lima Peru. He is associate professor of art at the University of South Florida in Tampa.<\/p>\n![\"Charles](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Charles_Esche-300x225.jpg\")
<\/a><\/strong>
\nCharles Esche<\/strong> (1962) is a curator, director, writer and Afterall publisher. In April 2014, he was awarded Bard College\u2019s Audrey Irmas Award for Curatorial Excellence. The prize honors multiple things including Esche\u2019s endless commitment to rethinking what art can do and redefining what it can be. He currently directs the Van Abbemuseum in Eindhoven, and over the past two decades has been involved in exhibitions as:Strange and Close<\/em> at CAPC, Bordeaux (2011); An Idea for Living<\/em> at the U3 Slovene Triennale (2011);the 2nd and 3rd RIWAQ Biennials in Ramallah, Palestine (2007\/2009); the 9th International Istanbul Biennial (2005); and the 4th<\/sup>Gwangju Biennale, Republic of Korea (2002). He curated the 31st<\/sup> Sao Paulo Bienale which opened in the fall of 2014.<\/p>\n![\"David](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/david-ruffel-225x300.jpg\")
<\/a><\/p>\n
\nDavid Ruffel is a teacher, independent researcher, and editor at the Editions Verdier (France). He republished \u201cL\u2019H\u00f4pital\u201dby Ahmed Bouanani (2012) and co-directed with Kenza Sefrioui the collective “Casablanca oeuvre ouverte” (Editions Le Fennec, 2012). He is the Artistic Director of the Ecole de litt\u00e9rature et de la manifestation MASNA\u00c2 CREATION CRITIQUE, in collaboration with Meryem Jazouli, Hassan Darsi, Florence Darsi, L\u00e9a Morin, Corinne Troisi, La Source du Lion, and the Espace Darja.<\/p>\n
\n![\"Eder](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Eder-Castillo-2014-300x200.jpg\")
<\/a>The Museum Inflamable\u00a0(GuggenSITO)<\/strong>
\nThe cultural institution, the museum as representational space, had been left behind in front of its own dialogue mechanisim crisis, each time farther away from the true themes and social conflicts, the museum have not stablished yet horizontal dialogues with their public. GuggenSITO emerge as alternative critic figure towards the Modern Cultural Institution. It manifest and work as an inflate dispositive, at the same time it emule and deconstruct the monumental architecture of the actual museum, hybrid, habitable sculpture capable of transport itself as many territories as possible. Always in free manner for public use. Its final goal is to be destructed by its own nature. In progress https:\/\/www.guggensito.blogspot.mx\/
\nAutodidact artist. His work active and confront the public space, the limit spaces and the action spaces of the contemporary art. His work have been shown in Sala de Arte Publico Siqueiros; Museum of Art Queretaro; Oaxaca Contemporary Art Museum; Museo Marte, El Salvador; Museum of contemporary Art and Desing, Costa Rica; Plataforma, Bogota; Lugar a dudas, Cali; Art Museum, Puerto Rico; among others. He made an artistic residency at Plataforma Bogota in 2012. He won the FONCA fellowship in 2012-2013 and 2010-2011. He was jury of the Video Festival “Inquieta Imagen 2011” in MADC, Costa Rica; also in Del Plano al Cubo, organized concourse by Cultural Office of Espan\u0303a in Mexico in 2011 among others.<\/p>\n
\n![\"Eduardo](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Eduardo-JORGE-photo-300x200.jpg\")
<\/a>Towards a morphological frame of mind: a topology of critical fictions<\/strong>
\nWhy do we speak of a “topology” of critical fiction? If every fiction might appear as a knot in space, it might be possible to map some of these places invented by artists in resonance with critical debate. In this proposition we will discuss the possibility of morphology of fiction with the ambition to think it anew, borrowing concepts from other disciplines. Could an installation thus invite us to go beyond the museum space? This gesture as a critical operation would alter the “topos” of the exhibition. I propose a retroactive reading of the installation Mission\/Missions<\/em>, created in 1986 by Cildo Meirles, installed as part of the exhibition Les Magiciens de la Terre<\/em>; it would even be possible to create a critical fiction of this work, regarding the 2500 bovine tibias, 700 communion wafers, and 60 000 coins in the light of the sub-title which is an allusion to the art of constructing cathedrals.
\nEduardo Jorge<\/strong> has completed his PhD on the textures of animality in literature and visual arts in cotutelle between the \u00c9cole Normale Sup\u00e9rieure (ENS) in Paris and the department theory of literature ot the Federal University of Minas Gerais (UFMG) under the supervision of Dominique Lestel and Maria Ester Maciel. He currently pursues a research project \u201cA people without maps, maps without a people (Images and forces of the earth)\u201d at the Institute for Language Studies (IEL) of de University of Campinas – (Unicamp\/FAPESP) at S\u00e3o Paulo, in Brazil.
\n<\/strong><\/p>\n
\n![\"Elena](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/elena-sorokina-200x300.jpg\")
<\/a>(Science) Fictional Universalism<\/strong>
\nThis presentation is based on the project Zero Gravity Revolt (2012), which designed a speculative museum of the future. Based on the rare texts from the 1930s Soviet science fiction, the history displayed and narrated in this museum follows the example of a classical dystopia applied to today’s concerns. It starts with a diplomatic agreement organizing the colonisation of the Solar System, and finishes with the end of the Anthropocene world.\u00a0This presentation, entitled (Science) Fictional Universalism, is an exhibition of the exhibition, a “narrated show”, reinterpreting the events which constituted the original project. Every exhibition opens more questions than it can answer, and this presentation will focus on issues which remained marginal in the original exhibition: politics and geography of the sci-fi of this particular period and region, and the very early ideas of “mobility”, “spatial precarity” as well as 1930s obsession with the ideas of the “universal modernity”.
\nElena Sorokina<\/strong> is a Russian-born, Paris based curator and art historian, alumna of the Whitney Museum of American Art ISP in New York. She obtained her masters degree in art history from the Friedrich Wilhelm’s University in Bonn, Germany. She recently co-organized “Spaces of Exception” a special project for the Moscow Biennial, the symposium “What is a postcolonial exhibition?”, a collaborative project of SMBA\/Stedelijk Museum Amsterdam and the Stedelijk Museum. Her recent exhibitions include (selection): “Temps Tritur\u00e9. Agnes Varda” at LVMH in Brussels, “Petroliana” at Moscow Museum of Modern Art; “Laws of Relativity” at the Fondazione Sandretto Re Rebaudengo, Turin; “On Traders’ Dilemmas” at Yerba Buena Center for the Arts, San Francisco; \u201cSc\u00e8nes Centrales” at Tri Postal, Lille; “Etats de l’Artifice” at the Musee d’Art Moderne de la Ville de Paris, and others. She published in numerous catalogs, and has been writing for Artforum, Flash Art, Cabinett Magazine, Manifesta Journal, Moscow Art Magazine, and other publications. Sorokina is a frequent speaker in international conferences and has been invited as guest lecturer to ISCP, New York; Garage CCC, Moscow; Centre Pompidou, Paris, and other institutions.<\/p>\n
\n<\/a>![\"Emmanuelle](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Emmanuelle-Cherel-224x300.jpg\")
<\/a>Emmanuelle Ch\u00e9rel<\/strong> (art historian, based in Nantes)
\nRevisiting the paradigms of art history<\/strong>
\nIn France, Magiciens de la Terre <\/em>is a <\/span>legendary<\/em> exhibition whose protracted overexposure (Beaubourg, 2014) obscures its French complexity. Despite the disruptions it effected, the exhibition was designed by its curator Jean-Hubert Martin without integrating postcolonial criticism. A number of observers even rejoiced (Michel Nuridsany), in a chauvinistic impulse, that France had regained its ability to produce an event \u201cin the great universalist tradition of yesteryear\u201d. As Jean-Marc Poinsot emphasized (in <\/span>Making Art Global, part 2, Magiciens de la Terre, 1989<\/em> Afterall, 2013), while in 1989 post-colonial struggles had already gone international for several decades, the gap between international work and awareness of it in France was abysmal. France\u2019s very selective \u201cforgetting\u201d of the past, which came out regularly \u201cembellished\u201d according to political realignments, blinded it to certain social transformations (Marche de l\u2019\u00e9galit\u00e9 in 1983) \u2013 to such an extent that France had to wait several more years before the first quality work on slavery, the colonial period, postcolonial issues, the study of the links between the development of ethnographic collections and colonization, the reconquest of pasts and the restitution of other conceptual divisions of the world, was developed in the writings of French authors. New projects must now be undertaken to go back on the context that allowed the emergence of <\/span>Magiciens de la Terre<\/em>, to understand the structural paradigms of the the French art scene and examine their blind spots. Hannah Feldman\u2019s recent work, <\/span>From a<\/em> Nation Torn – Decolonizing Art and Representation in France 1945-1962<\/em> (Duke University Press, 2014) contributes to that project. It offers, in an essential first revision, to revisit the history of French modernism whose emergence Feldman places during the Second World War, and not later. Emphasizing the historical circumstances that shaped its production and reception in decades throughout which France waged a long series of wars to maintain its colonial empire, Feldman also points out the effects of decolonization, both political and aesthetic, on art and theories of representation. E<\/strong><\/span>mmanuelle Ch\u00e9rel<\/strong> is a habilitated doctor in History of Contemporary Art, member of the <\/span>Langages, actions urbaines et alt\u00e9rit\u00e9s research<\/em> lab at the Ecole Nationale d\u2019Architecture of Nantes. Working on the political dimensions of art, she has written numerous texts (for <\/span>Mouvements, Black Camera, Multitudes<\/em>, etc.) and published <\/span>Le M\u00e9morial de l\u2019abolition de l\u2019esclavage de Nantes<\/em> \u2013 <\/span>Enjeux et controverses<\/em> (PUR, 2012). At the Ecole sup\u00e9rieure des Beaux-arts in Nantes, she has been since 2008 at the head of the research project<\/span> Pens\u00e9es archip\u00e9liques<\/em> working around postcolonial and decolonial theories. She is a member of the group <\/span>Ruser l\u2019image<\/em> and is currently co-directing with Fabienne Dumont the book “<\/span>Histoire de l’art et postcolonialit\u00e9 en France : quels enjeux ?<\/em>” (PUR).<\/span><\/p>\n![\"Estefan\u00eda](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Estefania-Penafiel-300x199.jpg\")
<\/a><\/a>Estefan\u00eda Pe\u00f1afiel Loaiza<\/strong>\u00a0was born in Quito, Ecuador in 1978 and has been living in Paris since 2002. A graduate of the Ecole Nationale Sup\u00e9rieure des Beaux Arts de Paris, she has participated in post-graduate programs, residences and workshops and exhibits regularly in France and abroad. She works with various mediums and languages, among the themes that run through her works are a particular interest in history and travel, as well as a constant exploration of the tensions between the visible and the invisible, appearance and disappearance, the word and the gaze.<\/p>\n
\n![\"Fernando](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/fernando-bryce-1-227x300.jpg\")
<\/a>Fernando Bryce was born in Lima in 1965 and now divides his time between Lima and Berlin.\u00a0After a short period of studies in Visual Arts at the Catholic university in Lima he travels in 1984 to Paris where he continues his Art Studies at the University of Paris VIII and at the \u00c9cole des Beaux Arts de Paris. Received the prize for the National Biennial of Lima 2000 and the fellowship at the German Academy in Rome, Villa Massimo 2009. Selected Ehibitions of the last years:\u201dTo the Civilized World\u201d Gallerie Barbara Thumm, Berlin; \u201cDrawing Modern History\u201d, MALI, Lima, MUAC, Mexico City, MALBA, Buenos Aires, 2011\/2012; “El Mundo en Llamas”, Alexander and Bonin Gallery, New York, 2011 (Solo Show); Drawn from Photography, The Drawing Center, New York, 2011; Historias de la Vida Material, Fundaci\u00f3n Helga de Alvear, C\u00e1ceres, 2011; Modelos para armar, pensar Latinoam\u00e9rica desde la colecci\u00f3n del MUSAC, Le\u00f3n, 2010; Linie Line Linea, Zeichnung der Gegenwart, Kunstmuseum Bonn, 2010; “L’Humanit\u00e9”, Galer\u00eda Joan Prats, Barcelona, 2009 (Solo Show);<\/p>\n
\n![\"Fran\u00e7oise](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Fran\u00e7oise-Verges-300x300.jpg\")
<\/a>Maps and the dynamics of forgetting<\/strong>
\nThe notion of forgetting \u2013 groups, minorities, territories, stories \u2013 is a political constant. It is used to articulate the critique of marginalization and ask for its disappearance. Forgetting is the result of a certain idea of the nation-state (democratic or not) and a necessity of capital. The crisscrossing dynamics of both necessities produces a cartography of spaces that are either plunged into oblivion (forgotten) because they no longer produce desired goods or hold coveted resources, or conversely, that are identified as areas deserving of interest and investment. However, no territory is ever completely forgotten, if only because it remains a secondary market useful for dumping consumer goods. The strategy of the undermined has been, and still is, to refuse to be forgotten, to require the inclusion of forgotten chapters of history, ignored representations and marginalized narratives. This legitimate strategy produces power struggles that lead to changes in perspective and writing. It is therefore necessary to continue. In this paper, however, we wish to question the notion of forgetting. If the operation of the nation-state and capital seem to \u201cforget\u201d certain territories and therefore their inhabitants, resulting in their marginalization and impoverishment, is the notion of forgetting the most relevant? What exactly is being forgotten? For psychoanalysis, the subject forgets knowingly albeit unconsciously. It is there but we do not want to see it. We would also like to propose a strategy that would start with forgotten spaces and try to recreate them by bypassing the master narrative and without seeking to complete it.
\nFran\u00e7oise Verg\u00e8s<\/strong> currently holds the \u201cGlobal South(s)\u201d chair at the College of Global Studies, Paris, and is consulting professor at Goldsmiths College, London. She has published numerous books and articles in French and English. Her recent publications include: \u201cA Sound Like a Rumour\u201d in Kader Attia, RepaiR, Paris, 2014; Les Armes miraculeuses, Paris, 2014; Exposer l\u2019esclavage: m\u00e9thodologies et pratiques, Paris: 2013. Equally an author of films, she has also organized guided tours at the Louvre (\u00ab L\u2019Esclave au Louvre : une humanit\u00e9 Invisible \u00bb, 2012-2013), and the exhibitions \u201cDix femmes puissantes \u201c (2013) and \u201cHa\u00efti, effroi des oppresseurs, espoir des opprim\u00e9s\u201d (2014) in Nantes, as well as performances at the Palais de Tokyo around Thomas Hirshhorn\u2019s \u201c Flame \u00e9ternelle\u201d.<\/p>\n
\n![\"Gustavo](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Gustavo-Buntinx.jpg\")
<\/a>Gustavo Buntinx, is a curator, an art historian and author of the book E.P.S. Huayco. Documentos (Lima, Centro Cultural de Espa\u00f1a, 2005). Born in Buenos Aires and resident in Lima for many years, Gustavo Buntinx was director of the\u00a0Museo de Arte Italiano in Lima, the\u00a0Museo de Arte de San Marcos, the Cultural Centre of the National University of San Marcos in Lima and leads the Micromuseum project, a museum-archive initiative set around different meanings of the term “micro”, in the sense of small, transportable, public and nomadic. He is the author of numerous works on Latin American visual arts and forms part of the Colectivo Sociedad Civil (Civil Society Collective), active participants in the social movement that contributed so much to the (cultural) fall of the dictator Alberto Fujimori in the year 2000. He was teaching in\u00a0the\u00a0Universidad de San Marcos (Unmsm), Lima,\u00a0University of Buenos Aires (UBA), Universidad Nacional Aut\u00f3noma de M\u00e9xico (Unam) and University of Sao Paulo (USP). His writings and curatorial projects were presented in\u00a0peruvian entities\u00a0(Museo de Arte de Lima, Instituto Cultural Peruano Norteamericano, Bienal de Trujillo, notably) and international entities (MIT Press, Museo de Arte Contempor\u00e1neo de Monterrey, Museo Real de B\u00e9lgica, International Center for Visual Arts de Londres, Museo Extreme\u00f1o e Iberoamericano de Arte Contempor\u00e1neo in\u00a0Badajoz, New Museum in\u00a0Nueva York, Museo de Arte Latinoamericano in\u00a0Buenos Aires, notably).<\/p>\n
\nT\u00e9ratologies f\u00e9ministes
\n<\/strong>Les Magiciens de la Terre<\/em> avaient permis en 1989 l\u2019\u00e9mergence d\u2019une nouvelle cartographie des subjectivit\u00e9s et de leurs expressions. En faisant un pas de c\u00f4t\u00e9, il s\u2019agira de consid\u00e9rer les grandes lignes d\u2019une histoire qui a permis la formation de ce nouveau paysage et qui a couru sur les soixante derni\u00e8res ann\u00e9es : celle des mouvements f\u00e9ministes. En tra\u00e7ant une rapide t\u00e9ratologie cognitive et f\u00e9ministe, il s\u2019agira de voir quels sont les monstres, ces figures du n\u00e9gatif, depuis lesquels penser aujourd\u2019hui.
\n![\"Ida](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Ida-Soulard.jpg\")
<\/a>Ida Soulard <\/strong>is an art historian and she currently works as co-director for Fieldwork: Marfa, an international research program run by les beaux-arts de Nantes and HEAD-Gen\u00e8ve. She cofounded in 2011 a series of seminars and workshops entitled The Matter of Contradiction<\/em> (2011-2013), currently works on a book cowritten with artist Fabien Giraud, entitled The Marfa Stratum<\/em>, and is a co-founder of Glass Bead<\/em>, a research platform and journal to be published in 2015. She currently teaches at the Ecole des Beaux-arts in Nantes.
\n<\/strong><\/p>\n
\n![\"Jean-Claude](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Jean-Claude-Moineau-back_to_the_future01-300x300.jpg\")
<\/a><\/strong>The quarrel of universalism<\/strong>
\nAfter the famous quarrel of universals which lasted from late antiquity to the Western Middle Ages including the Arab authors, doesn\u2019t the quarrel of our times, which appears under different names \u2013 universalism, the universal or even \u201cuniversals\u201d \u2013 reveal itself to be, in the words of Alain de Libera, a genuine \u201cinnovation capacitor\u201d? Moreover, are we witnessing a contradictory double movement: if all references to the universal are suspected, not without reason, of particularism, especially of western-centrism, nevertheless all attempts to escape the universal, from preromanticism to decolonialism, still betray a residual quest for the universal or for a universal, even if is a universal that remains to be built.
\nJean-Claude Moineau<\/strong> is an art theorist who taught art and art theory cutting across traditional disciplinary lines at Universit\u00e9 Paris 8. In 2006-2008, he was advisor to the 15th Biennale de Paris. He has authored, among other works, L\u2019Art dans l\u2019indiff\u00e9rence de l\u2019art<\/em> (Paris, PPT, 2001), Contre l\u2019art global, pour un art sans identit\u00e9<\/em> (Paris, \u00e8\u00aee 2007) and Retour du futur, L\u2019Art \u00e0 contre-courant<\/em>\u00a0(\u00e8\u00aee\/Art 21, 2010).<\/p>\n![\"JeromeDavid\"](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/JeromeDavid-300x300.jpg\")
J\u00e9r\u00f4me David<\/strong> is a professor of literature at the University of Geneva. He is the author of Balzac, une \u00e9thique de la description (Honor\u00e9 Champion, 2010). His research interests are comparative history of literature and the social sciences, cultural globalization and global history of literature, aesthetic theory, and didactics of literature. He has published several books: Spectres de Goethe. Les m\u00e9tamorphoses de la \u00ablitt\u00e9rature mondiale\u00bb, Paris, Les prairies ordinaires, 2011 ; Balzac, une \u00e9thique de la description, Paris, Honor\u00e9 Champion, coll. \u201cRomantisme et modernit\u00e9\u201d, 2010; L\u2019implication de texte. Essais de didactique de la litt\u00e9rature, Presses universitaires de Namur, 2010.
\nThe arbitration of globalities.<\/strong> What we commonly refer to as globalization embraces countless processes whose vectors, rhythms and amplitudes are often heterogeneous. In the field of literature, the effective circulation networks of literary works or aesthetics, sometimes highly disparate, is caught up in a constellation of shadowy institutions: contagious dreams of Weltliteratur, hopes of critical alliances, implicit heritages of scattered publics. These often competing, sometimes even incommensurable, globalities are not easily mapped. Indigenous conceptions exceed scholarly syntheses; history dissociates contemporaneities. The pairing of these globalities requires an arbitration that finds its justification in political epistemology.<\/p>\n
\n<\/b><\/p>\n
\nCommuniqu\u00e9 from a future where Magiciens never happened<\/strong>
\nA fictional proposition: an historian from a speculative future sends a letter back in time to a young art historian interested in the global historiography of contemporary art. In this future the acclaimed exhibit “Magiciens de la terre” has never even occurred. The communique enumerates those events and situations, some familiar to our own experience but some unfamiliar, which are understood to have been important art events before and since 1989, but without Magiciens in the picture. This intervention proposes that Magiciens, in the long view, was irrelevant to the current state of ‘global art.’
\nJohn Peffer<\/strong> is a specialist in modern African art and photography and Associate Professor of Art History at Ramapo College in New Jersey. He is Past President of the Arts Council of the African Studies Association (ACASA), the author of Art and the End of Apartheid (2009) and co-editor of Photography and Portraiture in Africa (2013). Dr. Peffer’s research has examined the historiography of African Art History, art and visual culture in South Africa during apartheid, and general issues of global modernity and human rights in art, photography, and visuality. During 2015 he is a visiting professor at the Wits Institute for Social and Economic Research and at the University of Johannesburg while conducting research on popular photography in South Africa.<\/p>\n![\"Julia](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Julia-Morandeira-photo-300x181.jpg\")
<\/a><\/a>Julia Morandeira Arrizabalaga<\/strong> (independent curator)
\nCanibalia: a\u00a0geo-aesthetic of predation<\/strong>
\nMy contribution to the encounter stems from my current project,\u00a0Canibalia,\u00a0a research and exhibition which explores the geography -aesthetic, political and colonial-\u00a0inaugurated\u00a0by\u00a0the\u00a0invention of the cannibal in the 16th century.\u00a0Further\u00a0exploring the logic of predation, capture and digestion of the other, it posits a geo-philosophy of perspectives and positions,\u00a0in which subject, territory and environment reciprocate the plasticity of thought. Thecanibalia\u00a0is\u00a0here understood not simply as a geographic emplacement, but as a counter-topia that allow us to puncture, challenge and ultimately expropriate the hegemonic epistemic and visual regime that traditionally framed it. In sum, the project\u00a0invites to (un)think cannibalism and the cannibal as spaces of dissidence, desire, community, ecology and exchange. Can anthropophagy posit a new logic and vocabulary for an unbounded geo-aesthetic to emerge?
\nJulia Morandeira Arrizabalaga<\/strong> is an independent curator and researcher. Her practice deals with issues of geography and globalisation, production and exhibition apparatuses in art and culture, and their inscription as sites of knowledge. She is a founding member of Magnetic Declination, an artistic research and production group exploring decolonial imaginaries and production strategies. At the moment she is completing a curatorial residency at Kadist Art Foundation in Paris, where she will present the exhibition project Canibalia in February 2015.<\/p>\n![\"Kader](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Kader-Attia-photo-300x228.jpg\")
<\/a><\/a>Kader Attia<\/strong> is an Algerian artist, living in Berlin. His work tackles the relations between Western thought and extra-Occidental cultures, particularly through the practice of repairing sacred and profane objects. Recent exhibitions include Contre Nature, a solo show at the Beirut Art Center; Reparatur 5. Acts, a solo show at KW Institute for Contemporary Art, Berlin; Construire, D\u00e9construire, Reconstruire : Le Corps Utopique, a solo show at Mus\u00e9e d\u2019Art Moderne de la Ville de Paris; dOCUMENTA(13) in Kassel; and Performing Histories (1) at MoMA, New York.<\/p>\n
\n![\"Kapwani](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Kapwani-Kiwanga-300x200.jpg\")
<\/a>Kapwani Kiwanga\u2019s projects are materialized by installations, videos, sound installations and performances. Truth and fiction are intentionally confused in her work to destabilize hegemonic narratives and create spaces in which neglected, renegade and fantastic discourses are allowed to develop. Kapwani Kiwanga studied Comparative Religion and Anthropology at McGill University (Montreal, Canada). She followed the program \u201cLa Seine\u201d at the Ecole Nationale Sup\u00e9rieure des Beaux-Arts in Paris and Le Fresnoy, France (Studio National d\u2019Art Contemporain). She was artist in residence at the MU Foundation in Eindhoven, Holland. Twice nominated for BAFTA awards, her films have won several awards at international festivals. She has exhibited internationally, including at the Centre Georges Pompidou (France), the Glasgow Centre of Contemporary Art (UK), the Bienal Internacional de Arte Contempor\u00e1neo Almer\u00eda (Spain), the Kassel Documentary Film Festival (Germany), the Kaleidoscope Arena Rome (Italy), Paris Photo (France), the Ethnographic Museum in Berlin (Germany), the Jeu de Paume (France), Hebbel Am Ufer (Germany), SALT (Turkey), and the Swedish Contemporary Art Foundation (Sweden).
\nThe Matinga collection: towards a museum of the invisible.<\/strong>
\nKapwani Kiwanga presents some key elements from Dr Joy Matinga’s personal collection on immaterial culture and places this collection in dialogue with the correspondences she held with her colleagues around the development of a museum of the invisible.<\/p>\n
\nKiluanji Kia Henda lives and works in Luanda, Angola, and Lisbon, Portugal. This year, his work has been included in the group shows: \u2018Tomorrow Was Already Here\u2019, Museo Tamayo, Mexico City; \u2018Les Ateliers de Rennes \u2013 Biennale of Contemporary Art\u2019, Les Praires, Rennes, France; \u2018SuperPower: Africa in Science Fiction\u2019, Arnolfini, Bristol, UK; \u2018You Are Now Entering\u2014\u2019, cca Derry-Londonderry, UK; \u2018Doublebound Economies\u2019, Halle 14, Leipzig, Germany; and \u2018Experimental Station\u2019, Centro de Arte y Creaci\u00f3n Industrial LABoral, Gij\u00f3n, Spain. In 2013, his work will be included in shows at the Calouste Gulbenkian Foundation, Lisbon, the Centre Culturel Gulbenkian, Paris, France, and the Sharjah Art Museum, UAE.<\/p>\n
\n![\"Lionel](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Lionel-Ruffel-256x300.jpg\")
<\/a>Brouhaha, worlds of the contemporary<\/strong>
\n\u201cHow to conceive of the contemporary?\u201d, \u201cHow to write the contemporary?\u201d. Such were the questions that followed the classic \u201cWhat is the contemporary?\u201d, when it turned out that there would be no unequivocal or definitive answer to that quest \u2013 although that didn\u2019t prevent it from spreading to all fields that could be potentially be affected by it: museology, art criticism, media theory, literary, theatre and choreographic studies, history, philosophy, cultural studies, critical theory etc. All fields but also a large number of spaces: from the heart of Euro-American modernity to postcolonial spaces; from Latin American centers to South Asian megacities; from books to magazines, from exhibitions to the canvas. There is no such a thing as a contemporary, but \u201ccontemporaries\u201d expressed in a variety of discourses that form a historical mode of the brouhaha. How can one account for this multiplicity, which can sometimes be contradictory? Certainly not by annexing it to a single location that would say \u201cthe contemporary is this or that\u201d, but by following the globalized ramifications of the issues of a period, because such a thing as isues of a period does exist. A few transversal ensembles then emerge which have a highly meaningful for a conception of the contemporary: exhibition and public spaces, time and the media, (de)canonization and translation, scenes and controversies, historicity and globality, culture and archeology.
\nLionel Ruffel<\/strong> is a professor of general and comparative literature at Universit\u00e9 Paris 8 and a member of the Institut Universitaire de France. He is currently Leverhulme Visiting Professor at St Andrews University. He is the author of three texts: Brouhaha, les mondes du contemporain (forthcoming, 2015), Le D\u00e9nouement (Verdier, 2005), Volodine post-exotique (C\u00e9cile Defaut, 2007) ; he has directed or codirected three collective works: A quoi jouons-nous? (C\u00e9cile Defaut, 2008),Qu\u2019est-ce que le contemporain? (C\u00e9cile Defaut, 2010), Volodine etc. (Classiques Garnier, 2013, with Fr\u00e9d\u00e9rik Detue) and with Olivia Rosenthal, a journal issue: \u201cLa Litt\u00e9rature expos\u00e9e : les \u00e9critures contemporaines hors du livre\u201d, Litt\u00e9rature, n\u00b0160 (4\/2010). He is also co-director of the collection chao\u00efd (Verdier editions), former co-director of the magazine of the same name (2000-2007) and founding member of the collective \u00ab L\u2019\u00e9cole de litt\u00e9rature \u00bb.<\/p>\n![\"Maria](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2015\/01\/Maria-Hlavajova-300x300.jpg\")
<\/a><\/a>Maria Hlavajova<\/strong> is the founder and artistic director of BAK, basis voor actuele kunst, Utrecht since 2000, and artistic director of FORMER WEST (2008\u20132016), which she initiated and developed as an international collaborative research, education, publication, and exhibition undertaking. Hlavajova has organized numerous projects at BAK and beyond, including the series Future Vocabularies <\/em>(2014\u20132016), New World Academy<\/em> with artist Jonas Staal (2013\u2013ongoing), and the international research projects The Return of Religion and Other Myths <\/em>(2008),