{"id":6664,"date":"2025-01-09T23:00:39","date_gmt":"2025-01-09T22:00:39","guid":{"rendered":"https:\/\/www.lepeuplequimanque.org\/?page_id=6664"},"modified":"2025-03-24T10:05:59","modified_gmt":"2025-03-24T09:05:59","slug":"ecologies-post-artistiques","status":"publish","type":"page","link":"https:\/\/www.lepeuplequimanque.org\/en\/ecologies-post-artistiques\/","title":{"rendered":"Post-artistic ecologies (maison des arts de Malakoff, 2025)"},"content":{"rendered":"[vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#262626″ bg_image=”6671″ bg_position=”center center” background_image_loading=”skip-lazy-load” bg_repeat=”no-repeat” full_height=”yes” columns_placement=”bottom” scene_position=”center” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” advanced_gradient=”linear-gradient(0deg, rgb(102, 0, 0) 0%, rgba(0,0,0,0.262) 37%)” advanced_gradient_angle=”0″ shape_divider_position=”bottom” bg_image_animation=”zoom-out” mobile_disable_bg_image_animation=”true” parallax_bg=”true” parallax_bg_speed=”medium_fast” gradient_type=”advanced” shape_type=”” advanced_gradient_display_type=”linear”][vc_column bottom_padding_desktop=”40px” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”advanced” gradient_type=”default”][vc_row_inner equal_height=”yes” content_placement=”bottom” column_margin=”10px” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner right_padding_desktop=”15%” right_padding_tablet=”50%” right_padding_phone=”15%” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”advanced” gradient_type=”default”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h1″ font_size_max=”108px” line_reveal_by_space_text_effect=”letter-reveal-bottom” stagger_animation=”true” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Post-artistic ecologies” text_direction=”default” font_size=”5vw” font_line_height=”1.2″ font_size_tablet=”8vw” font_size_phone=”12vw”][\/split_line_heading][\/vc_column_inner][vc_column_inner left_padding_desktop=”30%” left_padding_tablet=”0″ right_padding_tablet=”30%” right_padding_phone=”0″ column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” enable_animation=”true” animation=”fade-in” animation_easing=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”advanced” gradient_type=”default” delay=”300″ offset=”vc_col-xs-9″][nectar_responsive_text inherited_font_style=”default” font_size_min=”16px” font_size_max=”22px” font_size_desktop=”1.3vw” font_line_height=”1.6″ text_direction=”default” max_width=”375px”]\n

Lecture series, 2025<\/p>\n[\/nectar_responsive_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”right” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/6″ tablet_width_inherit=”default” animation_type=”default” enable_animation=”true” animation=”fade-in” animation_easing=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”default” gradient_type=”default” delay=”500″ offset=”vc_col-xs-3″][nectar_cta btn_style=”next-section” btn_type=”minimal-arrow” alignment=”right” alignment_tablet=”right” alignment_phone=”default” display_tablet=”inherit” display_phone=”inherit”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#660000″ scene_position=”center” top_padding=”5%” bottom_padding=”8%” bottom_padding_phone=”20%” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” enable_shape_divider=”true” shape_divider_color=”#f4ece2″ shape_divider_position=”bottom” shape_divider_height=”20%” bg_image_animation=”none” parallax_bg=”true” parallax_bg_speed=”slow” gradient_type=”default” shape_type=”speech”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”default” text_direction=”default”]\n

Where: maison des arts de Malakoff : center d’art contemporain de Malakoff
\n105 Av. du 12 F\u00e9vrier 1934, 92240 Malakoff, France<\/h4>\n[\/split_line_heading][split_line_heading animation_type=”default” text_direction=”default”]\n

When: March & April 2025
\nA proposal by Aliocha Imhoff (Paris VIII) & Kantuta Quir\u00f3s (Paris I)
\nPartners and funding: maison des arts de Malakoff, Universit\u00e9 Paris I – EAS ACTE (Plasticity axis), Universit\u00e9 Paris VIII – AIAC\/TEAMeD & Arts Plastiques department, le peuple qui manque<\/h4>\n

The cycle is already sold out, the video recordings will be published online by June 2025.<\/p>\n[\/split_line_heading][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#f4ece2″ scene_position=”center” top_padding=”7%” bottom_padding=”10%” bottom_padding_phone=”15%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” enable_shape_divider=”true” shape_divider_color=”#59788c” shape_divider_position=”bottom” shape_divider_height=”20%” shape_divider_height_phone=”5%” bg_image_animation=”none” gradient_type=”default” shape_type=”tilt_alt”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”scroll-opacity-reveal” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”In the light of global climate change and this cosmological shift, the notion of the art institution is in urgent need of a complete overhaul. In recent years, there has been a proliferation of initiatives aimed at greening institutions and turning art space into a general rehearsal for an earthly shift, from the eco-assemblageist turn in art to museum permacircularity, from critical eco-pedagogy to the radical spirituality of eco-feminism, while broader calls to fork out or desert have intensified. What are the contours of this shift and of practices that, on the one hand, owe their condition of possibility and use to art \u201cwithout necessarily belonging to it\u201d – what we call \u201cpost-artistic\u201d – and that, on the other, tend to make institutions and museums bifurcate as a function, in opposition to a museum necropolitics and a fossil aesthetics?” text_direction=”default”][\/split_line_heading][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#59788c” scene_position=”center” top_padding=”1%” bottom_padding=”20%” bottom_padding_tablet=”25%” top_padding_phone=”10%” bottom_padding_phone=”20%” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” enable_shape_divider=”true” shape_divider_color=”#f4ece2″ shape_divider_position=”bottom” shape_divider_height=”20%” shape_divider_height_phone=”5%” bg_image_animation=”none” gradient_type=”default” shape_type=”tilt_alt”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”0%” bottom_padding=”2%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Wednesday, March 5, 2025 – 4pm-7pm<\/b><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Artistic farms & social fermentations” text_direction=”default”][\/split_line_heading][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Forking the edges of artistic institutions today invites us to make them flee from models of institutional counter-practice, such as the artistic farm.
\nWith
\nL\u00e9a Muller<\/strong>, artist (in person)
\nVivien Sansour<\/strong>, artist, storyteller, researcher, founder of the Palestine Heirloom Seed Library (remote)
\nKathrin B\u00f6hm<\/strong>, artist, co-founder of Myvillages (remote)
\nWith simultaneous translation into French<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”0″ bottom_padding=”2%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Wednesday, March 12, 2025 – 4pm-7pm<\/b><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Eco-democracies” text_direction=”default”][\/split_line_heading][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Whether through neo-constitutionalist processes in which constituent assemblies have granted legal rights to Mother Earth, or through the theoretical proposition of enlarging parliaments to include representation of non-humans, there are many gestures that seek to give representation to the living. The eco-assemblyist turn in art, for its part, offers a testing, adjusting and readjusting stage for future forms of eco-democracy.
\nWith
\nJonas Staal<\/strong>, artist (remote)<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”0″ bottom_padding=”2%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Wednesday, March 19, 2025 – 4pm-7pm<\/b><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Permacircular museums” text_direction=”default”][\/split_line_heading][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Could we reimagine art institutions from a program of eco-decolonial museology, on the one hand, and permacircularity, on the other, that seeks to shift the museum tropism of \u201cconservation\u201d to a program more in tune with the ongoing extinction of the living world?
\nWith
\nSt\u00e9phane Verlet-Bott\u00e9ro<\/strong>, artist and curator (in person)
\nThomas Jeffery<\/strong>, curator, philosopher (remote)
\nWith simultaneous translation into French<\/p>\n

\n
\u00a0<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”0″ bottom_padding=”2%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Wednesday, March 26, 2025 – 4pm-7pm<\/b><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Post-artistic institutions” text_direction=”default”][\/split_line_heading][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

What would be the possible forms of these future institutions, or rather post-institutions, whose workings would be \u201cas foreign to contemporary art as contemporary art and its institutions are to those of the Renaissance\u201d?
\nWith
\nStephen Wright<\/strong>, art theorist, codirector of the K\u00fcnstlerhaus Stuttgart (in person)
\nMarianna Dobkowska<\/strong>, artistic director of Ujazdowski Castle Warsaw, funding member of the Office for Postartistic Services (remote)
\nWith simultaneous translation into French<\/p>\n

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\u00a0<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”0″ bottom_padding=”2%” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Wednesday, April 2, 2025 – 4pm-7pm<\/b><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Post-plantation & Fossil Free Culture” text_direction=”default”][\/split_line_heading][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Artist and researcher Imani Jacqueline Brown draws attention to the entanglement of art and culture with fossil fuel philanthropy as one manifestation of the “continuum of extractivism,” an exploitative cosmological system imposed by colonial joint stock companies and inherited by fossil fuel multinationals. How then to initiate a culture liberated from fossil fuels and the white cube as \u201ctrompe l\u2019oeil \u2013 a supposedly inclusive place incapable of really taking on the private apparatus of art support\u201d?
\nWith
\nRenzo Martens<\/strong>, artist (remote)
\nImani Jacqueline Brown<\/strong>, artist, activist and researcher (remote)
\nWith simultaneous translation into French<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”top” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”0″ bottom_padding=”0″ text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Saturday, April 12, 2025 – 4pm-7pm<\/strong><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h4″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Ecofeminist spiritualities & post-secular rituals” text_direction=”default”][\/split_line_heading][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Ecofeminist spiritualities, cosmogonies and decolonial struggles seek to think what it means to decolonize the invisible, after centuries of secularization. Impure stories that mix witches, underground dragons, goddesses, ghosts, energies, spirits and invisible worlds.
\nWith
\nYuna Visentin<\/strong>, author (in person)
\nMohamed Amer Meziane<\/strong>, philosopher (remote)
\nSaodat Ismailova<\/strong>, filmmaker (in person)<\/p>\n

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\u00a0<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”0%” bottom_padding=”4%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

In contrast to those who would reassert the uselessness of art as a last bulwark against the capitalist takeover of everything that can take shape, artistic practice and institutional projects here are best seen in concert with the broader program of repeating the preparatory gestures for an earthly shift. Art centers and museums, as liminal spaces between what is and what could be, are powerful weapons in this respect. This unstable character already allows us to compose, correct, go back, fork out, experiment with hypotheses and compose the worlds we wish to see realized.<\/p>\n

Nevertheless, the forms of today’s art institutions seem perfectly unsuited to the development of these practices. Documenta fifteen (2022), an edition that was able to support a translocal model of art based on multiple social and community-based initiatives from the global south, thus deactivating the idea of the exhibition as a destination for art, marked both a major break in the existing art ecosystem and confirmed the incompatibility between the forms of existing institutions and the place of art.<\/p>\n

Canadian art theorist Stephen Wright anticipated this as early as 2001, describing this incompatibility as \u201cdeceptual art\u201d<\/span>5<\/sup><\/a><\/span>: a way of presenting art in a deactivated way, torn from the context and process that gave it its meaning, becoming an \u201cinvoluntary\u201d form of conceptual art. What would be the possible forms of these institutions to come, or rather of these post-institutions, given that they would not have to respond to the pre-existing contours of the term from which they would emanate, how could the museum be forked as a \u201cfunction\u201d<\/span>6<\/sup><\/a><\/span>? The workings of these new institutions, as curator Gr\u00e9gory Cast\u00e9ra again identifies, are bound to become \u201cas foreign to contemporary art as contemporary art and its institutions are to those of the Renaissance\u201d<\/span>7<\/sup><\/a><\/span>. Several avenues are now open to us in thinking about the contours of perma-circular museums (St\u00e9phane V. Bott\u00e9ro) and ecodecolonial museology (Thomas Jeffery).<\/p>\n

With this term post-artistic, we intend here to link up with that tradition associated with the Polish theorist Jerzy Ludwi\u0144ski, who meant, by this term, not a prediction of the fall of art as we know it, but rather a reference to those moments when art expands into politics, agriculture, economics and the social sciences. More contemporarily, art theorist Stephen Wright, taking up this legacy, postulates a vast field of practices that \u201cowe their conditions of possibility and use to art, but are not necessarily art\u201d, a vast field of practices that, for the institutions of art, are not art, except insofar as these same institutions might recognize that they are not not art (it’s not not art). These post-artistic practices could be envisaged on the model of permaculture: contemporary art becomes compost, it decomposes but becomes \u201ca kind of ingredient, composing, in a series of skills, energy, history, narrative, references, inferences\u201d<\/span>8<\/sup><\/a><\/span>, while these ingredients, these components, these histories, these techniques, are the humus of societal forms to come.<\/p>\n

At a time when artists are bifurcating, deserting, marooning or suspending, this lecture series investigates the contours of post-artistic ecologies as much as it seeks possible paths for a new kind of possible institution.<\/p>\n

Aliocha Imhoff & Kantuta Quir\u00f3s<\/p>\n

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L\u00e9a Muller<\/strong> was born in Strasbourg in 1987. She lives in Bourg-des-Comptes and works in Saint-Jacques-de-la-Lande. L\u00e9a Muller takes a fresh look at the land around her and develops tools for appropriating and reading the landscape. With conviction, she forges a position on the way we shape our territories: develop less and understand better, build with an acute concern for pre-existing features and resources, develop a sensitivity for ordinary landscapes, pay attention to living things, conceive the landscape as the concrete and visible materialization of our relationship with the world. L\u00e9a Muller is developing a project for soft forestry and direct processing on her forest plots in Bourg-des-Comptes ((35)), with the aim of anchoring and transforming a model of society.<\/p>\n

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\u00a0<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6667″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Vivien Sansour<\/b> is an artist, researcher, and writer. She uses installations, images, sketches, film, soil, seeds, and plants to enliven old cultural tales in contemporary presentations and to advocate for seed conservation and the protection of agrobiodiversity as a cultural\/political act. Vivien founded the Palestine Heirloom Seed Library in 2014, where she works with farmers in Palestine and around the world to preserve ancestral seeds and biocultural knowledge. Her work as an artist, scholar, and writer has been showcased internationally. Vivien was most recently the Distinguished Artistic Fellow in Experimental Humanities at Bard College, and is currently the Executive Director of the Palestine Heirloom Seed Library.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6668″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Myvillages<\/b> was set up as an artist-led collective in 2003 to challenge the cultural dominance of the urban by paying attention to the rural. For the last twenty years, Myvillages has been connecting communities, individuals, and spaces using the non-national and trans-local identifier of \u201cthe rural,\u201d which can be a mindset, a certain practice, or a shared identity. How can we use the term to de-urbanize art and break with traditional modes of the urban gaze?\u00a0<\/span>We see our work in line with anti-oppression feminist practices, disrupting European traditions of urban cultural hegemony and the dominance of patriarchal landownership, exploring rural realities in different constellations and at different intersections, creating common space for localized and land-based knowledges, and (re)connecting skills along the way.\u00a0<\/span>Through trans-local collaborations, Myvillages fosters a new dynamism in understanding and engaging with the rural, not as a nostalgia or remote backdrop but as an active cultural ground for artistic operation and critical inquiry. The work makes space for a multivocal rurality, whether it takes place in a book, a village, long-term infrastructures or an exhibition. For instance, the International Village Shop (2006\u2013ongoing) sells goods within and outside of Europe, and rural mindsets are rooted and uprooted in works like Former Farmland (2007\u20139), Vorratskammer\/Pantry (2010\u201311), Company Drinks (2014\u2013ongoing), and the Rural School of Economics (2020\u2013ongoing). The rural has a strong but mainly unseen presence within cities. During documenta fifteen, Rural Undercurrents (2022) in Kassel recognized the potential of rural knowledge for collective action. We work with rural communities, migrants, and interest groups; the work is always collaborative and coproduced, everyone is a learner and teacher. In 2017, we made a Myvillages wallpaper that listed all the rural communities we\u2019d worked with.\u00a0Myvillages self-published\u00a0Learn to Act<\/i>\u00a0(2017) and\u00a0Rural<\/i>\u00a0Life in Hamar, Ethiopia<\/i>\u00a0(2022), and we edited\u00a0The Rural<\/i>\u00a0(2019) for Whitechapel Gallery. Since 2007, Jap Sam Books has been our publishing partner. Myvillages has exhibited internationally at Kunsthalle Bratislava, Guangdong Times Museum, Galerie f\u00fcr Zeitgenossische Kunst Leipzig, and Van Abbemuseum in Eindhoven, to name a few venues.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6675″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Jonas Staal <\/b>is a visual artist whose work deals with the relation between art, democracy, and propaganda. He is the founder of the artistic and political organization\u00a0New World Summit\u00a0<\/i>(2012\u2013ongoing). Together with Florian Malzacher he co-directs the training camp\u00a0Training for the Future\u00a0<\/i>(2018-ongoing), and with human rights lawyer Jan Fermon he initiated the collective action lawsuit\u00a0Collectivize Facebook\u00a0<\/i>(2020-ongoing). With writer and lawyer Radha D\u2019Souza he founded the\u00a0Court for Intergenerational Climate Crimes\u00a0<\/i>(2021-ongoing) and with Laure Prouvost he is co-administrator of the\u00a0Obscure Union<\/i>.
\nExhibition-projects include\u00a0Museum as Parliament\u00a0<\/i>(with the Democratic Self-Administration of Rojava, Van Abbemuseum, Eindhoven, 2018-ongoing),\u00a0We Demand a Million More Years\u00a0<\/i>(Fondazione Sandretto Re Rebaudengo, Turin, 2022),\u00a0Extinction Wars\u00a0<\/i>(with Radha D’Souza, Gwangju Museum of Art, 2023) and\u00a0Propaganda Station\u00a0<\/i>(Museum of Contemporary Art, Zagreb, 2024). His projects have been exhibited widely at venues such as the Cooper Hewitt Smithsonian Design Museum in New York, V&A in London, Stedelijk Museum in Amsterdam, M_HKA in Antwerp, Centre Pompidou-Metz\u00a0<\/i>and the Nam June Paik Art Center in Seoul, as well as the 7th Berlin Biennale, the 31st S\u00e3o Paulo Biennale, the 12th Taipei Biennale and the 14th Shanghai Biennale. Publications include\u00a0Propaganda Art in the 21st Century<\/i>\u00a0(The MIT Press, 2019) and\u00a0Climate Propagandas: Stories of Extinction and Regeneration\u00a0<\/i>(The MIT Press, 2024). Staal completed his PhD research on propaganda art at the PhDArts program of Leiden University, the Netherlands.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6676″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

St\u00e9phane V. Bott\u00e9ro<\/b> is an artist and sometimes curator working at the intersection of social practice, installation, writing, and gardening. With a background in environmental science, he is interested in the entanglements of community, materiality, body and place. Based on site-specific research and durational interventions, his practice explores pedagogies of repairing. He co-initiated the collaborative platform School of Mutants in Dakar in 2018. His work has been exhibited at biennales, museums, and festivals, including: ZKM, Karlsruhe; 4th Autostrada Biennale; Centre Pompidou Metz; 12th Berlin Biennale; 14th Dakar Biennale; RAW Material Company, Dakar; 12th Taipei Biennial; 7th Oslo Triennale; Le Lieu Unique, Nantes; Het Nieuwe Instituut, Rotterdam; Sheffield DocFest.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6677″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Thomas Jeffery<\/b> is Principal Curator at Amazwi South African Museum of Literature. He holds a PhD (Education) with a focus on museology. His research explores the decolonisation of museums in a time of social-ecological crisis. He favours an eco-decolonial approach to museology that is grounded in the understanding that social and ecological justice are entangled. This is a perspective that emerges from resonances between decolonial museology and literary postcolonial ecocriticism, among other fields of enquiry.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6692″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Stephen Wright<\/strong> is an art theorist. His writings have focused primarily on the politics of use, particularly in the contexts of collaborative and extradisciplinary practices with variable art coefficients. His research aims to understand the ongoing usological turn in art and society in terms of contemporary escapological theory and practice. In 2004, he organized The Future of the Reciprocal Readymade (Apexart, New York), in 2005 In Absentia (Passerelle, Brest), in 2006 Rumour as Media (Aksanat, Istanbul) and Dataesthetics (WHW, Zagreb). He is the founding user of the collective blog n.e.w.s., northeastwestsouth.net. He has taught at the EESI (England) and recently joined Tamarind Rossetti as director of the K\u00fcnstlerhaus art center in Stuttgart.<\/p>\n

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Marianna Dobkowska<\/strong> is a curator and art historian.\u00a0She is a founding member of the Office for Postartistic Services.\u00a0Since August 2024, she holds the position of Artistic Director of Ujazdowski Castle\u00a0Centre for Contemporary Art in\u00a0Warsaw.\u00a0She is using curatorial practice for building relations and fostering situations (often based on long-term and international collaborations) bringing together practices from the fields of visual and performing arts, education, and activism. Her selected curatorial works include Re-Directing: East seminars (2011\u20132020), exhibition at the National Gallery of Indonesia in Jakarta Social Design for Social Living (2016), exhibition-meeting Gotong Royong. Things We Do Together (2017\u20132018). She\u2019s an editor of Things We Do Together. Post-reader (Mousse Publishing and Ujazdowski Castle, 2020). Together with Sebastian Cichocki, Bogna Stefa\u0144ska and Jakub Depczy\u0144ski she curated Konteksty. Postartistic Congress (2021) and Postartistic Soft Seminar (2023) in Soko\u0142owsko, Poland (2021). In 2023 she curated together with Sebastian Cichocki Postartistic Assembly\u2014Polish Pavilion at Gwangju Biennale. She lives and works in Warsaw.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6715″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Renzo Martens<\/strong> is a Dutch artist who lives and works between Amsterdam and Kinshasa. Renzo Martens studied political science and art. He gained international recognition with the films Episode I, and Episode III: Enjoy Poverty, which were shown in over 23 countries and question his relationship with images of war and poverty. In 2012, Renzo Martens founded the Institute for Human Activities in the Congo, a research project aimed at demonstrating that art that criticizes global inequalities can help overcome them. Not on a symbolic level, but on a material one. Together with the Institute, the Cercle d’Art des Travailleurs de Plantation Congolaises<\/em> (CATPC) near Lusanga in the south of the Democratic Republic of Congo is developing a local platform for the development of new economic initiatives based on the production and sale of critical art aimed at improving the economic position of its members and their community. On a former Unilever palm oil plantation, they are opening an iconic White Cube, designed by OMA. With the construction of the White Cube, the mechanisms by which plantations support the art world are reversed. Benefiting from the privileges associated with the art world, the White Cube attracts the capital and visibility needed to invent a new ecological and economic model locally in Lusanga. CATPC members create clay sculptures, which are then 3D scanned and reproduced in Amsterdam in chocolate and palm oil, before being exhibited in galleries and museums, with sales gradually helping to buy back the land from Unilever. To date, they have been able to buy back 85 hectares of land, which they are transforming into rich, diverse, ecological and egalitarian spaces: post-plantation.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6693″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Imani Jacqueline Brown<\/b> is an artist, activist, and architectural researcher from New Orleans, based in London. Her work investigates the \u201ccontinuum of extractivism,\u201d which spans from settler-colonial genocide and slavery to fossil fuel production and climate change.
\nIn exposing the layers of violence and resistance that form the foundations of settler-colonial society, she opens space to imagine paths to ecological reparations.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6760″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

Yuna Visentin<\/strong> is a former student at the \u00c9cole normale sup\u00e9rieure, associate professor of literature, and author and facilitator of feminist writing workshops. After several years teaching and researching the relationship between literature and Jewish philosophy, she published a novel and an essay on the reproduction of systemic oppression in schools. She published her third book in 2024, Spiritualit\u00e9s radicales. Rites and traditions<\/em> to repair the world, published by Editions Divergences. In this essay, prefaced by Myriam Bahaffou, she examines the emancipatory political reconfigurations that relationships with the invisible can make possible, exploring in particular her experience of the Jewish tradition. She continues her independent research, focusing in particular on Jewish radical and anarchist traditions, Jewish feminisms, ecofeminist and decolonial thought and struggles – and everything that circulates between these worlds.<\/p>\n

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Mohamed Amer Meziane<\/strong> is a philosopher and performer. He holds a Phd from the Sorbonne, taught at Columbia University and is now a professor at Brown University. Author of Des empires sous la terre<\/em> (La D\u00e9couverte, 2021) and The States of the Earth: An Ecological and Racial History of Secularization<\/em> (Verso, 2024), as well as numerous articles, he is also a member of the editorial board of Multitudes review.<\/p>\n

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Saodat Ismailova<\/b> is an Uzbek filmmaker and artist. Interweaving myths, rituality, and dreams, her films investigate the historically complex and layered culture of Central Asia which stand at the crossroads of material histories and migratory legacies. Departing from her personal history marked by growing up in the post-Soviet Uzbekistan, Ismailova reaches out to the collective dimension of memory. Her research encompasses the region\u2019s ancestral knowledge and traditional spiritual practices as well as modern history of Uzbekistan which manifests through work on archival footage. She initiated Davra research collective in Central Asia, 2021 and participated, the following year, to the Biennale of Venice and documenta fifteen. She also received The Eye Art & Film Prize, Amsterdam.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”6876″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” img_link_caption=”yes” border_radius=”5px” box_shadow=”small_depth” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”3%” constrain_group_1=”yes” bottom_padding=”3%” left_padding_desktop=”10%” constrain_group_2=”yes” right_padding_desktop=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery css=”” type=”image_grid” images=”6652,6671,6699,6702,6703,6704,6705,6706,6709,6708,6710,6711,6712,6714″ image_grid_loading=”default” display_title_caption=”true” layout=”3″ masonry_style=”true” item_spacing=”default” gallery_style=”7″ load_in_animation=”fade_in”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h2″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Partners” text_direction=”default”][\/split_line_heading][clients columns=”5″ hover_effect=”opacity” additional_padding=”3″ fade_in_animation=”true”][client image=”6824″ url_target=”_blank” title=”Client” id=”1742807141685-10″ tab_id=”1742807141685-3″ name=”Centre d’art de Malakoff”][\/client][client image=”6767″ url_target=”_blank” title=”Client” id=”1742807141689-5″ tab_id=”1742807141689-9″ name=”Paris I”][\/client][client image=”6772″ url_target=”_blank” title=”Client” id=”1742807141694-7″ tab_id=”1742807141695-2″ name=”Acte”][\/client][client image=”6764″ url_target=”_blank” title=”Client” id=”1742807141697-1″ tab_id=”1742807141697-9″ name=”Paris 8″] Click the edit button to add your testimonial. [\/client][client image=”6775″ url_target=”_blank” title=”Client” id=”1742807141700-9″ tab_id=”1742807141700-7″ name=”AIAC”] Click the edit button to add your testimonial. [\/client][\/clients][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” bottom_padding=”10%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][split_line_heading animation_type=”line-reveal-by-space” font_style=”h2″ line_reveal_by_space_text_effect=”default” content_alignment=”default” mobile_content_alignment=”inherit” link_target=”_self” text_content=”Thanks” text_direction=”default”][\/split_line_heading][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text css=”” text_direction=”default”]\n

The Maison des Arts de Malakoff team (Aude Cartier, Julie Esmaeelipour, L\u00e9a Djurado, Frederic Courtois), the Universit\u00e9 Paris I Panth\u00e9on-Sorbonne (Diane Watteau, Benjamin Brou, Christophe Viart, Lydie Delahaye, Riccardo Venturi, Chiara Palermo, Ingrid Luquet-Gad, Naila Fakhfakh), the Universit\u00e9 Paris VIII (Rapha\u00eblle de Sousa, Thomas Levasseur) and the AIAC laboratory\/TEAMeD team.<\/p>\n

Simultaneous translation is provided by Yves Tixier, Marguerite Capelle and Caroline Ferrard.<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” disable_element=”yes” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” 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