How does the commons emerge in doing, in the possibility of sensitive experience, in care for others – human-non-human? How is the relationship with things / objects / places / contexts / events invented and explored? And, how, from these generative fields, do general changes of direction and perspective take place, and how is awareness of other possibilities created?
In this programme we explore how to do this, but in the poetic sense of a poïesis, in the sense of a form that is realised in action, by making socially engaged objects and practices, via the generative aspects of creation and co-creation.
For this, we have invited 3 artists currently in residence at the Cité Internationale des Arts: Frédéric Nauczyciel, whom we are interviewing about his artistic research “Safe places – endroits de confiance“, and Julie Ramage and Ranti Bam, who will be having a conversation with two researchers involved in the European trans-making research project: first Clelia Bartoli, from the University of Palermo, and second Çiğdem Kaya from the Technical University of Istanbul.
- Interview of Frédéric Nauczicel in French at 00:01:32
- Conversation between Julie Ramage and Clelia Bartoli in English at 00:42:02
- Conversation between Ranti Bam and Çiğdem Kaya in English at 01:18:36
Interview with Frédéric Nauczyciel
Frédéric Nauczyciel is a French visual artist, working between Paris and Baltimore (USA). Graduating in Finance and trained with contemporary choreographers, he produces photographs, films and performances. In his installations, he uses the real-time experience of video and performance to produce living images. Since 2011, he has been working between the black ghettos of Baltimore and the suburbs of Paris, drawing on the strength of performative languages such as Vogue, marching bands or sign language. Since 2018, he has been an associate artist at the Cité Internationale des Arts in Paris and at the Ateliers Médicis in Clichy-Sous-Bois / Montfermeil.
“Safe Places – endroit de confiance” is a research that Frédéric is conducting on transgender, transracial, transclass, transgenerational, inclusive spaces, considering expert practices, amateur with professional, popular and urban with academic, all at the same level of importance. It started with the black American transgender voguing community and an installation at Mac/Val in 2012 (“The Fire Flies”), and continues with the Parisian voguing scene, with a research grant from the Centre National des Arts Plastiques in 2013.
To go further, the podcasts on R22 available in French:
- Un endroit de confiance… récit sonore en 6 chapitres par Frédéric Nauczyciel
- Safe place (un endroit de confiance)
- Lundi de Phantom n°17 : Frédéric Nauczyciel
- Entretien avec Frédéric Nauczyciel : la peau vive
- Discussion entre Frédéric Nauscyciel & Lisa Revlon : I like the hood
Conversation between Julie Ramage and Clelia Bartoli
Julie Ramage is a visual artist and Doctor in History and Semiology of Text and Image. She is an associate researcher at CERILAC – Centre of Interdisciplinary Studies and Research in the Faculty of Lettres, Arts, Cinéma, at the University of Paris Diderot.
She explores the complex relations between man and the place (s)he occupies, questioning in particular the institutional spaces that are prisons. Her work explores these complex relations from a base that is both documentary and collaborative. Setting up on-the-ground enquiries and collective research processes makes it possible to generate encounters, situations of speaking on a precise theme, that provide the material for performances, micro-editions and video, sound or digital installations.
She is currently in residence at the Cité Internationale des Arts for the research-creation project Currency [Ghostmarkets] dealing with the economy in detention. This project began in detention in September 2019. It takes as its starting point the prohibition of currency in the prison space. Economists, anthropologists, archaeologists and choreographers are then invited to collaborate with a working group set up within the walls.
Rapidly the research evolves towards the way in which the exchanges influence the relationships between bodies: trust or distrust, provocation or complicity, mark the prison choreographies. The participants propose the creation of a “currency of esteem” made of sugar and concrete, whose face value is indexed to the greeting rituals of detention; it guarantees, when entrusted to a peer, loyalty and assistance in all situations.
Following the interruption of the project in March 2020, the idea was born to create a “ghost film” from the preparatory documents for the aborted shoot: a living archive deploying dialogue outside the walls, to place it in the context of the economic and health crisis we are going through. On September 11th and 12th, the installation-performance Ghost Markets was presented at Bétonsalon, a Paris-based art and research centre.
Clelia Bartoli is a lawyer and lecturer at the Law Department of the University of Palermo. She teaches “human rights”, “sociology of law” and “ethics and the market”. She is also in charge of the street law programmes at the Legal Clinic for Human Rights of the University of Palermo.
The second-hand market of Ballarò, in Palermo, brings together hundreds of poor people who informally trade in waste. At the initiative of Clelia Bartoli, a branch of the law department was established in the square of this market. New generations of law professionals are being trained where law seems to be in the making. It is about understanding law by looking at it from another angle, that of the margins.
Recently, following the economic crisis generated by Covid 19, Clelia has been working with a team of 20 people on the creation of an alternative currency. This group brings together market vendors, artists, economists, and others interested in this idea. Their exchanges began by exploring the history of money and the economic dynamics within the market.
Around their shared experience of creating an alternative currency, Clelia and Julie come together to talk about political imagination, the collective, sharing of knowledge and skills, social and economic capital, relationships to territory and care…
They lead us to think about the possible through generative practices that are situated on the margins.
To go further:
- The exhibition Gostmarkets held in Bétonsalon on September 11 and 12, 2020
- The exhibition Co-Workers: Beyond Disaster held in Bétonsalon from October 8, 2015 to January 30, 2016
- The video “Exhausted Geographies (1 of 7) -Professor Irit Rogoff” uploaded by Iniva at Rivington Place
- The article “Exhausted (art) geographies, an attempt to define the geopolitically of contemporary art” by Jelena Petrović
- “Hypothèses pour un Etat sans territoire” by Clelia Bartoli
Conversation between Ranti Bam and Çiğdem Kaya
Ranti Bam was born in Lagos – Nigeria, she lives and works between London and Lagos. A graduate of The Cass Faculty of Art, Architecture and Design, she conducts her work as a ceramist in the studio and in co-creative workshops.
In residence since March 2020 at the Cité Internationale des Arts, in September she started a ceramic workshop with a group of Franco-African women in the Goutte d’or district of Paris. The association URACA (Unité de réflexion et d’action des communautés africaines) acted as intermediaries to set up the group and to bring it together once a week for a month.
Starting from the workshop and from ceramic practice, as a space for dialogue, Ranti Bam seeks to exploit the curative and narrative properties of clay to encourage exchange and the sharing of real-life stories. Through the work of the hand, she seeks to experiment with practices that develop the autonomy of individuals and enrich their daily experience.
Çiğdem Kaya is an artist and designer based in Istanbul, Turkey. She is an associate professor at ITU – Istanbul Technical University. Çiğdem Kaya works in the field of interdisciplinary research in the field of design, she is interested in the transmission of experiential knowledge and participatory projects in crafts and design. In particular, she has developed research and design workshops with women practising in textile crafts in Mardin, in the south of Turkey.
To go further:
- The article “Knowing Through Making : The Role of the Artefact in Practice-led Research” by Maarit Mäkelä, 2007
A podcast directed by Fabienne Trotte and Esther Destrés in partnership with la Cité Internationale des Arts.
Thanks to Frédéric Nauczyciel, Julie Ramage, Clelia Bartoli, Ranti Bam and Çiğdem Kaya for their participation and involvement, and to Corinne Loisel, Emma Lecointre and Alix Pornon for facilitating contact with the 3 artists of the Cité internationale des arts.