Cette année, Les Laboratoires d’Aubervilliers reconduisent les ateliers de lecture qui, tous les quinze jours, proposent de mener collectivement recherches et réflexions autour d’une problématique spécifique abordée depuis différentes disciplines (l’art, les sciences humaines, la politique). Ces ateliers participent à la construction du « Printemps des Laboratoires », programmation qui se décline tout au long de l’année via des workshops, tables rondes, projections jusqu’à l’avènement d’un moment public intense. Ce rendez-vous public, qui aura lieu les 4 et 5 juin 2016, en constitue la mise en perspective finale à une échelle internationale. Cette programmation est articulée chaque année autour d’une notion spécifique ; cette année il s’agit de « La psychotropification de la société ».
Cette expression, associant les termes « psychopharmacie » et « tropisme », désigne le mouvement exponentiel de prescriptions et de consommation de médicaments dans le cadre du traitement des troubles mentaux et psychologiques. En pointant ce « tropisme » notre intention est de démontrer que derrière la normalisation de ces prescriptions s’érige une idéologie fascisante qui infiltre et dirige les sociétés occidentales, davantage préoccupées par la liberté d’action à conférer à l’industrie pharmaceutique qu’aux individus qui les composent.
Pour mener à bien cette réflexion collective qui traitera des effets de normalisation sous-tendus derrière le phénomène décrit, de l’état de la psychiatrie actuelle et de la place accordée à la maladie et à la folie dans notre société, nous vous proposons de nous réunir, un jeudi sur deux, à partir du 22 octobre, de 16h à 18h. Un ou plusieurs textes sont proposés et/ou choisi à chaque atelier pour le suivant.
Nous avons ouvert ce cycle de lectures le jeudi 22 octobre en étudiant deux textes qui se font écho l’un à l’autre. La psychiatrie biologique : une bulle spéculative ?, de François Gonon, neurobiologiste et directeur de recherche CNRS à l’institut des maladies neurodégénératives, université de Bordeaux, qui démontre comment la Recherche (et les politiques qui la financent) s’accroche à une vision génétique et biologique, nécessairement réductrice, et en ce sens dangereuse, de la maladie psychiatrique. Et, d’autre part, Ne tirez pas sur le messager ! Le mouvement international des entendeurs de voix, de Caroline von Taysen, psychologue spécialisée dans les situations de crise à Berlin, qui relate l’histoire d’Intervoice, la communauté internationale des entendeurs de voix, constituée par des gens en désaccord avec le modèle psychiatrique de la soi-disante schizophrénie. Contre les prescriptions neuroleptiques, un nombre important d’entendeurs de voix revendiquent une relation harmonieuse avec “leurs voix”, présentant en cela un lien pertinent avec leur vie.
Au cours de ce second atelier, nous avons étudié en présence de Josep Rafanell i Orra deux passages de son livre En finir avec le capitalisme thérapeutique, soin, politique et communauté : l'introduction de la deuxième partie "En finir avec le capitalisme thérapeutique" ainsi que le chapitre 2 de cette même partie, "Fragments : Le communisme de la guérison".
Ce troisième atelier a été l'occasion de travailler sur deux textes issus de La perte des sens d’Ivan Illich, penseur de l'écologie politique et figure importante de la critique de la société industrielle, en particulier de la contre-productivité. Originellement parus en 1995 et 1998, ces deux textes ont également été publiés dans un recueil posthume en 2004 : « La société amortelle. De la difficulté de mourir de sa propre mort en 1995 » et « Ne nous laissez pas succomber au diagnostic, mais délivrez-nous des maux de la santé ».
Pour ce quatrième atelier de lecture, nous avons discuté de l’étonnant texte Addict - fixions et narcotextes de la philosophe américaine Avital Ronell, paru aux Etats Unis en 1992 sous le titre anglais de Crack Wars : Literature Addiction Mania. La traduction française parue chez Bayard date de 2009. Et avons abordés à travers les extraits choisis, les questions de liberté, d’addiction et d’éthique de la décision. Publié en 1992 aux États-Unis, ce livre s’inscrit en réaction à une situation politique précise : quand, à l’apparition du crack, correspond un ethnocide déclaré. Proclamant avec Walter Benjamin « un droit des nerfs », Avital Ronell répond, énervée, un panaché d'essais philosophiques, d’analyses littéraires et de pièces de théâtre. Un livre kaléidoscope, traversé de voix multiples, qui miment, dans sa forme, le fonctionnement addictif dont il est question.
Ce cinquième atelier a été l'occasion de recevoir le collectif Dingdingdong pour la présentation des deux textes qui ont été étudiés ce jour-là : le manifeste dingdingdong d'une part et le chapitre 7 de l'ouvrage de Vincianne Despret Au bonheur des morts, Récits de ceux qui résistent (paru en 2015 aux éditions La Découverte), intitulé « Faire confiance aux esprits. Enquête sur les modes d'apostrophe », pp. 155 à 180, d'autre part.
Pour inaugurer l'année 2016, ce sixième atelier de lecture s'est attaché à échanger autour du texte de Fernand Deligny L’Arachnéen, afin notamment de mettre à jour ce qu’il a nommé un « réseau de présences » et continuer à écrire au pluriel les modes d’être au monde. Fernand Deligny (1913 -1996), figure importante de l’éducation spécialisée, se dit poète et éthologue. D’Ivan Illich, il reprend l’idée d’une langue vernaculaire, et comme lui s’insurge contre les enfermements causés par les institutions, en l’occurrence celle de la psychiatrie. Le texte a été introduit par Bertrand Ogilvie, philosophe et psychanalyste, professeur à l'université de Nanterre et directeur de programme au Collège international de Philosophie et qui a signé la postface de L’Arachnéen.
L'atelier de lecture du 21 janvier a été consacré au texte de Tobie Nathan, Nous ne sommes pas seuls au monde, et plus particulièrement le chapitre 2 : « Psychothérapie et politique. Les enjeux théoriques, institutionnels et politiques de l'ethnopsychiatrie ». Tobie Nathan est un important représentant de l’ethnopsychiatrie en France, dont le mouvement a engagé une déconstruction des pratiques psychanalytiques en vue d’accueillir et de soigner des personnes issues de cultures non-occidentales, pour lesquelles les traitements cliniques s’avéraient inopérants (éthiquement et non performants). En ce sens l’ethnopsychiatrie s’inscrit dans une démarche anti-néocoloniale.
L'atelier de lecture du jeudi 4 février a permis aux participants d'échanger autour du texte de Tim Ingold, Une brève histoire des lignes (Éditions Zones Sensibles, Belgique) et plus particulièrement le chapitre 3 : « Connecter, traverser, longer ». Le texte original de Tim Ingold fut publié en 2007, sous le titre Lines: A Brief History (Éditions du Routledge, UK). Tim Ingold est un anthropologue anglais contemporain (né en 1948) dont les méthodes hors normes, aux frontières de la phénoménologie, des sciences de la nature et des arts, sont autant de manières d’explorer notre environnement. Il pratique l’anthropologie selon les méthodes du métier à tisser.
En écho au livre étudié lors d’un des précédents ateliers de lecture, et en perspective d’un débat organisé autour des biotechnologies, par la revue invitée Tenons et Mortaises, il a été proposé pour l'atelier de lecture du 18 février, de discuter autour d'extraits de Testo Junkie, un ouvrage que celle qui s’appelle alors encore de son nom d’origine Beatriz Preciado publie en 2008 en Espagne et en France (ouvrage traduit en anglais en 2013). Ce texte, éminemment politique, relate l’expérience de l’auteur s’administrant de la testostérone.
À l'occasion de ce dixième atelier, les participants ont échangé autour de l'ouvrage de Jean-François Chevrier publié à L’Arachnéen, L’Hallucination artistique, de William Blake à Sigmar Polke, et plus spécifiquement sur le second chapitre intitulé “Le scandale de l’hallucination et l’expérience mystique”. Ce livre qui propose une histoire de la place de l'hallucination dans l'art et la littérature depuis le début du XIXe siècle, qui marque les débuts de la psychiatrie, jusqu'à nos jours. Étudiée par la psychiatrie comme le phénomène déterminant de la discipline, l’hallucination est l’expérience des ambiguïtés d’une perception altérée par la vision.
Pour ce onzième et avant dernier atelier de lecture, nous avons étudié l'ouvrage d'Harold Searles, L'environnement non humain, et plus spécifiquement le chapitre XI intitulé « Projection du moi sur l'environnement non humain, ou incapacité à s'en distinguer ». La traduction française de cette publication est parue chez NRF/Gallimard dans la collection Connaissance de l'inconscient en 1986. Harold Searles, psychiatre et psychalyste américain né en 1918, a travaillé pendant quinze ans à Chesnut Lodge, établissement internationalement connu pour le rôle qu'il a joué dans l'approche psychothérapeutique intensive des schizophrènes.
Ce douzième et dernier atelier de lecture a permis de discuter du chapitre 2 – « 1914 Un seul ou plusieurs loups », de Mille plateaux – Capitalisme et schizophrénie 2, livre publié aux Editions de Minuit en 1980. Après les traces d’Inuit déposées dans la neige blanche racontées par Tim Ingold, les trajectoires sans planification et les cartes combinées de Deligny, c’est au tour de Deleuze et Guattari de proposer une trame composée de lignes de fuite et de multiplicités, celles qui s’énonce depuis l’observation des loups. L’occasion d’aborder à nouveau les lieux qu’on habite, les chemins qu’on trace, les distances auxquelles on se tient les uns des autres, nos foules mobiles. Mais aussi de considérer des modes d’existence en deçà ou au-delà de l’individu, dans la rencontre de nos meutes intérieures, dans le faire et le défaire permanent de nos collectivités.
Les textes de cette saison ont été décidés par le groupe et lus en amont de chaque atelier. Ces ateliers gratuits et ouverts à tous, ont eu lieu le jeudi tous les quinze jours de 16h à 18h sur inscription. Pour obtenir les textes étudiés, les compte-rendus de session, ou vous inscrire, contactez Pierre Simon : p.simon@leslaboratoires.org
Printemps des Laboratoires #4 Psychotropification de la société
Sous l’intitulé Psychotropification de la société, cette quatrième édition du Printemps des Laboratoires explore le phénomène de médicalisation abusive de la société contemporaine constitué en outil de rationalisation, de standardisation et de contrôle. L’expression Psychotropification, associant les termes « psychopharmacie » et « tropisme », désigne l’accroissement exponentiel de la médicamentation dans le traitement des troubles mentaux. En pointant ce « tropisme » notre intention est de démontrer que derrière l’augmentation et la banalisation des prescriptions médicales s’érige une idéologie normalisatrice qui infiltre et dirige les sociétés contemporaines.
À l’inverse nous nous ouvrons à la possibilité d’être multiple, de réinventer des manières de vivre ensemble via nos perceptions (partagées ou non par les autres), nos morts, nos invisibles, de construire nos identités à partir de nos visions, de nos chimères et de nos hallucinations, de postuler des modes d’existence hétérogènes et non rationnels, lesquels pouvant trouver des formes de cohabitations entre elles. Redonner de la place à nos identités et expériences différentes, à nos « devenir-minoritaires », c’est lutter contre un monde happé par la seule ambition d’efficacité et de rentabilité.
Pendant ce week-end du printemps, nous donnons la parole à ceux qui se sont engagés dans une critique des effets destructeurs de cette médicamentation, à ceux qui se sont formés en collectif afin d’envisager un autre rapport à leur maladie que celui établi par les institutions (quelles formes de militance ? quel terrain d’action ? quelle expertise ?), à ceux enfin qui ont tenté de renouveler les expériences thérapeutiques en vue de la construction d’un savoir situé. Autant de questions abordées qui rejoignent les enjeux de la création artistique et nous amènent à explorer de plus près le lien fécond entre art et folie. Le public est également convié à participer à des ateliers et performances avec notamment la performance chamanique de l’artiste Grace Ndiritu conçue comme une séance de discussion thérapeutique et inspirée par la Commission Vérité et Réconciliation (CVR) qui a eu lieu en Afrique du Sud. Tout comme à une activation idiorythmique par Silvia Maglioni et Graeme Thomson qui enchevêtre les sons et les mots ou encore à la création d’un lieu « repère » pour imaginer ensemble des pratiques collectives de soin porté par le psychologue clinicien Josep Rafanell i Orra, dans la continuité du séminaire qui s’est tenu aux Laboratoires entre janvier et mai dernier.
Des propositions hors les murs des Laboratoires précéderont et prolongeront ces deux journées d’évènements : le « Hearing Voices Café », projet artistique de Dora García, implanté dans un café d’Aubervilliers et animé en partenariat avec le réseau français des entendeurs de voix REV, ou encore la projection au cinéma d’art et d’essai albertivillarien Le Studio du film Disappear One de Silvia Maglioni et Graeme Thomson, réalisé en collaboration avec des membres de la compagnie de théâtre UEINZZ.
Ces deux journées se déroulement avec la participation de (liste en cours) : Jean-François Chevrier (historien d’art), Anne Collod (chorégraphe), Emilie Hermant (écrivain), Silvia Maglioni et Graeme Thomson (artistes), Magali Molinié (psychologue clinicienne), Grace Ndiritu (artiste), Valérie Pihet (chercheuse), Josep Rafanell i Orra (psychologue clinicien), Barbara Rodriguez Muñoz (curator), Veronica Valentini (curator).
Dates de cette quatrième édition du Printemps des Laboratoires :
« Hearing Voices Café » Du 30 mai au 3 juin 2016 - adresse à venir
Projection de Disappear One de Silvia Maglioni et Graeme Thomson Jeudi 2 juin 2016 au cinéma Le Studio à Aubervilliers
Plateforme de rencontres du Printemps des Laboratoires Psychotropification de la Société Samedi 4 juin et dimanche 5 juin 2016
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Image : Dora García, Mad Marginal Charts, depuis 2014, crayon sur papier
« Nous aussi on veut notre part du ghetto ! » S. Chiambretto, Y. Thommerel
Formidable générateur de fiction, le «ghetto» est convoqué singulièrement ces derniers temps dans les champs de l’art, des médias et du discours politique. Soucieux de ne pas être hors-jeu, Sonia Chiambretto et Yoann Thommerel s’emparent du terrain, et s’associent au Groupe d’information sur les ghettos (g.i.g.).
Centre aux missions modulable pour certains, difficilement situable, boîte noire pour d’autres, le g.i.g rassemble documents textuels, sonores ou visuels sur les ghettos, et se définit comme un ensemble ouvert : « Pour tout point a de E : tout sur-ensemble d'un voisinage de a est lui-même voisinage de a ; l'intersection de deux voisinages de a est elle-même un voisinage de a ; E est un voisinage de a ; tout voisinage de a contient a ; pour tout voisinage V de a, il existe un voisinage W de a tel que V soit voisinage de chacun des points de W.»
En résidence aux Laboratoires en 2016, Sonia Chiambretto et Yoann Thommerel fondent in situ un nouveau groupe d’information composé d’habitants d’Aubervilliers dont les modalités d’actions sont notamment la création de protocoles d’enquêtes et de leurs modes de circulation : diffusion, récoltes de données, traitements.
A cette occasion, ils proposent deux types de rencontres qui s'articuleront les unes les autres.
D'une part, une série d'ateliers d'écriture de questions et dont la prochaine date est programmée le lundi 25 avril 2016. Les prochaines dates seront communiquées ultérieurement.
D'autre part et de manière complémentaire, une série de soirées publiques de lectures et de performances conçues en rapport avec les archives collectées seront proposées tout au long de leur résidence. La première soirée a été programmée le vendredi 12 février 2016 et a réuni Anne-Sarah Huet (poète, économiste) et Philippe Artières (écrivain, historien). Trois prochaines soirées sont à venir entre octobre et décembre 2016.
Enfin, une Grande journée d’enquête est ouverte à tous le samedi 23 avril 2016, de 13h à 18h, au cours de laquelle vous pourrez venir répondre à leur premier questionnaire écrit collectivement.
The MétallOpérette piece involves music, song, dance and speech and was co-created and performed by the entire group of École de Marinella Senatore participants.
Set against the history of the former ball-bearings factory that now houses Les Laboratoires d’Aubervilliers, the operetta stages various main characters — a union representative, a young female factory worker, a manager, other factory workers, shareholders, etc. — involved in the social tensions and the series of strikes staged in 1966 following the announcement of the upcoming closure of the factory. Inscribed in the real history of the Malicet & Blin factory, MétallOperette draws on the social and cultural heritage and trade union history of Aubervilliers, taken as a symbol of an ongoing struggle that needs to be continued.
On a formal level, this participatory, engaged operetta employs different performing arts formats, from experimental and political theatre to Operetta, but also dance as a space that re-enacts the individual and collective body in order to break up and fissure fixed forms, systems and structures to open up new perspectives.
MétallOperette— i.e., the storyline, the dialogue and the reflection on the historical and social context and it’s characters’ behaviour and thought processes — was constructed through the active, concrete and sustained participation of the entire group that took part in theÉcole de Marinella Senatore workshops, set up at Les Laboratoires d’Aubervilliers from 10th February to 26th March 2016.
On reservation only at 01 53 56 15 90 or reservation@leslaboratoires.org
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Photos : L'Ecole de Marinella Senatore : Workshop SCENOGRAPHIE by Rafael Médeiros the 5th March 2016 and Workshop FORMER DONNER FORME by Charlotte Jankowski the 10th February 2016 at Les Laboratoires d'Aubervilliers _ all rights reserved
Pièce musicale, chantée, dansée et parlée, conçue et réalisée de manière collaborative avec l'ensemble des participants à l'École de Marinella Senatore
Prenant pour décor l’histoire de l'ancienne usine de roulement à billes qu'occupent Les Laboratoires d'Aubervilliers, MétallOpérette met en scène plusieurs personnages principaux - un délégué syndical, une jeune ouvrière, un directeur, des ouvriers, des actionnaires, etc. - dans le contexte des tensions sociales et de la série de grèves lancée en 1966 à l'annonce de la fermeture future de l'usine. En s’inscrivant dans l’histoire réelle de l’usine Malicet et Blin, MétallOpérette s’appuie sur le patrimoine social, syndical et culturel d’Aubervilliers comme symbole d’une lutte encore vivante et à perpétuer.
Formellement, cette « opérette » participative et engagée utilise différents formats de spectacle vivant - du théâtre expérimental et politique à l’opérette en passant par la danse comme espace rejouant le corps individuel et collectif - afin de fissurer des formes, systèmes et structures figés en vue de poser d’autres perspectives.
La construction de MetallOpérette tant du point de vue du scénario, de l'écriture des dialogues que de la réflexion sur le contexte historique et social, et sur la psychologie des personnages, est dû à la participation active, concrète, soutenue et réelle de l'ensemble des participants aux ateliers de l'École de Marinella Senatore qui s'est installée aux Laboratoires d'Aubervilliers entre le 10 février et le 26 mars 2016.
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Photos : L'Ecole de Marinella Senatore : Atelier SCENOGRAPHIE par Rafael Médeiros le 5 mars 2016 aux Laboratoires d'Aubervilliers et Atelier FORMER DONNER FORME par Charlotte Jankowski le 10 février 2016 aux Laboratoires d'Aubervilliers _ tous droits réservés
Pour sa résidence aux Laboratoires d’Aubervilliers, l’artiste italienne Marinella Senatore a d’abord mis en place une « école », installée aux Laboratoires tout au long du mois de février. Gratuite et ouverte à tous, cette école s’est fabriquée au gré des propositions des participants eux-mêmes. Des ateliers de décor, caméra, bracelets brésilien, musique, maquillage, calligraphie chinoise, chant et danse ont été dispensés sur un rythme intensif de plusieurs jours par semaines, croisant les savoir-faire de chacun, amenant à inventer pour la première fois des manières de transmettre pour certains, à s’ouvrir à de nouveaux champs et à s’essayer à l’assimilation de nouvelles compétences pour d’autres. Cette « école » a donc progressivement investi notre institution artistique, poussant ses murs, étirant ses horaires, se saisissant de son espace pour y expérimenter un système éducatif alternatif attachant une importance principale à l’émancipation, l’inclusion et l’autoformation.
Comme tout projet participatif, et d’autant plus cette fois-ci qu’il est resserré dans le temps, le chaos qu’il engendre, s’il donne individuellement le tournis, garantit, à plus grande échelle, le renversement des valeurs et des rapports d’autorité. Sa fragilité est son fondement. Une fragilité qui se veut endurante, volontaire, qui exige de redoubler d’efforts pour la préserver, histoire qu’elle ne se rétracte pas dans des réflexes de productions sclérosées, du déjà-connu-prêt-à-consommer. Et si cette fragilité lui colle à la peau c’est parce que le projet repose avant tout sur la promesse de rencontres humaines et de désirs communs à advenir, sur l’envie de partages gratuits - denrées raréfiées de nos jours. C’est parce qu’il procède d’un équilibre subtile entre la mise en place des conditions adéquates pour faire surgir de nouvelles relations (et que d’elles une poétique émerge) et un « cadrage » qu’il faut en permanence ajuster au développement du projet et rendre opérant pour impulser la formation d’un groupe, l’organiser et l’accompagner afin que ses ambitions puissent se concrétiser. Le rôle de l’artiste y tient une place complexe ; sa présence y est double : présence active quand elle est fer de lance d’une aventure supposée embarquer un groupe, présence délicate quand il s’agit de tisser avec autant de singularités, présence effacée quand il lui faut leur abandonner la gestation d’une forme collective.
Cette forme, ce sera une MétallOpérette, de l’intitulée de la pièce écrite par les étudiants de l’« école », qui aura été adaptée en musique, avec l’aide d’un compositeur italien de renommée, Emiliano Branda, et jouée sur scène toujours par les participants eux-mêmes, qu’accompagneront quelques chanteurs professionnels. Prenant pour décor l’histoire de l’ancienne usine de roulement à billes qu’occupent Les Laboratoires d’Aubervilliers, cette opérette met en scène plusieurs personnages dans le contexte des tensions sociales et des grèves lancées en 1966 à l’annonce de la fermeture de l’usine. En s’inscrivant dans l’histoire réelle de l’usine Malicet et Blin, MétallOpérette s’appuie sur le patrimoine social, syndical et culturel d’Aubervilliers en tant qu’il symbolise une lutte encore vivante et à perpétuer. Sa forme finale est un film, sa première restitution convie le public à assister à son tournage. L’artiste, elle-même issue du champ cinématographique, de par sa formation et son métier, aime à croiser des disciplines (théâtre, danse, musique) et à enchâsser des genres (théâtre politique brechtien, escorté de musique d’opéra, elle-même hybridée de percussions modernes et de danse contemporaine amateur).
Ce projet témoigne de l’approche horizontale que Marinella Senatore adopte en général dans sa pratique et de sa volonté à faire dialoguer des professionnels expérimentés avec des amateurs nouvellement arrivés. Ce qu’elle suscite via les différents projets participatifs qu’elle met en place, pleine de l’énergie audacieuse qui est la sienne, c’est la création de lieux capables d’accueillir et d’activer la constitution d’un corps collectif. Ce qu’elle propose comme modalités de formation de ce corps ce sont des habilités partagées, le bricolage d’une forme commune, qui finit par s’ériger à force d’ambition, de sérieux et de soin qu’auront infuser ses participants.
Mathilde Villeneuve, Aubervilliers 2016
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Lors de la journée portes ouvertes du samedi 23 janvier 2016, L’école de Marinella Senatore a présenté son projet aux Laboratoires d’Aubervilliers. Le public, des voisins, des curieux ont été invités à venir partager et échanger des savoir-faire en proposant un enseignement de leur choix sous la forme d’un atelier, ou en s’inscrivant à celui organisé par un autre participant. Un atelier d’écriture à raison de trois rendez-vous hebdomadaires a imaginé l’événement artistique final qui regroupe une grande partie des participants. Le résultat, dont la composition musicale a été commandée par Marinella Senatore à Emiliano Branda, s’intitule MétallOpérette. Sa représentation publique est donnée aux Laboratoire d’Aubervilliers le samedi 26 mars 2016.
PARTICIPANTS
Ricardo Abdahllah Moamen Abdelsaid Lily Abichahine Martina Adinolfi Jasmine Aissaoui Alya Ait Abdesselam Anicia Ait Abdesselam Ingrid Amaro Violette Astier Camellia Attek Melinda Attek Brigitte Audeoud Cumba Ba Bac Anne-Marie Badja Christophe Barbosa Clarissa Baumann Cécile Becker Océane Belabed Nour Benmebrouk Lilia Benmokhtar Agata Bielecka Axel Borrel Luigi Borrelli Hayfa Bounif Nadjah Bounif Leticia Caianva Giulia Camin Manuela Centrone Elina Chared Rose Chaussavoine Silvia Circu Tanguy Colas des Francs Elisabeth Colombani Sophie Cosmades Geneviève Coudre Bernard Coulon Geoffroy D’Humieres Emma Dahan Lyna Debache Martine Debair Agnès Dufour Marie Deboissezon Marie-Christine Diguet Diana Drljacic Julien Dunoyer Phoebe-Lin Elnan Ryad Fagoul Jonathan Favorel Connie Figueira Emilie Figueira Nicolas Figueira Claire Fiquet Maria Fonzino Emmanuelle Frank Pauline Frémaux Cyril Garin-Davet Odette Gengo Julien Geyre Letizia Giannella Farida Gillot Laurent Gillot Rakia Gillot Zina Guerfi François Grandeau Lauren Granié Jérôme Groc Amira Harar Farah Harar Yasmine Harar Michèle Hènaux Antoine Hernoux Emmanuelle Hiron Juliette Hossenlopp Nathan Houdré Pascal Iglesias Charlotte Jankowski Fatima Jebbadi Kawtar Jebbadi Wissal Jebbadi Thierry Lachambre Clara Lagrange Elona Lamant Valentine Landreau Zélia Landreau Manuela Laurence Ambre Lavandier Clara Lefort Sébastien Legrain Nikola Levé Lycia Lhadj Mohand Giulia Lobba Giuseppe Loiacono Mélaine Loison Gwen-Aël Lynn Sabine Macher Pascale Maignan Sylvie Maillard Fabrice Maitre Marie Marin Prune Mateo Alessandro Mazzullo Rafaël Medeiros Marion Michot Siri Ounechay Philippe Pasquini Carla Pizzuto Jean Podalydes Lucie Polivet Patricia Quintana Giulia Ramires Elsa Rattoray Alicia Reaux Keith Regan Silvia Romanelli Éric Rouquette Natascha Rudolf Ryad Victor Saillard Margot Salles Jasmine Sebbar Marinella Senatore Sandrine Sésé Chine Seston Amaury Seval Jade Simao Anne Simondon Annapia Sogliani Ouidade Soussi-Chiadmi Stèphe Michèle Sully Caroline Surva Benjamin Torterat Chloé Tranchevent Antoine Vallé Caroline Vaurs Luca Wyss Zayen Catherine Zer Elmustapha Zerouali Ghania Zerrouk
From the école de Marinella Senatore to MétallOpérette
Italian artist Marinella Senatore began her residency at Les Laboratoires d’Aubervilliers by setting up a ‘school’ which she ran at Les Laboratoires for the entire month of February. It was a no-fees school, open to all, and was based on the participants’ proposals. The school set up an intensive schedule of workshops, with sessions held several days per week, exploring areas such as set design, camera work, Brazilian bracelets, music, make-up, Chinese calligraphy, singing and dance, pooling the know-how of its participants. For some it was an opportunity to create ways of passing on knowledge for the first time, and for others it was invitation to explore new areas or to learn new skills. In this way, the ‘school’ gradually began to occupy our artistic institution, pushing its walls back, stretching its opening hours, taking hold of its space to experiment with a alternative learning system in which emancipation, inclusion and self-training are key.
Like any participatory project, and in particular this one as the timeframe was so condensed, although the chaos it generates might be dizzying on an individual level, on a larger scale it has the potential to completely overturn values and relations of authority. Its very fragility is its basis. It is a resilient, wilful fragility, and all efforts need to be redoubled in order to preserve it and to avoid a retreat into the same old, ready-for-use fossilised forms of production. And if this fragility seems such an intrinsic part of the project it is above all because it is grounded in the promise of future human encounters and collective desires, in the desire to share something free of cost — a rare commodity in our times. It is because it stems from a subtle balance between ensuring adequate conditions that will let new types of relations emerge (and with them, a poetics) and a ‘frame’ which needs to be constantly adjusted as the project develops and made operative in order to encourage the formation of a group and to organise and support the group in realising its ambitions. The artist’s role is a complex one in such a configuration. The artist is very much actively involved in the sense that she has spearheaded a project meant to involve a group of people, but her presence is more delicate when it comes to working with and bringing together so many singular individuals, and the role becomes more effaced role when the artist hands over to the group the actual creation of the collective form.
The group project ultimately produced MétallOpérette, which was set to music with the help of a renowned Italian composer and performed on stage by the school’s participants accompanied by a few professional singers. Set against the history of the former ball-bearings factory that now houses Les Laboratoires d’Aubervilliers, the operetta stages various characters caught up in the social tensions of 1966/1967. Inscribed in the real history of the Malicet & Blin factory, MétallOperette draws on the social and cultural heritage and trade union history of Aubervilliers, as a symbol of an ongoing struggle that needs to be continued. The project’s ultimate form is a film, and the first public presentation is an invitation to attend its shooting. Marinella Senatore, who has a background in film, through her training and professional experience, likes to intertwine disciplines (theatre, dance, music) and mix genres (Brechtian political theatre, escorted by opera music, itself hybridised with modern percussion and amateur contemporary dance).
The project is testament to the type of horizontal approach that characterises the work of Marinella Senatore as a whole, and also to her desire to place experienced professionals in dialogue with newly arrived amateurs. Through the various participatory projects she sets up and the bold energy she brings to each project, she establishes spaces able to accommodate and activate the formation of a collective body. She invites participants to contribute to the formation of this collective body via the sharing of skills, piecing together, through bricolage, a common form, which ultimately comes together through the sheer force of ambition, dedication and care that the participants bring to the project.
Mathilde Villeneuve, Aubervilliers 2016
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During the open day, the 23rd January, L'école de Marinella Senatore introduced her project for Les Laboratoires d'Aubervilliers. The public, the neighbours and other interested persons were invited to come and share their know-how through one or several workshops or to participate in these workshops. A writing workshop took place 3 times per week and imagined the final event which involved most of the participants and the participant "teachers". The result is a show called MétallOpérette on the music composed by Emiliano Branda for this specific event. The public performance takes place at Les laboratoires d'Aubervillies Saturday 26th March 2016.
PARTICIPANTS
Ricardo Abdahllah Moamen Abdelsaid Lily Abichahine Martina Adinolfi Jasmine Aissaoui Alya Ait Abdesselam Anicia Ait Abdesselam Ingrid Amaro Violette Astier Camellia Attek Melinda Attek Brigitte Audeoud Cumba Ba Bac Anne-Marie Badja Christophe Barbosa Clarissa Baumann Cécile Becker Océane Belabed Nour Benmebrouk Lilia Benmokhtar Agata Bielecka Axel Borrel Luigi Borrelli Hayfa Bounif Nadjah Bounif Leticia Caianva Giulia Camin Manuela Centrone Elina Chared Rose Chaussavoine Silvia Circu Tanguy Colas des Francs Elisabeth Colombani Sophie Cosmades Geneviève Coudre Bernard Coulon Geoffroy D’Humieres Emma Dahan Lyna Debache Martine Debair Agnès Dufour Marie Deboissezon Marie-Christine Diguet Diana Drljacic Julien Dunoyer Phoebe-Lin Elnan Ryad Fagoul Jonathan Favorel Connie Figueira Emilie Figueira Nicolas Figueira Claire Fiquet Maria Fonzino Emmanuelle Frank Pauline Frémaux Cyril Garin-Davet Odette Gengo Julien Geyre Letizia Giannella Farida Gillot Laurent Gillot Rakia Gillot Zina Guerfi François Grandeau Lauren Granié Jérôme Groc Amira Harar Farah Harar Yasmine Harar Michèle Hènaux Antoine Hernoux Emmanuelle Hiron Juliette Hossenlopp Nathan Houdré Pascal Iglesias Charlotte Jankowski Fatima Jebbadi Kawtar Jebbadi Wissal Jebbadi Thierry Lachambre Clara Lagrange Elona Lamant Valentine Landreau Zélia Landreau Manuela Laurence Ambre Lavandier Clara Lefort Sébastien Legrain Nikola Levé Lycia Lhadj Mohand Giulia Lobba Giuseppe Loiacono Mélaine Loison Gwen-Aël Lynn Sabine Macher Pascale Maignan Sylvie Maillard Fabrice Maitre Marie Marin Prune Mateo Alessandro Mazzullo Rafaël Medeiros Marion Michot Siri Ounechay Philippe Pasquini Carla Pizzuto Jean Podalydes Lucie Polivet Patricia Quintana Giulia Ramires Elsa Rattoray Alicia Reaux Keith Regan Silvia Romanelli Éric Rouquette Natascha Rudolf Ryad Victor Saillard Margot Salles Jasmine Sebbar Marinella Senatore Sandrine Sésé Chine Seston Amaury Seval Jade Simao Anne Simondon Annapia Sogliani Ouidade Soussi-Chiadmi Stèphe Michèle Sully Caroline Surva Benjamin Torterat Chloé Tranchevent Antoine Vallé Caroline Vaurs Luca Wyss Zayen Catherine Zer Elmustapha Zerouali Ghania Zerrouk
« Prostitution: work, stigmatisation and salvation. Sex worker collectives against police practices »
The state makes a display of its pastoral work when it can dress its law enforcement practices up in the rhetoric of salvation. We know that voicing grievances and establishing identities based on victimhood have long been at the crux of the social State, grounding a real « politics of grievance ».
Yet it is not difficult to see why the prohibition of activities related to sex work can only lead to increased precarity, vulnerability and exposure to violence (including police violence) for sex workers themselves. And sex workers tell us that the penalisation of service “users” is the very wrong ‘right solution’ that leads to the self-same results. The situation is very similar to that of substance-use prohibition: politicians, the police, judges and healthcare professionals claim “it is for your own good” (although an increasing number are calling into question the well-foundedness of the claim), while simultaneously making substance-use increasingly precarious, risk-laden and ill-informed, fostering what can be disastrous forms of sociability.
The « good » in question here is tied to a logic that marginalises, pathologises and ultimately criminalises sex workers and substance users alike. It stems from the fear of envisaging alternative ways of relating to the body. As one sex worker put it: not everyone is cut out for prostitution, but some people experience it as an occupation that can be perfectly well integrated into their lives. If we establish rights for the practice of sex work we will be giving sex workers proper protection and also the possibility of choosing to stop doing sex work (as one prostitute humorously put it: by benefiting from career conversion programmes, for instance). And indeed, are there not self-run, cooperative brothels in New Zealand?
Likewise, if we open up the possibility of informed substance-use and enable peers to share information and experiences, we will consequently reduce risk. In such contexts, taking care entails, more than ever, taking care of the social and therefore collective conditions of a practice.
With the participation of Thierry Schaffauser, from the STRASS (French union of sex workers), Maxime Maes, founder of the UTSOPI collective, Belgian union of sex workers, and a spokesperson from the Roses d’Acier, a collective of mostly Chinese sex workers in Paris. We will also be joined by Fabrice Olivet of ASUD, (a self-support group for substance-users).
They are all engaged in opposing prohibition, a struggle that cannot be set apart from the sharing of singular experiences that speak to the limits of normalised ways of relating to the body, to exchanges between bodies, their affects and perceptions.
Depuis leur ouverture en 2001, Les Laboratoires d’Aubervilliers collectent des ouvrages afin de constituer un fond précis et particulier sur l’art contemporain. Attentifs au travail d’archivage autour des projets réalisés aux Laboratoires, ils créent une ressource précieuse, témoin de la création de projets artistiques dans le contexte contemporain international. La Bibliothèque des Laboratoires d’Aubervilliers est accessible aux horaires d’ouverture ou sur rendez-vous, le catalogue est consultable depuis le site.
La Bibliothèque des Laboratoires référence près de 3 000 ouvrages. Ressource documentaire et bibliographique en matière d’art contemporain, elle met à disposition pour consultation, et pour tous ceux qui le souhaitent, des éditions d’artistes, des catalogues d’expositions, des ouvrages théoriques, ainsi qu’un fonds en transformation permanente, alimenté au gré des projets portés par Les Laboratoires d’Aubervilliers. Plus qu’un fonds documentaire, il s’agit là d’un espace vivant qui se pose à la fois comme point d’appui pour les projets des artistes mais aussi comme archive pour le public des Laboratoires, trace des créations engagées et des processus de réflexion qui y ont pris leur source.
Les archives des projets : En parallèle de la constitution de son fonds, Les Laboratoires d’Aubervilliers ont également constitué une archive des projets développés depuis quelques années. Un poste de consultation sur place est à la disposition du public permettant l’accès au catalogue en ligne mais également aux archives des projets des Laboratoires depuis 2001. Richesse en terme de ressource professionnelle et de médiation, ces archives très particulières sont consultables uniquement sur rendez-vous.
Autant espace de travail pour les artistes, que lieu de rencontres publiques, Les Laboratoires d’Aubervilliers sont un lieu en mouvement. Aussi, et afin de s’assurer de la disponibilité de l’espace de travail et de consultation, il est préférable de réserver. La bibliothèque des Laboratoires d’Aubervilliers peut également accueillir des groupes de travail.
Consultation des ouvrages sur place Entrée libre / réservation conseillée 01 53 56 15 90 documentation@leslaboratoires.org Les Laboratoires d’Aubervilliers 41 rue Lecuyer / 93300 Aubervilliers www.leslaboratoires.org
Horaires d’ouvertures Consultation du fonds documentaire : du lundi au vendredi de 11h à 17h30 Consultation des archives des projets : uniquement sur rendez-vous
Fiches de convivialité pour une bibliothèque vivante
La bibliothèque des Laboratoires d’Aubervilliers est une archive vivante de l’histoire du lieu et des projets qui y ont été soutenus au fil des années. Elle constitue également une ressource potentielle, riche et variée, pour les artistes, les chercheurs et les visiteurs, en terme à la fois de matériau qu’il fournit et d’espace commun d’étude et d’échange qu’il promet.
Dans l’esprit de la contanimation - un élément important de notre projet de résidence common infra/ctions - nous souhaiterions proposer un moyen de prolonger l’activation de cet espace et favoriser des relations de convivialité parmi les usagers.
Si on analyse la manière dont les bibliothèques fonctionnent, distribuant des fiches individuelles à ses membres, leur permettant d’emprunter les livres (des volumes qui sont enregistrés dans les fichiers de la bibliothèque par l’indexation de fiches distinctes), les principaux termes d’un tel système semblent être individualisation, séparation et contrôle, s’appliquant aussi bien aux lecteurs qu’aux livres.
À l’inverse, nous aimerions suggérer un autre type de prêt et un système de cartes différent, celui des fiches de convivialité. Empruntant le terme au livre d’Ivan Illich, Tools for Conviviality, et inspirés par une expérience de médiation alternative d’une exposition proposée par Casco (Utrecht) à laquelle nous avons participé, l’idée de ces fiches de convivialité serait de rassembler une communauté de lecteurs ou de chercheurs dans un esprit de co-recherche et de co-production de savoirs (et de non-savoirs), tout en encourageant un échange, non seulement des livres mais aussi des expériences de lecture.
Les fiches de convivialité sont conversationnelles, partielles, expérientielles. Elles aident à dépasser l’artificielle séparation entre, d’une part le prêteur et l’emprunteur, et d’autre part, le lecteur individuel et les livres.
L’idée est que chaque livre de la bibliothèque acquiert une fiche lorsque quelqu’un demande à l’emprunter. En retour, l’emprunteur du livre s’engage à inscrire sur la fiche quelque chose en lien avec son expérience de lecture, qui sera laissé dans le livre et relayé par l’éventuel usager suivant. Afin d’aménager de multiples entrées, tout en restant liés les unes aux autres et compactes, les fiches consisteront en plusieurs pages pliées en accordéon.
Les commentaires ne seront préférablement pas de l’ordre du résumé (objectif) ou d’une critique (subjective) ou encore de l’évaluation. Ils s’appuieront davantage sur le désir de partager des aspects de l’expérience de lecture, les pensées et réflexions qu’elle a engendrées dans, plus largement, le contexte de vie du lecteur ou de la lectrice.
Ainsi les livres de la bibliothèque, au-delà de leurs contenus d’origine, contiendront des traces des vies et pensées des lecteurs ainsi que l’empreinte de la lecture elle-même. Puis, ponctuellement, ces mêmes lecteurs seront invités à se rassembler autour de repas, d’un DJ set, ou une improvisation musicale qui établiront une toile de fond afin de lire tout haut et collectivement les fiches de convivialité et les faire se rencontrer d’autres.
Les entrées stimuleront on l’espère des intérêts convergents vers un livre en particulier et généreront de nouvelles lectures, réponses et commentaires. Les personnes seront invitées à traverser l’expérience de lecture mystérieuse et habituellement solitaire, dorénavant accompagnés des voix d’autres lecteurs et lectures, et devenir eux-mêmes partie intégrante des livres qu’ils empruntent, comme les agents textuels d’une bibliothèque vivante.
Silvia Maglioni et Graeme Thomson, janvier 2016 common infra/ctions
The Laboratoires d’Aubervilliers library is a living archive of the centre’s operational history and the projects it has supported throughout the years. It also constitutes a potentially rich and varied resource for artists, researchers and visitors to the space, both in terms of the materials it provides and the common space of study and exchange it promises.
In the spirit of contanimation that is an important element of our residency project, common infra/ctions, we would like to propose a means for further activating this space and fostering relations of conviviality among its users.
Considering how public libraries function by distributing individual cards to their members which permit them to borrow books - volumes that are registered in the library’s files by means of separate index cards - we could say that the main terms of such a system are individualisation, separation and control, and that they are applied to both readers and books alike.
In contrast to this modality, we would like to suggest another mode of lending through a different card system, that of conviviality cards. Borrowing the term from Ivan Illich's seminal study Tools for Conviviality and inspired by an experience of alternative mediation of an exhibition proposed by Casco in which we participated, the idea of conviviality cards is to bring together a community of readers in a spirit of co-research and co-production of knowledge (and non-knowledge), one which would foster a responsive sharing, not only of books but also of the experiences they inform.
The conviviality card is conversational, partial, experiential, it takes us beyond the artificial separation between lender and borrower on the one hand and between individual readers and books on the other.
The idea is that each book in the library would acquire a card when someone asks to borrow it. At the same time, the borrower of the book would be requested to write something about their experience of reading it on the card, which would stay in the book and eventually pass on to the following user. So as to accommodate multiple entries, while remaining compact, each card would be folded as a set of concertinaed pages.
The commentaries would preferably not be of the nature of an (objective) summary or (subjective) review or evaluation. They would lean more towards the idea of sharing some aspect of the experience of reading the book as well as the thoughts and reflections it engenders in terms of the reader’s broader life context.
This way the volumes in the library, in addition to their official contents, would come to contain some small trace of their readers’ lives and thoughts, and of the imprint of reading itself. From time to time people could be invited to gather around a meal, a dj set, musicking activity or something of the like, providing a backdrop for them to read the conviviality cards aloud and share them with others.
The entries would hopefully stimulate interest in a given book and generate other readings, responses and commentaries. People would be invited to traverse the mysterious and usually solitary experience of reading, accompanied by the voices of other readers and readings and becoming themselves part of the books they borrow as textual agents of a living library.
Silvia Maglioni et Graeme Thomson, January 2016 common infra/ctions
In a small Lisbon theatre an organization calling itself 'The Nature Theatre of Oklahoma' which claims it can employ everybody recruits actors on the eve of a transatlantic voyage. But the reasons for this journey remain a mystery. What is the relation between the Oklahoma Theatre and the ship, with its regime of control, work and forced entertainment? And what are the signals that start to emerge from bodily gestures, voices, dreams, radio frequencies, charts, waves, hallucinations, trying to tell us? In the wake of Félix Guattari's Project for a Film by Kafka and in homage to Kafka's Amerika, DISAPPEAR ONE works a series of variations around the unfinished novel in the context of an imminent shipwreck, shifting the trajectory of Karl's journey towards Brazil and tracing its lines of disappearance in the depths of the South Atlantic.
The screening will be followed by a conversation with the filmmakers and other guests.
With the participation of : La Compagnie Théâtrale UEINZZ, Presque Ruines, Mollecular Organization Image : Graeme Thomson Additional Images : Silvia Maglioni Sound : Olivier Apprill, Silvia Maglioni, Graeme Thomson Script : Graeme Thomson, Silvia Maglioni, Violeta Salvatierra, Olivier Apprill, Carla Bottiglieri, Brent Waterhouse Editing : Silvia Maglioni, Graeme Thomson Musique et traitements sonores : Graeme Thomson Mix son : Thierry Delor (Auditorium Le Fresnoy) Avec la participation de : La Compagnie Théâtrale UEINZZ, Presque Ruines, Mollecular Organization Production : Olivier Marboeuf, Spectre Productions Co-production : Le Fresnoy Studio national d’arts contemporains, terminal beach
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This project was selected and supported by the patronage committee of FNAGP (Fondation Nationale des Arts Graphiques et Plastiques). The screening of the 2nd June is organized in partnership with Spectre Productions.
DISAPPEAR ONE un film de Silvia Maglioni et Graeme Thomson (HDV, mp4 et Super 8, 5.1 surround, 117’, 2015)
présenté et projeté dans le cadre du Printemps des Laboratoires #4 au cinéma d'art et d'essai Le Studio à Aubervilliers (2 Rue Edouard Poisson) le jeudi 2 juin 2016, à 20h
À Lisbonne, Le Théâtre de la Nature d’Oklahoma recrute des acteurs à la veille d’un voyage transatlantique, affirmant qu’il peut employer tout le monde. Mais les motivations de cette traversée restent mystérieuses. Quelles sont les relations entre le Théâtre et le bateau, avec son régime de contrôle, de travail et de divertissement ? Et que cherchent à nous dire les signes qui émergent des gestes, des rêves, des ondes radio, des cartes, des vagues, des hallucinations ? Dans le sillage de Projet pour un film de Kafka de Félix Guattari et en hommage à L’Amérique (ou Le disparu) de Kafka, Disappear One propose une série de variations autour du roman inachevé dans le contexte d'un naufrage imminent, en déplaçant la trajectoire du voyage vers le Brésil, dans les profondeurs de l’Atlantique Sud.
La projection sera suivie d'une conversation avec les réalisateurs et des invités.
Avec la participation de : La Compagnie Théâtrale UEINZZ, Presque Ruines, Mollecular Organization Image : Graeme Thomson Images supplémentaires : Silvia Maglioni Son : Olivier Apprill, Silvia Maglioni, Graeme Thomson Scénario : Graeme Thomson, Silvia Maglioni, Violeta Salvatierra, Olivier Apprill, Carla Bottiglieri, Brent Waterhouse Montage : Silvia Maglioni, Graeme Thomson Musique et traitements sonores : Graeme Thomson Mix son : Thierry Delor (Auditorium Le Fresnoy) Avec la participation de : La Compagnie Théâtrale UEINZZ, Presque Ruines, Mollecular Organization Production : Olivier Marboeuf, Spectre Productions Co-production : Le Fresnoy Studio national d’arts contemporains, terminal beach
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Ce projet a été sélectionné par la commission mécénat de la Fondation Nationale des Arts Graphiques et Plastiques qui lui a apporté son soutien. La projection organisée le 2 juin est réalisée en partenariat avec Spectre Productions.
Mathilde Villeneuve and Graeme Thomson and Silvia Maglioni
Mathilde Villeneuve : Common infra/ctions, your residence at the Laboratoires d’Aubervilliers, began in November 2015. It includes numerous lines of research that take several different forms, rhythms and tempos and that circulate through different languages that may be sonic, visual or textual but all of which tend towards the space of the infra. What does this notion of the infra refer to in your practice and how does it come about? In what way and in relation to what does it position itself? Is it a matter of unstable forms (whether inoperative, non-communicational or anti-spectacular) that can reconfigure themselves, mutate, shift?
Graeme Thomson : The most common use of infra- is in the word infrastructure for which we find the following definitions: the underlying foundations or basic framework of a system or organization; the ensemble of physical components of interrelated systems providing commodities and services essential to enable, sustain, or enhance societal living conditions. Which is to say that the infra is normally caught up in a movement designed to maintain or enhance the reproduction of the larger structures which it subtends.
But we can reverse this direction of travel and move towards the infra (that which is below or beyond) as a way of gaining distance or even detaching ourselves from these kinds of structures and their effects, while at the same time opening up (or we could say unfolding and spreading out) the territory of the « infra » itself so it can be experienced, thought and perhaps, in some obscure sense, dwelt upon. Always being "below" a given level of measure, the « infra » is tendentially that which resists or is incommensurable with measure, but we could go further and say that it’s incommensurable with structure, so finally to talk about infrastructure is a bit oxymoronic. The infra is precisely the place where structure is most open to being undermined and decomposed.
Duchamp speculated on what he called the infra-mince as a zone of the possible, a poetic space of indeterminacy, and he provided a number of interesting examples of what he had in mind (such as "bearer of shadows") but he didn’t go so far as to posit the political dimension of the infra as a space of resistance to structure and objectivisation in a larger sense. Perhaps because this is the kind of dangerous move that risks plunging us back into the macro categories and clunky linguistic oppositions we were trying to get away from. So rather than saying that the infra is political it might be better to consider the ways in which a politics can function on the level of the infra.
Silvia Maglioni : One of my favourite examples listed by Duchamp to explain the infra-mince is “la chaleur d’un siège (qui vient d’être quitté)”. There is something poetic about trying to visualise the image of a temperature of abandonment. But what is even more fascinating is the idea of investing an abandoned or discarded object, in this case a chair, with the power of the possible.
To push the abandoned chair, which is momentarily bereft of its function, a little bit further, we can go back to the phenomenology of the broken tool, which Agamben takes up in his notion of inoperosità. What emerges in the experience (both physical and linguistic) of the broken tool are objects that are freed from their subsumption to “normal” use, a kind of hiatus in which habits and functionality undergo some kind of disturbance, opening up a different horizon. For a recent exhibition in Zurich, “Shipwreck Study Notes”, we found a wrecked piano on e-bay, a kind of Odradekish creature where all that was left were the half-dislodged keys and wooden hammers which made a dull, almost inaudible sound when pressed, and which concertinaed in a kind of wave when you ran your fingers over them. Seemingly unusable, abandoned on the gallery floor, the invalid keyboard found a new mode of being when we organised a musicking improv event and several people tried to “play” it, discovering an unavowable potential and a secret music in the mute keys and in their own gestures.
Obviously, as filmmakers, Duchamp’s chair might also make us think of abandoned cinema seats (whether during or after a screening), and the memory of the images that the heat can carry…
The long-term project we conceived around Félix Guattari’s unmade sci-fi screenplay and especially its central character UIQ, the Infra-quark Universe (an infinitely small and above all formless alien entity) has led us to consider the « infra » in terms of developing a method, a way of working that through a number of parallel lines of research is now beginning to produce the kind of tools and forms that it needs in order to propagate. Our residency at the Laboratoires d’Aubervilliers gives us the chance to develop a number of forms and ideas that were already beginning to emerge from the UIQ research. It also allows us to experiment with or fabulate possible scenarios and temporalities in which they can be shared with other people – but it’s important that these should be attuned to the infra quality of the forms in question, to the specificity of their rhythms and materials.
Graeme Thomson : Another thing that interests us about this infra-dimension is its relation to the concept of unworking or worklessness (désœuvrement), which we have been exploring through a series of works or projects that are somehow engaged in their own unmaking. Unmaking the object as a way of undoing the subject (and the structural categories by which individualized subjects are recognized and evaluated as such, e.g. work, identity, productivity). This can happen both within (in) and between (fra) different pieces (which therefore might also be considered components) of an emerging infrasphere, just as it might affect not only the nodes but also the relational interstices of an intersubjective network.
With common infra/ctions we want to go on inhabiting this threshold space between such terms as work and worklessness, making and unmaking, perception and the imperceptible, property and use.
We also want to place the infra in relation to the notion of infraction (the breaking of rules, codes or even laws). Even if it sounds a bit paradoxical, we’d like to consider the notion of the infra/ction as another kind of breakage, like a hairline crack that might inexorably undermine a given structure but without drawing too much attention to itself until a fundamental change has already occurred. For us this equally involves rethinking and remapping the timescale of what might happen or fail to happen in the process. That’s why we are also starting to think more in terms of distance and proximity, two extremely complex notions which relate to both space and time, and the rapport between what is measurable and what turns towards the immeasurable, the infra-dimension. How close or how far something is can only partly be measured in quantitative terms.
Mathilde Villeneuve : On February 16, 2016 you held a public event at the Labos, the first session of a Nocturnal Committee lasting 90 minutes, (while the second, due to be held in July, will continue on through the night), that was articulated in two movements: a collective reading of a tarot pack that you produced (with each card bearing a still image from a film taken from your expansive movie collection) followed by a montage of sequences assembled from existing films and accompanied by a live sound-mix performed by Graeme.
Silvia Maglioni : This was actually the second time we called a gathering of the Nocturnal Committee. The first occasion was in London, at the Royal College of Art, as part of last year’s Curating Contemporary Art Exhibition. The title we gave to this first gathering was “Ora Serrata: recovered fragments of an unbearable body”. The context of the show was a dystopian narrative that imagined a time (2125) when material resources had become scarce and all ‘wasteful activities’ had long been banned and even forgotten, art and cinema included. “Echo Chamber”, the theatrical set of the exhibition, was intended as a kind of bunker where art could surreptitiously continue to exist, without leaking into the outside world. The London Nocturnal Committee met in the dead of night to watch and discuss amnesiac film fragments that had supposedly seeped through the cracks of the storage cull. Unaware of how this material had been acquired, or when, or where it derived from, the aim of the Committee was to explore what the images may have meant to those who produced them as well as to consider their possible uses.
Although the film sequences that drifted through the night on two screens created a very charged atmosphere, our aim of generating a lucid yet hypnagogic state of viewership was only partially achieved.
Silvia Maglioni and Graeme Thomson, Nocturnal Committee Session 24 - Ora Serrata: Recovered Fragments of an Unbearable Body, Curating Contemporary Art Exhibition 2015, Royal College of Art London, photo courtesy Sofia Akram
The Latin expression “ora serrata” (the title we gave to our gathering) refers to a part of the eye that marks the boundary between the retina and the ciliary body, where vision borders on unseeing. We consider the ora serrata zone a kind of threshold space where film sequences can seep into our collective unconscious at once seen and unseen, visible and invisible, in a state between sleep and waking. So some of the ideas of what became the Dark Matter Cinema project were already in place, but what we were missing was a tool that would enable the Committee to describe and talk about the images and related experiences in a more visionary way, in a different tempo.
Mathilde Villeneuve : For the first part of the evening, you were both seated at a round table covered in a red cloth (the scene was simultaneously projected onto a big screen behind you so it could be viewed by the surrounding public). You then invited a person to join you and pose a question while drawing cards from the shuffled pack and then to interpret the resulting fall of the cards along with you and the audience. In this way the tarot became an excellent support for collective fabulation, a tool for transforming familiar structures of conversation which were derouted by the images the tarot revealed. What exactly were you looking for by convoking the tradition of the Marseille tarot, while in part hacking its codes?
Silvia Maglioni and Graeme Thomson with Flavie Pinatel, Dark Matter Cinema - Nocturnal Committee #1, Les Laboratoires d'Aubervilliers, film still courtesy the artists
Graeme Thomson : Our interest in tarot goes back to when we were in Los Angeles researching and filming what would become the second movement of In Search of UIQ, “Distant Encounters”. There was a scene we improvised near Venice Beach when Silvia decided to ask a tarot reader to read the cards for Guattari’s unmade film and the Infra-quark Universe, a request that threw the woman into some confusion, since her normal practice was to relate the reading directly to the person in front of her. The limitations of her approach got us thinking about the narrative rapport between tarot and mainstream cinema and also its relation to montage.
Connections between the cards laid out in the sequence have to be interpreted across the gaps between them, but at the same time we know that the reader bridges those gaps by relying on a set of tried and trusted formulae that she can vary slightly according to each individual case. The narrative arc she describes follows almost exactly the classic three-act screenplay structure of situation, conflict, resolution. As if achieving goals, overcoming obstacles or finding solutions were the only things anyone could be interested in or driven by.
And then there is the second problem. It’s all about you. You’re not supposed to request a reading for someone else, or that concerns more than yourself, your own desires, your fears, plans, hopes etc. Isn’t this similar to the ideological interpellation strategies of mainstream cinema which coax the viewer to project his or her desire onto an individual protagonist, or whose desires are in any case individualised through that particular kind of narrative grid – rooting for the hero, hoping the heroine finds love etc., a grid that will apply equally to non-human entities like Spielberg’s ET or Guattari’s UIQ?
Silvia Maglioni : Yes. So what if you want to ask about something concerning a collective or some other kind of non-individualized or even non-human entity – which could be a political situation, a philosophical dilemma or, as in our case, the fate of a film that was never made, of a Universe that remained undisclosed?
As one of the voices-off (or, rather, OUT) says somewhere in our film: “Visiting a cartomancer wasn’t in the script. But who else would know about the future, what lay in the cards and in the dark, unaccounted for spaces between stars. A theory of montage? Or a script in the making, endlessly rehashed from old storylines, stock figures. Odd how the stars look down to earth on one soul at a time, each destiny as unique as it is wearyingly familiar. And where finally is the future in all this, the catastrophe in which we all have a share?”
Graeme Thomson : It was only a couple of years later, when we were invited to perform Underwritten by Shadows Still and to propose a workshop for Alejandro Jodorowsky exhibition at CAPC Bordeaux, that we went back to looking at the tarot. Jodorowsky’s interest in the subject and his involvement in the restoration of the Marseille tarot made us think again about its links with cinema, to the point where we began to wonder if cinema images themselves could be made to function like tarot cards.
As a collective experiment, during our workshop on Dark Matter Cinema we began looking at film stills that we had chosen together with a number of curators who had taken part in a round-table discussion the previous day. In turn, someone from the public would ask a question and select a random sequence from the file of jpegs projected on a screen, which was then opened to the audience’s interpretation. Though some of what was said was quite interesting, the experiment didn’t really work for a number of reasons. The first was cinephilia, as a lot of people were trying to identify the films the stills came from and reinsert them in their original narrative context. The second was that many of the images (culled from hasty google searches) lacked singularity. The third was that we were missing a proper ritual in which to set the readings.
So for common infra/ctions we decided to create an actual pack of cards, and to subject the choice of images to more rigorous scrutiny. It was Barthes’ notion of the punctum that became the guiding principle for the Dark Matter Cinema Tarot, the anomalous detail in the image that is like an enigmatic hole in its informational surface that inexplicably pricks the subject and awakens their desire.
Silvia Maglioni and Graeme Thomson, Dark Matter Cinema Tarot XX, courtesy the artists
Furthermore, we set ourselves two objectives: the first was to find a use for cinema images that could be politically “therapeutic” (in resonance with some of the claims Jodorowski makes for the tarot) and to do so in a way that people could engage with collectively. In this sense the tarot project also marks the continuation of our interest in creating devices to foster group fabulation and discursive conviviality, devices that through a kind of fictional or descriptive refraction can displace us from rigid, molar subject positions (I think... in my opinion... according to me...), what we already believe to be the case, that can block or atrophy discussion. The second was to rethink how the tarot itself could function by changing its structure and figural symbolism, using cinema – an art of masses and multiplicities – to abolish the hierarchy between Major and Minor Arcana, replacing all the cards with film stills whose components, as Guattari remarked of cinema in general, resist semiotic hierarchisation.
Silvia Maglioni : Which brings us back to another characteristic of the infra: it’s on the side of the minor, and this is important for the lines of our research connected to language and its unlearning. In choosing and numbering (through a somewhat labyrinthine numerological procedure) the film stills for our cards, we decided that all the cards were minor but with major powers, in a way that could infract upon the imaginary of daily life and the questions it poses. For us cinema is precisely this, the site of the emergence of a minor image that, in terms of the Tarot, invests the more mundane aspects of the Minor Arcana with the enigmatic symbolic force of the Major.
Removed from their narrative contexts, these frozen instants of cinema begin to function autonomously and with each fall of the cards they enter into new constellations, correspondences, dichotomies and alliances that the Nocturnal Committee reveal, guided by the question that has been posed. Partly we’re trying to resuscitate the oral traditions of campfire storytelling. But do the words lead or follow the sleepwalking images through the folds of time?
We don’t consider the DMC Tarot a post-cinema device, it’s more like a quantic, parallel life of the still moving image. We continue to make films and we love going to the movies, there’s nothing more exciting than seeing a great film in total darkness on a screen that absorbs you to the point of partial aphanasis of your subject position. Perhaps depriving a film of its aura and giving it over to common “use” is a kind of profanation. But, as Agamben says, profanation through use can be a way of restoring the sacred, vital dimension of our relation to things that tends to be lost through banal consumption, a way of retrieving some of the image’s original magic and mystery, which seems to me like going back to early cinema somehow.
Graeme Thomson : And yet this “use” we've made of cinema is somewhat paradoxical. On the one hand we were able to do it thanks to the way films, stripped of their ritual, quasi-religious element, can now be viewed again and again on laptop screens, edited, manipulated, cut up and restitched using basic software. On the other it borrows a ritual taken from another sphere, that of cartomancy, to re-inject this element of belief in the divinatory power of cinema. And this ritual element of the tarot is extremely important, the way you cut, shuffle, lay out the cards, the time you take in selecting them. It is as Pascal says that one should act as if one already believes – participate in the ritual – and belief – or the affect of belief – will come by itself.
Mathilde Villeneuve : Like any collective practice, it depends on several variables that can’t be fully mastered. In the case of the DMC seance, the nature of the questions posed, the fall of the cards, and the ensuing responses and imaginings of the audience. One felt the fragility of the experience on account of this expectation that it should be the Committee as a whole who take charge of the proceedings.
Which is exactly what happened. Amazingly, the public felt authorized to propose its own readings. The first question regarded the possible continuation or end of the ongoing state of emergency – an urgent political question, while you were afraid that the questions posed might on the contrary be of a too personal or intimate nature. Perhaps a proof of the device’s effectiveness?
Another sign of the success of the evening for me was the quality of attention that the first part (the tarot reading) was able to carry over into the second: there seemed to be a multiplicity of lines connecting the cards that were laid out with the film extracts that followed, numerous associations between the proposed readings and the movement of the montage. I recall distinct echoes between the desert crossings and the question about migrants (the second posed to the tarot), or the fragmented spaces (partial bodies, mirror doubles, appearances in train windows etc)...
I felt that by creating the conditions for what we might call "a vertigo" you managed to open up a much wider field of meanings, leaving us to weave invisible relations even if these couldn’t be expressed. We were henceforth able to note resemblances between words and things, handholds of sense and form. One found oneself in a situation beyond the usual dichotomies of belief and rational thought, in a space that opened and swelled the imagination, refining perception and softening attention, making it more supple. Is this what you mean by having “visions”? Do these delicate states of consciousness, between abandonment and acuity, lead to an emergence of new languages?
Silvia Maglioni and Graeme Thomson, "Dark Matter Cinema - Nocturnal Committee #1", Les Laboratoires d'Aubervilliers, video capture courtesy the artists
Graeme Thomson : Our society seems to have little place for visions, and even less for the sharing of them. Having visions, like hearing voices, is normally viewed as sign of a pathology, a neurodegenerative disorder, something to keep under your hat. The outlets for the transmission and sharing of visionary experiences are extremely limited and circumscribed. You might recount a particularly troubling dream to a psychoanalyst or a close friend who will try to make sense of it or if you happen to be an artist you might try to channel a vision into a work, which then risks being transformed through mediation, exegesis and legal bureaucratic procedure into a harmless, well-defined object. One of our current interests is to create the conditions and actual devices (much in the spirit of Ivan Illich’s tools for conviviality) for the sharing, circulation and use of visions, almost in terms of a benign or even salutary contagion.
This again came out of working on Guattari’s unmade science-fiction movie, Un amour d’UIQ. Just as the screenplay had affected us first of all as a cinema of the brain, a movie to be screened in a mental projection room, we wondered how it might contaminate others who came into contact with it and how they could in turn affect one another with the visions the script provoked in them.
Why did we focus so much attention on this particular film when there are thousands of unmade scripts that routinely vanish into the oblivion of the writer’s despair or the producers’ slush pile? Perhaps because, being the story of the advent of a universe (the Infra-quark Universe), this film touched upon a vital but often ignored cinematic question: that any film worth the name should create its own universe, with its own laws and secrets, its own relation of forces. The films we love and remember are like living entities, or countries we can visit, always being sure of finding something we hadn’t yet seen or understood. In this sense they are like universes.
So Guattari’s film gave us the opportunity to experiment with another type of collective conversation, one based not on knowledge (which tends to quickly become a vector of power and division) but on unknowing, vision, speculation, and not only about the film but also the universe it promised to disclose. We called these conversations around Guattari’s unmade film “seeances”, with a nod to spiritism as a possible ingredient of the primordial cultural soup from which cinema and the belief in cinema emerged, but with the difference that here the medium receiving the visions should not be one person but the whole group. You could say this collective dimension is in a sense already present in the spiritist seance, through various rituals designed to inculcate a kind of group energy and belief (the holding of hands around the table etc.) but there it is channelled towards and through the figure of the medium who functions as a kind of membrane with the beyond, a transcendental gatekeeper.
What we want to do is partly to break the hold of the medium as a figure or relay of spectacular identification and transform the transcendental horizon into a porous social field of immanent desire. The very fragility of visions that have no support in knowledge can produce a situation where the participants help each other to build upon what they think they are seeing, it’s like a basis for a kind of coming community that functions through a constructivism of the present moment (visions as sign and body of a film we are already seeing, or beginning to see) that is at the same time projected towards the future.
Silvia Maglioni : Somehow we already thought of UIQ as a kind of cinematic dark matter. Partly because of the way Guattari was himself responding to the movies of the period (the 1980s) in his script. A bit like a guy who takes a look at a machine and figures out a way to make it run better, to “cure” it almost, or perhaps to perform a completely different task from the one it was intended for. But his film was never made. We all do this to some extent. Isolate a single great idea in a movie, ask ourselves how it could have been developed differently, or invent a parallel universe where an alternative scenario could take place or continue.
While with Un Amour d’UIQ our main focus was the unmade side of the dark matter of cinema, with the Tarot we have extended our research across its whole history, it’s no longer simply a question of trying to see the life of an unmade film but of grasping undisclosed possibilities in existing films, trying to uncover the quantic virtual dimension that inhabits and protends from a single photogram. But just as happens with other divinatory Tarots, the question one poses to the DMC cards (and therefore to the cinema stills) and the “sequence” in which they appear (which produces a kind of montage) can radically alter their meaning and effect. Wrenched from their narrative histories by the play of chance and fatality, the smallest details seem to gleam with the aura of a secret knowledge.
The montage we made for the second part of the evening started from a principle that we more or less established for common infra/ctions as a whole, the alternation between contraction and expansion. Here we expanded the idea of the table where the cards fell to the screen as an editing table where entire sequences (rather than stills) would appear and disappear, merge, or fade in and out of each other in a hypnagogic rhythm approaching a kind of sleepwalking, or better sleepwatching, inviting the Nocturnal Committee to inhabit absences and holes in images that for us manifest regions of this cinematic dark matter and unfold the planes of its inner space and time. I think the echoes and connections that you mention were largely an effect of the collective visionary power of the Nocturnal Committee.
Graeme Thomson : I think we saw an interesting mix of registers that night. The overtly political nature of the opening question created a lively discussion but I felt it was of secondary importance to the way the question was refracted by the cards and the responses of the assembled Committee to the images. A personal question could have been just as interesting. The important thing is what happens to it in this process of refraction, what hidden facets and possibilities are revealed by and within the cards. Seemingly individual concerns already imply a dimension of collective enunciation in the same way that a political situation that is of concern to all can affect the most intimate corners of our existence.
What was interesting to me was the fact that the more one looked at the images and considered the different vectors of form and meaning that connected them by the way the cards fell, the more they seemed to broaden the Nocturnal Committee’s response to the initial question into a complex cartography. As a result the lines the conversation pursued became much more supple than one might have expected with such a charged and emotive topic. And this no doubt also fed into the way people responded to the moving-image montage that followed.
Mathilde Villeneuve : It seems that your rapport with cinema combines an enormous knowledge of its history with an attempt to expand or explode its format. What exactly is this thing you call Dark Matter Cinema that forms a considerable part of your current research?
Graeme Thomson : By the arrangement of these three words, we don’t simply mean the dark matter of cinema nor do we refer to a particular type of cinema that could be labelled as dark matter-like. We want to consider cinema as a whole in terms of dark matter – or as a dark matter– to look both at cinema’s relation to the invisible and at what remains invisible in it, which we could also call its infra-dimension.
As Silvia said, the Dark Matter Cinema idea was already present in the UIQ project but it only really began to come to the fore in the Nocturnal Committee, a gathering of people who would meet in an undefined space between sleep and waking states, functioning like a collective organism or body that might provide space and time for an exhaustion that Jean Luc Nancy calls “the fall of sleep” (tombe de sommeil) while keeping vigil over its own possibility of sleeping. Which is to say that the Nocturnal Committee would foster a circulation of sleep of a particular kind, the sleep we would say that is one of the properties or improprieties of cinema, or perhaps of cinema in its quantum state, between crystallizations.
What cinema bears as its internal limit is a kind of vertigo, a desire to fall into the image that comes with the risk of completely losing awareness and with it the image itself, which falls into the sleeper’s loss. Like the Greek god Hypnos, the film (the camera, the mise en scène) keeps vigil over the particular sleep it induces, but ideally it itself moves in a zone of indistinction between active and passive states (a passage that passes). But there is a threshold or membrane of interchange where the two are held in a kind of suspension, which is a very interesting place to be as long as it lasts (the last place to be before sleep temporarily loses the place and plunges us with it into an indistinction of being and non-being). It’s like standing at the very edge of the cliff of openness or receptivity to a disclosure of possibilities that an image contains, denuded of its narrative filmic identity, perhaps like a return to an infant state of non-hierarchised sensorial proto-consciousness. So within the Nocturnal committee you would ideally have different degrees of sleep and vigil interacting in a reciprocal awareness and weariness.
Mathilde Villeneuve : To be a bit more specific about the materials of the research, could you describe the paths you have taken through your film library? What guided the choice of this or that still for the tarot pack, or of a given sequence for the montage? And how was the montage related to the accompanying sounds?
Graeme Thomson : As we said, one of our guiding principles was the question of finding cinematic puncta in films we loved and knew or thought we knew, and that in their mysterious ways may have influenced our own filmmaking trajectory, a still image or a sequence that somehow exceeds the film’s narrative frame and that at the same time can be considered an “any-image-whatever”, a pure singularity caught in the play between contingency and fatality. Such instants are like glimpses of this infra-cinema we call Dark Matter Cinema, the invisible component of the visible, what we don’t see in what we see or the unthought of what we think we see.
We are fascinated by this potential in cinema, what is memorably designated by the name of the hotel in The Shining, the Overlook. Cinema is always a question of this double sense of "overlooking", of seeing too much or seeing too little, failing to see, and usually both at the same time. Then there is also a tendency we have to view films not discreetly but as linked constellations or like rooms of a haunted house (like James’s House of Fiction) that are connected by hidden doors and secret passageways. Likewise, the sound mix I made for the DMC night was conceived as a shifting continuum where the individual pieces lose their identity at the borders where they overlap and modulate each other. Working on the radio, DJ-ing, even when playing music at home, several pieces together in different rooms, I’ve always been drawn to these sonic interzones and the amazing harmonic textures you can get from them sometimes, things you would never find in a single composition, however layered. The combinatorial possibilities of this interstitial infra-music seem endless.
Mathilde Villeneuve : I’d also like you to speak about the collective aspect of your practice. You work a lot on your own, as a duo, and your research feeds off numerous cultural objects (texts, films, music) while at the same time creating the conditions in which it can be shared, as it's clear from many of the lines of the common infra/ctions project: Temps donnés, Conviviality Cards, Dark Matter Cinema, the Centre for Language Unlearning... I would say that this becoming-collective is at the foundation of the openly political dimension of your work. Would you say that migration of forms and contagion constitute for you ways of being together as does a language that forges itself in its unmaking and proceeds by contamination?
Silvia Maglioni : It’s a pretty accurate description… For us the question is how to propose ways of being together through these devices that manage to create a real alternative to much post-relational or participatory art, those “artificial hells” with their order words (Community, Democracy, Participation!) that can be extremely problematic. In this sense we find Suely Rolnik’s reflections on Lygia Clark and the importance of contaminating the institution with generous doses of subtle poetic force (continuing Guattari’s radical legacy of schizoanalysis) an antidote to the increasing populism of a lot of art and cultural programming. Again, we go back to the broken object, a minor art that in its stuttering, would hopefully produce new proto-subjectivities through dissent and the invention of forms and devices of withdrawal and revocation.
There is no already constituted community. If there is an affirmation of some idea of community it’s more of the order of the community without community, a community without a shared language or binding code, full of gaps and distances, a coming community of the always already excluded, sharing their failure or refusal to adapt themselves to the models that are offered for their participative consumption. If we take this notion of a community of singularities, of belonging without identity, it demands working paradoxically from the notion of the impossibility of collectivity and poses the question of its unrepresentability since it can only present itself on occasion. That’s why it’s important to create a shift in the conditions of being together. We need environments where people would begin to feel the space and each other’s presence differently, resulting in changes of tone of voice, cadence, rhythm of speech, perception of time as well as the admission of silence and the co-presence of a non-discursive semiotic polyvocality. A shift in the atmosphere, though it’s hard to say exactly what it might consist in.
Graeme Thomson : And here the question of rhythm is particularly important, forging the conditions for a sympathetic idiorhythmy. Silence is extremely interesting from this perspective. The possibility of being together in silence. It only seems to happen when there is a common focus of attention or ritual element (a spectacle, group meditation, a minute’s official silence on occasions of national mourning). Rather than conceiving the possibility of silence between people as a potential timespace of variable intensities that creates openings for different kinds of infra-ruptions or infra-ferences. An unlearning of one’s habitual responses to a given intersubjective field.
Les écrivains Sonia Chiambretto et Yoann Thommerel se posent beaucoup de question sur tout. En résidence aux Laboratoires d’Aubervilliers de janvier à juin 2016, ils proposent aux habitants d’Aubervilliers de les rejoindre pour des ateliers d’écriture de questions.
Ces rendez-vous sont ouverts à tous, sans obligation d’assister à chacun d’entre eux. Les deux premiers sont fixés au lundi 18 janvier et au lundi 25 janvier, de 19h à 21h. Les prochaines dates seront communiquées sur le site des Laboratoires d'Aubervilliers.
« Qu’est-ce que tu as mangé hier soir ? »
« Comment tu fais pour avoir les cheveux lisses ? »
« C’est quoi ton endroit préféré à Aubervilliers ? »
Les écrivains Sonia Chiambretto et Yoann Thommerel se posent beaucoup de question sur tout. En résidence aux Laboratoires d’Aubervilliers de janvier à juin 2016, ils proposent aux habitants d’Aubervilliers de les rejoindre pour des ateliers d’écriture de questions.
Ces rendez-vous sont ouverts à tous, sans obligation d’assister à chacun d’entre eux. Les deux premiers sont fixés au lundi 18 janvier et au lundi 25 janvier, de 19h à 21h. Les prochaines dates seront communiquées sur le site des Laboratoires d'Aubervilliers.
« Qu’est-ce que tu as mangé hier soir ? »
« Comment tu fais pour avoir les cheveux lisses ? »
« C’est quoi ton endroit préféré à Aubervilliers ? »
Les écrivains Sonia Chiambretto et Yoann Thommerel se posent beaucoup de question sur tout. En résidence aux Laboratoires d’Aubervilliers de janvier à juin 2016, ils proposent aux habitants d’Aubervilliers de les rejoindre pour des ateliers d’écriture de questions.
Ces rendez-vous sont ouverts à tous, sans obligation d’assister à chacun d’entre eux. Les deux premiers sont fixés au lundi 18 janvier et au lundi 25 janvier, de 19h à 21h. Les prochaines dates seront communiquées sur le site des Laboratoires d'Aubervilliers.
« Qu’est-ce que tu as mangé hier soir ? »
« Comment tu fais pour avoir les cheveux lisses ? »
« C’est quoi ton endroit préféré à Aubervilliers ? »
Les écrivains Sonia Chiambretto et Yoann Thommerel se posent beaucoup de question sur tout. En résidence aux Laboratoires d’Aubervilliers de janvier à juin 2016, ils proposent aux habitants d’Aubervilliers de les rejoindre pour des ateliers d’écriture de questions.
Ces rendez-vous sont ouverts à tous, sans obligation d’assister à chacun d’entre eux. Les deux premiers sont fixés au lundi 18 janvier et au lundi 25 janvier, de 19h à 21h. Les prochaines dates seront communiquées sur le site des Laboratoires d'Aubervilliers.
« Qu’est-ce que tu as mangé hier soir ? »
« Comment tu fais pour avoir les cheveux lisses ? »
« C’est quoi ton endroit préféré à Aubervilliers ? »
