RÉ-AMARRAGE – XENO-EXPOSITION / Retour de résidences

In residency at Fondation Fiminco for Adrien Degioanni, at the Cité internationale des arts for Harold Lechien, Nadia Guerroui, Orso Caël and for Céline Cuvelier in partnership with the association Françoise pour l’oeuvre contemporaine en société, known as Françoise, at the Péniche Pop for Cléo Totti, within Maison Hermès for Priscilla Beccari, and at Centre Wallonie-Bruxelles|Paris for Simon Mahungu in synergy with Musée du Quai Branly – Jacques Chirac and BnF - Bibliothèque nationale de France and CREM -CNRS.

They take over the gallery space as an ephemeral laboratory mediating their research.

While some of these residencies have led to the production of "stabilized" works to be discovered in our gallery, others have enabled those who took part to engage in research work whose stakes are yet to be discovered.

The recent works of Adrien Degioanni plunge us alternately into a sensitive and sonic experience of silence and anonymous voices, in the footsteps of comet 67P/Churyumov-Gerasimenko and in the face of the artist's latest sculptural research undertaken during his residency at Fondation Fiminco.

The exploration of fertile intersections between art and science is also at the heart of Nadia Guerroui's approach, whose installation resonating with quantum physics echoes research on invisible forces and the structure of the universe.

Céline Cuvelier and Cléo Totti explore societal and environmental issues.

Céline Cuvelier evokes the unthought aspect of infanticide in a set of watercolors that questions how society addresses these human tragedies. She also examines, in one of her new sculptures, the harshness of juvenile prison conditions and an inadequate response from society.

Cléo Totti, for her part, gives voice back to materials and plants, inviting us to envision the Earth as a common good in a monumental installation that plunges us into a fictional and sound landscape.

Harold Lechien recomposes forgotten family archives through a series of paintings, whose digital montages highlight the visual saturation caused by intensive internet use and the resulting malaise.

Domestic space and the body take center stage with Priscilla Beccari through the presentation of a mysteriously agentic and anthropomorphic piece of furniture containing drawings that question the female condition, power dynamics, social assignments, and the role of the body in private space.

As for Simon Mahungu's installation, developed during his residency at Centre Wallonie-Bruxelles|Paris, it was the first step in creating broader research-creation work dedicated to circulating and reactivating sound archives between Europe and the Democratic Republic of the Congo.