Port-Miou, this immense "interstice" more or less abandoned to nature where people pass through rather than stop to appreciate, has the potential to let us imagine a symbiosis between human and nature, offering an experience as opposed to a simple entry point. A thread that reinterprets our relationship with nature.
Certain boundaries are passed more obviously than others: the end of the tarmac, that of the marked track… but the thread serves to link past, present and future, creating a bridge between the users of the park to the biodiversity and landscape. Port-Miou could be landscaped with the help of residents, researchers and park users to offer a complete "summary" of all the calanques: large open spaces in front of the sea; pathways that lead us away from the town and invite us to become encompassed by nature; an access to the sea-front; to information on biodiversity, history and patrimony; a recreational point; a space for both scientific study and culture.
In , the seed for this vast project has been planted. In , Ryo Abe is back to pursue this work. What if, instead of being simply a space that we pass through to reach the calanques further along, this old industrial site that the pines try to hide, abandoned but never reintegrated back into nature, became an experimental garden?
- Meteo Les Baux-de-Provence (13520);
- The White Jaguar.
The idea has already begun to grow through those who have met and discussed with Ryo Abe. It is taking root by our desire to welcome and to feel welcomed by nature. Over the last decades, scientists have been arguing about the existence of a form of communication between plants: apparently, plants transmit information through electrical signals and chemistry.
Happening beyond human perception, this communication could be one of the many phenomena that occur in the invisible part of our environment. At Camargo, Julien Clauss plans to observe indirectly plant communication to create an aesthetic experience for the public: participatory readings via community radio, video streaming of infrared observations, and paintings made of toxic waste.
Tales of Vegetable Beings is a work that explores human-plant entanglements.
The title at once refers to the plants as beings themselves and the many ways of being together with plants. The work act as a survey of exchanges between humans and the vegetable realm, which reframes plants not as inert objects but as active agents playing important roles in the economic, social, and emotional lives of humans. The aim is to highlight the incredible two-way relationships, formed deep in our evolutionary past, that have left plant signatures in humans and human signatures in plants and reveal the ways in which we are deeply entangled with and dependent upon the non-human world around us.
During her residency at Camargo, Katie Holten further developed her Stone Alphabet project, an attempt to create a language beyond the human. A member of Generation Anthropocene, Holten believes there is a vital need for pioneering research to visualise and help solve the challenges affecting interconnected systems of society and ecosystems.
She will attempt to draw out an "unconscious alphabet" from the Karst landscape of the Calanques. Stones leak layers of infinite knowledge. Reading and writing the stones, Holten returned to earliest forms of human communication, drawing out history, stories, lines, and letters. With an investigative approach, the artist conducted research on the history of the area and its uses until now. Working on drawings and photos, but also on sound recording, the idea was to collaborate with researchers to develop new projects related to the macro- and micro-scale of this area.
During the residency The Calanques , Shanta Rao explored the world of jellyfish, whose growing presence on the beaches of the Calanques National Park poses questions of otherness, highlighting the link between humans and other animal species. These studies sought to compare various sculptural and scientific research.
Dark matter and dark energy serve as portals to interrogating spaces of the unknown, yet that which have an unequivicated impact on the composition of the universe. El Pueblo de los Olvidados "The Village of the Forgotten" a performance in the genre of science-fiction, prompted by Antonio's Ramos research about Puerto Rico in the wake of natural disaster—Hurricane Maria.
Beyond being repurposed as a spot for resting and rejuvenation, Puerto Rico hosts a base for a top-secret laboratory where the invaders develop a powerful new weapon that has the ability to extract water from other planets, leaving devastating droughts in its wake. In this new environment, Tony Tacon has no choice but to leave his glorious glitter shell and reinvent themselves with Nature. The appeal of the exotic new land spreads to other planets.
In the midst of all the hardship, a ray of light emerges as Tony Tacon discovers a secret weapon under his rapidly growing cloud of hair,that helps the native people understand the spell they had fallen into. Scattah Brain , composed of Jahson The Scientist vocals , Andi Tausch guitar and Andreas Lettner drums , opens eyes, draws attention to social grievances and puts its finger on the sore spots of society. Composing a new language in the form of music, the goal is not to walk down the path of least resistance or to fit into a box, but to put a powerful life symbol of humanity and rebellion into this world.
Thomas Bellinck has intended to spend a big part of in the Aix-Marseille area, in order to develop a Euro-Mediterranean research project that will bring together current and future projects; to work with old and new residents of the area; to present some of these projects to local cultural organizations. Thomas was in residence at the Camargo Foundation during several periods, during which he mainly focused on his research.
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The artist has of course moved around in the region, but Camargo has been his base, providing him with the possibility of inviting fellow researchers of the area with whom he has collaborated during his time in France. All around the world, collective existence is disappearing, replaced by exclusive communities. What constitutes society? Are we still building "public cities" or are we merely creating illusions of such? And, in the end, are these processes destroying the idea of "Us" while undoing collective life? They are both kindred souls in the way they write new stories with familiar materials.
In this new performance, the point of departure was Mozart's "Requiem". Using vocals and instruments, they have reconstructed the Requiem, mixing in their own influences with jazz and opera. On a theatrical level, Alain Platel and the group were looking for a physical and visual translation of the themes of death and farewell rituals. Messenger is a piece for prepared upright-piano and prepared pianist, composed by Huihui Cheng and played by Claudia Chan. It has been commissioned by the Royaumont Festival A prepared piano is a piano that has had its sound altered by objects placed on or between its strings.
What about the prepared pianist?
In this piece, the pianist is wearing a costume made of objects, such as guitar strings or present tape. Those objects are placed around his. While the pianist plays on the piano-keys, the body-strings are also activated. This double movement accounts for the title Messenger.
Huihui Cheng, as composer and performance-designer, is interested in the experiment on "performance and costume". In several of her recent pieces, costumes are crucial elements, either as sound object or visual presentation. By wearing them, the musician's performance goes beyond the music s.
He continued his experimentation of the "corner" as a place where time and movement are suspended. By placing the viewer in a position of distance, the corner is an invitation to think while it makes movement almost impossible. The corner is a gap within the continuity of time. It is also a non-place where everything can coexist, the place of dreams. The place where binarities are put aside, where the violence of language is frozen. In the difficult space of the corner, we are asked to look at things differently, to move and go beyond, both in space and in time, to leave behind the structures of a compulsory circulation.
In his paintings, different elements are coming together, looking at history from a kaleidoscope: architecture in miniature Stonehenge , fragments of an Annunciation, empty frames, structures out of context, military vehicles, everything dissolving into a psychedelic background. The superposition of layers and of perspectives is a feature of the medium. By drawing from these features, he invents a new way of painting.
Fragments of an Immobile Journey is a promise of evasion. The Welcome Table , James Baldwin's unfinished final novel, examines his three-decade life as a transcontinental commuter between America and France. The book would have highlighted how artists and activists met in his Saint-Paul-de-Vence home for intimate gatherings and collective remembering about creative social justice organizing from previous decades.
Witnessing Evidence , a new media project, merges original electronic music and archival footage, with original moving images and photography to engage this period in his life. In essence, Witnessing Evidence is a speculative fictional work, utilizing research and informed imagination to create a sonic visual chapter in the uncompleted book. While at Camargo, Faye Driscoll has begun early research and development on the final installment of his "Thank You For Coming" trilogy.
He has been mapping out his ideas, reading, planning his timeline, and experimenting with methodologies. He has been incredibly inspired by the landscape and people present at Camargo. After 2 years of heavy touring and creation of Part 1 and 2 of the trilogy, his time at Camargo had encouraged him to go deeper, and take his time to make this final part with a thoughtful and sensitive approach.
In this final installment, the liveness of the moment of performance and the audience's responsibility in the act of co-creation will take center stage. Part 3 will begin with a tailored, intimate moment of communion and confession with each audience member. Audience interactions are folded into the performance script each night as a writer adapts the text in the moment based on these responses. The show takes place in an open space, where the boundaries between stage and seating, playing area and area of observation are blurred.
The space itself is created throughout the performance as the audience moves and helps to build it.
As the performers are prompted by an ever-changing live feed via in-ear monitors, they work to intersperse the story that is created each night by the many new voices in the space with layers of set text and movement to form a collision of words and worlds. Building on the exploration of voice, body and language that drove the first two installments of the TYFC series, Part 3 would feature text that is entirely sung, and the movement structure would be created through Faye's unique approach to the study of image, language, and the making of scene and memory.
Composer and musician Amir ElSaffar has spent four weeks in residency at the Camargo Foundation in Cassis, composing a new work commissioned by the Royaumont Foundation in France. This research group worked around the relations between the memory and the visible—and invisible—dimension of art and architecture in the Balkans and in the Mediterranean countries.
Architectures, monuments and pieces of art exposed in public spaces are involved in a historical reformulation of speech, which allows approaching the subject of a cultural globalization and political governance through a micro-geographic point of view. Artists and researchers worked on the development of the project and also on a publication on-line, through experiences as workshops, seminars and meetings. The book examines actor Depardieu's relevance to French cinema, culture and political life, presenting him from a tripartite perspective: major film star, symbol of French national identity, and touchstone for contemporary political anxieties about the decline of French grandeur.
The book analyzes the evolution of Depardieu's star persona over a fifty-year period and accounts for his versatility, professional longevity and continued celebrity in France. The central argument of the book is that Depardieu's cultural significance lies in his ability to serve as a repository of evolving anxieties about French masculinity, class, citizenship and national identity. Harris particularly argued that Depardieu is divisive in France precisely because of the way he symbolizes, embodies and disseminates complex, conflicting and increasingly unwelcome ideas of Frenchness in an era characterized by a loss of historic grandeur.
Pour les juifs. Un article d'Emile Zola | Le Club de Mediapart
She contended that this has become more acute in the last decade, when his aging body — a regular target for media opprobrium — has been of increased critical interest to auteur directors concerned with the representation of the ageing star body. She managed to significantly advanced her writing of the book during her residency, and reformulate some of its thematic and structural priorities following feedback at her project discussion. Following the broadcast of the Netflix series "Marseille" starring Depardieu in , she realized that it was a relatively weak dramatic text, and it will therefore have far less prominence in the book than she anticipated at the point when she made her application.
Her focus has reverted to questions of aging and corporeality in relation to Depardieu, and much time has been spent reviewing his early films, and re-reading biographical and autobiographical material in the light of these priorities. When Samuel Hayat arrived at the Camargo Foundation, he intended to start a book about the history of labor ideas in France in the 19th century. Building on his work on political representation during the revolution of in France, he wanted to investigate the labour origins of the Democratic and Social Republic, a distinctive republican ideology embedded in the nascent French working class.