02 n°92 déc 19/jan-fév 2020
02 n°92 déc 19/jan-fév 2020
  • Prix facial : gratuit

  • Parution : n°92 de déc 19/jan-fév 2020

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 84

  • Taille du fichier PDF : 7,8 Mo

  • Dans ce numéro : Teresa Margolles, Peter Friedl et Corentin Canesson invités de ce numéro.

  • Prix de vente (PDF) : gratuit

Dans ce numéro...
< Pages précédentes
Pages : 42 - 43  |  Aller à la page   OK
Pages suivantes >
42 43
4 Interview Claire Le Restif 0 Shimabuku, Les singes des neiges du Texas – Les singes des neiges se souviennent-ils des montagnes enneigées ?, 2016. Vue de l’exposition/View of the exhibition « Pour les pieuvres, les singes et les Hommes », Centre d’art contemporain d’Ivry – le Crédac, 2018. Photo  : André Morin/le Crédac. Shimabuku. Collection Louis Vuitton. Courtesy galerie Freedman Fitzpatrick, Los Angeles/Paris. activity is perhaps not as central as it is at the DOC in Paris, for example. In France, it seems tome that artists are quite often invited to devise exhibitions in the context of the collection of a FRAC (Regional Contemporary Art Collection) or a museum, which is interesting but it structures the invitation, doesn’t it ? I note three exhibitions which have made news this autumn in the Ile-de-France art centres of the TRAM network which have been organized by artists : MohamedBourouissa at the Galerie Edouard-Manet in Gennevilliers, Benoît Maire at Le Plateau-FRAC Ile-de-France, and Sarah Tritz at Le Crédac, as mentioned. All three are interesting in more than one respect. How in general do you make your choices for the shows at Le Crédac ? Is there a line, a definite orientation, which might also tally with an involvement in favour of re-balancing the presence of women artists, for example, or supporting minorities, sexual and other, or do you let yourself be guided by purely aesthetic affinities : what takes precedence ? I am of course keenly aware of parity, in invitations made to artists, art critics, residents in school environments and other thinkers and project leaders at Le Crédac. I’m also keenly aware of the team’s composition and the governing people. An artist sits on the board of directors. To give you some figures, since 2013, for example, the programming has paid greater attention to diversity of origin and gender, and provided a larger place for women. Out of 20 solo shows, twelve have been devoted to women : Thu Van Tran, Alexandra Bircken, Ana Jotta, Estefanía Peñafiel Loaiza, Liz Magor, Caecilia Tripp, Lara Almarcegui, Lola Gonzalez, Louise Hervé and Chloé Maillet, Delphine Coindet, Nina Canell, Sarah Tritz, andeight to men : Michel Aubry, Bruno Pélassy, Koenraad Dedobbeleer, Shimabuku, Hugues Reip, Corentin Canesson, Friedrich Kunath and Benoît-Marie Moriceau. To answer your question about aesthetic affinities, of course I don’t overlook visual power, but my programming attempts to convey precise positions, by inviting artist-anthropologists, activist artists, go-betweens, researchers, poets, and art history enthusiasts, allat once, for whom orality, ecology, the colonization of territories and/or bodies, the cosmological vision of the world, identities, feminism, and queer theory are all part and parcel of their work.
4 Interview Claire Le Restif 1 » MIIIMMIM » Mal MMMIZIIMIIMIMBM Maallil » 1111IMMMM MaMMMMM Since you’ve been directing Le Crédac, what’s changed in the way of working in art centres ? Is there more or less freedom, are there more administrative restrictions, which gnaw at the time you have to think about things ? The director of an art centre in eastern France told me that since she had been running it, she no longer devoted more than 5% of her time to research and discovering artists and new proposals, and she felt kind of bitter about that. How are things for you ? Do you still have time to go looking outside the well-marked paths of discovery ? The situation of art centres can’t be compared from one place to the next, it’s very tiedup with the areas which they are part of, and political decisions play a part. Le Crédac’s main partner is the City of Ivry-sur-Seine, which has been backing its programmes for 30 years. Le Crédac has evolved a great deal. Although it is still modest, its budget has increased, its team has been strengthened, and it is now madeup of professionals. That’s of paramount importance. As you know, I’ve worked hard on installing Le Crédac at the Manufacture des Œillets, and the venue, as a work tool, is now operational. This re-organization has helped me to earmark time for visiting artists’studios, which ft MaZZRZRZMMM BZUMMUMMM mua MMUMBIZMW aMME MMMZIMM. Mfflan ZRZZRZZannaMM Offlan MuMMUUMM Mina MaMMUIMMIM lirr WZMUMUMBRZZZOM MM « MaaMMIZIIMIIMMIMM IMMM MIM Marcos Ávila Forero, Théorie du vol des oies sauvages, notes sur les mouvements ouvriers, 2019. Installation, calligraphies, vidéos et cahier/Installation, calligraphy, videos, notebook. Vue de l’exposition/View of the exhibition « Le fil d’alerte – 21 e Prix Fondation d’entreprise Ricard ». Photo  : Aurélien Mole/Fondation d’entreprise Ricard. are a resource for me. We are lucky in Ile-de-France. Thanks in part to my teaching (I’m a guest professor at Sorbonne-Université, as part of the professional Master’s degree «Contemporary art and how it is exhibited»), I’m permanently in touch with art schools and young artists, and our programmes within d.c.a. (the association for the development of French art centres) have gradually been including Le Crédac even more in international cooperation networks, by implementing joint productions which make it possible to put on exhibitions, and produce and disseminate artworks. I also listen to the advice offered by artists and my colleagues in France and abroad, so as to be constantly discovering talents to be brought to the fore, and, where relevant, presented again. But it’s true that directing an art centre is an exercise which you must be totally dedicated to. It’s demanding, from both an administrative and an artist point of view. It’s very hard, if not impossible, with not very much funding, to successfully accomplish all the tasks involved, and some of my colleagues are in untenable situations. You’ve introduced many new features to Le Crédac, and created new programmes such as the online project Royal Garden, you opened the Crédakino



Autres parutions de ce magazine  voir tous les numéros


Liens vers cette page
Couverture seule :


Couverture avec texte parution au-dessus :


Couverture avec texte parution en dessous :


02 numéro 92 déc 19/jan-fév 2020 Page 102 numéro 92 déc 19/jan-fév 2020 Page 2-302 numéro 92 déc 19/jan-fév 2020 Page 4-502 numéro 92 déc 19/jan-fév 2020 Page 6-702 numéro 92 déc 19/jan-fév 2020 Page 8-902 numéro 92 déc 19/jan-fév 2020 Page 10-1102 numéro 92 déc 19/jan-fév 2020 Page 12-1302 numéro 92 déc 19/jan-fév 2020 Page 14-1502 numéro 92 déc 19/jan-fév 2020 Page 16-1702 numéro 92 déc 19/jan-fév 2020 Page 18-1902 numéro 92 déc 19/jan-fév 2020 Page 20-2102 numéro 92 déc 19/jan-fév 2020 Page 22-2302 numéro 92 déc 19/jan-fév 2020 Page 24-2502 numéro 92 déc 19/jan-fév 2020 Page 26-2702 numéro 92 déc 19/jan-fév 2020 Page 28-2902 numéro 92 déc 19/jan-fév 2020 Page 30-3102 numéro 92 déc 19/jan-fév 2020 Page 32-3302 numéro 92 déc 19/jan-fév 2020 Page 34-3502 numéro 92 déc 19/jan-fév 2020 Page 36-3702 numéro 92 déc 19/jan-fév 2020 Page 38-3902 numéro 92 déc 19/jan-fév 2020 Page 40-4102 numéro 92 déc 19/jan-fév 2020 Page 42-4302 numéro 92 déc 19/jan-fév 2020 Page 44-4502 numéro 92 déc 19/jan-fév 2020 Page 46-4702 numéro 92 déc 19/jan-fév 2020 Page 48-4902 numéro 92 déc 19/jan-fév 2020 Page 50-5102 numéro 92 déc 19/jan-fév 2020 Page 52-5302 numéro 92 déc 19/jan-fév 2020 Page 54-5502 numéro 92 déc 19/jan-fév 2020 Page 56-5702 numéro 92 déc 19/jan-fév 2020 Page 58-5902 numéro 92 déc 19/jan-fév 2020 Page 60-6102 numéro 92 déc 19/jan-fév 2020 Page 62-6302 numéro 92 déc 19/jan-fév 2020 Page 64-6502 numéro 92 déc 19/jan-fév 2020 Page 66-6702 numéro 92 déc 19/jan-fév 2020 Page 68-6902 numéro 92 déc 19/jan-fév 2020 Page 70-7102 numéro 92 déc 19/jan-fév 2020 Page 72-7302 numéro 92 déc 19/jan-fév 2020 Page 74-7502 numéro 92 déc 19/jan-fév 2020 Page 76-7702 numéro 92 déc 19/jan-fév 2020 Page 78-7902 numéro 92 déc 19/jan-fév 2020 Page 80-8102 numéro 92 déc 19/jan-fév 2020 Page 82-8302 numéro 92 déc 19/jan-fév 2020 Page 84