{"id":722079,"date":"2024-09-06T06:33:14","date_gmt":"2024-09-06T06:33:14","guid":{"rendered":"https:\/\/villa-albertine.org\/?post_type=app_professional&p=722079"},"modified":"2024-10-22T19:05:19","modified_gmt":"2024-10-22T19:05:19","slug":"announcing-the-2024-etant-donnes-grantees","status":"publish","type":"app_professional","link":"https:\/\/villa-albertine.org\/va\/professionals\/announcing-the-2024-etant-donnes-grantees\/","title":{"rendered":"Announcing the 2024 \u00c9tant donn\u00e9s Grantees"},"content":{"rendered":"\n

For 30 years, \u00c9tant donn\u00e9s<\/a> has aimed to strengthen ties between France and the US in the field of visual arts by fostering active collaboration and encouraging long-lasting partnerships between French artists, curators, and collectives, and American curators and cultural institutions. Since its inception,\u202fthe program\u202fhas allocated over $4 million to fund 400 projects and the work of 50 curators.\u202f <\/p>\n\n\n\n

Discover the latest recipients of creative grants and curatorial fellowships selected to participate in Villa Albertine’s flagship visual arts program.<\/p>\n\n\n\n

\u00c9tant donn\u00e9s is organized by Villa Albertine and Albertine Foundation with the exclusive sponsorship of AXA, in partnership with Institut Fran\u00e7ais, French Ministry of Culture and ADAGP.<\/em><\/p>\n\n\n\n

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I. Creative Grants for Projects in the US & France<\/strong><\/h4>\n\n\n\n

Following a selective review process by an independent committee, 12 French and American contemporary art institutions will receive creative grants to organize exhibitions featuring living American and French or France-based artists, respectively. All exhibitions in the U.S. by French or France-based artists and in France by American artists, will be presented by the host institutions between September 1, 2024 and August 31, 2026.<\/p>\n\n\n\n

Creative grants aim to encourage the international development of contemporary American and French art institutions, support the French art scene, and renew the possibilities for artistic exchange between France and the United States. <\/p>\n\n\n\n

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Bass Museum of Art <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Ulla von Brandenburg: In Dialogue" | Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
9\/4\/2024 \u2013 6\/6\/2025 | Miami Beach, FL, USA \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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From September 4, 2024 \u2013 June 6, 2025, the Bass Museum of Art in Miami Beach, Florida will present an exhibition by German-born, Paris-based artist Ulla von Brandenburg.\u202f<\/span>\u00a0<\/span><\/p>\n

Von Brandenburg\u2019s projects draw on a wide range of subjects, including occultism, psychoanalysis, modernist architecture, and Hollywood cinema, in contemporary contexts.\u202f\u202f<\/span>\u00a0<\/span><\/p>\n

Ulla von Brandenburg: In Dialogue<\/span><\/i><\/a>\u202fis a presentation of the artist\u2019s work paired with The Bass\u2019s recently acquired ceramic mural by the Lebanese-American artist Etel Adnan (1925\u20132021). A leading figure in contemporary Arab-American visual art and literature, Adnan created rich, geometric fields of color in her paintings and drawings, some translated into large-scale murals and tapestries that reflect the artist\u2019s enduring interest in architecture and the built environment. Comparatively, von Brandenburg\u2019s multifaceted practice combines film, textiles, drawings, watercolors and sound into immersive exhibition scenarios where the different art forms harmonize into a cohesive whole (or Gesamtkunstwerk).<\/span>\u202f<\/span>\u202f<\/span>\u00a0<\/span><\/p>\n

The exhibition\u202fexplores this cross-generational engagement with geometric abstraction\u2014its interplay of circles, squares and triangles\u2014evident in both Adnan\u2019s mural and von Brandenburg\u2019s practice, and staged alongside the rich history of the Russian-French artist Sonia Delaunay. Here, Adnan\u2019s lyrical abstract mural (<\/span>Untitled<\/span><\/i>, 2023), at 14 \u00d7 21 feet, serves as both a protagonist and theatrical backdrop in von Brandenburg\u2019s exhibition scenography. The works interweave through the language of abstraction and the artists\u2019 shared interests in the social and spatial environment.\u202f<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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TOUT-MONDE Art FOUNDATION <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tIn partnership with FSU Museum of Fine Arts | "Homo Sargassum" | Group Show\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
9\/9\/2024 \u2013 3\/8\/2025 | Tallahassee, USA \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Conceived and written by Vanessa Selk and Louisa Marajo, Tallahassee\u2019s TOUT-MONDE<\/span>\u202fArt<\/span><\/i>\u202fFOUNDATION will present\u202f<\/span>Homo Sargassum<\/span><\/i><\/a>,\u202f<\/span><\/i>a film, exhibition, and program that addresses the concerning proliferation of Sargassum seaweed on Caribbean coasts since 2011. French participants in the show include Minia Biabiany, Ronald Cyrille, Nicolas Dern\u00e9, Guy Gabon, Gwladys Gambie, Mirtho Linguet, Louisa Marajo, and Ricardo Ozier-Lafontaine. This project invites artists, scientists, scholars, and bio-tech experts to share their perspectives on the subject and is open to curatorial collaborations to further investigate the issue. The narrative unfolds in three different episodes that tell the journey of the Sargassum:<\/span>\u00a0<\/span><\/p>\n

I.\u202fDRIFTING: Sargassum is a seaweed initially found in the waters of West Africa and the Sargasso Sea near Florida. Acting as a natural refuge and habitat for marine life, it migrates through the Atlantic Ocean in a symbolic movement that recalls the Middle Passage.<\/span>\u00a0<\/span><\/p>\n

II.\u202fBREATHING FIRE: In the Americas, pollution, and the use of fertilizers have led to the concerning proliferation of Sargassum, which strands on Caribbean coasts in massive quantities. The decay of Sargassum releases toxic gases that impact both humans and entire ecosystems. Public authorities, private companies, and artists have sought to address this issue, viewing Sargassum as a new opportunity by transforming it into paper, cosmetics, clothes, and artworks.<\/span>\u00a0<\/span><\/p>\n

III.\u202fBECOMING FLUID: The anthropocentric approach to the Sargassum scourge is unsatisfactory. Thus, the audience is invited to symbolically dive into the marine womb, learning how to breathe underwater again and merging with the seaweed to become a\u202f<\/span>Homo Sargassum<\/span><\/i>\u202fin a new spiritual and organic symbiosis and understanding.<\/span>\u00a0<\/span><\/p>\n

More information can be found\u202f<\/span>here<\/span><\/a>.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Centre d'art de Saint-Fons <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Like Night Needs Morning" | Anthony Cudahy's Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
9\/17 \u2013 11\/13\/2024 | Saint-Fons, FR\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Like Night Needs Morning<\/span><\/i>\u202fis American artist Anthony Cudahy\u2019s first exhibition at an art center in France. His work was recently shown in the exhibition conversation at the Fine Arts Museum of Dole (FR) (2023), where they were placed in relation to the museum collections.<\/span>\u00a0<\/span><\/p>\n

At CAP, the internationally-renowned artist brings together a body of work specifically conceived for the exhibition. The art center\u2019s space features a series of twenty-four large format drawings, exhibited alongside a selection of paintings, a video, and a wide selection of the artist\u2019s fanzines and self-publications.<\/span>\u00a0<\/span><\/p>\n

The exhibition is the opportunity to highlight a founding aspect of the artist\u2019s practice: publishing, and more specifically, self-publishing. These productions are often the result of collaborations with friends, lovers, or artists in his circle, who are both subjects and sometimes co-authors of these objects. The artist\u2019s interest in the archives that nourish his practice is the thread linking the works presented in the exhibition.<\/span>\u00a0<\/span><\/p>\n

If we were able to glance in Anthony Cudahy\u2019s studio in Brooklyn, we would see its walls covered with black-and-white images taken from art history books, hung alongside fragments of photographs of Renaissance paintings or images from his personal life. These include snapshots or portraits of his community of friends and artists, photographs from his uncle\u2019s archive, fragments of motifs from medieval bestiaries, or antique tapestries. Anthony Cudahy\u2019s work is rich in references to history and art history, yet the artist is also a dramatist of the ordinary. His works are an ode to intimacy, solitude, desire, eroticism, life, and death. Mythical or transfigured flowers, faces, bodies, and embraces emerge in his drawings and the subjects are frozen in bright, vibrant colors.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Le 19, Centre r\u00e9gional d'art contemporain de Montb\u00e9liard <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Confluence" | Marie Lorenz's Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
9\/21\/2024 \u2013 1\/5\/2025 | Montb\u00e9liard, FR \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Confluence<\/span><\/i>\u202fby Marie Lorenz explores the notions of common goods and places. Observing the relationships between an environment and the organisms that inhabit it, the artist sees her subjects as fellow travelers, from whom it is possible to move reality towards poetics. She adopts an anthropological posture of \u201cparticipant observation [through which] the correspondence, whether with people or with other things, is a labour of giving back what we owe to the human and non-human beings with which and with whom we share our world, for our own existence and formation.\u201d By surveying territories, she produces new narratives like a storyteller.<\/span>\u00a0<\/span><\/p>\n

The exhibition highlights the urgent need to reappropriate controversial subjects in a sensitive and cultural way, while preserving the dissensus they imply. Indeed, \u201c[artists\u2019] interpretations are themselves real changes when they transform the forms of visibility of a common world and, with them, the capacities that any bodies can exercise on a new common landscape.\u201d So, these goods and places of the common are as much sources of inspiration as they are tools with which to reflect on the complex and delicate relationships we maintain with our territories, our histories, our ecosystems, our habitat, and our fellow human beings.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The High Line <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Dinosaur" | Public Art Installation by Iv\u00e1n Argote \t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
10\/17\/2024 | New York, USA \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Iv\u00e1n Argote\u2019s\u202f<\/span>Dinosaur<\/span><\/i><\/a>\u202frecognizes the seemingly prosaic figure of the pigeon and celebrates its anonymity amongst the urban landscape, while also taking aim at classic monuments erected in honor of great men, who all too often are neither honorable nor great. Argote humorously suggests that, in fact, the not-tame, but no longer wild birds are likely more deserving of being placed on a pedestal and celebrated for their contributions to society than most. Further, by highlighting their origins, Argote reminds viewers that, to some degree, everyone is an immigrant. Even the pigeon, a New York fixture, migrated there and made the city their home, like millions of other \u201cnative\u201d New Yorkers.<\/span>\u00a0<\/span><\/p>\n

Dinosaur<\/span><\/i>, like the pigeons that inspired it, bears witness to the city\u2019s evolution, and confronts us with our ever-changing relationship with the natural world and its inhabitants. Pigeons, the oft-overlooked and derided creatures that seem to over-populate the city, first arrived in the United States via Europe, likely in the 1800s. They were used for food, kept as pets, and presented as symbols of beauty and wealth based on their plumage, but above all, they were used as reliable message carriers. Pigeons have an internal navigational mechanism \u2014 known as \u201choming\u201d \u2014 that allows them to always find their way back home. This skill made the bird indispensable in war\u2014they were used as military messengers in both World War I and World War II, saving hundreds of soldiers\u2019 lives by transporting messages quickly to both the trenches and front lines. Many of these pigeons received gallantry awards and were celebrated as war heroes, before technology eventually rendered them obsolete.<\/span>\u00a0<\/span><\/p>\n

Argote is the first Plinth artist from the global south, and the youngest yet. His work as an artist and filmmaker is heavily focused on social justice issues and historical processes, sometimes inspired by his childhood in Bogot\u00e1, as he grew up in a family with a long tradition of political and social activism, from the 1950s to the present.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Walker Art Center <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Overshare" | Sophie Calle's First North American Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
10\/26\/2024 \u2013 1\/26\/2025 | Minneapolis, USA\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Overshare<\/span><\/i><\/a>\u202f<\/span><\/i>is the first exhibition in North America to explore the range and depth of artist Sophie Calle\u2019s (France, b. 1953) practice across the past five decades. Through examples of major bodies of work as well as lesser-known pieces, the exhibition captures Calle\u2019s astute probing into the human condition and reveals ways that her early work anticipated the rise of social media as a space to create and share oneself. The presentation features photography, video, installations, and text-based works, highlighting the artist\u2019s virtuosic use of different media to explore broadly recognizable and emotionally resonant themes.\u202f<\/span>\u00a0<\/span><\/p>\n

Calle\u2019s works often combine photographs, videos, texts, and objects to examine the complex nature of relationships, whether between partners, friends, family, or strangers. She actively erodes the boundaries between private and public space, thereby both bringing the audience into moments of personal intimacy as well as hinging on our voyeuristic preoccupations with other people\u2019s lives. Across her career, Calle has continued to explore the dynamics inherent to relationships\u2013love, trust, suspicion, intimacy, and power\u2013and ways in which those forces also condition our sense and outward portrayal of our own identities. Her works feel particularly pressing and salient today as we continue to navigate the intractable presence of the digital realm in our lives.\u202f<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Frac des Pays de la Loire <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t2024 International Workshops featuring Kirsten Mosher & Anna Wittenberg\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
11\/17\/2024 \u2013 3\/2\/2025 | Carquefou, FR\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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For\u202f<\/span>this project<\/span><\/a>, four artists are invited to think about the Polyspheres, an extension of Marie de Brugerolle\u2019s research called \u201cPost-Performance Future.\u201d In dialogue with artworks from the collection of the Frac (Marie Bourget\u2019s among others), this atelier is an invitation for artists with different styles, backgrounds, and nationalities to reaffirm the roundness of the words (and of the world).<\/span>\u00a0<\/span><\/p>\n

Through these interplays of spheres: social, physics, and politics, from the inside to outside, micro\/macro, representation\/illusion, and by blending forms and poetry, the 2024 International Workshops will be a true ode to language, to the geometry of the round, as a geometrical form, shape, and sound. Bubbles, spirals, and snowballs will punctuate the space as ongoing open monads.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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NSU Art Museum, Fort Lauderdale <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Vicious Circles" | Jacqueline de Jong's First American Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
11\/17\/2024 \u2013 5\/4\/2025 | Fort Lauderdale, FL, USA \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Vicious Circles<\/span><\/i><\/a>\u202fwill be the first exhibition in the United States dedicated to artist Jacqueline de Jong (b.1939, Hengelo, Netherlands, d. 2024, Amsterdam, Netherlands). The exhibition will consider the perpetual theme of war and protest within the artist\u2019s oeuvre; whether in paintings dedicated to the rebellious spirit of rock \u2018n\u2019 roll, or haunting portrayals of the ongoing war in Ukraine, De Jong remained focused on the present, reacting to the now.\u202f<\/span>Vicious Circles<\/span><\/i>\u202fquestions how the present relates to history, and the ways in which De Jong\u2019s decades of engagement with current events forces viewers to confront the harsh reality of humanity\u2019s endless repetition of violent trauma, and the critical nature of art as a form of resistance.<\/span>\u00a0<\/span><\/p>\n

The exhibition also addresses De Jong\u2019s legacy as a key figure within the history of counterculture publishing, highlighting her role as editor, publisher, and designer of the quintessential artist-led magazine,\u202f<\/span>The Situationist Times<\/span><\/i>\u202f(1962-67). This six-volume, multilingual periodical was created by a group of artists who sought to disrupt cultural hierarchies and academic disciplines, with an emphatic dedication to creating situations of societal subversion. Up until the final moments of her recent passing, De Jong remained an outstanding female leader within a male-dominated network, and her place in history is distinguished by her critical contributions to the avant-garde throughout her life.<\/span>\u00a0<\/span><\/p>\n

The show takes its title from a painting within De Jong\u2019s mid-1960s series,\u202f<\/span>Private Lives of Cosmonauts.<\/span><\/i>\u202fIn this body of work, the artist took on the subject of the Cold War and what came to be known as The Space Race. The image juxtaposes the interior experience of an astronaut with the grand historical narrative of man\u2019s entry into the cosmos. The candy-colored, spiral composition plays with the fantastical notion of looking down upon the hubbub of the world from a whirling, zero-gravity perspective. Among the revelry, however, is the underlying threat of nuclear destruction that defined the Cold War era. Nothing can be taken at face value in the art of De Jong; duality is always at play, humor and solemnity must coexist.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Institute of Contemporary Art, Miami (ICA Miami) <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Marguerite Humeau: \\*sk\\*\/ey-" | Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
12\/3\/2024 \u2013 3\/30\/2025 | Miami, USA\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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ICA Miami presents \u201c\\*<\/span>sk<\/span>\\*\/<\/span>ey<\/span>-,\u201d a major solo exhibition for artist Marguerite <\/span>Humeau<\/span> (b. 1986, France; lives in London) <\/span>comprising<\/span> newly commissioned sculptures and video. The immersive installation marks <\/span>Humeau\u2019s<\/span> first large-scale institutional presentation in the <\/span>US, and<\/span> sees the artist experiment with form through the abstract narratives of alternative worlds. Informed by the menace of climate change, these new presences pollinate, blossom and armor, proposing a potentially inevitable mode of aerial existence in perpetual movement.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The Bell \u2013 Brown Arts Institute <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tJulien Creuzet's "France Pavillon from the Venice Biennale" | Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
2\/20 \u2013 6\/1\/2025 | Providence, USA \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Paris-based artist Julien Creuzet\u2019s (b. 1986, Le Blanc Mesnil, France) practice encompasses moving images, dance, poetry, and sound, tethered by a sculptural materiality that hovers between the organic and inorganic. Plastic and natural fiber nets, ropes, and wires are woven into forms that both allude to and evade familiarity, connecting across gallery spaces in bold, nearly toxic colors. This work is an act of accretion, a building of layers in both the physical construction of the objects and the archipelagic installation design. The sonic dimensions are equally dense, drawing from histories of jazz and other musical forms of the African diaspora. Debris collected from the streets of Paris and beyond is recontextualized to reference his intimate relationship with the sea and his Martinician heritage. The country\u2019s precarity within the global climate crises and the centrality of post-coloniality and Blackness propel Cruezet\u2019s work into a US-based conversation where it is both an urgent and necessary contribution.<\/span>\u00a0<\/span><\/p>\n

Initiated in 2020 as a co-commissioned exhibition between The Bell and Le Magasin \u2013 Centre National d\u2019Art Contemporain de Grenoble and its new director, C\u00e9line Kopp, the Venice Biennale announcement evolved the project into the US presentation of Creuzet\u2019s French pavilion (curated solely by Kopp and London-based Cindy Sissokho) at The Bell in the spring of 2025. In Venice, Creuzet expands his sculptural practice while introducing new forms of environmental affect. Visitors flow through a mist of humid, perfumed air and around basins filled with aquatic vegetation. Oceanic deities dance on massive LED screens, having crossed the Atlantic Ocean centuries before and journeyed back to the waters of Venice. Immersive music amplifies the project\u2019s emotional resonance of loss and resistance, an act of recuperation and celebration of Afro-diasporic systems of knowledge, beliefs, and philosophies.<\/span>\u00a0<\/span><\/p>\n

Creuzet\u2019s practice has long critiqued legacies of colonialism, and his challenge to the architecture and history of the French pavilion extends to Brown University\u2019s campus and its centrality within the Black Atlantic. Brown sits directly on the Providence River, the site where the largest number of enslaved Africans entered the Thirteen Colonies. Originally triangulated with Africa and the Caribbean, the shipping industry of Rhode Island evolved to be deeply enmeshed with the US cotton industry as the region became a center of textile production. Creuzet is fascinated by the watery connection between Venice, Martinique, and Providence, conceptualizing the migration of the pavilion across an Atlantic marked by material and cultural histories that have long informed his work. The presentation at Brown will be of a different viscosity, so to speak, an adaptation to our waterways and colonial thematics that dominate the campus and loom large across the region.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The Ukranian Museum <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Ghosts of War" | Ange Leccia's Solo Exhibition\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
2\/24 \u2013 4\/20\/2025 | New York, USA \t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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Over the past thirty years, Ange Leccia has created many films and videos focused on war \u2013 World War II, the French Indochina War, and the war in Mali. For the exhibition\u202f<\/span>Ghosts of War<\/span><\/i>, he will create a new film in Ukraine in November 2024 about the current war and its impact on society, not only in Ukraine but also in France. Leccia plans to rely on drones to capture the horrors of the bombed small villages and cities in eastern Ukraine using his stylistic directorial vision. The film will be screened as a large-scale video installation at The Ukrainian Museum along with two older war-themed films \u2013\u202f<\/span>Visage Hermes<\/span><\/i>\u202f(2018) and\u202f<\/span>\u00d4 Superman<\/span><\/i>\u202f(2016) \u2013 which have never been exhibited in the USA and will also be presented as video installations. Additionally, The Ukrainian Museum is partnering with the Cooper Union to showcase one of the video works, which will be projected outside on the building itself. The museum is also in dialogue with Times Square Arts to showcase the newly commissioned film during the run of the exhibition.<\/span>\u00a0<\/span><\/p>\n

Ange Leccia\u2019s artistic practice mainly focuses on images of departure, cycle, transmission, and reception to highlight the meeting points between two things, favoring a slowing down of our perception. Deeply fascinated by technology as the mark of his time, the artist describes himself as a \u201cmanipulator of the obvious\u201d and expands his field of investigation in line with technical progress, while conceptually opposing the idea of fabrication. Leccia\u2019s exhibitions always have a feeling of fragility, between the simplicity of the objects presented and the often-spectacular technical devices.<\/span>\u00a0<\/span><\/p>\n

This exhibition aims to foster a deeper contemplative dialogue through ongoing and concurrent community outreach initiatives. The educational programs will include a round-table discussion and feature a lecture by French curator J\u00e9r\u00f4me Sans. It is particularly appropriate that a major video installation exhibition of Ange Leccia\u2019s is organized at this time at The Ukrainian Museum. The exhibition, along with its public projects and learning events, will demonstrate Leccia\u2019s cohesive artistic vision and his commitment to exploring the topic of war and the active role of artists in society.<\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Contemporary Art Museum St. Louis <\/h3>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t"Like Water" | Group Exhibition with Simone Fattal\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
3\/7 \u2013 8\/10\/2025 | St. Louis, USA\t\t\t\t\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\tSee more<\/a>\n\t\t\t\t\t\t\t\t

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The exhibition\u202f<\/span><\/span>Like Water<\/span><\/span><\/a>,\u202f<\/span><\/span>on view at the Contemporary Art Museum St. Louis (CAM) from March 7 to August 10, 2025, includes a multigenerational group of artists working in the US and abroad. Organized by CAM\u2019s Ferring Foundation Chief Curator Dean <\/span>Daderko<\/span>,\u202f<\/span><\/span>Like Water<\/span><\/span>\u202fcenters artworks that address water\u2019s life-giving and destructive powers, floods (of emotion), the Middle Passage, climate change, leakiness, and paths of (least) resistance, among other subjects. The exhibition is part of an ongoing exhibition series entitled\u202f<\/span><\/span>The Weather Inside<\/span><\/span>\u202fthat considers a landscape as a material, physical condition and as an interior, emotional state.<\/span><\/span>\u00a0<\/span><\/p>\n\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n<\/div>\n