Valérie Leray

10/03/2025

I'm pleased to announce my next participation to the exhibition Presence of the Past with a part of the serie " Place with no Name" at House of European History, Brussels.

https://historia.europa.eu/en/exhibitions-events/temporary-exhibitions/presence-of-the-past

When
28 March 2025 - 11 January 2026
Admission
Free
Location
House of European History, Park Leopold, Rue Belliard 135, 1000 Brussels, Belgium
The Presence of the Past exhibition takes place at a turning point for the European Union, the European continent and the world.

Sarah Gensburger, Professor of sociology and political science at Sciences Po-Paris
Every photograph is a small monument, a testimony to the past. Each image is an act of remembrance.

Hervé Charles, Artist and Head of the Photography Department at La Cambre
Guided tour of ‘Presence of the Past’
An active focus on selected photographs

The guided tour is based on public participation using the “Visible Thinking Method”, which encourages observations of the photographs before going into a facilitated discussion based on what is seen, reflections, interpretations, facts about the documentary photographs and concepts of the exhibition.

A selection of the following questions would also be addressed:

What is the past and what is history?
How do re-enactments represent historical events?
What is commemorated or de-commemorated and how?
How does ‘hero-making’ work?
Duration:
groups of 10 - 15 persons can book a 90-minutes guided tour
Languages:
English, French, German or Dutch.
Booking time:
one month in advance.
The tour is designed for the general audience, aged 16 years old and over. Book via the museum’s online booking platform. School groups may also book these tours. To prepare, teachers may request the catalogue of the exhibition in electronic format via email.

Slow Looking Saturday – Take your time in ‘Presence of the Past’
Join us on the first Saturday of each month from May to December to explore the exhibition at a different pace. Led by one of our guides, take your time and look at one selected picture. Each session will focus on a different picture.

Discover the full programme and selected pictures.

The Slow Looking Saturdays are 05.04 | 03.05 | 07.06 | 05.07 | 02.08 | 06.09 | 04.10 | 06.12.
Registration is not mandatory – but you can sign up to receive a reminder.
Meet the guide at 14:30 in the Fables Room (just before the entrance of the temporary exhibition) – be aware that to enter the museum, you should pass through security checks which can take some time. Please arrive 10 minutes in advance.
The activity will be held in English.
It is suitable for people aged 16 years old and over.
Exhibition sections
Destination history

Contemporary tourism transformed the past into something that can be visited.

From Cleopatra’s pool in Türkiye to the Auschwitz memorial to Lisbon’s Monument of the Discoveries, are we tourists or time travellers?

Post-heroic commemorations

Dissatisfaction with official cultures of remembrance led Europeans to organise grassroots commemorations.

The Sarajevo siege and the Second World War are now remembered with healing ceremonies.

Re-enactments

Re-enactments are reconstructions of historical events, which focus on authenticity in every detail.

Europeans re-enact all periods of history, from prehistoric times to the Viking Age, from medieval battles to the wars of the 20th century.

Hero-making

Does historical greatness endure?

From Atatürk to Pope John Paul II to Maradona, heroes are made and unmade by each one of us.

De-commemoration

Can we make an unwanted past disappear by removing its monuments?

Communist monuments from Bulgaria, Ukraine and former Yugoslavia share the space with de-colonial claims on public monuments.

The past as landscape

Not everything is meant to be commemorated and enshrined as heritage. Forgetting is natural.

This section reveals how human history has deeply shaped European landscapes.

Everyday historians

The faster the present moves, the greater our need for anchors in the past.

Collecting, preserving, archiving is how Europeans are now documenting the wonders and horrors of the past.

Exhibited artists and photographers
Niels AckermannTimothy AllenSamuel ArandaPetruț CălinescuMichela CaneRoger CremersMine DalVéronique Ellena Nick HannesRomane IskariaJan KempenaersSmirna KulenovićFañch Le BosValérie LerayDmitry LovetzkyLuca NuvolonePiotr MałeckiMichael PappasRia PacquéeHugo Passarello LunaJulien SalesAnna Safiatou TouréAnastasia Taylor-LindBas van SettenElizar VeermanMarc WilsonSofia Yala
Participatory partnership
Six students and recent alumni of the Photography Department of the École nationale supérieure des arts visuels de La Cambre were invited to create a counterpoint to the themes and photographs curated by the museum. Each section exhibits one such project, developed under the coordination of professors Hervé Charles and Olivier Thieffry.

Exhibition team


Simina Bădică, Stéphanie Gonçalves, Andrea Mork curators
Nathalie Minten, Karolina Milkowska, Rocío del Casar Ximénez, Vladimir Čajkovac conservation and collection management
Pieterjan van Langenhove, Pauline Gault educators
Estela Vallejo Latorre events coordinator
Philippe Peyredieu du Charlat exhibition production manager
Vito Maltese, Marco Bellocchio, Carlos Ibañez, Ollivier Rocher facilities and security management
Tatiana Tumashik communication team
Jasna Burn financial coordinator
Exhibition Design
Marie Douel Studio (Bavo Gladiné, Lolà Mancini, Marie Douel)
Production
Meyvaert
Graphic Design
Laure Giletti, Gregory Dapra
Photographic print
Milo-Profi
Graphics print
Bulle Color
Mounting and art handling
Steven Blum and team

The first photographic exhibition organised by the House of European History reveals how Europeans engage with the past in their everyday lives. What are we searching for when we connect with history? Are we seeking an identity that goes beyond our own lives? Are we longing for social connection or

11/01/2025

SAVE THE DATE:
February 18 from 5pm, House of Art in Usti nad Labem, Czech Republic as part of the IDENT exhibition, interview with historian Yvan Rous whom I met in Liberec in his office and based on his research with an archaeologist I photographed the two sites, presented until March 8.
Photographs taken from the series Place with no name.

03/12/2024

english version below
-------------------------------------------------FR
Cher.e.s ami.e.s et collègues,
J'ai le grand plaisir de montrer la série Place with no Name dans l'expostion collective Ident, commissaire Michal Kolecek,
House of Art, Usti nad Labem, Tchéquie.
Vernissage le mercredi 4 décembre à partr de 18h30, ouvert à toutes et à tous.
Du mercredi 4 Décembre 2024 au 8 mars 2025
plus d'information: https://duul.cz/en
-------------------------------------------------EN
Dear friends and colleagues,
I have the great pleasure of showing the Place with no Name series in the group exhibition IDENT, curated by Michal Kolecek,
Dum Umani/House of Art, Usti nad Labem, Czechia.
Opening reception on Wednesday December 4 from 6:30 p.m., open to all.
From Wednesday December 4, 2024 to March 8, 2025
more informations: https://duul.cz/en

Ongoing
Article Garden as an Utopia, Gardening of Soul, publisher Univerzita Jana E. Purkyně v Úst nad Labem/ House of Art, Usti Nad Labem (SZ)
Upcoming
Ident, House of Art, Usti nad Labem (SZ) curator Michal Kolecek, , Opening 4.12.2024. 04.12.2024 > 08.03.2025
Presence of the Past, House of European History, Brussels (Be) curator Simina Bodeca, Stephanie Goncalces. Opening 28.03.2025. 28.03.2025 > 30.01.2026
The Third Generation, Jewish Museum Munich, curator Ulrike Heikaus. Opening 08.04.2025. 08.04.2025 > 01.03.2026

18/09/2023

The Invisible Symposium
MUcEM, 18th of September

Photography and dignity in question.
Roma, Sinti, Gitanos, Manouches and Travellers in front of the camera.

Workshop coordinated by
Ilsen About, Julia Ferloni, Valérie Leray & Nihad Nino Pušija

This workshop will bring together artists and social science researchers in order to question the capacities of the photographic medium to represent Romani societies. The fixed image is indeed confronted with the darkest history of practices that have aimed at degrading, defining or fixing identities. This meeting will discuss the notion of dignity that has been used in the new critical approaches in artistic or documentary photography. It will question the practices of the archive, of history and of politics, in its social or territorial dimensions, and discuss the ethical stakes of a committed photography, turned towards the work of memory or towards the defence of human and civil rights.

Argument

Since 1975 and the publication of Josef Koudelka's key book, Gitans, la fin du voyage the photographic medium has been questioned, sometimes brutally, about its capacity to depict Romani societies. Perhaps even more than other media, such as cinema or literature, the still image confronts the darkest history of practices that aimed, in the past, to caricature, define or fix identities. The history and present of anti-Romani discrimination is thus still traversed by those photographic ghosts and these degrading figurations that formed the basis of press coverages, essentialist descriptions and state practices designed to identify and repress people. While countless faces of women and men remain in anthropology galleries, illustrated newspapers and archives of the persecutions and are still deprived of their identity and history, how do we photograph in spite of all ?

Faced with this legacy, the avant-garde photographers of the 1920s-1930s, the humanist movements of the 1930s-1960s, and the counterculture of the 1970s-1980s, including Koudelka, offered new ways of looking but also raised new questions. Did the visual apology of freedom, universal humanity or dissidence make it possible to take into account the history and living conditions of the people and collectives photographed? As historian Frank Reuter has pointed out, the risk of a renewal and displacement of stereotypes was not always avoided. From the 1990s and since the 2000s, new generations of photographers have questioned the "civil contract of photography", to use the term of theorist of visual culture Ariella Azoulay, and have questioned the ethical implications of their work: the notion of dignity has thus been used in many projects, following the new critical approaches of documentary photography. In order to mark a break with the past and while assuming the aim of a photography committed to human, civil and political rights, these projects have also contributed to defending the historical inclusion of the Romani societies and to make possible the recognition of persecutions.

Through sometimes immersive practices, dialogues with the archive, history and politics, in its social or territorial dimensions, have been established and new and sometimes intellectually and aesthetically challenging visual dispositifs have emerged. From a wide range of perspectives, in Europe and around the world, photographers have attempted to fill in the silences of history, to tell the story of activism around the world, to explore local cultural experiences, to underline resistance to social segregation and discrimination. Critical projects have also used photography to expose the history of visual or cultural stereotypes. Plastic experiences based on the portrait have also attempted to take into account the infinity of singularities against any form of essentialization. Many of these projects are carried out by researchers, curators and activist artists from different Romani groups.

The rediscovery of works by photographers from the Romani sociétés, such as Matéo Maximoff in France, Jacques Léonard in Spain and Andrej Pešta in the former Czechoslovakia, as well as the interest in photographic materials from the private sphere and amateur practices, have also revealed previously neglected productions. A continent of photographic images is beginning to be discovered and is also guiding many artistic works in progress that use the photographic medium for activist projects or to represent diverse communities in Europe and elsewhere in the world. The work of these artists is recognized on the international art scene; it enters in museum collections, shedding new and sometimes critical light on already patrimonialized 19th and 20th century photographic collections.

This workshop is intended to be a moment of discussion on the history of photographic figurations, past and present, an opportunity to revisit some of the steps in this history of figurations and to share the experience of works in progress. Particular attention will be paid to the issues of representation, to the ethical questions mobilised by photographers and to the crossroads between art and social sciences. Many of the papers presented during the day will be based on commented projections of photographic series, in dialogue with photographers, researchers and activists.


Liste des partenaires / List of partners

• Musée des civilisations de l’Europe et de la Méditerranée-MUCEM.
•
• Fédération nationale des associations solidaires d'action avec les Tsiganes et les Gens du voyage / Fnasat-Gens du voyage.


Program Monday September 18 2023

10h00
Reception of participants and the public.

Session 1

10h30-13h00
Ethics of a Dignity Photograph

10h30-11h00
(1)
Julia Ferloni, Valérie Leray

Performance participative / Participatory performance

Stereotyping through images

11h00-11h30
(2)
Andre Raatzsch
Politics of Photography

11h30-12h00
(3)
Antoine Le Roux
Matéo Maximoff photographer

12h00-12h30
(4)

Sabine Girg
Pictures After All – Photographic Attempts in the beginnings of the Civil Rights Movement of the Sinti and Roma in Germany (BRD)

12h30-13h00
Discussion

13h00-14h00
Lunch

Session 2

14h00-17h00
Experiences and practices of photography

14h00-14h30
(5)
Yoanna Rubio
Cité de l’Espérance (title to be confirmed)

14h30-15h00
(6)

Valérie Leray
Between Adventures and Chimeras

15h15-15h45
(7)

Emilia Rigova
Transgressing past, shaping the future

15h45-16h15
(8)

Georges Pacheco / Estelle Granet
Manouches

16h15-16h45
(9)
Nihad Nino Pušija
The Search for El Dorado / La recherche de l’El Dorado

16h45-17h30
Discussion

17h30
End of the day

18/09/2023

The Invisible Symposium
18th of September, MUCEM

Photographie et dignité en jeu.
Roms, Sinté, Gitans, Manouches et Voyageurs face à la caméra.

Photography and dignity in question.
Roma, Sinti, Gitanos, Manouches and Travellers in front of the camera.

Lundi 18 septembre 2023/ Monday September 18 2023

in the framework of the exhibitions

Workshop coordinated by
Ilsen About, Julia Ferloni, Valérie Leray & Nihad Nino Pušija

This workshop will bring together artists and social science researchers in order to question the capacities of the photographic medium to represent Romani societies. The fixed image is indeed confronted with the darkest history of practices that have aimed at degrading, defining or fixing identities. This meeting will discuss the notion of dignity that has been used in the new critical approaches in artistic or documentary photography. It will question the practices of the archive, of history and of politics, in its social or territorial dimensions, and discuss the ethical stakes of a committed photography, turned towards the work of memory or towards the defence of human and civil rights.

Since 1975 and the publication of Josef Koudelka's key book, Gitans, la fin du voyage the photographic medium has been questioned, sometimes brutally, about its capacity to depict Romani societies. Perhaps even more than other media, such as cinema or literature, the still image confronts the darkest history of practices that aimed, in the past, to caricature, define or fix identities. The history and present of anti-Romani discrimination is thus still traversed by those photographic ghosts and these degrading figurations that formed the basis of press coverages, essentialist descriptions and state practices designed to identify and repress people. While countless faces of women and men remain in anthropology galleries, illustrated newspapers and archives of the persecutions and are still deprived of their identity and history, how do we photograph in spite of all ?

Faced with this legacy, the avant-garde photographers of the 1920s-1930s, the humanist movements of the 1930s-1960s, and the counterculture of the 1970s-1980s, including Koudelka, offered new ways of looking but also raised new questions. Did the visual apology of freedom, universal humanity or dissidence make it possible to take into account the history and living conditions of the people and collectives photographed? As historian Frank Reuter has pointed out, the risk of a renewal and displacement of stereotypes was not always avoided. From the 1990s and since the 2000s, new generations of photographers have questioned the "civil contract of photography", to use the term of theorist of visual culture Ariella Azoulay, and have questioned the ethical implications of their work: the notion of dignity has thus been used in many projects, following the new critical approaches of documentary photography. In order to mark a break with the past and while assuming the aim of a photography committed to human, civil and political rights, these projects have also contributed to defending the historical inclusion of the Romani societies and to make possible the recognition of persecutions.

Through sometimes immersive practices, dialogues with the archive, history and politics, in its social or territorial dimensions, have been established and new and sometimes intellectually and aesthetically challenging visual dispositifs have emerged. From a wide range of perspectives, in Europe and around the world, photographers have attempted to fill in the silences of history, to tell the story of activism around the world, to explore local cultural experiences, to underline resistance to social segregation and discrimination. Critical projects have also used photography to expose the history of visual or cultural stereotypes. Plastic experiences based on the portrait have also attempted to take into account the infinity of singularities against any form of essentialization. Many of these projects are carried out by researchers, curators and activist artists from different Romani groups.

The rediscovery of works by photographers from the Romani sociétés, such as Matéo Maximoff in France, Jacques Léonard in Spain and Andrej Pešta in the former Czechoslovakia, as well as the interest in photographic materials from the private sphere and amateur practices, have also revealed previously neglected productions. A continent of photographic images is beginning to be discovered and is also guiding many artistic works in progress that use the photographic medium for activist projects or to represent diverse communities in Europe and elsewhere in the world. The work of these artists is recognized on the international art scene; it enters in museum collections, shedding new and sometimes critical light on already patrimonialized 19th and 20th century photographic collections.

This workshop is intended to be a moment of discussion on the history of photographic figurations, past and present, an opportunity to revisit some of the steps in this history of figurations and to share the experience of works in progress. Particular attention will be paid to the issues of representation, to the ethical questions mobilised by photographers and to the crossroads between art and social sciences. Many of the papers presented during the day will be based on commented projections of photographic series, in dialogue with photographers, researchers and activists.


Liste des partenaires / List of partners

• Musée des civilisations de l’Europe et de la Méditerranée-MUCEM.
•
• Fédération nationale des associations solidaires d'action avec les Tsiganes et les Gens du voyage / Fnasat-Gens du voyage.


Program Monday September 18 2023

10h00
Accueil des participants et du public / Reception of participants and the public.

Session 1

10h30-13h00
Éthique d’une photographie de la dignité / Ethics of a Dignity Photograph

10h30-11h00
(1)
Julia Ferloni, Valérie Leray

Performance participative / Participatory performance

La fabrication des stéréotypes par l'image/ Stereotyping through images

11h00-11h30
(2)
Andre Raatzsch
Politics of Photography

11h30-12h00
(3)
Antoine Le Roux
Matéo Maximoff photographe /Matéo Maximoff photographer

12h00-12h30
(4)

Sabine Girg
Pictures After All – Photographic Attempts in the beginnings of the Civil Rights Movement of the Sinti and Roma in Germany (BRD)

12h30-13h00
Discussion
13h00-14h00
Déjeuner / Lunch

Session 2

14h00-17h00
Experiences and practices of photography

14h00-14h30
(5)
Yoanna Rubio
Cité de l’Espérance title to be confirmed

14h30-15h00
(6)

Valérie Leray
Between Adventures and Chimeras

15h15-15h45
(7)

Emilia Rigova
Transgressing past, shaping the future

15h45-16h15
(8)

Georges Pacheco / Estelle Granet
Manouches

16h15-16h45
(9)
Nihad Nino Pušija
The Search for El Dorado

16h45-17h30
Discussion

17h30
Fin de la journée / End of the day

19/04/2023

english version below
-------------------------------------------------FR
Cher.e.s ami.e.s et collègues,
J'ai le grand plaisir de vous annoncer que deux photographies de la série Place with no Name sur les cinq acquises par le Musée des Civilisations de l'Europe et de la Méditerranée en 2023 seront exposées à BARVALO.
Je serai présente au vernissage le 9 mai, ainsi qu'au petit-déjeuner et à la visite le 10 mai.
Pour plus d'informations sur Barvalo www.mucem.org/en/barvalo
Vernissage le 9 mai de 16h à 23h, ouvert à toutes et à tous
Visite et petit-déjeuner à partir de 10h le 10 mai, RV au salon bleu du Mucem, inscription : [email protected]
Du mercredi 10 mai 2023 au lundi 4 septembre 2023 visible aux heures d'ouverture du MUCEM.

-------------------------------------------------EN
Dear friends and colleagues,
I am very pleased to announce two photographs from the series Place with no Name out of the five acquired by the MUCEM ( Musée des civilisations de l'Europe et de la Méditerranée) in 2023 will be showed at the group exhibition BARVALO.
I will be present at the opening on 9 May, and at the breakfast visit-tour on 10 May.

About Barvalo : www.mucem.org/en/barvalo
Opening on 9 May from 4pm to 11pm, open to all
The breakfast (blue salon) and the guide tour from 10am. Register here: [email protected]
From Wednesday 10 May 2023 to Monday 4 September 2023

valerieleray.com
[email protected]
+4917676635425

01/04/2023

My 40-minutes performance of the photographic series Place With no Name at Kyoto University, as part of the international symposium Diasporic Memory, Art for survival: Music and Art of Jews, The Roma and The Atomic Bomb survivors in Hiroshima went well. However, I had just landed on the island and my brain was confused: awake/sleepy, asleep/wakey. I strongly recommend the European institutions to follow the example of the openness of the proposals and the new reflections developed in this symposium by very concerned people. Thanks again to Ayako Iwatani, Professor of Kyoto University, anthropologist, to Ryoko Sachi (Toyo University), anthropologist. I met them in Berlin in 2019.
And to the speakers Sachiko Takiguchi, Haruyuki Kuroda, Joshia D. Pilzer, Aya Udagawa, Taro Tsurumi, Takuma Higashi, Kotaro Tagagi, the artists Gil Yefman and Harry Stojka.
And to the audience.
A publication will follow this symposium in the current year or the next.

Ma performance de 40 minutes (en anglais) sur la série photographique Place With no Name présentée à l'université de Kyoto, dans le cadre du symposium international Diasporic Memory, Art for survival : Music and Art of Jews, The Roma and The Atomic Bomb survivors in Hiroshima s'est bien passée. Pourtant, je venais d'attérir sur l'ile et mon cerveau était confus : réveillé/endormi, endormi/réveillé. Je recommande vivement les instutions européennes de prendre exemple sur l'ouverture des propositions et les nouvelles réflexions développées dans ce symposium par des personnes très concernées. Merci encore à Ayako Iwatani, Professeure de l'université de Kyoto, anthropologue, à Ryoko Sachi (Toyo University), anthropologue. Je les avais rencontré à Berlin en 2019.
Et aux intervenant.e.s (Sachiko Takiguchi, Haruyuki Kuroda, Joshia D.Pilzer,Aya Udagawa, Taro Tsurumi, Takuma Higashi, Kotaro Tagagi, aux artistes Gil Yefman et Harry Stojka.
Et à l'audience.
Une publication suivra suite à ce symposium dans l'année en cours ou la suivante.

14/02/2023

Dear friends and colleagues,

I'm pleased to present two photographs from the series From Earth...To Earth and the project "Garden as an Utopia" i started in residency to the exhibition " Fregmented World : Focus > Europe IV, Schafhof, european art center, Freising . See you there very soon.

-------------------------------------EN

Fragmented World | Focus > Europe IV

From 18 February to 10 April 2023
Open Tuesday to Sunday from 2pm to 6pm

Opening on 17 February from 6 pm

AT THE SCHAFHOF
Am Schafhof 1
85354 Freising

For more information see
[email protected]
lamire.org : la mire takes care of dehacking its site.
[email protected]
www.schafhof-kuenstlerhaus.de

Workshop at the Schafhof on 1 and 2 April 2023
On an old photographic process: the Anthotype
Registration at the Schafhof.

The Orléans-based visual artists' collective la mire has been developing international research and creation residency programmes entitled A Roof above your Head for over fifteen years, mainly open to visual artists based in the Centre-Val de Loire region.

la mire also organises monographic exhibitions and develops a series of collective exhibitions under the name Retour amont in different territories and partner structures of its residencies.

The collective la mire is newly part of the European exchange and residency programme for visual artists FOCUS with the European art centre of Upper Bavaria, the Schafhof, in Freising. The exhibition Fragmented World/ Focus > Europe IV presents the artists participating in the European residency programme in 2021 and 2022, including Julia Smirnova, resident at 108 in Orléans and Valérie Leray, resident at the Schafhof in Freising in 2022.

With the kind support of the city of Orléans, and the Region of Upper Bavaria/Le Schafhof for Julia Smirnova's residency as part of the FOCUS residency programme.
The DRAC Centre-Val de Loire and the Région Centre-Val de Loire for the residencies A Roof above your Head in Berlin/Région Centre-Val de Loire.

-------------------------------------FR

Fragmented World | Focus > Europe IV
Du 18 février au 10 avril 2023
Ouverture du mardi au dimanche de 14h à 18h

Vernissage le 17 février à partir de 18h

AU SCHAFHOF
Am Schafhof 1
85354 Freising

Plus d'information :
[email protected]
lamire.org : la mire s'occupe de déhacker son site.
[email protected]
www.schafhof-kuenstlerhaus.de

Workshop au Schafhof le 1er et 2 avril 2023
à partir d'un ancien procédé photographique : l'Anthotype
Inscription au Schafhof.

Le collectif d'artistes visuel.le.s la mire basé à Orléans développe depuis plus d'une quinzaine d'années des programmes de résidence de recherche et de création à l'international intitulé A Roof above your Head ouverts principalement aux artistes visuel.le.s installé.e.s en région centre-val de Loire.

la mire organise également des expositions monographiques et développe une série d'expositions collectives sous le nom Retour amont dans différents territoires et de structures-partenaires de ses résidences.

Le collectif la mire est nouvellement part du programme européen d'échanges et de résidences d'artistes visuel.le.s FOCUS avec le centre européen d'art de la Haute Bavière le Schafhof, à Freising. L'exposition Fragmented World/ Focus > Europe IV présente les artistes participants au programme de résidence européen en 2021 et 2022, notamment Julia Smirnova, résidente invitée par la mire au 108 à Orléans et Valérie Leray résidente au Schafhof, à Freising en 2022.

Avec l'aimable soutien de la ville d'Orléans, et la Région de la Haute-Bavière/Le Schafhof pour la résidence de Julia Smirnova dans le cadre du programme de résidence FOCUS.
La DRAC Centre-Val de Loire et la Région Centre-Val de Loire pour les résidences
A Roof above your Head à Berlin/Région Centre-Val de Loire.

Der Schafhof ist das europäische Kunstforum des Bezirks Oberbayern für zeitgenössische Kunst mit den Schwerpunkten >> Residenzprogramm im Rahmen des europäischen Kunststipendiums des Bezirks Oberbayern >> internationales Ausstellungsprogramm sowie >> lokale und regionale Kulturveranstaltungen.

18/08/2022

I'm pleased to present two photographs from the series From Earth...To Earth to the exhibition " RETOUR AMONT / RETURN UPSTREAM, at ROSALUX in Berlin. See you there soon.

RETOUR AMONT
RETURN UPSTREAM / RÜCKKEHR STROMAUF
Catherine Beaugrand, Tiny Domingos,
Valérie Leray, Gaby Schulze, Sébastien Pons
OPENING FRIDAY 26 AUGUST 19:30 H

At ROSALUX
Wriezener strasse 12
13359 Berlin-Wedding
www.rosalux.com

more info : [email protected]
www.lamire.org

Sans titre©Sébastien Pons
-----------------------------------------EN
27.08.2022 to 18.09.2022
Sa 28th und Sun 29th August 14h – 18h
Further days: please check rosalux.com

Tue 6th September : 11h – 13h/Break/14h – 16 h
NFT workshop with Gaby Schulze.
Cost of the participation : 15 €. Limited to 7. Registration required and request for information to [email protected]

"Is the earth something or someone?"
Passe au château cloaque, René Char in Retour Amont, 1978

RETURN UPSTREAM is an invitation to abandon the
verdant deltas of platitudes to dig one' s way back. Retracing the thread of water and time, one will be able to go back to the sources and listen to flattening of the song of the borders, to find the pollen of the spirit and to taste the wine of freedom before it turns sour.

With Catherine Beaugrand, Tiny Domingos , Valérie Leray, Gaby Schulze, Sébastien Pons.
Invited by Valérie Leray as part of the international AIR programme "A ROOF ABOVE YOUR HEAD" organised by the visual artists collective la mire (lamire.org)

With the kind support of the DRAC Centre-Val de Loire, the Région Centre-Val de Loire (for la mire) and Neustart Kultur (for G. Schulze).

-----------------------------------------DE
27.08.2022 bis 18.09.2022
Sam 28. und Son 29. August 14h bis 18 Uhr
Weitere Tage: siehe bitte rosalux.com

Di 6. September: 11 bis 13 Uhr/Pause/14 bis 16 Uhr.
NFT-Workshop mit Gaby Schulze.
Kosten für die Teilnahme: 15 €. Begrenzt auf 7. Anmeldung erforderlich. und Anfrage an [email protected]

"Ist die Erde etwas oder jemand?".
Passe au château cloaque, René Char in Retour Amont,1978.

Rückkehr stromauf ist eine Einladung, die grünen Deltas der Platitüden zu verlassen und seine Rückkehr zu graben. Wenn man den Lauf des Wassers und der Zeit zurückverfolgt, kann man zu den Quellen zurückgehen und der Abflachung des Gesangs der Grenzen lauschen, den Blütenstaub des Geistes wiederfinden und den Wein der Freiheit kosten, bevor er sauer wird.

Mit Catherine Beaugrand, Tiny Domingos , Valérie Leray, Gaby Schulze, Sébastien Pons

Eingeladen von Valérie Leray im Rahmen des internationalen AIR-Programms "A ROOF ABOVE YOUR HEAD", das von dem Künstlerkollektiv la mire (lamire.org) organisiert wird.

-----------------------------------------FR
Du 27.08.2022 au 18.09.2022
Sa 28 et dim 29 août 14h - 18h
Autres jours : veuillez consulter le site rosalux.com.

Ma 6. September : 11h à 13h/Pause/14h à 16 h
NFT workshop with Gaby Schulze.
Coût de participation : 15 €. Limité à 7. Inscription obligatoire
et demande de renseignement à [email protected]

„La terre, est-ce quelque chose ou quelqu’un ?“
Passe au château cloaque, René Char, Retour amont, 1978.

RETOUR AMONT est une invitation à abandonner les deltas verdoyants de platitudes pour creuser son retour. En remontant
 le fil de l’eau et du temps, l’on pourra reculer aux sources et écouter le dévalement du chant des frontières, retrouver le pollen de l’esprit et goûter le vin de la liberté avant qu’il ne s’aigrisse.

Avec Catherine Beaugrand, Tiny Domingos , Valérie Leray, Gaby Schulze, Sébastien Pons.
Invité par Valérie Leray dans le cadre du programme international AIR "A ROOF ABOVE YOUR HEAD" organisé par le collectif d'artistes visuels la mire (lamire.org)

Et l'aimable soutien de la DRAC Centre-Val de Loire, de la Région Centre-Val de Loire (la mire), de Neustart Kultur (G. Schulze).

Mit freundlicher Unterstützung der DRAC Centre-Val de Loire, der Region Centre-Val de Loire (la mire), von Neustart Kultur (G. Schulze).