Art historian, author and curator Marie de Brugerolle questions the impact and legacy of performativity on the visual arts, and looks back at Post Performance Future, a pioneering travelling artistic research project she directed from 2012 to 2022.
Her book Post Performance Future. Method/e, published in September 2023, retraces 10 years of research based on the interweaving of performative experiences and practices with several generations of students and artists including Andrea Fraser, Agnieszka Kurant, Cally Spooner, Julien Bismuth and Jimmy Robert.
In partnership with PhotoSaintGermain, a group exhibition of artists from the Beaux-Arts de Paris is being held at the École, with the aim of showcasing the diversity of photographic writing in today's image community.
From 2 to 18 November, Le Labo Photo, the Perret corridor and the outside area will be bringing together 26 artists' proposals on the theme of Counter Spaces.
Participating artists: Caroline Ailleret, Margot Bernard, Léonard Berthou, Sacha Boccara, Rachel Borensztajn, Lena Carlton, Aurélia Casse, Alexey Chernikov, Niels Cibois, Caroline Culcasi, Emma Derieux-Billaud, Sofia Dushenko, Eric Godin, Celeste Ingrand, Corentin Léber, Jinyong Lian, Winca Mendy, Romain Moncet, Sara Noun, Enzo Perria, Clarisse Pillard, Ilona Plissonneau, Axel Ramat, Hajar Satari, Pierre Serot, Yasmine Sdigui, Colombe Thaller, Yizhi Wan
and
The weekend of 3 to 5 November, in the two galleries of the Palais des Études, brings together a scenographic selection of works by student artists from the Jouve, Allouche, Poitevin and Faigenbaum studios.
Faigenbaum studio: Pablo Laplanche, Mehdi Azzouz, Aissa Diallo, Carolina de la Roche, Jaouahire Zakraoui, Aryle Nsengiyumva, Mariya Olegovna, Marc Lohner, Soma Hirata, Aya Yamamoto.
Visual: Aurélia Casse, Need bigger red booboots, I can't run
2022, pigment print on gloss paper mounted on aluminium, 120 x 100 cm
courtesy Aurelia Casse
Practical info
From 2 to 18 November
Every day 14h-18h30
Perret Building
14 rue Bonaparte, Paris 6e
Free admission
With the support of the Neuflize OBC Foundation, patron of the new Extra-Large Photo Chair at the Beaux-Arts de Paris.
In June 2023, three naturalists, Grégoire Loïs, Elodie Renouard and Maxime Zucca, undertook a naturalistic study of the Beaux-Arts de Paris. They investigated those who cohabit with us on a daily basis, often invisibly: plants, birds, insects, bats, small mammals...
Dedicated to the transnational trajectories of the École's students, this session will explore the possibilities of capturing and deconstructing the linearity of conventional patterns of formative narratives, particularly in the trajectories of international artists who have experienced plural formative stages.
Alice Thomine-Berrada teams up with art historian Sophie Delpeux and artists Anne Rochette and Laurent Poléo-Garnier to present an exceptional collection by artist Gina Pane, recently acquired by the Beaux-Arts de Paris: over thirty photographs, drawings and preparatory documents from the Hot Afternoon performance presented by Gina Pane at the 1977 Documenta in Kassel.
On the occasion of the opening of the cultural festival Un Week-End à l'Est, writer, journalist, screenwriter and director Emmanuel Carrère talks to Serge Michel, publishing director of Kometa magazine, and Alain Berland.
In the field of photography, François Halard occupies a singular place, that of a great interior architecture photographer nourished by a passion for antique and archaeological fragments, 18th-century decors, the abstract and radical paintings of modernity, and the experimental and documentary photography of the 1920s.
Winner of a production grant from Rubis Mécénat in partnership with the church of Saint-Eustache and the Beaux-Arts de Paris, Marc Lohner, a 5th year student, is presenting an installation of five strips of fabric suspended in the heart of the church. Curated by Marc Donnadieu.
For the Acheiropoïètes exhibition, a Greek term meaning "not made by the hand of man", Marc Lohner did not attempt to represent the divine, but wanted to reveal what the hand of time, or sometimes involuntarily and voluntarily that of human beings, has left on the walls of the church. To do this, he systematically photographed all the faces of the octagonal limestone blocks that serve as the bases for the church's eighty-two interior pillars, as well as other parts that are less accessible to the eye but still bear the original traces of the building's various construction periods.
After making, sorting and classifying all the images obtained, he printed the most characteristic of them on five strips of translucent linen fabric that he hung between certain pillars, almost twelve metres high. Thanks to subtle effects of perspective, tone on tone and transparency, the photographic skins of the church are superimposed on its natural limestone skins, the pixels of the image on the grains of the stone. In this way, the viewer's gaze is carried away by a double, inverted movement of falling towards the paving on the ground and rising towards the aerial vaults, a constantly renewed coming and going between materiality and immateriality, gravity and lightness, shadow and light...
