Il faut le permis

• Par Alain Roger

- (fondation hippocrène)

->8 résidences

- Find a MIP

2 mois évaluations contrats

projet de diplôme mobilité pour se former, mise en réseau

montrer que la mobilité est très préparée

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Protention : une mémoire qui n’est pas encore arrivée

Protention : une mémoire qui n’est pas encore arrivée, inconscience, déplacement dans le temps

Protention : une mémoire qui n’est pas encore arrivée, inconscience, déplacement dans le temps

Anthropologist and theorist Elizabeth Povinelli sees metabolism from the angle of the “skin of life” in her book Geontologies : A requiem to late liberalism. She asks, why and what is “causing the natural sciences to place ever more pressure on the skin of life, shredding this fragile membrane in the process?” The answer takes us to the increasingly unavoidable entanglements of life and nonlife in contemporary capitalism. I see metabolism’s return vis-a-vis communal and embodied approaches to living and learning from human to microbe and mycelium, found in spaces that range from laboratories and markets to culturally-revisionist kitchens. The emphasis on metabolism in the arts, has turned to the restorative potential of collective cognition, via the exploration of metabolic narratives, which start with acknowledging learning and knowledge building as a form of care.

To return to our subject, geophagy is not haphazard or aberrant behavior. This is not an obsession with perversion, but a multi-causal phenomenon with both biological and cultural underpinnings. There is an adaptive benefit at hand in its practice in effort to understand diet, detoxification or on the contrary overconsumption, toxification, and behavioral acclimatization. This is something I’m looking forward to discussing in depth with medical anthropologist Dr. Ruth Kutalek on Wednesday in our workshop. She will share with us soil samples collected from her research in Africa and Asia, and address issues around clay consumption and behavior, metallics, desire and choice, and the small intimate and closed trading circles of geophagic clays.

In our work, each case study unveils consumption practices, generally occurring in intimate settings or networks, and in relation to different actors, families, and lineages. Much could be said of clays as a process of transformation-in-movement just as our own inquiry is a transformative one. We apply these techniques to the exhibition or artwork, as “clay narratives,” and subject to local issues and histories. For example, we made a lecture performance in 2017 inside of Otobong Nkanga’s Carved to Flow project held at the Cité des Arts in collaboration with the École Polytechnique, École Nationale Supérieure des Arts Décoratifs–PSL. The lecture focused on the Parish of Rabat (Malta) and looked at how the recast Lemnian earth myth reemerged in the early-modern island of Malta with a rebranded pill designed for the Sovereign Military Order of St. John to support the contested legend of the apostle’s shipwreck on the island, where a new historiography and geography of Christianity in the Mediterranean was forged.

The curatorial has clear performative sides. When tracing the notion to its emergence in other fields, it becomes clear that performativity uses acts and practices as a way of creating meaning. Irit Rogoff claims that the curatorial is ‘at its best, when it is attempting to enact the event of knowledge rather than illustrating those knowledges.’ Enactment directly implies performance. Rogoff’s belief that we are attempting to comprehend “the curatorial as an epistemic structure” relates to how she defines the curatorial as a series of existent knowledges that temporarily intertwine in order to produce what she refers to as “the event of knowledge,” an instant in which distinct knowledges interacting with one another beget something that goes beyond their role as knowledge.

In her lecture titled “Becoming Research,” Rogoff, shares the meeting point of two bodies of thought namely, what creative practices are able to offer us at this moment and how research is taken on and is activated by creative practices. She asks, what does it mean for the understanding of research?:

"Yet, the concept of research has shifted. Research is actually the thing itself. 'Research' as we experience it now in both institutional and culturally active contexts has moved away from stable bodies of knowledge to be excavated as well as away from recognised subjects whose validity is universally recognised. ‘Research’ models emanating from practice have ceased to be the context or the preparation for work and have become the main event of activity. ‘Research’ is now the arena in which we negotiate knowledge that we have inherited with the conditions of our lives. Those conditions, whether economic, geographical or propelled by subjectivity, have become the drive of the work."