Souffle 2016

People, space, time, matter, technology

My body is female, it is mine.
It traveled from far places, had crossed paths, sometimes amusing, occasionally violent.
Often because of the strange behaviors, I could hardly find a right place in society.
Its brain is never paused, rarely at rest or at peace.
It is a reflection of life, the desire to live, to create and freedom.
My body thinks, ponders and transfers information from one point to another.
They can be deformed with a mixture of interfering signals.
Saturated and left an inevitably loss of information.

News

La Petite Collection

The White Project gallery hosts the Petite Collection cards
Thursday 26th and Friday 27th May
24 rue Saint Claude 75003 Paris, from 3 to 9 PM

Raconte-moi ton corps

Saraswati GRAMICH | Sun Mi KIM | Agnès PEZEU | Etienne ZUCKER | Béatrice-Valentine AMRHEIN | Brigitte DERBIGNY | Nicolas COLIN | Malvina SILBERMAN

paper works donated to Bernay Fine Art museum

Nicolas Colin, Saraswati Gramich, Agnès Pezeu, Mitsouko Mori, Sonia Delaunay, Madeleine Weber and Jean Hélion.

7 months exhibition of paper works donated to Bernay Fine Art museum.

Et que la rencontre vive...

Exhibition from 1st May to 2 July 2015
from 10 AM to 12 PM and from 3 to 7 PM everyday except Monday
Bernard Boesch musem 44510 Le Pouliguen

Texte

Irina Aristarkhova

I have good news for you: we still deliver miracles,1 after all… After the comfortable, transparent and always-already anti-Western, antimen or generally oppositional rhetoric that has over-determined our practices and discourses; After unrestrained quotations that mimic without subversion or local appropriation fashionable Anglo-American and French poststructuralist and postcolonial figures; After being consumed by antipathy towards anything not ‘ours,’ that is negated or embraced in accordance with the logic of sameness; After being taught how to compete with each other under a “phallic” sun without respect for female genealogy, continually denying feminist history and the radical creativity of our fellow-women; After being left without feminist education, theory, ethics and aesthetics as part of our curriculum, and still not teaching it when we have an opportunity; After “cutting off the tree branch on which we sit” by reproducing jealousy, ignorance and disrespect towards other women’s achievements; After having no positive articulations of/for the word “woman” and for women in our lives; After having no mediators for professional long-term and short-term relationships that would still leave a space between us to breathe and to create in all our radical otherness among ourselves; After all that has stood between you and me. As you may have noticed by the preceding statements, I am by no means unaware of the obstacles that surround us and surely cannot be blamed for being “too optimistic” about doing feminism in, so-called, “non-Western con - texts.” It is exactly this measured caution that leads me to consider the enactment of any complex and fruitful professional relationships between us as an engendering of miracles, where we co-evolve a new language, new art and new writing, that many other women can partake of (and happily, they do—sometimes acknowledging us, sometimes not). Here I would like to share with you two of my constructive and happy engagements with women artists in Singapore, presented in the collaborative form in which they developed.2