White Night

Mali Arun (France, 1987) is a video artist and director. Her work lies somewhere between fiction, documentary film and art video, questioning and exploring spaces on the margins, in movement or in conflict. Mali Arun has exhibited at numerous venues and festivals in France and abroad, including the Palais de Tokyo (Paris) in 2019, the Foam Museum (Amsterdam) in 2020 and the Lyon Biennial in 2022.

She graduated from the École nationale supérieure des Beaux-Arts de Paris in 2013 and won the Grand Prix du Salon Montrouge in 2018.

Ismaïl Bahri (Tunisia, 1978) uses video, drawing, sculpture and sound without specialization. He positions himself as an observer, setting up a device for capturing gestures and empirical experimentation, paying attention to “what happens”. His work is interested in the meaning that emerges at the periphery of the gaze, in the presence of the surrounding world that outcrops and reveals its presence. Ismaïl Bahri’s work has been shown at the Jeu de Paume (Paris), the Reina Sofia Museum (Madrid), the Centre Pompidou (Paris), La Criée (Rennes), La Verrière (Brussels), the Beirut Art Center (Beirut) and the Staatliche Kunsthalle (Karlsruhe). His films have been selected for festivals such as TIFF (Toronto), NYFF (New York), IFFR (Rotterdam) and FID (Marseille).

Séverine Ballon (France, 1980) is a composer and cellist. These two activities feed into each other in her musical research. In her work as a performer, she favors collaborations with composers, in the intimacy of the musical factory. She has premiered solos and concertos by Rebecca Saunders, Chaya Czernowin, Mauro Lanza, Philippe Leroux and Francesca Verunelli, among others. She studied composition at the Musikhochschule in Freiburg with Johannes Schöllhorn and cello at the Hochschule für Musik in Berlin and Lübeck with Joseph Schwab and Troels Svane. Winner of the Luc Ferrari competition in 2019, in 2021 she composed the literary show Je suis honorée d’être née dans ta tête, based on texts by Babouillec. Recent projects include a piece for cello and electronics for the Transit festival (Leuven, 2022), and a piece for cello and clarinet for musicians Åsa Åkerberg and Shizuyo Oka (Ensemble Recherche). She has composed two original scores for feature films by director João Pedro Rodrigues: L’Ornithologue (2016) and Où est cette rue? (2022) co-directed with João Rui Guerra da Mata. Her solo album Solitude was released on the Aeon/Outhere label, and her first album as a composer, Inconnaissance, on the All That Dust label.

Hélène Bertin (France, 1989) claims to have a “deliberately bastardized approach” as both artist and researcher. She lives in Cucuron (Vaucluse) and develops her practice by forging links and engaging in working adventures with passionate people, always activating the notion of otherness. Rejecting any disciplinary reading, she approaches gesture and material as strategies for bringing practices together. In her exhibitions, this interweaving of different object typologies and postures creates a collective narrative. In her books, she focuses on marginal personalities to convey parallel stories. For Hélène Bertin, the sensitive relationship between living and working is played out in cooperation between the “realms” of each individual. It was her encounter with the practice of artist Valentine Schlegel that forged this vision of art – to whom she dedicated a bio-monographic book in 2017, radically renewing the gaze on this artist.

Alix Boillot (1992) creates sculptures, installations, set designs, performances and editions. What they all have in common is the quest for a certain side of our humanity – romantic, mystical, playful – which is attached to that which has no other value than the one we attach to it. In other words, it’s about gathering tangible traces of our attachment to the sacred here on earth. A graduate of the École nationale supérieure des Arts Décoratifs de Paris, her work has been presented at the Ménagerie de Verre (Paris), Lafayette Anticipations (Paris), Fondation Ricard (Paris), Saint Ignace church during the Nuit Blanche (Paris), Plastique Danse Flore (Versailles), Les Subs (Lyon), CND (Pantin), CNDC (Angers), Festival d’Automne (Paris) and Festival d’Avignon. Among her many collaborations, she has worked with César Vayssié, Ivana Müller, Ola Maciejewska, Robert Cantarella, Dominique Gilliot, Anaïs de Courson, Émilie Labédan and Julien Lacroix.

Madison Bycroft (Australia, 1987) lives and works in Marseille. A graduate of the University of South Australia and the Piet Zwart Institute in Rotterdam, she works with video, sculpture and performance. Madison Bycroft’s research extends to forms of reading and writing, expression and refusal, exploring how we might reimagine “reading” (in its extended sense) and understanding, not as accomplishment, but as relationship. Madison Bycroft has presented her work in Beirut, Singapore and New York, as well as in France at CAC Brétigny, the Rennes Biennial and the Palais de Tokyo. In 2022, several performance projects led him to present his work at the Art Basel fair in Switzerland, in Cordoba’s botanical gardens and at MAXXI L’Aquila. More recently, he presented Joystick, a video game created in collaboration with Ubisoft.

Laure Cadot (France, 1980) is a conservator-restorer specializing in the treatment of organic materials and human remains in particular. A graduate in art history, museology and applied research from the École du Louvre and in conservation-restoration and preventive conservation (Université Paris 1 Panthéon-Sorbonne), she has been working as a freelance conservator for French and European public collections for some fifteen years. Her research into the status and conservation of collections of human remains has led her to work on these little-addressed issues within the archaeology and ethnography department of the Centre de Recherche et de Restauration des Musées de France, and to publish regularly on the subject in specialist journals and books.

Céline Curiol (France, 1975) is a novelist and essayist. She has published a dozen books, including Voix sans issue, Permission, L’Ardeur des pierres, Un quinze août à Paris – histoire d’une dépression, Finir par l’éternité and Les lois de l’ascension, several of which have been translated abroad. She is a regular contributor to literary and humanities journals and anthologies. A graduate of the École nationale supérieure des techniques avancées and the Sorbonne, she worked as a reporter abroad for over ten years before returning to live in France, where she teaches creative writing and written communication.

Jean-Charles de Quillacq (France, 1979) develops sculptural ensembles that are at once organic and abstract, conceptual and fetishistic, which he presents by inviting others to take part in their exhibition protocols. He has thus produced several performances, including Transport Amoureux at Triangle France in 2018 and Fraternité Passivité Bienvenue at the Palais de Tokyo in 2016. His work has been the subject of several monographic exhibitions, notably in 2021 at Art 3 Valence, in 2020 at the Marcelle Alix gallery, which represents him, at Bétonsalon in 2019 and at La Galerie, center d’art contemporain de Noisy-le-Sec in 2018. He has recently exhibited at the Bemis Art Center (Omaha, USA), the Musée d’Art Moderne de Paris, the Palais de Tokyo, the Matter of Art Biennale in Prague and the most recent Biennale de Rennes. Jean-Charles de Quillacq graduated from the École des Beaux-Arts de Lyon and continued his artistic training at the Weißensee Kunsthochschule in Berlin and the Rijksakademie in Amsterdam, where he was resident in 2010 and 2011.

Hamedine Kane (Mauritania, 1983) is a Senegalese artist and filmmaker living between Dakar, Brussels and Paris. His work focuses on exile, wandering, heritage and the awareness that comes with the post-independence political experiences of certain African countries. He questions their recent history, particularly that of Senegal, and reflects its upheavals and aspirations around the notions of Afro-nostalgia and Afro-utopia. Hamedine Kane is also interested in the influence of African, African-American and Afro-diasporic literature on political, social and environmental commitments. Hamedine Kane has recently taken part in numerous festivals and biennales in France and abroad, including the Dakar and Berlin Biennales in 2022, the Momenta Biennale in 2021, the Taipei Biennale in 2020, and numerous exhibitions as part of the Africa2020 season in France.

Kapwani Kiwanga (Canada, 1978) is a French-Canadian artist living and working in Paris. Kiwanga studied anthropology and comparative religion at McGill University in Montreal, and art at the Ecole des Beaux-Arts in Paris. In 2022, she was awarded the Zurich Art Prize (CH). She won the Prix Marcel Duchamp (FR) in 2020, the Frieze Artist Award (USA) and the Sobey Award for the Arts (CA) in 2018. She will represent Canada at the 60th Venice Biennale in 2024. Kiwanga is represented by Galerie Poggi, Paris; Goodman Gallery, Johannesburg, Cape Town and London and Galerie Tanja Wagner, Berlin.

Laure Limongi (France, 1976) is developing a transdisciplinary body of work weaving links with music, performance and the visual arts, as well as history and science. Laure Limongi’s predilection for inquiry, words, expression and language is expressed through a variety of artistic gestures. She writes books – novels, documentary fiction, essays, poetry – and stages them in the form of performed lectures. Her most recently published works include the diptych Ton cœur a la forme d’une île and On ne peut pas tenir la mer entre ses mains (Grasset, 2019 and 2021), and the collection J’ai conjugué ce verbe pour marcher sur ton cœur (L’Attente, 2020). A fan of collective odysseys, Laure Limongi develops artistic collaborations and teaches creative writing at the École nationale supérieure d’arts de Paris-Cergy, after having been a publisher for some fifteen years and co-directing the Master de création littéraire in Le Havre.

Morad Montazami (France, 1981) is an art historian, publisher and curator. After working at the Tate Modern (London) between 2014 and 2019 as “Middle East and North Africa” curator, he developed the editorial and curatorial platform Zamân Books & Curating, which explores and revalues Arab, African and Asian modernities. He is the author of numerous essays on artists such as Zineb Sedira, Walid Raad, Latif Al Ani, Faouzi Laatiris, Michael Rakowitz, Mehdi Moutashar and Behjat Sadr, and exhibitions including Bagdad Mon Amour, Institut des cultures d’Islam, Paris, 2018; New Waves: Mohamed Melehi and the Casablanca Art School, The Mosaic Rooms, London & MACCAL, Marrakech & Alserkal Arts Foundation, Dubai, 2019-2020; Douglas Abdell: Reconstructed Traphouse, Cromwell Space, London, 2021 ; Monaco – Alexandria. Le Grand détour. World cities and cosmopolitan surrealism New National Museum of Monaco, 2021-2022.

Justinien Tribillon (France, 1989) is a curator, writer and editor whose work touches on different media and disciplines: social sciences, photography, architecture and history. In 2021, he presented the “Welcome to Borderland” exhibition on plant migration at the Venice Architecture Biennale. In 2023, he will curate and produce “Jachères”, an exploration of urban and suburban wastelands in northern France through art, design and architecture. Justinien Tribillon holds a PhD in urban planning from the Bartlett School of Planning, University College London, and is the author of a thesis on the Boulevard périphérique de Paris as a socio-technical artifact. Co-founder of Migrant Journal, a six-issue magazine exploring migration in all its forms, he now contributes as a journalist and architecture critic to various publications including The Guardian, The Architectural Review and AOC.

Clémence Quélennec (France, 1991) is a music producer. After 8 years touring with the French rock band La Femme, Clémence decided to move to Morocco. She spent 4 years there, recharging her batteries in nature and reconnecting with herself, discovering Ableton, composing an EP (Dune Solitaire released in 2019) with her computer, her keyboard and the songs of nature. Inspired by this new environment, she is developing an ambient project that she sees as an artistic ecosystem in its own right: Ajasphère. She composes around twenty atmospheric, hypnotic tracks, which she releases every new and full moon. Each track is accompanied by an animation created from her illustrations, which she feeds with the landscapes that surround her and her imagination. In 2022, she returns to France, where she accompanies Jacques on stage, on keyboards. She also explores acoustic ambient music with the Acoustic Ambient Consort, where she plays harp. She is currently concentrating on a new ambient EP to be released in late 2023.

A native of Bordeaux, Martin Planchaud began his career in the kitchen working with former Michelin-starred chefs in various Bordeaux restaurants. Keen to broaden his experience and learn new ways of cooking from inspiring chefs, he travelled to Canada and then Paris. His passion for tradition and experimentation led him on a quest for movement. Along the way, he came across the Domaine de Boisbuchet design residence, and subsequently decided to dedicate himself to places combining cuisine, art and design. He likes to think of the kitchen as a playground and meeting place for designers. He has made several collaborations with culinary designers. After several inspiring trips lasting several months, during which he had to adapt to different cultures, notably in Mexico, India and Italy, he went to New York to try out several positions as a senior chef. He continued this experience in the restaurant business in the Basque country. The Domaine de Boisbuchet will remain an annual event that allows him to inject new energy, expand his network and consolidate his collaborations.

Although based in Biarritz, he nonetheless chooses to remain on the move in order to continue discovering new ways of conceiving his medium. This allows him to remain committed to the quality of his choice of products, and to adapt to seasonal variations in a consistent manner. Martin Planchaud sees himself as a culinary craftsman who places at the center of his cooking an attachment to the taste and visual aspect of the dishes he proposes.

Pierre Adrian (France, 1991) is a writer. He published his first book in 2015, La Piste Pasolini, an initiatory travelogue in the footsteps of the Italian poet and filmmaker, for which he received the Prix des Deux-Magots and the Prix François-Mauriac from the Académie française. Pierre Adrian went on to publish Des Âmes simples (Prix Roger-Nimier), Le Tour de la France par deux enfants d’aujourd’hui (with Philibert Humm) and Les Bons garçons, also published by Les Équateurs. In 2022, her novel Que reviennent ceux qui sont loin was published by Gallimard. On its release, Marine Landrot wrote in Télérama: “Rare are writings so limpid and crafted, capable of arousing an emotion close to tears.” A journalist by training, soccer fan and cycling enthusiast, Pierre Adrian has been a columnist for L’Équipe newspaper since 2016.