Sara R. Farris
Sara R. Farris is Senior Lecturer in Sociology at Goldsmiths, University of London, and the author of Max Weber’s Theory of Personality: Individuation, Politics, and Orientalism in the Sociology of Religion (Brill, 2013) and of In the Name of Women’s Rights: The Rise of Femonationalism (Duke University Press, 2017). Her work focusses on theories of gender, race and social reproduction, particularly as they apply to the analysis of migrant women in Western Europe. It examines theories of racism and nationalism; the specific gendered forms of Orientalist/Westocentric representations of women in the Western public discourse; the mobilization of women’s rights by right-wing nationalist parties within xenophobic campaigns; the multiple forms of exploitation and domination that characterize female migrant labor in the care and domestic sector in particular; the commodification of care and social reproduction and its links to processes of racialization; the dialogue between intersectionality theory and Marxist feminisms.
Prior to joining Goldsmiths in 2013, Sara R. Farris worked at the University of Rome “La Sapienza”, University of Amsterdam and King’s College, and held Fellowships at the Institute for Advanced Study in Princeton (2012–2013), Institute for Advanced Studies in Konstanz (2011) and Jan van Eyck Academy in Maastricht (2009–2010). She is currently a member of the Editorial Board of Historical Materialism and international book review editor for Critical Sociology.
Houda Asal holds a PhD in socio-history. Her doctoral thesis was published in English: “Identifying as Arab in Canada - A Century of Immigration History” (2020, Fernwood publishing). She was a postdoctoral fellow at McGill University in Montreal and associate of the Maurice Halbwachs Center at the École Normale Supérieure in Paris. Her work focuses on immigration, social movements, racism and islamophobia in France and Canada. Asal has published more than 15 articles and book chapters and given talks to a wide variety of audiences on these topics. As a researcher at the Commission des droits de la personne et des droits de la jeunesse of Quebec, she conducted a major study of xenophobic and islamophobic hate acts in the province (2019). Her last article analyses the denial of the phenomenon of Islamophobia in France (published in the collective book Racismes de France, 2020).
Edwin Nasr (b. 1994) lives and works between Amsterdam and Beirut. He is the Assistant to the Director at Ashkal Alwan, a non-profit organization dedicated to artistic production and research, where he takes part in the development of public programs, publications, and exhibitions. His essays have been published in Afterall Journal, Bidoun, The Funambulist, n+1, Jadaliyya, and ArteEast Quarterly, and were commissioned by the Sharjah Art Foundation, Biennale de l’Image en Mouvement – Geneva and MMAG Foundation. Nasr has worked on several editorial projects, including Beirut Art Center’s The Derivative and the inaugural Sharjah Architecture Triennial’s Rights of Future Generations. Additionally, he sits on the editorial board of Journal Safar, Beirut’s biannual independent visual and design culture magazine, and regularly translates texts written in French and grounded in decolonial thinking. Nasr is a participant of de Appel’s Curatorial Program 2020–2021.
Initiated in 2011, in partenarship with University Paul-Valéry in Montpellier, the exerce Masters exerce is an internationally renowned training program, which accompanies artists (choreographers, performers) in authoring a dance research project. Since October 2016, two distinct groups of students-artists-researchers, one starting its first year and the other one already in its second year are working at the Centre chorégraphique. The 2019-2021 group gathers Anat Bosak, Oliver Connew, Julia Barrette-Laperrière, Luara Learth Moreira, Christian Romain Kossa, Marion Storm Budwig and Mariana Viana. The 2020-2022 group is composed of MariaGiulia Serantoni, Acauã El_Bandide Sereya, Pauline Lavogez, Noah Allui Konan Léonce, Yu-Hsuan Chiu and Mathilde Rance. Investigating ways of working as a dancer, choreographer, researcher and citizen is at the core of the exerce Masters, which seeks to enlarge the field of choreography while encouraging encounters between artistic processes and research methodologies. More information here.
Serena Lee’s practice stems from a fascination with polyphony and its radical potential. She works across disciplines, collaboratively and aleatorically. Serena also works with Read-in, a collective researching political, embodied, and situated practices of reading; and SHATTERED MOON ALLIANCE, a collaboration with artist Christina Battle. Recent projects have played out at CRAC Occitanie (Sète), Cubitt (London), transmediale (Berlin), Mitchell Art Gallery (Edmonton), Museum of Contemporary Art (Toronto), and Whitechapel Gallery (London). Serena holds an MFA from the Piet Zwart Institute in Rotterdam, an Associate Diploma in Piano Performance from the Royal Conservatory of Music in Canada, and is currently based in Vienna as a PhD researcher at the Academy of Fine Arts. Serena was born in Tkaronto/Toronto, Canada and at one point her first language was Cantonese.
Rester. Étranger is a kind of family. The family is the format of the work. Because Rester. Étranger is a work of art. What kind of art? A kind of art that is experimental. That is, an art in the making. Which is really experienced. A non-spectacular, non-exclusive, living kind of art. Which belongs to its makers. Those who breathe it. Those who sweat it. You are making it too. This moment when you engage in reading these lines belongs to you. You are getting in touch with an activity that grounds the experience of Rester. Étranger. An art practice that has no outside. That does not wait for an audience. Nor for the right place. Nor for the right time to happen. Rester. Étranger is happening and gives space to each person who encounters its activity. Crossing through what remains of the disoriented desire for camping in reality. A choreographic trajectory within the relation.
Barbara Manzetti deeply inhabits, in the company of others, an experiential and affective work that resists its own execution. Its variable, polymorphous, diffuse format gladly takes place in writing, either performed or deposited on diverse and perishable props, such as post-its, cards, reels, or finding hospitality in the shape of a book.
Myriam is searching, and often gets lost. Trained as a literature scholar, she got undisciplined somewhere between France and Québec. She is Associate professor at the Sorbonne Nouvelle University where she has run the Centre d’études québécoises since 2012. In 2019, she joined the Institut Universitaire de France. However, she best operates in the interstices between institutions, weaving relations with other sites of research-practice-creation. Her Phd in Humanities thesis (jointly led in Lille 3 and Concordia universities, 2007-2010) investigated literary texts that are simultaneously written in different languages, thus shattering the myth of “the language” as one and indivisible. Since then, she has been exploring the political implications of this poetics by considering that the “s” in “français” signals a plural form (to be read “frenches” rather than “French”). Among her publications are three books: L’Imaginaire hétérolingue. Ce que nous apprennent les textes à la croisée des langues (Paris, Classiques Garnier, 2014); Indiscipline ! Tentatives d’UniverCité à l’usage des littégraphistes, artistechniciens et autres philopraticiens (Montréal, Nota Bene, 2016); L’Horizon est ici. Pour une prolifération des modes de relations (Rennes, Éditions du Commun, 2019). She would love to hear from you, don’t hesitate to send her messages at firstname.lastname@example.org
Karima El Kharraze
Sarah Rifky is a writer and theorist of modern and contemporary art. She is a PhD candidate in History, Theory, and Criticism of Architecture and Art and the Aga Khan Program for Islamic Architecture at the Massachusetts Institute of Technology (MIT). Her current research is focused on the emergence of what she terms “Cultural Infrastructure” in Egypt during the 1950s and 1960s. She is interested in the work of institutions, artists and art in global modernism.
Rasha Salti is an independent film and visual arts curator and writer, working and living between Beirut and Berlin. She co-curated The Road to Damascus, with Richard Peña, a retrospective of Syrian cinema that toured worldwide (2006), and Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s until Now, with Jytte Jensen (2010-2012) showcased at the Museum of Modern Art (MoMA) in New York. She co-curated with Kristine Khouri Past Disquiet: Narratives and Ghosts from the Exhibition of International Art for Palestine (Beirut, 1978), at the Museu d’Art Contemporani de Barcelona (MACBA) in 2015, at Haus der Kulturen der Welt, in 2016, at the Museo de la Solidaridad Salvador Allende (MSSA) in Santiago de Chile and at the Sursock Museum both in 2018. Salti edited Insights into Syrian Cinema: Essays and Conversations with Filmmakers (2006, ArteEast and Rattapallax Press), Beirut Bereft, The Architecture of the Forsaken and Map of the Derelict a collaboration with photographer Ziad Antar (Sharjah Art Foundation, 2010), and I Would Have Smiled: A Tribute to Myrtle Winter-Chaumeny *co-edited with Issam Nassar, in 2010.
Victorine Grataloup studied art history and theory at EHESS (School of Advanced Studies in the Social Sciences) and at the University Paris I Panthéon-Sorbonne where she is now a lecturer, and worked at the Palais de Tokyo, KADIST, Bétonsalon - Center for art and research and Cneai before becoming an independent curator.
She has been collaborating with Virginie Bobin since 2018 through Qalqalah قلقلة, platform for artistic exchange, research and translations they co-founded together; and with the curatorial collective Le Syndicat Magnifique which she co-founded in 2012.
In 2020, she is the recipient of the Cnap (The National Centre for Visual Arts) curatorial research grant with a project on acquisitions of works by artists from the Islamic world. She simultaneously works with École des Actes (School of Acts), an experimental micro-institution working in between languages in Aubervilliers, France.
Montasser Drissi is a Moroccan graphic designer and type designer based in Paris. In his research at the Atelier national de recherche typographique in Nancy, he explored the design of multi-script characters (fonts that are compatible with several writing systems) and the way power relations between dominant and minority languages play out in the typographical field in Arab-speaking countries.
Virginie Bobin works at the crossroads between research, curatorial and editorial practices, pedagogy and translation. In 2018, she started a practice-based research project on the political and affective stakes of translation, within the framework of the PhD-in-practice program in Artistic Research at the Akademie der bildenden Künste (Vienna). In parallel, she co-founded with Victorine Grataloup the non-profit organization Qalqalah قلقلة, a platform for artistic exchanges, research and translations.
Until 2018, she was Head of Programs at Villa Vassilieff, a center for art, research and residencies, which she co-founded in 2016. Previously, she worked for Bétonsalon – Center for Art and Research, Witte de With Center for Contemporary Art (Rotterdam), Manifesta Journal, Les Laboratoires d’Aubervilliers and Performa, the New York Biennial for Performing Arts. Her independent curatorial projects have been hosted internationally, in such institutions as MoMA PS1, e-flux space and Tabakalera, and her texts have been published in international exhibition catalogues and magazines (including Metropolis M, Manifesta Journal, Frieze /de, Flash Art, Switch on Paper). Editorial projects include Composing Differences (Les Presses du Réel, 2015) and Qalqalah (an online platform jointly edited by Bétonsalon – Center for Art and Research, Villa Vassilieff and Kadist Paris, 2015–2018).
Vir Andres Hera
Vir Andres Hera, born in Yauhquemehcan, Tlaxcala, lives and works in France. Vir Andres’ imagination is told in several languages: French, Spanish, Creole, Aztec and other Amerindian languages. Several language realities merge into his work. His images and representations are mostly expressed through video, but with a broader idea of writing since narration is crucial to him. In his videos, everything is mysteriously strewn with stories and strange anecdotes, literature and his faraway tales, religious myths, dreamlike figures and sacred landscapes. (Text by Julie Gil Giacomini)
Vir Andres Hera is also a member of the Editorial Committee of Qalqalah قلقلة. He is currently a graduate student at the University of Quebec in Montreal and at the Fresnoy - National Studio of Contemporary Arts. His research, Literary heteroglossies focuses on the coexistence of different languages within mythological stories.
Line Ajan is an independent curator based between Chicago and Paris. In 2018, she completed her MA in Art History at the University Paris 1 Panthéon-Sorbonne. Her research interest were then oriented towards the appropriation of vernacular photographs in contemporary artistic practices. She notably wrote her master’s thesis on the experimental period of the Arab Image Foundation (1997-2004) under the direction of Michel Poivert. Between 2015 and 2019, she worked at Galerie Imane Farès in Paris, where she participated in the organization of the first exhibitions of Sinzo Aanza, Alia Farid, James Webb and the artist collective On-Trade-Off, amongst others, in Paris. She also assisted in the edition of Emeka Ogboh’s second monograph, Lagos Soundscapes, published by Kerber Verlag. In parallel, she conducted several long interviews, published in the online magazine Figure Figure, with young artists based in Paris.
In 2019-2020, she is the recipient of the Barjeel Global Fellowship at the Museum of Contemporary Art (MCA) Chicago, Illinois. At MCA Chicago, she is preparing a screening program for the exhibition Alien VS Citizen and is organizing the exhibition The Location of Lines which will take place at the MCA between August 2020 and March 2021. In 2019, she joined the editorial committee of Qalqalah قلقلة association, a platform for artistic exchange, research and translations.
Sylvain Julé is a graphic designer and front-end developer based in Paris. After conducting a research project that questioned hypertextuality and inter-textual relations on the web at the National Workshop for Typographic Research (Atelier National de Recherche Typographique), he dedicated his work to designing websites, free digital tools, ephemeral web installations and other interacive experiences.
Salma Mochtari is a Morrocan art worker based in Paris. She studied art institutions’ management at HEC Paris, and Contemporary Philosophy at Université Paris I Panthéon-Sorbonne and Université de Paris Nanterre.
Her academic research focuses on the philosophical ramifications of the ‘archival turn’ in contemporary art, and focuses on minor archives and archival silence.
She currently collaborates with KADIST Paris.
She joined Qalqalah قلقلة in December 2020.
Ouidade Soussi Chiadmi
Ouidade Soussi Chiadmi graduated from the École Nationale Supérieure des Arts Décoratifs in Paris. After working for more than ten years as a photographer (Les Laboratoires d’Aubervilliers, Bétonsalon, g.u.i., Entrez-sans-frapper, TripAdvisor, ReedExposition…), she is currently training herself in the practice of computer coding. She collaborates with Figures Libres, a collective of graphic and interactive designers, which operates at the crossroad of two civic approaches: supporting messages with a public, social and cultural use, while operating with free softwares.