Ariella Aïsha Azoulay
Ariella Aïsha Azoulay, professor of Modern Culture and Media and of Comparative Literature, Brown University, film essayist and curator of archives and exhibitions. Selected books: La résistance des bijoux. Contre les géographies coloniales (Ròt-Bò-Krik, 2023); Potential History: Unlearning Imperialism (Verso, 2019); Civil Imagination: The Political Ontology of Photography (Verso, 2012); exhibitions: Errata (Tapiès Foundation, 2019, HKW, Berlin, 2020), Enough! The Natural Violence of New World Order, (F/Stop photography festival, Leipzig, 2016); and films: Like a jewel in the hand (2022) and Un-documented: Undoing Imperial Plunder (2019).
Mounira Al Solh
Mounira Al Solh is a visual artist embracing video and video installations, painting and drawing, embroidery, and performative gestures. Narration, story-telling are engaged and committed to an ongoing witnessing in feminist issues, wars, languages and mother-tongues, migrations, and a constant search for the self, as part or as opposed to social and cultural obligations and imposed contexts. She lives and works between Lebanon and The Netherlands.
Fehras Publishing Practices
Fehras Publishing Practices (Sami Rustom, Omar Nicolas and Kenan Darwich) is an artist collective founded in Berlin in 2015. The collective is researching the history and presence of publishing and its entanglement in socio-political and cultural sphere in the Eastern Mediterranean, North Africa, and the Arabic diaspora, focusing on the relationship between publishing and art historiography. It concerns with the role of translation as a tool facing cultural domination in its traditional and modern forms, as well as a tool for creating solidarity and deconstructing colonial power. Fehras observes publishing as a possibility for creating, transferring and accumulating knowledge and therefor initiates projects that carry different forms such as exhibition, film, book, lectures, performances.
Projects i.a. Borrowed Faces, Stories of Publishers during the Cold War ; n.b.k., Berlin (2019), Disappearances. Appearances. Publishing, EMST, Athens (2018), Soapy post modern bathwater, Sharjah Biennale 13, Tamwuj, Sharjah, AE (2017), Waiting Trajectory, Haus der Kulturen der Welt, Berlin (2017).
Eva Barois de Caevel
Eva Barois De Caevel (lives and works in Pantin, France) is an independent curator. Her working interests span feminism, postcolonial studies, the body and sexualities, the critique of western-centered art history as well as the renewing of critical writing and speech.
She won the 2014 ICI Independent Vision Curatorial Award and published numerous texts in exhibition catalogues and specialized magazines. She notably co-edited Condition Report — On Art History in Africa (2020, Berlin, Motto and RAW, Dakar). She was curator for publications at RAW Material Company, center for art, knowledge and society in Dakar; guest curator at the Lagos - Photo Festival in 2018; and curated the exhibitions L’élargissement des fantasmes (2017, Maëlle Galerie, Paris), Every Mask I Ever Loved (2017, ifa-Galerie, Berlin) and On fait des dessins dans la terre (2021, 31Project, Paris). She taught art history at ENSBA Lyon and Villa Arson, Nice. As curator and researcher, she contributed to many international conferences and symposia.
In 2020, Eva received a curatorial grant from the French National Center of Plastic Arts. As part of the Africa 2020 season in France, she curated an exhibition with Katia Kameli, Elle a allumé le vif du passé, at FRAC PACA (Marseille, 2021).
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
Hélène Harder’s philosophy studies were disrupted by a grave car accident. She then taught herself into making her first documentary short films. Following an exchange at UC Berkeley, she trained and worked in New York and Paris. In 2009, she traveled to Senegal to film a women’s football tournament in neighborhood soccer fields. The resulting documentary film Ladies’ Turn (2012, 65’) was selected in festivals accross more than 15 countries and received four prices. It was broadcasted on RTS, TV5 Monde, Arte and PBS. For several years, she has been working in Casablanca on a regular basis, for the transmedia project Casamantes, supported by the CNC and the Ile-de-France et Rhône-Alpes regional funds. In parallel, she has been developing a documentary movie with moroccan activist Fatna El Bouih, Fatna, une femme nommée Rachid [Fatna, a woman named Rachid]. She works as a film-maker and photographer for art centers, dance and theater companies or alternative media; and gives workshops at schools and NGOs in France and Morocco.
Karima El Kharraze
Karima El Kharraze is an author and theater director. After the 2005 riots in France, she created the theater company À Bout Portant, to acknowledge the social and political realities of a postcolonial society in denial. Since 2012, she has been going back and forth between Morocco and France to explore the echoes between immigration and colonizations’ histories, through autobiographical shows like Arable (published at Editions du Cygne); or plays addressed to a young audience, like Madame Flyna — inspired by Touria Chaouri, the first woman aviator of the Arab world — or Le Cafard et L’Orchidée. She was involved in the creation and the reflections of the collective Décoloniser les arts [Decolonize the arts] and contributed to their book (Éditions de l’Arche). She is currently working on the transmedia project Casamantes, as well as on a theatrical adaptation of US author Carson McCullers’ The Heart is a Lonely Hunter. She gives theater and writing workshops in different contexts (schools, prisons, NGOs, art and theater spaces…).
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 is a curator, co-founder of the trilingual editorial and curatorial platform Qalqalah قلقلة (with Virginie Bobin, then joined by Line Ajan, Montasser Drissi, Vir Andres Hera and Salma Mochtari) as well as of the curatorial collective Le Syndicat Magnifique (with Thomas Conchou, Anna Frera and Carin Klonowski) dedicated to emerging artistic production. She studied art history and theory at EHESS (School of Advanced Studies in the Social Sciences, Paris), the Humboldt Universität (Berlin) and at the University of Paris I Panthéon-Sorbonne University, where she is now a lecturer, and worked at the Palais de Tokyo, KADIST, Bétonsalon - center d’art et de recherche and Cneai before becoming an independent curator.
Her work is transdisciplinary and collaborative, at the intersection of artistic and social issues at the crossroads of languages. She is interested in the political and affective stakes of artistic practices, in collective imaginaries and minority representations, in desirable and hospitable institutions.
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 develops collaborative projects that take the forms of exhibitions, publications, workshops, seminars, texts, translations or ongoing conversations with artists, curators, researchers, performers and art students. She is particularly interested in a feminist approach to translation as a feminist practice of unlearning with others, which is at the core of her PhD-in-practice research at the Akademie der bildenden Künste (Vienna, 2018-2023).
In 2018, she co-founded QALQALAH قلقلة, an editorial and curatorial platform dedicated to the production, translation and circulation of artistic, theoretical and literary research in French, Arabic and English. Before that, she was Head of Programs at Villa Vassilieff, a Paris-based center for art, research and residencies, which she co-created in 2016. Previously, she worked for Bétonsalon – Center for Art and Research (Paris), Witte de With Center for Contemporary Art (Rotterdam), Manifesta Journal (Amsterdam), Les Laboratoires d’Aubervilliers and Performa (New York). Recent curatorial projects include the exhibition and workshops series “Bestiario de Lengüitas,” with artist Mercedes Azpilicueta (CAC Brétigny, 2021; Museion Bolzano, 2020; CentroCentro Madrid, 2019); and “QALQALAH قلقلة: plus d’une langue,” co-curated with Victorine Grataloup (La Kunsthalle Mulhouse, 2021; CRAC Occitanie Sète, 2020). She is a member of Textwork’s editorial committee.
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 researcher and curator based in Marseille. A member of the curatorial and editorial collective Qalqalah قلقلة since December 2020, she is a since 2022 affiliated with the research cooperative of Clermont Métropole’s art school. Her research often stems from the conceptual circulations between the fields of art and contemporary philosophy. Based on the specific cases of archival absence and black studies, she works the present and future genealogies between contemporary, decolonial and queer critical studies, with the heritage of thinkers such as Michel Foucault, Jacques Derrida or Judith Butler. In addition to discursive programming, her curatorial practice is based on forms of collective production through workshops, translation or fiction writing.
In the autumn of 2022, she is conducting with Qalqalah قلقلة a research residency on institutional disappearances jointly with artist Mounira al Solh and curator Line Ajan at the Kunstencentrum Buda (Belgium), and a discursive program with curator Virginie Bobin on the politics of truth-telling at Tanzquartier in Vienna (Austria).
She studied the management of artistic institutions at HEC Paris, and contemporary philosophy at the University of Paris I Panthéon-Sorbonne and the University of Paris Nanterre. Between 2020 and 2022, she collaborated with KADIST Paris as discursive curator, where she developed editorial and curatorial programming rooted in the political and societal issues of contemporary artistic practices.
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.
Ashkan Sepahvand is an artist, writer, and translator. He was born in Tehran, Iran, grew up in Tulsa, Oklahoma, and since 2006 lives and works mostly in Berlin, Germany. His practice takes time. His work includes publications, performances, drawings, curated exhibitions, study situations, spread arrangements of images and objects, and regular collaboration with friends. He is primarily interested in translation and its relationship to reading, writing, corporeality, and environment. Together with Natascha Sadr Haghighian, they founded the institute for incongruous translation in 2010, a framework for their shared studies. Currently, he is pursuing a PhD in Fine Art practice at the Ruskin School of Art, University of Oxford.
Achim Lengerer / Scriptings
Artist and editor Achim Lengerer works on questions of political speech and language that he addresses in his live performances, filmic soundtracks or spatializes within installations and printed matter. Lengerer was educated at the Academy for Film and TV, FAMU, Prague, the STÄDELSCHULE, Frankfurt and the SLADE School of Fine Arts, London and completed his post-graduate studies at the Jan-van-Eyck-Academie, Maastricht, NL, in 2008. Lengerer founded different collaborative projects such as freitagsküche in Frankfurt a. M., and voiceoverhead, with artist colleague Dani Gal (ISR). Since 2009 Lengerer runs the Berlin-based showroom, production and publishing house Scriptings. Artists, writers, filmmakers, performers as well as activists are invited — all of which are working with the formats of script and text within their processes of critical production. Lengerer recently submitted his Ph.D. at Goldsmiths, University of London, on the format of the collective rehearsal as an artistic and political model for spaces of social negotiation(s). In 2017, Lengerer participated (in collaboration with Dani Gal) in documenta14 with a 21-hour radio piece produced by Savvy Funk and Deutschlandradio.
Marian del Valle
Claire finch is an experimental writer & performer. Their books include i lie on the floor (after 8 books 2021), kathy acker 1971-1975 (editions ismael 2019) and contributions in lettres aux jeunes poetesses (l’arche 2021) and some fabulous weird art publications like féros and dispersantx. Their recent performances include: nothing ends (with louise siffert, capc bordeaux 2021), je veux dégueuler (bbb centre d’art 2021), slime & crime (with clément gagliano, ivéco nu 2021), (re)produire (with rerq, point éphémère 2020).
They’ve translated into french lisa robertson (debbie une épopée, joca seria 2021) and kathy acker (stripper disintegration, ed. Suck campari dyke 2019).
They give hybrid lectures on themes like dildos and vomit as literary technologies, like the ones that they gave at universitat der kunste berlin (“livid residue” 2021), or the ica london (“are you surprised kathy acker is an aries because i’m not” 2019) or badischer kunstverein karlsruhe (“my construct: a cunt” 2018).
They have taught workshops on literary piracy, queer pedagogy, and hybrid performance at école des beaux arts de valence, école des beaux arts de bordeaux, villa arson nice, espace khiasma lilas, syndicat potentiel strasbourg, transpalette bourges.
Their scholarly research on the sm contract as a literary form and also the work of kathy acker and hélène cixous has been published in litterature, gender forum, new formations. They’re part of the queer & nonbinary & dyke collective rer q and together they’ve toured spreading radical queer pornographic tenderness and poetry (centre pompidou france, mimosa house london, l-fest & midis de la poésie brussels, le lavoir public lyon)