CATHERINE RADOSA CLITO - ENQUÊTE ET RECONQUÊTE (MICROMONUMENT POUR LE CLITORIS)
/50posts is the platform for critics and the general public of the 2019 50JPG Triennial. It is just like the first blog launched in 2016 as part of the fifth 50JPG Triennial, in other words a kind of dynamic catalogue with a major advantage over the printed catalogue, that is, it can host commentary on the show while serving as an extension of it. Throughout the show, which runs from 19 June to 25 August at CPG, /50posts will feature interviews with the participating artists. Writers, artists, philosophers, and scientists will be invited to publish essays dealing with the theme behind OSMOSCOSMOS. /50posts also offers you the possibility of consulting online recordings of the talks that are scheduled in conjunction with the show.
CATHERINE RADOSA CLITO - ENQUÊTE ET RECONQUÊTE (MICROMONUMENT POUR LE CLITORIS)
VIDÉO / CONFERENCE IN FRENCH 23.06.2019 / CPG
The idea behind the lecture/workshop "Clito - enquête et reconquête (micromonument pour le clitoris)" being given by the artist Catherine Radosa, whose video "Motherland" (2019) is featured in the OSMOSCOSMOS exhibition, was prompted by the observation that the clitoris, although half of the human population has one, is invisible, or almost invisible. For it is something that is erased, denied representation, and methodically made invisible. Whereas the penis and phallic shapes are established, assert themselves, its female counterpart remains ghostly; it has been the object of misconceptions and demonization in history, and this is still very much the case today. How can we be surprised at this when school textbooks have made it completely disappear? When its reappearance is recent and still timid, in France in any case. When even the teaching of medical anatomy is grudging in according it its proper place.
So what is it like? Where is it? What does it do?
Catherine Radosa sets out to reactivate its symbolic and sensory potency. After the story of an inquest searching for the lost clitoris (in school textbooks, minds, and even in public space), but also of its appearances, the artist exhibits some of her research work and output on the representation of the clitoris and suggests a method for using it, a series of actions, objects, gestures to be shared (for all ages), in order collectively to create a micro-monument to the clitoris.
HIVER AUSTRAL - 1E PARTIE
Hiver austral est un poème en prose, écrit au futur. Il est composé de trois parties de longueur différentes. Dans un premier temps, le poème raconte la solitude du narrateur face à un immeuble, vu de l’extérieur, dans la ville de São Paulo. Un interlude propose une version alternative : le narrateur est accompagné. Dans un second temps, le narrateur, désormais à l’intérieur de l’immeuble invoque les stimuli perçus depuis l’appartement, émanant de l’environnement extérieur. La circulation en images et en métaphores, entre l’intérieur et l’extérieur de l’immeuble est évocatrice d’une sensualité retrouvée. Dans un troisième et dernier temps, le texte se réduit à deux phrases, composée d’éléments prélevés dans l’ordre chronologique du poème, dans une synthèse expérimentale de l’ensemble. Cette dernière partie célèbre l’unité que forment cosmos et éros.
Par un hiver austral, j’apprendrai qu’un immeuble peut être à lui seul un monde et posséder son propre code postal. Il sera un immeuble connu, dans lequel on aurait plaisir à se promener. Ou bien, il sera une œuvre de fiction, une béance au croisement de grandes avenues, avec sa chaussée brutalisée. Il sera ce que l’on veut bien faire de lui et ce qu’il accepte en retour de devenir pour nous.
Je croirai sans doute être venu ici plus de fois. Pourtant cela n’aura fait que quelques années. Quelques années, c’est une façon de tout dire en réduisant beaucoup. C’est une manière de ne pas dire grand-chose. C’est une expression pour rester vague et fuir les questions. C’est ainsi que l’on reste seul. Seul, au milieu de quelque chose. Dans une ville.
Toujours seul et pour de brefs séjours.
En Avril, dans le soleil.
En Avril, dans le soleil quand sur les trottoirs accidentés coulent le goutte-à-goutte des climatiseurs.
Puis, un jour, baigné par les pluies qui font cesser les fluides internet, je reconnaîtrai des rues déjà traversées, des avenues autrement parcourues, des places souvent gorgées de la vigueur incertaine des énergies inquiètes. Celles, troublées des personnes ici résidentes, ici passantes. Dans une petite voie lactée bruyante entre la Consolaçao et la Place de la République, je retrouverai d’autres lieux reconnus ou vécus. Je penserai à d’autres républiques, à d’autres places et à d’autres pays où nous nous agitons aussi parfois. J’apprendrai que le code postal de l’immeuble est le 01066-900. J’apprendrai que cet immeuble, d’une hauteur de 140 mètres aura été construit entre 1957 et 1966.
Puis, un jour, en hiver, baignés par les pluies qui font cesser les fluides internet, nous reconnaîtront des rues déjà traversées, des avenues autrement parcourues, des places souvent gorgées de la vigueur incertaine des énergies inquiètes. Celles, troublées des personnes ici résidentes, ici passantes. Dans une petite voie lactée bruyante entre la Consolaçao et la Place de la République, nous retrouveront d’autres lieux reconnus ou vécus. Nous penserons à d’autres républiques, à d’autres places et à d’autres pays où nous nous agitons aussi parfois. Nous apprendrons que le code postal de l’immeuble est le 01066-900. Nous apprendrons que cet immeuble, d’une hauteur de 140 mètres aura été construit entre 1957 et 1966.
Juin-Juillet 2019, Paris-Genève-São Paulo
FLORESTA_TMCOPPOLA_2019 / NASA
EROMANIA, GOD IS A DEAD SMOKER / LE LABO, 30.06.2019, 19H03
CAROLINE BERNARD, DAVID COLLIN, FABRICE ARAGNO, JOELL NICOLAS (VERVEINE)
The "Eromania (God Is a Dead Smoker)" performance at the OSMOSCOSMOS exhibition is a radiophonic adaptation of the play "Eromania (History X)", devised in 2019 by Caroline Bernard and Karim Bel Kacem at the Théâtre de Saint-Gervais in Geneva. On stage, three Romanian camgirls told their story and talked about their profession. By means of interposed webcam, the camgirls perform erotic acts for men willing to pay lots of money for private shows. Representing one of the country’s major industries, they work from very well set up studios that train them and ensure that they are highly visible. At the time of globalisation 2.0, they crystallise a state of the world, money, desire and sex through a globalised machine for the creation of images. The "Eromania (God Is a Dead Smoker)" performance made with David Collin and his LABO (the radio creativity studio of RTS), in collaboration with the director Fabrice Aragno, goes over the 18 months Caroline Bernard spent in the camgirls’ studios. In the context of the OSMOSCOSMOS exhibition, they share the microphone with the philosopher Fabien Vallos, accompanied by Joell Nicolas (Verveine) who plays music specifically composed for the project live.
PERFORMANCE/RADIO SHOW IN FRENCH
Lectures live : Inès Valarcher
Prise de son-diffusion live : Sofia Müller
Musique live et composition : Joell Nicolas alias Verveine
Mixage et réalisation image : Fabrice Aragno, cinéaste
Réalisation et création radio : Gérald Wang
Stagiaire/Sous-titres : Justin Müller
Production : David Collin
Une co-production RTS LE LABO / CHEMINS DE TRAVERSE / THINK THANK THEATRE
Avec la collaboration de BEST STUDIO, Bucarest et du Centre de la Photographie à Genève.
Merci à Joerg Bader (dir.) et à toute lʹéquipe du Centre de la Photographie de Genève.
ALAN BOGANA & NICOLE L'HUILLIER - FIELD WORKS (INTRODUCED BY MÓNICA BELLO)
ALAN BOGANA, NICOLE L'HUILLIER, MÓNICA BELLO
CONFERENCE IN ENGLISH 03.07.2019
Artists Alan Bogana (Switzerland) and Nicole L’Huillier (Chile) are participating in the first edition of Simetría, an exchange residency spanning CERN and the Chilean astronomical observatories. Field Works presents material that comprises their explorations at CERN in a discussion facilitated by Mónica Bello, curator and head of Arts at CERN. A theme in Alan Bogana’s art work is the behaviour of light — real and speculative — and his residency research focuses on the conceptualisation and detection of dark matter. Observation is one of the motifs being explored by Nicole L’Huillier; she inquires into the ghostly natures of both infinitely small particles and large astronomical phenomena. The conversation will provide insights into the way artists gather and evaluate information and experiences during residencies. It will reveal how laboratories and observatories don’t only function as research spaces for scientists; they can also inspire artistic collaborations and innovations.
CONFÉRENCE ALICE GASPARINI,
Since the beginning of time, cosmogonic thinking has been associated with theology and metaphysics, and it was only with the first instruments for astronomical observation that scientific cosmology was able gradually to emerge and become distinct from myths. As for modern cosmology, it came on the scene following the conceptual revolution brought about by Albert Einstein’s theories of relativity last century. But in recent decades cosmology has undergone another revolution: from being a theoretical and partly speculative branch of physics, it has today become a precise science. Alice Gasparini, a doctor of physics and a teacher, reconstitutes this fundamental change due to recent images of remote space: the “light” rays that have travelled across the universe provide us with surprising information regarding its structure, its evolution and its destiny. The effects of the gravitational lens, expansion, dark energy and gravitational waves are on the menu of this unprecedented cosmic journey.
MESSIER 1 (THE CRAB NEBULA), CRÉDITS : NASA, ESA, J. HESTER AND A. LOLL (ARIZONA STATE UNIVERSITY)
GUIDED TOUR OF THE OSMOSCOSMOS
MAUREN BRODBECK, MARINA CAVAZZA & GIULIA D'ANNA LUPO, HÉLÈNE BELLENGER, MAJIDA KHATTARI, JOERG BADER
Guided tour of the OSMOSCOSMOS exhibition with artists Mauren Brodbeck, Marina Cavazza & Giulia D'Anna Lupo, Hélène Bellenger, Majida Khattari. Guided tour by Joerg Bader, director of the CPG and curator of the exhibition. Centre de la Photographie Genève, 50JPG, 18 June 2019
MANON / NASA
NICOLAS LIEBER: INTERVIEW OSMOSCOSMOS
Nicolas Lieber is both a photographer and an iconographer. He talks about his work for the exhibition OSMOSCOSMOS. Lieber is known for his portraits of young women, sometimes barely covered by military garb or not at all, and often with a camera in hand. This is how he himself is occasionally recorded in a reverse shot. In the exhibition gallery or his own apartment, he composes large wall collages, a kind of altar in homage to his muses, perhaps the most iconic being his interpretation of the abduction of Europe.
ENREGISTREMENT AUDIO / AUDIO RECORD
THE HUMAN BODY AS A MICROCOSM OF THE UNIVERSE: YOGA
Intention: Connect to your subtle body
Point of interest: The human body as a microcosm of the universe
Hatha yoga means the union of the moon and the sun, of all dualities, of inhaling and exhaling, of the female and the male. Every Saturday, the public is invited to stretch out their morning at the Centre de la photographie Genève. Artist and curator Sébastien Leseigneur, editor of the blog /50POSTS of OSMOSCOSMOS is offering a dynamic practice for all levels that combines meditation, respiration techniques, and physical poses.
According to the Hatha Yoga tradition our body can be perceived as a microcosm of the universe. You have already heard about the chakras, we have 7: Muladhara, Svadhishthana, Manipura, Anahata, Vishuddha, Ajna and Sahasrara. They are connected by canals called nadis. In yoga theory, nadis carry prana, the vital energy. In other words, it is an idealized version of the subtle body structure intended to guide yogi visualization and contemplation.
From a historical point of view, it seems that the chakras were originally designed in connection with human anatomy for the purpose of physiological study.
In the physical body, nadis are channels that carry air, water, nutrients, blood and other body fluids and are similar to arteries, veins, bronchioles, nerves, lymphatic channels, etc. In a later phase in accordance with the tantric idea that the human body is the microcosm of the universe, material objects such as the sun, the moon and mountains, flowers were associated with these centres (Muladhara/root earth, Svadhishthana/moon emotional water, Manipura/ sun fire, Anahata/air wind, Vishuddha/ether space, Ajna/light mink and Sahasrara/lotus flower at the thousand petals, thought.) All this works like an image, like a map of our subtle body. And through the practice that follows, I invite you to be present and to be attentive to the least of your sensations. In yoga we use proprioception, it is the ability of our nervous system to receive information from the receptors we have on the skin, in our ears and in our muscles.
We will work with breathing. In yoga there are the physical posture, asanas, and pranayama which allows us to activate prana and thus focus on the subtle body.
count the breaths, equalize the expiration
to breathe in the air that fills you, it's the universe that fills you
at the exhalation the air that leaves you is the universe that leaves you
to inhale feels the pelvic floor that activates and drags your pubis.
at the exhalation maintains this action at the same time as your rib cage rises.
Cosmic Ujjayi breathing (Ujjayi): contraction of the back of the glottis, oceanic respiration. Through the mouth the sound h. This sound breath helps to rest the mind, calm the nervous system and regulate the internal heat.
We will move with the breath from the inside out. This allows the body's movements to be a reflection of the dynamics of breathing, calms the nervous system and facilitates a meditative experience in movement.
Dance with the space at the border of your body
You are full of space
Tadasana: be natural, a beautiful mountain with the sky above. Note what you count, capture this moment as a photograph.
The practice of yoga is a practice of intention. The anjali mudra hands are a sign of respect and greeting to ourselves. Hands in front of the energy center of the heart, looking inwards. Anjali means offering, what are you taking to offer to your practice? Maybe softness, clarity, how you feel today? be attentive. When the intention is clear, we bow to seal it.
Action more important than form. Stay rooted in your foundation. Then integration, then expression.
Awakening sensitivity is the purpose of this trip. Brings creativity into the repetition. Through awakening, attention, you are able to say what is happening in your body.
Savasana: The end of your practice. Let your body rest in stillness and your mind in silence. Note how it feels to be you here. Imagine the starry night sky. Imagine this sky as a lake. Come back into your body as if you were entering this lake. Wake him up with one breath.
In Hindu mythology, humans, animals, the universe, deities are all part of the same dream. Each individual is part of a great cosmic theatre called Lila. This dream, this elusive reality that is ours according to Indian mystics, is called Maya*. She's like a veil. Through the practice of yoga, we could lift the veil and glimpse the "bigpicture" and realize that the self and the universe are one... Hindu philosophy is a rather creative approach to metaphysics. Close to the myth of Plato's cave. If you came out of the cave, what would you see behind the starry veil of reality? The eye captures a fragment of the energy and matter present in the universe in 3 dimensions, photography allows it to capture infrared waves, x-rays, radio waves. Astrophysicists are working to capture the invisible and antimatter. In yoga, by turning our attention inward, we begin to see the most subtle movements of our energetic body.
The greatest joy yoga can bring is to connect with yourself. We practice asanas to integrate into the depths of our being the knowledge that is transmitted to us in life.
Namaste: I greet the cosmic energy in you
*Māyā (devanāgarī: माया)1 is a Sanskrit term that has several meanings in Indian religions. Māyā is the power of God to create, perpetuating the illusion of duality in the phenomenal universe; it is also the illusory nature of the world. For Indian mystics, this manifestation is real, but it is an elusive reality. It would be a mistake, but a natural mistake, to consider it as a truth or a fundamental reality. Every person, every physical object, from the point of view of eternity, is just a drop in the ocean without limits. The purpose of spiritual awakening is to understand it, more precisely to experience the false dichotomy, the mirage of Māyā in order to transcend it, to pass its veil and to realize that the Âtman, that is to say the self and the universe, the Brahman are one.
"It is Māyā, the veil of illusion, which covers the eyes of mortals, makes them see a world that cannot be told if it is or if it is not, a world that resembles the dream, the radiation of the sun on the sand, where from afar the traveller thinks he sees a water table, or a rope thrown on the ground that he thinks is a snake (The World as Will and as Representation)."
Similar reflections (without denying their differences) can be found in Chinese philosophy (see Tao, Zhuang Zi) and Western philosophy. We can mention the allegory of Plato's cave.
FEMINIST WEATHER REPORT/PURPLE TORRENT ACROSS SWITZERLAND
"The first feminist wave marks the beginning of the period and access to the right to vote. The second feminist wave focuses more on sexuality. The third feminist wave claims politics and artistic practice..." to be continued in the audio recording below
(On the occasion of the inaugural address of the exhibition OSMOSCOSMOS at the Center de la Photographie Geneva. In between speeches by Sami Kanaan, Administrative Advisor in Geneva in charge of the Department of Culture and Sport, and Joerg Bader, Director of the Centre de la Photographie Genève)
AUDIO EXCERPT FROM THE PRESS CONFERENCE: SET DESIGN AND THEMATIC CONTENT
ALEXANDRA SCHÜSSLER & JOERG BADER
Reflections on the OSMOSCOSMOS exhibition at the press conference. Alexandra Schüssler talks to us about her approach to space and architecture, the place of vitrines and projections, the status of the image and the object. Joerg Bader develops the process that led to the development of the thematic. Superposition, separations, juxtapositions, we listen to the scenic constellation.
UN PETIT COUP DE BAGUETTE
"you know the funny thing is that these painkillers are called lamaline, I recommend it to you at the slightest threat of war being declared by your ovaries, there can be no orthodox Marxism, but some orthorexic fathers bloom in the meals of an after-party like you hear crows, the present what, the wastelands and the low skies types of ports but without the sea, to crush or perform is always an abortion, you are sure that it is not a childbirth rather no I assure you after there is nothing left, no trace, no echo, it's technical it's not producing, it's recycling with the remains of the past fertilized at the moment t, finally with the means of production in contraception at the moment just to say, the reproduction of the labour force or that invisible force thing that cleanses or vitalist miracle, Thus, after a few years of community life, the law in the modern sense has intervened not against state violence (law against terror) but through an organizing role, in its very text, in the exercise of violence, taking into account the resistance of the popular masses, and ovaries ready to invade_the world or nothing, everyone hates the police, symbol less than 3, my ovaries dance the macarena holala, grow from the black hole that we should never have looked at according to a little known technopagan superstition, the solar asshole of the world face to face with the center of Paris, so in Belleville an impromptu meeting with a beaugosse lambda and the universe that answers ok soon there will be nothing, alignment disaster, everyone takes care of my ovaries, the galaxy extends and contracts, we chat, let's avoid retraction delays, it's very simple the world or nothing but in the meantime you can show your swollen breasts legally ####### borders p 117, certainly it's not the state that is the subject of real history, certainly it's not the state that is the subject of real history, no need for implants a priori just a good momentary blow it's cosmetic surgery, let's go, but let's say natural based on yeah yeah yeah yeah the body walks and I walk on it with high chemical heels, you think I should do my nose again, not your breasts instead, the fetishism of false clarity is just another expression of the myth that was both obscure and of obvious clarity, introduction, the body walks and we rush to the surface of the earth as if it was always about curves, rolls and galipettes, nokinkshaming, the fear of losing the self and at the same time abolishing the border between the self and another life, community galaxies in endless afternoons, passages, permanent comings and goings at the counter, the fear of death and destruction is intimately associated with a promise of happiness that was, at any moment, a threat to civilization, holala the world is yours and mine, in the face of such an impossibility, Reason, in the service of the present, becomes a total imposture for__ the masses, red does not go with pink, I brought you a gift / I found it on a grave, I did not know if you would like it, Inside anyway, look carefully there is nothing to see, the speculum of emptiness, the plot of the cavernous centuries, engraved on the couch symbol less than three, times two, these tests aim to engage an effort of imagination, although they do not lead to grandiose utopian conclusions, p47, he first suggested that to succeed in mourning is to be able to exchange one object for another, planet for planet, ovary for ovary, and then he stated that melancholy was essential to the mourning process, a certain interchangeability of objects as if the object of our desire had to be transformed so that we can return to life, that's the end of my era of great missions, I only do grassroots now, so this text has no systematic scheduling, and so finally I fuck Baudrillard irregularly, At first glance, I think I lost you before I discovered that "I" is also missing from the call, conversely, the pain of mourning reveals how much we are subject to our relationships with others, in fact tears are what binds us to the earth, but it would then be necessary that the very "I" who seeks to tell be interrupted in the middle of the story because what I am questioned by his relationship to the Other, p 73 undoubtedly it is better to be subjected, even if it is only to violence, to abandonment, to a mechanism; no doubt it is better then to be subjected to poverty or abuse than to be subjected to nothing, to come, in the meantime, a short summary of previous episodes, cover cover, we were talking about recycling words unrelated to, let's say quickly, the planet, but at least with my two ovaries or two theses: the myth itself is already Reason and Reason turns into mythology and abortion in two steps or three if it is still valid, magic is a bloody falsification, but it does not deny domination by transforming itself into pure truth and acting as if it was the foundation of the world submitted to its power, the present belongs to those who never sleep, opium painkillers it was a starting point and last pack of cigarettes, I think the thing disintegrated, it opens, thanks all three of you for being present, it's ultra precious, oh honey I just saw these last messages, btw I work tomorrow on logos"
L’ANTIMATIÈRE: COMMENT PHOTOGRAPHIER L'INVISIBLE
LINDA FREGNI NAGLER & MICHAEL DOSER
Exploring the invisible is one of the main objectives of science — but how can it be photographed? The way in which we can form an image of what we do not see for ourselves has powerful repercussions on the way we apprehend this world, of which we can perceive only an infinitesimal fraction, whether dealing with research into the identity of dark matter, dark energy and the exploration of antimatter or its seeming absence in the visible universe. This lecture by Linda Fregni Nagler, a photographer working in Milan on automated cognitive processes that dictate our way of perceiving the world, and Michael Doser, an experimental physicist working at CERN with special emphasis on antimatter, antihydrogen and its linkage to gravity, explores these questions by means of photography as well as through other technologies. These all have the shared characteristic of corresponding to technologically expanded perceptual equipment that has the potential to alter our cognitive apparatus.
Video from the lecture at MEG, Thue 11.6.2019
Parallel program 50JPG 2019