Connexion
Projection et rencontre avec Adelita Husni-Bey
Mercredi 11 mai à partir de 18h30 dans l'auditorium du MAGASIN

Une invitation proposée par « Pratiques d’hospitalité», plateforme de recherche critique et imagination politique, initiée et coordonnée par Simone Frangi et Katia Schneller à l’ÉSAD •Grenoble. 

 

Soirée consacrée à la récente production artistique de Adelita Husni-bey, artiste invitée par "Pratiques d'hospitalités" à donner un workshop de cinq jours intitulé "État d'em(u)rgence - State of Apparition" à l’ÉSAD •Grenoble.

 

Adelita Husni-Bey

Franco-libanaise (née en 1985), Adelita Husni-Bey est une artiste et une chercheuse dont la pratique implique l’analyse et la contre-représentation d’idéologies hégémoniques dans les sociétés occidentales contemporaines. Des projets récents se sont aussi concentrés sur le déterrement et la manière de repenser  des modèles pédagogiques radicaux dans le cadre d’études anarcho-collectivistes.

 

 

ADELITA HUSNI-BEY 
Films projection and artist's talk

an invitation proposed by the research platform « Practices of Hospitality - Pratiques d’hospitalité » initiated and coordinated by Simone Frangi et Katia Schneller at ÉSAD • Grenoble

 

Auditorium of Le Magasin (Grenoble) 
Wednesday 11th Mai, 2016, 6 :30 PM

 

ADELITA HUSNI-BEY (Lybian-Italian, 1985) stages workshops, seminars, publications, radio broadcasts, archives and exhibitions and focused on using radical pedagogical models within the framework of urban studies. In 2014 she works with jurists, activists, lawyers and squatters on the ‘Convention on the Use of Space’, a publicly drafted legal document on the commons and the use of urban space. Solo shows include: Movement Break, Kadist foundation, 2015, Il Principe, la Classe e lo Stato, Galleria Laveronica, 2014, White Paper: The Land, Beirut (in Cairo), 2014, Playing Truant, Gasworks, 2012. She has participated in: Undiscovered Worlds, the High Line, 2015, Really Useful Knowledge, Reina Sofia museum, 2014, Utopia for Sale?, MAXXI museum, 2014, Jens, Hordeland Kunstsenter, 2013, Meeting Points 7, MuKHa, 2013, Mental Furniture Industry, Flattime House, 2013, TRACK, S.M.A.K museum, 2012, Right to Refusal, 2012, Bregenz Kunstverein. She is a 2012 Whitney Independent Study Program fellow and a finalist for the Visible Prize 2015.

 

PRACTICES OF HOSPITALITY - PRATIQUES D'HOSPITALITÉ is a bilingual platform devoted to critical research and political imagination, initiated and coordinated by Simone Frangi and Katia Schneller at l’École Supérieure d’Art et Design •Grenoble •Valence. Based on the interpolation of artistic, curatorial and theoretical practices, this platform employs the notion of hospitality as a critical tool for questioning, from a post-national and non-eurocentric perspective, subjectivation processes linked to territorialities and from there to rethink the role of sexuality, gender, ethnicity and class in global phenomena of power and inequality. Through the production of artistic and curatorial projects, it asserts the need of formulating a post-capitalist ethics as its epistemic horizon and attempts to produce a theoretical and political discourse suitable to the complexity of contemporary geopolitical modes of existence and of the historical conditions of the emergence of social subjectivities. In the morphology of this project, hospitality is approached as a temporary and mobile trope or as a discursive figure which helps to reformulate the notions of territoriality and locality in the age of nomadism, global circulation, flux economy, radical creolization and diasporic phenomena. The aim of the program is to differently evaluate the fiction of institutionalised borders in favour of an idea of flexible citizenship. “Practices of hospitality” is grounded on the analysis of the concrete and polysemic structure of hospitality dynamics, on both micropolitical and macropolitical levels. It aims to question, in a theoretical approach that associates transnationality and intersectionality, the complexification of the sense and desire of belonging to a specific territory in the age of the post-humanist crisis of the rhetoric of fixed roots and indigenous ancestry. Revisiting some pivotal questions aligned with the sexualized body, ethnicity and class in their direct relationship with the question of territorial inscription, this program puts to the test the auto-fiction of Europe as a space of cultural homogeneity. The notion of hospitality shows in fact that a strictly topological and static definition of the subject is impossible and that every locality renders itself in non-linear and interbred forms. 

 

Pratiques d’hospitalité

Pratiques d’hospitalité est un plateforme de recherche critique et d’imagination politique bilingue, initié et coordonné par Simone Frangi et Katia Schneller à l’École Supérieure d’Art et Design •Grenoble •Valence. Basé sur l’interpolation de pratiques artistiques, curatoriales et théoriques, elle aborde la notion d’hospitalité comme un outil critique permettant d’interroger à nouveaux frais, dans une perspective post-nationale et non eurocentrique, les processus de subjectivation liés à la territorialité et, à partir de là, de repenser le rôle de la sexualité, du genre, de l’ethnicité et de la classe dans les phénomènes globaux de pouvoir et d’inégalité. En prenant pour horizon épistémique l’élaboration d’une éthique post-capitaliste, « Pratiques d’hospitalité » cherche à produire une réflexion adaptée aux conditions matérielles de l’existence géopolitique contemporaine et aux conditions actuelles d’émergence historique des sujets socialement construits à travers la production de projets artistiques et curatoriaux. Dans la morphologie de cette recherche, l’hospitalité est envisagée comme un une figure discursive, qui permet de reformuler les notions de territorialité et de localité à l’époque du nomadisme, de la circulation globale et d’économie des flux, de créolisation radicale et des phénomènes diasporiques. Il s’agit ainsi de réévaluer la fiction des frontières institutionnalisées au profit d’une citoyenneté flexible. Fondée sur l’analyse de la structure concrète et polysémique des dynamiques d’hospitalité sur les plans micropolitique et macropolitique, ce programme veut questionner, dans un registre analytique associant transnationalité et intersectionnalité, la complexification du désir d’appartenance à un territoire à la lumière de la crise de la rhétorique des racines et de la provenance indigène. Revisitant ainsi les questions ayant trait au corps sexué, à l’ethnicité et à la classe, dans leur lien étroit avec le sentiment d’inscription territoriale, « Pratiques d’hospitalité » a pour but de mettre à l’épreuve, dans ses différentes versions, l’auto-fiction de l’Europe comme espace d’homogénéité culturelle. La notion d’hospitalité montre en effet qu’une définition exclusivement topologique et statique des sujets est impossible, chaque localité se donnant sous la forme d’une non-linéarité structurelle et d’un métissage. 

PROGRAM

1. I WANT THE SUN I WANT, 2010-2011, 16mm film transferred to DVD, original language: French (English subtitles), 09”25’
DoP: Guillaume Brault; Production: LaFilm, Guillermo Grassi; Editing and post production: Adelita Husni Bey and CDP Studios, Michele Pesce

‘I want the sun. I want’ is a 9 minute tracking shot which leads the viewer through the spaces of a school that lacks inter- nal partitions, describing the scholastic ‘space’ and it’s ‘apparatuses’. The audio of the film has been recorded at a series of roundtables held at a self run high school, the Lycee’ Autogeree’ de Paris. Both teachers and students were asked to critique and discuss the necessity of schooling through drawing (posters) and spoken word instigated by a series of dictionary definitions of words such as ‘State’, ‘Education’, ‘Teaching’, ‘Utopia’.


2. POSTCARDS FROM THE DESERT ISLAND, 2010-2011 SD video transferred to DVD, Original language: French (English subtitles) 22’23”
Workshop structure, post-production: Adelita Husni-Bey, Cristina Catalano; Operator: Claudio Cavallaro; Editing: CDP Studios, Michele Pesce

The film ‘Postcards from the Desert Island’ was born out of the interest for self-run pedagogy and in particular the transformative potential of radical education in today’s societies. The children who appear in ‘Postcards from the De- sert Island’ are students from the Ecole Vitruve, a self-run elementary public institute born in 1962 which practices experimental educational models based on co-operation and non-competitiveness. Borrowing scenarios from William Golding’s novel Lord of the Flies, the children, aged between 7-10, were asked to build a desert island in their school hall, undirected. In the 3-week workshop the children came to terms with notions of self-management, the lack of institutions, the question of punishment and power struggle, how to deal with immigration, the significance of public space and civic disobedience, through the practice of anarcho-collectivism.


3. STORY OF THE HEAVENS AND OUR PLANET, 2007-2008 , S8 transferred to DVD, 07’07”; Original language: English (English subtitles)
Operator, editing and post production: Adelita Husni Bey

Story of the Heavens and Our Planet is a video piece which sits on the boundary between documentary and the surreal, and is based on life in two treesitting protest camps respectively in Titnore and Stanton Moore in the UK. Treesitting is an activist practice which requires protesters to build suspended villages and live in the trees in order to stop logging companies from cutting forests down. The video chronicles everyday conversations between the activists during a 3 week period where they were recorded both in interviews and in private conversations. 


4. AFTER THE FINISH LINE, 2015 , 12:39 minutes, 4K video, color, sound; Original language: English- USA (no subtitles)
Workshop participants: Aubrey Egerter, Gabrielle Henry, Janai Knight, Adelita Husni-Bey, Micah Thomas, Nathaniel Stephens, Lindsay Wong, Kaitlyn Burnham, Jonathan Miller. Texts written by: Janai Knight, Micah Thomas, Aubrey Egerter, Director of Photography: Damian Lucas, Camera assistant: Nick Schwyter, Gaffer: Marc Anderson, Key grip: Drew Nelson, Grip / electric: Gerardo Cabrera, Ivan Moore, Hazim Muftic, Sound operator: Mark Pope, Jovanni Ramirez, Pete Belkin; Editing, post-production, workshop structure: Adelita Husni-Bey

After the Finish Line addresses how capitalist imperatives condition us to perform unsustainably as individual subjects. This ideology makes us agents of a ‘success story’ that depoliticizes pain and pushes our bodies to their literal break- ing points. After the Finish Line was developed in collaboration with a group of teenage athletes who have all experienced injury as a result of their respective sporting activities. Through radical pedagogical practice, a process that attempts to de-individualize feelings of failure, the athletes and I recorded and wrote about their experiences, discussing the meaning and trappings of competition—in particular, where desires for success stem from. 


5. 2265, 2015, 18min, HD video, color, sound Original language: English- USA (no subtitles)
Written and performed by Authoring Action (Kaprekia Long, Mike Hauser, Willie Holmes, Elijah Pone, Caitlin Thomas, Kyra Henderson, Jaeda Aldridge, James Kuhn, Ciara Harris), produced in the course of a workshop with Adelita Husni-Bey and Nathan Ross Freeman; videographer: Johanna Salo; Sound: Akira Fukasawa; Editing, post-production: Adelita Husni-Bey


*Tell me about your hands
*Tell me about what happens when you are hungry
*How long ago has the Perpetual War ended? Has it ended? 
*Teach me how to say I love you with this technology
*How does this society ‘know’?
*Where do they keep the things they ‘know’?

These are some of the questions that structured a workshop produced in collaboration with Authoring Action, a group of teen authors headed by writer Nathan Ross Freeman and held at the South Eastern Center for Contemporary Art in January 2015. The workshop explored colonialist futures and the prospect of populating Mars through writing exercises and experimental pedagogical practice. The resulting 2 channel installation displays both the performance crafted by members of Authoring Action in collaboration with the artist and parts of the workshop, both held in an empty theater. A surreal to and fro across deserts and poisonus landscapes, the promise of digital sociality through genetic modification and a ‘perpetual war’ structure the performance, while the workshop screen centers on the ways we understand words such as development vs. imperialism, or uninhabited vs. empty and the socio-historical lineage of these concepts from the ‘outset’ to the year 2265.