Manuela Morgaine

During a war, Tristan, mortally wounded, calls the blonde Yseult to his aid because she alone is capable of healing him. He sets up a code with his men and asks that a white sail be hoisted to the top of the mast of the boat that will bring her back if she agrees to treat him and a black sail if she is not on the boat. The sailors take on board Yseult the blonde, eager to join her beloved, and raise the white sail, but when the boat approaches the coast, Iseult with white hands, his wife, consumed by jealousy, tells Tristan that the sail is black. Believing himself abandoned by the one he loves, he lets himself die. When she arrives at his bedside, Yseult the Blonde, learning of Tristan’s death, dies of grief in his arms. The lovers are dead.

Katja Stuke

Aurelia Mihai

Natacha Nisic

Valeria Troubina

Manuela Morgaine

Thinking of Safety boxes in banks, this image reappeared in my mind. All those virtual lovers, all those swipings, matchings and datings contained in this gigantic data base. Isn’t this the very representation of the end of love? Mechanization and the boxing of thousands of dehumanized solitudes?

Ruth Maclennan

An ecosystem is a peculiar kind of self-organizing archive – a collection of interconnected things rubbing along together, reliant on each other, connected with other organisms and systems, adapting to changing environmental conditions, or dying. Click here to read more

Anne Brunswic

Hier, je m’apprêtais à poster un billet sur un sujet désolant de banalité : les vœux de nouvel an. Ces incantations m’ont toujours paru vides de sens. Elles me paraissent aujourd’hui indécentes quand je songe à celles et ceux à qui 2024 n’apportera aucun soulagement à l’enfer de 2023. A quoi riment des vœux quand l’urgence est aux actes ? Et puis, tard dans la nuit, alors qu’une fois de plus je lisais les nouvelles consternantes d’une guerre qui ne dit pas son nom, je suis tombée sur le visage d’un adolescent dans le magazine israélien en ligne +972. […] Tal Mitnick, 18 ans, les bras croisés sur son tee-shirt Nike regarde bien droit dans l’objectif en s’efforçant de ne pas sourire. Il est le premier objecteur de conscience depuis le 7 octobre à être jeté en prison. C’est ce qui lui vaut trois pages dans +972 illustrées d’un beau portrait photographique. Le fond noir fait ressortir sa tignasse châtain, ses yeux clairs, sa stature de beau gaillard en pleine santé. Après sa comparution le 26 décembre devant la Commission de conscience de l’armée, jury composé de plusieurs militaires et d’un universitaire, il a été condamné à 30 jours de détention dans une prison militaire. Click here to read more

Katja Stuke

Katja Stuke, sans titre 2024

Natacha Nisic

Liza Dimbleby

Ruth Maclennan

Valeria Troubina

Kasia Ozga

Liza Dimbleby

Letter from Berlin:  Ghosts We were late for the film and the box office had just closed. They said we could have a drink instead. And so we ascended the stairs into the wide space of the bar of Kino International, which was completely empty. Kino International was built in 1961, the same year as the Berlin Wall. It was the main cinema for premieres and award ceremonies under Communism. You could picture it, the slightly sweaty dignitaries in brown suits and fake leather shoes of turgid grey lined up for speeches under the extravagant chandeliers. But this evening there was nobody. The huge yet undaunting space, the rippled wood walls, shiny black tables and red chairs were perfect. This enormous empty room was proportioned for optimism, it was a place to be happily human, for a while at least. I was glad we had missed the film. I looked across the street to the high Soviet scale arch of a metro exit, the only lit building on the street, and watched a couple pause, pace about, embrace. They were tiny under the space of the arch and yet every small gesture was legible. Click here to read more

Ruth Maclennan

Maithili Bavkar

What I have is the memory of staring at mosaic tiles with an unfocused gaze, and watching them turn to waves.

Anne Brunswic

Lucia, la sœur.

Disparus 2

J’ai rencontré Lucia en mars 2023 à Rio Gallegos, petite ville sans attrait touristique du sud de la Patagonie. Elle est comédienne et metteuse en scène de théâtre mais, au premier regard, je ne l’aurais pas imaginé : sans apprêt, taille moyenne, cheveux châtains coupés court, rien qui attire la lumière. Elle m’a fait comprendre qu’elle avait quelque chose à me raconter. Je suis revenue le lendemain avec un magnétophone et un micro. Son récit coulait comme une large rivière au cours paisible. Elle s’exprimait dans un espagnol simple et fluide que je pouvais suivre sans grand effort. Ce matin-là, elle portait un petit pullover à col roulé rose, elle avait l’air fatigué. Click here to read more

Valeria Troubina

Anne Dubos

https://www.youtube.com/watch?v=K3KE6Dc57JU

Catherine Radosa

Rues de la Fraternité·e, Participatory performance and sound and visual installation

Photographed 3 June 2023, for the Nuit Blanche 2023 and the curatorial project “actes de langage” (acts of language) by simona dvorák & tadeo kohan. The project takes as its subject a place and its name: rue de la Fraternité (Street of Brotherhood) in Montreuil. The aim is to deploy, question, appropriate, update and set in motion the word ‘fraternité’ and what it inspires and evokes.
Through interviews with a group of women, I composed a polyphony of words and testimonies, questioning representations and alternatives to this symbolic and gendered term.

Photo Credits: Catherine Radosa, Tadeo Kohan, Christophe Domino

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Maithili Bavkar

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Never before had I possessed a piece of sky so vast that it may be fractured.

Manuela Morgaine

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Ruth Maclennan

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Valeria Troubina

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Enquiry and Weeping Heroes, Diptych, oil on canvas, Ukraine, 1988