September 13 to September 20 (2022)
(digital photomontage, 09/2022, realised in the framework of the long terme project on the Triangle de Gonesse, Paris region, France)
September 6 to September 13 (2022)
(digital photomontage, 09/2022, realised in the framework of the long terme project on the Triangle de Gonesse, Paris region, France)
July 5 to July 12 (2022)
June 28 to July 5 (2022)
June 21 to June 28 (2022)
June 14 to June 21 (2022)
Plantes résistantes II (Resistant plants II)
(Triangle de Gonesse, participatory happening and photographic series)
May 31 to June 7 (2022)
Plantes résistantes II (Resistant plants II)
(Triangle de Gonesse, participatory happening and photographic series)
May 24 to May 31 (2022)
Plantes résistantes II (Resistant plants II)
(Triangle de Gonesse, participatory happening and photographic series)
May 17 to May 24 (2022)
Plantes résistantes II (Resistant plants II)
(8/5/2022, Triangle de Gonesse, participatory happening and photographic series)
May 10 to May 17 (2022)
Plantes résistantes II (Resistant plants II)
(8/5/2022, Triangle de Gonesse, participatory happening and photographic series)
March 1 2022 to March 8 2022
Lettre du 28.2.2022
Difficile de traduire le présent, je ne peux que tenter de retracer les derniers jours et tisser quelques liens entre les choses.
Le mercredi 23 février je prends l’avion de Paris pour Prague.
Le lendemain, le jeudi 24 février, les nouvelles nouent l’estomac, focalisent toutes pensées sur l’invasion de l’Ukraine par Poutine.
Avant de partir, j’ai relu Europeana, une brève histoire du 20ème siècle, de Patrik Ourednik.
J’ai un étrange sentiment d’être restée dans le livre. Une phrase particulièrement me revient : « Et les Russes disaient que l’Europe allait à sa perte et que les catholiques et les protestants l’avaient complètement corrompue et ils proposaient de chasser les Turcs de Constantinople et de rattacher l’Europe à la Russie afin de sauvegarder la foi.»
Le jeudi soir je retrouve Simona, avec qui j’ai pris le même vol la veille.
C’est son anniversaire et je suis désolée que la date soit aujourd’hui si dure à porter.
Elle nous invite à voir une pièce de théâtre sur Jan Patočka -un des principaux philosophe tchécoslovaques et signataire de la Charte 77- qui parle de sa tragique fin dû aux interrogatoires brutales de la police en 1977. La représentation théâtrale de l’histoire est recouverte par un brouillard de l’actualité.
Le vendredi 25. février les troupes de Poutine bombardent Kiev. La vitesse des événements est hallucinante, nauséabonde. Dans le métro de Prague je vois sur mon téléphone des photos du métro de Kiev rempli de gens s’abritant de bombardements. Les décors se ressemblent, le métro praguois a été construit dans le style soviétique dans les années 1960-80.
Vendredi soir la Gampa galerie où j’expose ma pièce Colonne/révolution organise un débat sur La réécriture de l’histoire porté par Stehlik&Groman. Il n’était pas prévu que ce débat soit d’une actualité explosive. On est plutôt soulagé de tenter de penser ensemble ce qui se passe au travers de l’histoire et de l’art.
Plusieurs jours avant l’invasion de l’armée de Poutine en Ukraine, j’ai vu dans un reportage un homme. Il disait avec lucidité, profonde tristesse et effroi qu’il sait ce qui arrivera. Qu’il sera obligé de prendre les armes, de tuer des êtres humains, et que ça lui est insupportable, qu’il refuse. Je l’ai aperçu dans une terrible solitude. Je n’arrête pas de penser à lui.
Aujourd’hui, le lundi 28 février, les familles ukrainiennes sont déchirées et sur les routes pour fuir la terreur. Des russes qui protestent sont emprisonnés par leur propre régime. Les journaux parlent de la sécurité nucléaire, de l’occupation de Tchernobyl. Je pense à toi Natacha. Que penses-tu de tout ça ? Ça serait juste un pas vers un désert de mots, d’images, de films, un désert de pensée, de vie. Juste ça. Albert, la stupidité pourrait-elle vraiment emporter l’espèce humaine ?
Lessia Oukraïnka a écris son poème L’Espérance quand elle avait 9 ans.
Comment s’appellent les filles de 9 ans qui sont maintenant contraintes de fuir leurs maisons, quitter leurs pères ?
« Je n’ai plus ni bonheur ni liberté
Une seule espérance m’est restée :
Revenir un jour dans ma belle Ukraine,
Revoir une fois ma terre lointaine,
Contempler encore le Dniepr si bleu
— Y vivre ou mourir importe bien peu –,
Revoir une fois les tertres, les plaines,
Et brûler au feu des pensées anciennes…
Je n’ai plus ni bonheur ni liberté,
Une seule espérance m’est restée. »
Lessia Oukraïnka , L’Espérance, 1880
Czech and english version :
https://www.calameo.com/books/007014644e92386313865
February 8 2022 to February 15 2022
January 18 2022 to January 25 2022
January 4 2022 to January 11 2022
December 14 2021 to January 4 2022
WAVES OF CARE, a collective art work for TRIGGER
October 12 to October 19
Faire du foin
Photographie faite le 10 octobre lors des « Marches des terres », devant l’Hôtel de Ville à Paris.
September 28 to October 5
Dialog
Catherine Radosa
Photography of the letter sent to Adriana Bustos for the exhibition of The Crown letter at the Bienal Sur.
September 7 to September 14
Moving architecture
Photography made during the art residency in Pragovka Gallery in Prague.
June 15 to June 22
Campagne de Paris, paysage triangulaire
Photography made during the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land in the process of artificialization.
June 15 to June 22
Paysage triangulaire
Presentation at La Maison de l’Ours consisting of a performance, two videos, a large-format painting on fabrics (10m x 1.5m; June 13, 2021, duration 1 hour).
At the invitation of curator Simona Dvořáková and Kristina Solomoukha and Paolo Codeluppi on the occasion exhibition Langue pmaternelle.
Photography: artist Ruda Samohejl
Photography of the action made the 6th of June 2021 as a part of the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land in the process of artificialization.
Action made with Nathan André, Christophe Domino, Simona Dvořáková, Tania Gheerbrant and with the proximity of the members of the CPTG (Collectif for the Triangle of Gonesse) and other activists during the Zadimanche.
May 11 to May 18
Photography made during the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.
May 4 to May 11
Photography made during the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.
April 27 to May 4
Videogram from the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.
April 20 to April 27
Videogram from the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.
March 23 to March 30
Photography made during long-term film project in Gonesse, France (2018-2021).
Photo : Vladimir Turner
Photography made during long-term film project in Gonesse, France (2018-2021).
February 23 to March 2
Photography made during long-term film project in Gonesse, France (2018-2021).
Photography made during long-term film project in Gonesse, France (2018-2021).
January 12 to January 19
(video HD, vertical, 55”)
December 1 to December 8
Montage photographique
November 24 to December 1
photography, watercolor, composition
November 10 to November 17
November 3 to November 10
photography
October 20 to October 27
Watercolor
October 6 to October 13
photography
September 29 to October 6
photography
September 22 to September 29
photography
September 8 to September 15
photography
August 18 to August 31
photography
July 7 to July 14
photography
June 23 to June 30
photography
photography
POLYPHONIC MANIFESTO
May 26 to June 2
May 12 to May 19
The same point of view, at the same moment of the day, during the lockdown.
Sounds and details become very important, nature takes place progressively in the frame,
the light changes, spring wakes up, while collective daily domestic ritual inhabit the void of the street.
May 5 to May 12
We are the 30th of April 2020.
One year ago exactly I projected in Czech Republic my Monument for a witch (a ten minutes video displayed in the public space) on the occasion of the Walpurgis night – the traditional popular celebration taking place in several European countries which consists in making bonfires to ward off the witches, burning a puppet of a witch in it.
As one of the marks of the male domination remaining in our society, I wont spread here all the significations of this act. But precisely, in this period of lockdown, emerge more than ever the heritage of the feminicide crimes that took place in the history and that persists. Domestic violence has increased all over the world against women, those who at the same time are first on the line fighting against corona virus, giving care to others, in hospitals, sanitary and social structures, at home.
So even if my mobile monument is locked down, I decide to make it appear throw my window, this night, thinking of women for whom being locked up at home is living the hell.
https://catherineradosa.net/mps.html
April 28 to May 5
photography
photography
photography
April 21 to April 28
photography
Catherine Radosa works at the intersection of images and situations that she meets, or produces. By lecture of places, observing, listening, documenting, she questions the present of the memory, personal and collective representations: the individual-society relationship, geographical and social boundaries, History, identity. Between investigation and reverie, by mounting voices, images, contexts and times, she forms collective figures of witnesses from the experienced spirit of the place (Prague, Paris, Lima) and the moment. According to each project, she involve several vocabularies (photography, video, animation 3D, sound, document, text). Also she builds, often in urban areas, participatory situations and performances, including projection on the architecture, but also films (short and medium-length films) for projection room, broadcasting on screen, for installation, images for printing and publishing.
She was born in Prague in 1984, she lives in Paris, works in Europe.
https://catherineradosa.net/mps.html
© Catherine Radosa (all images on this pages)