Le Printemps De Septembre Fracas Et Frêles Bruits 21.09 – 21.10.2018

Le Printemps de septembre Fracas et Frêles Bruits 21.09 – 21.10.2018. Free. Visitor guide. English.

Le Printemps de septembre Le Printemps de septembre in Toulouse Contents dedicates Fracas et Frêles Bruits to the memory of Anne Tronche From Friday 21 September Maps 2 (Paris, 1938 – Toulouse, 2015). to Sunday 21 October 2018 Presentations 4 Solo Exhibitions 6 “And we’ll send Free festival 9 Sven Anderson and Gerard Byrne 10 none of our people 25 Barbara Barberis 12 down to you, 2 Alain Bublex 14 Babel.” 28 Gerard Byrne 16 Paul Celan 17 Nina Childress 18 27 David Claerbout 20 27 Béatrice Cussol 22 16 Stéphane Dafflon 24 31 Anne Deguelle 26 27 Jacqueline de Jong 28 35 Latifa Echakhch 30 8 Bruno Gironcoli 32 22 Hippolyte Hentgen 34 5 Alexander Kluge 36 34 Ange Leccia 38 20 Élodie Lesourd 40 17 Camille Llobet 42 21 Marie Losier 44 17 Virginie Loze 46 23 Laurent Mareschal 48 12 Vincent Meessen 50 28 Tracey Moffatt 52 20 Laurent Proux 54 28 Lisa Reihana 56 8 Sarkis 58 26 Bert Theis 60 Group Exhibitions 62 30 L’ Élégie des lisières 64 14 Éloge du carburateur (Le Syndicat des initiatives 1) 66 33 L’Emprise des sens 68 2 France électronique 70 32 Grottesques 72 3 I’ll Be Your Mirror 74 Events 76 Friday 21 September 78 Saturday 22 September 82 Wednesday 26, Thursday 27 and Friday 28 September 86 Saturday 29 September 89 Sunday 30 September 96 Thursday 4 October 96 Saturday 20 October 97 Sharing and Understanding 98 Our Visits 100 Visitors’ Calendar 102 Our Suggestions 106 Partners 112 Events Calendar 114 2 Avenue Honoré Serres

Rue du C. J. Phillipe

Rue du canon d’Arcole Rue du Saint-Henri Rue R. Borios

P. Laplace Rue de la Concorde Boulevard de l’embouchure Rue Chevreul Rue Matabiau Boulevard de la marquette Rue R. H. Douville Périole de Rue Place Rue de la Balance de la Concorde Place Rue Ste-Marthe Boulevard Pierre Sémard Rue du capitaine Escudié Boulevard de Bonrepos Rue Auber Rue Danielle Casanova Roquelaine 15 R. Edouard Dulaurier Rue des chalets Rue des Rosiers Rue Falguières 16 31 Rue Agathoise 21 20 Rue Claire Pauilhac Rue de Toul Boulevard de l’embouchure R. de Verdun Rue Brouardel Rue de Sébastopol Boulevard de la marquette Boulevard d’Arcole R. de Quéven Rue Arnaud Bernard Rue Roquelaine Place 32 Rue de la Concorde Boulevard de Marengo Arnaud Bernard Rue de l’Orient Compans-CaffarelliBoulevard Lascrosses Rue RaymondL'Adresse IV du Printemps de septembre B 1 Rue de Bayard 19 Rue Matabiau 2, quai de la Daurade TOULOUSE All. J. Chaband-Delmas Imp. de Barcelone institut supérieur des arts de Toulouse

Rue Gatien 2 Rue St-Charles Boulevard de Strasbourg Rue Pouzonville (p. 14, 36, 70, 78, 80, 81, 83, 85, 88, 89 and 95) Boulevard de Marengo Imp. Simone Dutemps Rue Lacrosses 5, quai de la Daurade Rue Lafon Rue Franklin Rue du g. Jean Compans Rue des Quêteurs 3 RueLes Caffarelli Beaux-Arts Brasserie Flo (p. 74) Allée de Brienne Rue du Béarnais Place 1, quai de la Daurade Rue Emile Brouardel Rue Pierre Salies Rue de Stalingrad Rue J. Lemercier -Arnoult Jeanne d’Arc Rue de Bayard 4 Hôtel d'Assézat (p. 92) Allée de Barcelone Rue Lordat Place d’AssézatR. Bertrand de Born R. de Dalmatie Rue de la Chaîne Jeanne Boulevard Armand Duportal Armand Boulevard 33 B d'Arc Goethe-InstitutPlace (p. 36) Boulevard Lascrosses Rue St-Bernard 34 5 14 Rue d’Embarthe Rue J. Lafﬁte de4 bis,Belfort rue ClémenRue dece Belfort Isaure Rue Bergeaud R. du g. Pégot

Place Hôtel de MadronRue Caffarelli (p. 92)

R. de Boulevard de la Gare Place 35 6 Rennes St-Julien 32, rue des Paradoux Rue Roode 12 St-Sermin Rue des Salenques Rue Bellegarde Musée du Vieux-Toulouse (p. 93) Boulevard Riquet Rue du Béarnais 7 Allée de Brienne Rue des 7, rue du May Rue E. Rue du Rempart Matabiau Couvent des Jacobins (p. 32 and 58) Cartailhac Boulevard de Strasbourg 8

Rue Lejeune Rue d’Alsace Lorraine Lorraine d’Alsace Rue R. Auguste Granier Rue F. Sarcey Lancefoc Rue Parvis des Jacobins, rue Lakanal 11 Périgord R. Denfert-Rochereau Rue Heliot Allées Jean Jaurès Rue Ste Thérèse Puits Creusés 9 Fondation espace écureuil (p. 10) R. Averseng-Delorme Allée de Barcelone Rue du 3, place du CapitoleRue Bachelier Rue d’Artagnan Boulevard Maréchal Leclerc Rue Dalayrac Rue Victor Hugo Théâtre du Capitole (p. 79) R. Duployé Allée de Brienne 10 Rue U. Vitry Rue des Lois Place du Capitole Rue des Sept TroubadoursVidal Arnaud Rue

Rue du Taur d’Austerlitz Rue Rue St-Ferreol Rue des Amidonniers R. Chateaubriand Rue Lejeune Rue Montoyol 11 Cinémathèque de Toulouse (p. 36) R. Ed. de Planet Rue de Rémusat 69, rue du Taur Rue des Amidonniers R; de Plaisance Rue M. Fort Jean Jaurès A Allée de Barcelone Rue Caussette B Musée Saint-Raymond (p. 50 and 94) R. de l’Esquile Rue Rivals 12 Rue Lancefoc 1ter, place Saint-Sernin Riquet de Pierre-Paul Rue Avenue Paul Séjourné Rue des Amidonniers Rue du Sénéchal Rue Gabriel Peri Rue J.F. Kennedy 13 Auditorium Saint-Pierre-des-Cuisines (p. 90) Allée de Brienne Rue A. Deville 12, place Saint-Pierre Imp. du Ramier des Catalans Rue du Carrosserie Sérignac (p. 66 and 79) R. de la Bastide 14

College de Foix Av. Du Pdt Amélie Rue F. Roosevelt 69, boulevard Lascrosses R. du Doyen-Gabriel Marty Allée du Niger Rue La Fayette Place Bar Le DAda (p. 87) Mercadier A. Rue

15 Palaprat Rue Rue des 3 Journées Thionville Rue Wilson 27,Rue avenue Castellane Honoré Serres

13 Rue RomiguièresRue Mirepoix Capitole Immeuble Riverside, COVIVIO (p. 24) A 16 Boulevard Lazare Carnot Rue Lakanal Place 10 i 22, boulevard de la MarquetteRue de la Colombette Quai St - Pierre du Capitole Rue des Musée Paul-Dupuy (p. 18, 42 and 46) 9 R. Montardy 17 Rue Pargaminières Jacobins Rue MauriceRue P. Mériel Fonvieille13, rue de la Pleau

Rue Valade T. du St-Antoine Rue Cinéma Le Cratère (p. 97) R. Gambetta Rue Lapeyrouse 18 Rue Lt. P. Vidal Rue 95, grande rue Saint-Michel

Bd Richard Wagner 8 Cl. Pélissier Rue St-Aubin Rue Lakanal Rue de Médiathèque José-CabanisRue d’Aubuisson (p. 36) Place Rue St. Rome 19

St-Pierre Rue Larrey 1, allée Jacques Chaban-Delmas Place des Rue des Jacobins Gestes la Pomme Lieu-Commun (p. 40, 54 and 80)

Rue Baour-Lormian 20 St-Etienne Rempart du Rue

25, rue d’Armagnac Riquet de Pierre-Paul Rue 28 R. L. Deffes Rue Ste-Ursule BBB centre d’art (p. 44) Rue C. Camichel

Pont des Catalans Blancs Clos 21 Rue Dolive Quai Lucien Lombard 7

Rue des Blanchers AspeR. Rue 96, rue Michel-Ange Rue Bourrassol Avenue du Château d’eau R. du Fourbastard Le Château d’Eau (p. 34) Rue de Caraman R. Mérens Rue Malbec Place 22 Rue L-L. Boilly Rue du May St-Georges 1, place Laganne

Rue R. desTtourneurs Prieuré Hôtel-Dieu (p. 48) Rue S. Dauriac Rue du R. d. Penitents Rue Champeaux Tripière 23 R. Dautezac ´ Place de Rue J. Suau Rue des Puits - Rue Delpech2, rue Viguerie Pont St-Pierre RueMalaret la Daurade Rue Peyras R. A. Mercié R. Cantegril La Place de la Danse (p. 87) Rue de l’Étoile Rue Bourrassol 3 Rue Temponières 24 R. Cujas 5 5, avenue Étienne BillièresR. Delacroix A. Ch. Malpel Rue de la Bourse Rue Boulbonne Rue d’AstorgEspace Saint-Cyprien (p. 12)Rue d’Idrac Bd du Pr Léopold Escande Isaure 25 Place des Quai de la Daurade Rue Pierre-Paul de Riquet Rue 56, allées Charles-de-Fitte 27 Rue Peyrolières Abattoirs Place Lange R. Clémence 26 Jardin Raymond VI (p. 60 and 83) Allée Charles-de-Fitte 2 R. Malcousinat A Esquirol Metz

R. des Fontaines 26 Rue Viguerie 4 Rue de 76, allées Charles-de-FitteRue des frères Lion Rue d’Alsace Lorraine Lorraine d’Alsace Rue 1 des Arts les Abattoirs, Musée – Frac Occitanie Toulouse 23 tz Place de Place 27 Rue Riguepels Me la Trinité (p. 20, 22, 28, 78, 82 and 96)

de 6 Esquirol 8 Place e Rue R. J. Roudil 3 R. des Fontaines R. Quilméry Ru Rue de la Trinité St-Etienne76, allées Charles-de-Fitte R.de l’amiral Place R. des Filatiers Baragnon

R.San- Rouaix

Galache Théâtre Garonne (p. 52, 56, 86, 90 and 96) Subra des 28

R. du Rue Croix-Tolosane Rue 1, avenue du Château d’Eau Rue du pont Montaudran Coq-d’Inde Rue du Pont St-Pierre 3 Banquets Les Halles de la Cartoucherie (p. 84)

Rue 29 Port St Etienne

R. du Docteur Roux du Docteur R. Rue des Couteliers R. des Jardins Place Pont Neuf Desc. Halle aux Rue Bouquieres 101, avenue de Grand-Bretagne du Ravelin R. de la

Rue Ste-Anne Allée Forain F. Verdier 25 Rue Réclusane Madeleine R. des des R. CIAM – La Fabrique (p. 36 and 64) Grande rue Saint-Nicolas 22 Paradoux 30 de l’Ouest R. J .Darré 4 Billards

R. Gamelsy Rue Fermat 5, allées Antonio Machado Rue Nestor Rue Brun Musée Calbet (p. 26) R. des Vases Rue Villeneuve 31 R. Joutx-Aigues R. Maletache Rue Merlane Rue Marc Sangnier Rue Adolphe Coll Rue de la République 15, rue Jean dePlace Comere, Grisolles

Place Poissons Place Pavillon Blanc St-JacquesHenri-Molina (p. 72) Olivier Laganne Rue du Canard 32 Rue Rue des Rue J. Labatut St Cyprien R. Benoît Arzac R. Chairedon R. du Ravelin Rue Mage Rue Ninau St. Jacq Place A R. des Polinaires 4, place Alexues Raymond, ColomiersAbeilles République Carmes Roguet Place R. de la Laque de Tounis B Place Quai des arts (p. 68, 82, 89 and 97) St-Cyprien R. du Pont Vieux Rue Ozenne 33 Avenue de Gde Bretagne 24 Rue du Pont des Carmes Place Léo Lagrange, Cugnaux Rue des Potiers

Rue Adolphe Coll 29 Quai de Tounis Maison Salvan (p. 38) R. Joseph Vien R. d’Aussargues Rue Neuve

Rue du Languedoc du Rue 34 R. des Prêtres 17 Rue Perchepinte 1, rue de l'Ancien Château, Labège Rue St. Jean Rue Montoulieu Vélane Port St-Sauveur Rue de Varsovie Rue Vélane

Rue La Chapelle Saint-Jacques (p. 30) 30 Place Benoît Arzac Rue St. Rémesy La Pleau 35 Rue de Avenue de la Av. du marécal Foch, Saint-Gaudens Rue Jean des Pins Avenue Etienne Billières de la Dalbade

R. des Feuillants Rue Pharaon Rue

Rue des Teinturiers Rue Espinasse

Rue Coupefer Rue d. Regans Rue Allée P. Sabatier Ph. Féral Rue Caminade Allée Charles-de-Fitte Rue de la Trilhe ´ Rue de Gascogne Jardin Square Rue de Tivoli Rue Laganne royal du Boulingrin Rue Escoussieres Montgaillard Grande Rue Nazareth Rue Jules de Rességuier Marie-Thérèse Perrin Christian Bernard President-founder Director

In 2016 Le Printemps de septembre held the first of its biennale editions. Whilst searching for the generic title under which the exhibitions, con- Many of us will remember the tune from Ragnar Kjartansson's installation certs, screenings and performances of the next edition of Le Printemps at the Théâtre Garonne, the sand that Hans Op de Beeck spread out as far de septembre could be placed, the words of sound and fury surfaced as the eye could see at the Jacobins or the local statuettes taken from the again and again, galvanised by Shakespeare's celebrated formula. That Fondation Cartier's collection that joyously stood alongside the Roman- is not to say that our festival has undertaken the task of illustrating the vio- esque ones from the Musée des Augustins. Guided by Christian Bernard lence of the world, but it was obvious that several of this year's emblem- and the twelve curators associated with that year's edition, Le Printemps atic artworks were inspired by the will to position themselves in the midst de septembre wished to move the city, its places and its residents by cre- of history's conflicts and tensions. This is now the principle adopted by ating a living, emotional circuit as much for the ears as for the eyes. many contemporary artists. Without ambiguity, the amount of counted admissions (over 200 000) Lisa Reihana and Vincent Meessen lucidly confront the colonial issue show the public's inclination and curiosity for contemporary creation in all (one at the Théâtre Garonne, the other at the Musée Saint-Raymond). its diversity as well as for the exigency of its forms. This year's edition fur- Tracey Moffatt (also at the Théâtre Garonne) addresses its consequences, thers the trait of a festival of exhibitions and performances, affecting our as, more distantly, does Laurent Mareschal (at the Hôtel-Dieu). The works of senses, gazes and minds, closely echoing the spaces that host them and Alexander Kluge (at the Goethe-Institute and various other sites) and Ange introducing us to emerging forms of expression. One of the titles imagined Leccia (at the Maison Salvan in Labège) are haunted by war. Domination by Christian Bernard for one of the festival's exhibitions – I'll Be Your Mirror never establishes itself without commotion. And what can art, with the fra- – seems especially representative of the project as a whole by suggesting gility of its multiple forms, do when confronted by this deafening insistence the singular reflection of the world as it is today and now. I am of course of history? Its condition remains that of a frail sound, the music of resistance. delighted, for example, that the festival attests to the extraordinary vitality In the opening of the fourth and last volume of his autobiographical of female creation. undertaking The Rule of the Game, Michel Leiris described this Frêle bruit Marc Bembekoff and Garance Chabert, Marie Delanoë, Émilie Flory, as an “archipelago”, a “constellation” or a “mozaic”, in any case an “assem- Arnaud Fourrier, Jill Gasparina, Valérie Mazouin, Manuel Pomar, Valentin blage”. As many metaphors that stand for our festival. Like the fragmen- Rodriguez, Paul de Sorbier and Annabelle Ténèze are the associate cura- tary structure of Leiris's book, the festival's anatomy clearly states the tors for this year's edition. Our wish was for it to be plural, fed by multiple refusal or the impossibility of a unified vision. Contemporary art's condi- worlds and practices that would pervade the city, its urban area and the tion in the polycentered world of globalisation suggests the image of an Region. I wish to take this opportunity to warmly thank all of Le Printemps archipelago of archipelagos. Indeed, the sparse extent of coexistent parade septembre's public and its partners who contribute to making Tou- digms defies any totalising understanding, unless we adopt the dogmatic louse an essential stopover for art. I hope that together we will continue to comb of ideology. develop it even more in the years to come. Thus, at the scale of Toulouse (but also in Colomiers, Cugnaux and Labège) and with extensions in the Occitania region (in Grisolles and Saint- Gaudens), Le Printemps de septembre presents thirty-two exhibitions of works created for the occasion or shown for the first time in France as well as concerts, performances and the return of it’s famous Radio du bout de la nuit, animated and directed this year by Alain Bublex with *DUUU – radio. 4 5 The auto-reflexivity of the museum exhibition and its institutional critique age to this figure who remains inseparable from the modern canon. The made up a large sequence of the festival's previous edition. They resur- group exhibitions imagined by Jill Gasparina at the isdaT, by Marc Bembe- face in Nina Childress's exhibition at the Musée Paul-Dupuy, where she koff and Garance Chabert at the Carrosserie Sérignac and by Arnaud develops her view on women in painting throughout history from a selec- Fourrier at the Pavillon Blanc in Colomiers contribute to the genealogy of tion of forty-one pieces dating from 1501 to 1925 taken from the Musée contemporary forms and sensitivities. des Augustins' collection to which she adds thirty-one of her own paint- Finally, the Jacobins receive a creation by Sarkis, Mesure de la Lumière, ings. in their sublime and singular church. The exhibitions of Bruno Gironcoli (in the refectory of the Jacobins con- In these ways, Fracas et Frêles Bruits brings to light and to sound the vent), Hippolyte Hentgen (at the Château d'Eau gallery), Marie Losier (at the coexistence of forms and practices – inclusive of the concerts, perfor- BBB centre d'art) and Virginie Loze (Musée Paul-Dupuy) echo Nina Childress's mances and other one-off events imagined by Anne-Laure Belloc – as so caustic humour, as does the group exhibition by Sylvie Auvray, Florent many attempts at saying and conceiving the world as well as what art can Dubois and Amandine Meyer (Grottesques, at the Pavillon Blanc in Colomi- add to it without hampering or losing it. ers) or the wrestling match of Cassandro El Exotico at the Cartoucherie – as many accounts of contemporary burlesque's formidable craftiness. The forms of “After Cinema” moving image are notably illustrated by Gerard Byrne and Sven Anderson's installation at the Fondation espace écureuil, by David Claerbout's considerable exhibition at the Abattoirs, by Ange Leccia's new videos as well as the small films created by Alexander Kluge for the festival, or Philippe Decrauzat's new film, the soundtrack of which is set with live music by Will Guthrie. The echo of current conflicts resounds in Barbara Barberis's photo- graphs of the occupied factory Rimaflow in Milan (Espace Saint-Cyprien), in the Jacqueline de Jong retrospective at les Abattoirs or in the homage paid to Bert Theis. Elegiac sensitivity to urban entropy pervades Yvan Salomé's commissioned works that are inspired by the Bellefontaine neighbourhood as much as it does the suburban railway landscapes paced by Michel Perot around Paris (at the CIAM – La Fabrique). Attention to the visually impaired and the hard of hearing's sentient experience is revealed in Tarek Atoui's musical sculptures and performances as well as in Camille Llobet's videos in Cugnaux or Javier Téllez's film (during The Night of Courtyards). Drawings, paintings, sound performances; Élodie Lesourd and Laurent Proux share Lieu-Commun; Latifa Echakhch sets up at the Chapelle Saint- Jacques in Saint-Gaudens; Stéphane Dafflon has designed a coloured ceiling for the forecourt of the Riverside building by the Canal du Midi. Anne Deguelle's installation in Grisolles builds upon the investigation into Marcel Duchamp's patronal and still mysterious work, a kind of hom-

6 7 Solo exhibitions

Sven Anderson and Gerard Byrne, Barbara Barberis, Alain Bublex, Gerard Byrne, Nina Childress, David Claerbout, Béatrice Cussol, Stéphane Dafflon, Anne Deguelle, Jacqueline de Jong, Latifa Echakhch, Bruno Gironcoli, Hippolyte Hentgen, Alexander Kluge, Ange Leccia, Élodie Lesourd, Camille Llobet, Marie Losier, Virginie Loze, Laurent Mareschal, Vincent Meessen, Tracey Moffatt, Laurent Proux, Lisa Reihana, Sarkis, Bert Theis. 8 9 Long-time artists and partners Sven Anderson and Gerard Byrne create SVEN ANDERSON an ambitious multi-screen project that tries to construct a “visibility matrix” in a digital era in which images are connected, and everywhere. AND GERARD BYRNE A Visibility Matrix is a new artwork by Sven Anderson and Gerard Byrne that probes the politics and conditions of visibility. Exploring the para- A Visibility Matrix digms of what we see and how we construct visual knowledge, A Visibility Matrix proposes a counterpoint to the migratory, hyper-networked nature 9 Fondation d’entreprise espace écureuil pour l’art contemporain of visibility in contemporary culture by conjuring an offline matrix of video Video installation material presented in the gallery space for communal observation. The

Exhibition Opening on Friday 21 September, 6pm artwork speculates on an alternative to the composite formed by subject Wednesday to Sunday from noon to 7pm + smartphone + online-video-sharing-platform that has come to repre- Late-night openings on 21, 22, 28 and 29 September until midnight sent the current standard of visibility. It gathers content through an asso- Closed on Mondays and Tuesdays The exhibition will run until 15 December 2018, ciative network of collaborators including visual anthropologists, cine- Tuesday to Saturday from 11am to 7:30pm matographers, documentary-filmmakers and others from across the globe. By shifting focus from the production of images for sharing online Address 3, place du Capitole 31000 Toulouse 05 62 30 23 30 | www.caisseepargne-art-contemporain.fr to their reception in a shared, fixed-time spatial context, A Visibility Matrix Discover their visits and activities on their website offers another window on visual excess, confronting its own situated spa- tiality to reflect the more universal conditions that it addresses. This sys- Access Metro A, Capitole VélôToulouse, station n°1 tem speculates on the possibilities of video not as passive image but as an active signal, and the gallery as a site of condensation; a shared space and a space of reflection. Exhibition realised in partner- Sven Anderson’s sound interviews and performances ship with the Fondation and video installations, perfused with history using d’entreprise espace écureuil systems and performances sources as diverse as The pour l’art contemporain. feed off of details of the Surrealist Revolution, Playboy This project was presented immediate built environment or National Geographic. With for the first time in June 2018 and fragments of local history terse humour he tests our at the Douglas Hyde Gallery and ecology to suggest perception of past and in Dublin and was supported emergent, site-specific forms. present as well as the chal- by The Arts Council. Often working through lenges associated with sustained collaborations with recorded image, documenta- architects and urban planners, tion and language with terse his permanent public artwork humour. Gerard Byrne Continuous Drift blurs the completed a degree at the borders between public National College of Art & sound installation, architectural Design, Dublin. His work has intervention, and curatorial been shown in many solo framework. Born in 1977 exhibitions across Europe in Boston, he currently lives and the USA. He represented and works in Dublin. Ireland at the 2007 Venice Between photography, Biennale. He was born in cinema, theatre and installa- 1969 in Dublin where he lives © Sven Anderson and Gerard Byrne, A Visibility Matrix, 2018, video, indefinite length. tion, Gerard Byrne recon- and works. structs conversations,

10 11 Barbara Barberis' photographic series RiMaflow documents the evolution BARBARA BARBERIS of the Maflow factory, emptied of its machines by its boss then occupied by the workers who decided to create a new self-managed economy in order RiMaflow / Utopia in Progress to save their jobs. Inside the factory's hangars are now a “House of Mutual Help, Citadel of Exchanges and Professions” a “Big Shop” and a recycling 25 Espace Saint-Cyprien Photographic series area. Offices, laboratories, stocks of various material incarnate a concept of an open factory, veritable incubator in which networks and social, eco- Exhibition Opening on Friday 21 September, 6pm Monday to Friday from 9am to 6:30pm nomic and ecological activities meet in order to face the crisis. More than Saturdays and Sundays from noon to 6pm 35 occupations have been created and thrive in this citadel whose manage- Late-night openings on 21, 22, 28 and 29 September until midnight ment model is based on principles of solidarity instead of classic market

Address 56, Allées Charles-de-Fitte 31300 Toulouse economy. RiMaflow – “ri” for rinascita (rebirth), riuso (reuse), riciclo (recy- 05 61 22 27 77 cling), riappropriazione (reappropriation), reddito (revenue), rivolta (revolt), rivoluzione (revolution) – also reaffirms the existence of Maflow. The project Access Metro A, Saint-Cyprien – République Buses n°31, 45 and 131, Saint-Cyprien – République is supported by artists such as Bert Theis, co-founder of the Isola Art Centre VélôToulouse, stations n°77 and n°78 in Milan, whose work is oriented towards examples of practical utopia. Barbara Barberis has been Barbara Barberis was born in a member of Isola Art Centre 1977 in Milan where she lives since 2016 and takes an and works. interest in modern landscapes, (suburbia, shopping centres). Her work has mostly been shown in Italy, at the l’OM-Milan Studio (2012), at Photofestival Milan/ HTTP_HyperText Transfer Photography (2015), at the Ram Studios in Milan (2015), at the Palazzo Marino/ Milan's City Hall (2015), at the Spazio Soderini/ International Photo Project Milan (2015) and at the Viridi/ Spazivisivi Sanremo (2017). From 2012 to 2015 she was part of AR.RI.VI (Archivio Ricerca Visiva) project and in 2014 co-founded CROP, a collective of young inde- pendent photographers who conduct meta-photographic thinking about nature and the meaning of image.

© Barbara Barberis, RiMaflow, storage area, Hangar D, 2016. 12 13 Ex-industrial designer Alain Bublex likes to introduce the most heteroge- ALAIN BUBLEX neous practices to each other. Spatial design, mechanics, photography, tourism etc. He resorts to fictitious models through which he deals with our La Radio *DUUU bout mixed attitude towards change and utopia. Le Printemps de septembre turned to this chatty and ever-changing art- de la nuit ist in order to reactivate Radio du bout de la nuit (“Radio from the end of the night”), created by the festival in 2009. The radio was hosted at the time by 2 isdaT – institut supérieur des arts de Toulouse Jean-Yves Jouanais and the Chevalier de Rinchy and aimed to bring Installation – production together that year's festival-goers and artists.

Exhibition Opening on Friday 21 September, 6pm Alain Bublex thinks radio's visual environment in such a way that it Wednesday to Sunday from noon to 7pm breaks away from the muted confinement of the studio and presents itself Late-night openings on 21, 22, 28 and 29 September until midnight as a spectacle: a big stage, a marquee, a shed, a car-body, stumps of trees Closed on Mondays and Tuesdays whose fallen leaves could contain messages etc. A lively, social place that Address 5, quai de la Daurade 31000 Toulouse also houses a food-truck and a bar. In collaboration with *DUUU, a web-ra- 05 31 47 12 11 | www.isdat.fr dio dedicated to contemporary creation, Alain Bublex will also be the voice

Access Metro A, Esquirol of the festival's radio. VélôToulouse, station n°27 This project was co-produced Students Simon Dubedat and Alain Bublex studied at by the Jeu de Paume (Paris) Nikita Suaud from the fine- the Beaux-Arts school in Mâcon and created in partnership arts department were accom- and at the Ecole supérieure with the institut supérieur des panied by their teacher de design industriel in Paris arts de Toulouse. Michel Gary and worked with where he lives. He started off Alain Bublex. at Renault but returned to his artistic aspirations in 1992. His work has been shown in many exhibitions, notably at the Palais de Tokyo, at the Centre Pompidou, at the Mamco in Geneva and the Seoul Biennale. His module Entretemps, made for Le Printemps de septembre 2008 was acquired by the Abattoirs, Musée – Frac Occitanie Toulouse. He was born in 1961 in Lyon and lives and works in Paris.

14 15 Irish artist Gerard Byrne draws his subject matter from the world of media. GERARD BYRNE Whether it's a re-enactment of a debate published in Playboy in 1972 or the staging of a text published in 1928 in The Surrealist Revolution, In Our Time Byrne's films show leading figures from the th20 century – artists, writers, businessmen – discussing the social and political issues of their times. 28 Théâtre Garonne | Scène européenne For Le Printemps de septembre, Gerard Byrne is presenting a second Video installation video installation. Commissioned for the 2017 edition of Skulptur Projekte

Exhibition Opening on Friday 21 Septembre, 6pm Münster, In Our Time describes the daily activities of a commercial radio From Wednesday to Sunday from noon to 7pm station and addresses the relationship between broadcasting, time, pop Late-night openings on 21, 22, 28 and 29 September until midnight music and collective memory. In Our Time’s temporal frame remains hard Closed on Mondays and Tuesdays to define; a presenter works in a studio, plays classic pop songs, takes Address 1, avenue du Château d’Eau 31300 Toulouse calls and talks to his absent audience… The camera lingers over the 05 62 48 54 77 | www.theatregaronne.com details that make up Byrne's meticulous mise en scène: records and

Access Metro A, Saint-Cyprien – République; then by 10 mins walk tapes, microphones, loudspeakers and various other broadcasting equip- Buses n° 31 and 45, Les Abattoirs; or n°66, Fontaines ment. Indefinitely long, In Our Time establishes a relationship between VélôToulouse, station n°95 the hidden space of a radio show and its viewers/listeners. Exhibition realised in Between photography, partnership with Théâtre cinema, theatre and installa- Garonne | Scène européenne tion, Gerard Bryne recon- – Toulouse. structs conversations, interviews and performances perfused with history using sources as diverse as the Surrealist Revolution, Playboy or National Geographic. With terse humour he tests our perception of past and present as well as the chal- lenges associated with recorded image, documentation and language. Gerard Byrne completed a degree at the National College of Art & Design, Dublin. His work has been shown in many solo exhibitions across Europe and the USA. He represented Ireland at the 2007 Venice Biennale. He was born in 1969 in Dublin where he lives and works.

16 17 In order to preserve her chicks from the Eagle's appetite, the fable tells that NINA CHILDRESS the Owl gives them so many airs that the Eagle, failing to recognise them from this laudatory description, devours them. In her nest at the Musée Le Hibou aussi trouve Paul-Dupuy Nina Childress broods over the chicks' revenge. She digs out works from the Musée des Augustin's reserve, the ones made by minor, ses petits jolis forgotten or unloved artists that catch her attention for formal or thematic reasons. She then associates them with her own paintings, chosen for 17 Musée Paul-Dupuy Installation, paintings – production their objective connivance with this or that aspect of the old ones. These encounters are organised by walls and rooms in such a way that they Exhibition Opening on Friday 21 September, 6pm Tuesday to Sunday from noon to 7pm sketch out a methodical history of woman's condition in painting and Late-night openings on the 21, 22, 28 and 29 September sculpture. until midnight There is no uninteresting painting in Nina Childress's eyes: she always Closed on Mondays knows how to see something that catches her attention and retains her Address 13, rue de la Pleau 31000 Toulouse affection in the most neglected of them. It's not simply about a paradoxi- 05 31 22 95 40 | www.ampdupuy.fr cal position but a deep attachment to painting. Of the pictures she couldn't Discover their visits and activities on their website obtain, some she repainted in her own way, neither copy nor pastiche. Of Access Metro B, Carmes another, whose subject reflected an appalling image of common machismo, Bus n°12, Carmes she chose to present a “blurred-in-focus” version, turning it into a subtle VélôToulouse, stations n°45 and n°46 abstract painting. In this way she exhibits and revives around forty old works of art (1501-1925) mixed with thirty of her own, pre-existing or made for the occasion. The weight of time and the confrontation of paintings brings out another way of thinking the museum, its role and its potential when artists get involved, freeing it from its old clichés of schools, styles and chronology. The exhibition was conceived Punk muse with Lucrate Milk Impressionism or Pop from works that are part of and graffiti pioneer with images. Gustave Courbet, the collections of the Musée Les Frères Ripoulin at the Gerhard Richter, David des Augustins, the Musée dawn of the 1980's, Nina Hockney, Julian Schnabel du Louvre, the Centre national Childress furthers the groove pass each other in her des arts plastiques and of Figuration Libre (“free Pantheon. the Gallery Bernard Jordan. figuration”), visits Jean-Michel She is represented by Basquiat and Keith Haring Galérie Bernard Jordan and in New York and imports one questions Western rep- version of street art to resentation of nudity through- France. For the past thirty out exhibitions such as years her painting has brought L'Effet Sisi at the Mamco into play a great porosity with (Geneva) en 2011 or Magenta popular culture and a playful at the CRAC in Sète in 2015. yearning as much for the Born in 1961 in Pasadena Classical painting canon as she lives and works in Paris. Sylvie, 2018 and Y.Dudes, 2017, 250×220 cm et 65×80 cm, oil on canvas. Nina Childress Studio, preparation of the exhibition Le hibou aussi trouve son petit joli. © Nina Childress and Galerie Bernard Jordan, Paris/Zurich.

18 19 For the past twenty years David Claerbout has been developing an DAVID CLAERBOUT unprecedented work that lies somewhere between cinema, painting and photography. Here the artist besieges the vast rooms of the Abattoirs' Dark Optics (Vision de nuit) ground floor and creates a dialogue between ten monumental works of art. Titled Vision de nuit (“night vision”), this exhibition invites the visitor 27 les Abattoirs, Musée – Frac Occitanie Toulouse to look at the reality of our surrounding landscape – the modern urban Exhibition architecture as well as the details of nature: trees, waters, winds etc. but

Curator Annabelle Ténèze also the reality of the image today. Associate curator Valentin Rodriguez Appropriating archives, addressing the image digitally and reworking it pixel by pixel, Claerbout's research is about its physicality. At a time in Exhibition Opening on Friday 21 September, 6pm Wednesday to Sunday from noon to 6pm which pictures are consumed excessively, time also becomes a sculpting Late-night openings on 21, 22, 28 and 29 September until midnight material for the artist. Associating fixedness and movement thanks to the Late-night openings on Thursdays until 8pm effects of compression, stretching and slowness his video creations Closed on Mondays and Tuesdays Exhibition runs until 10 February 2019 become suspended tableaux, as many invitations to contemplation and drifting around. The exhibition is also fixed in a more global history of pho- Address 76 allées Charles-de-Fitte 31300 Toulouse tography and video. Devised in two parts it analyses the transition from 05 34 51 10 60 | www.lesabattoirs.org Discover their visits and activities on their website the analogue image fixed on film and completely dematerialised digital creation. The North wing of the Abattoirs, calm and monochrome, starts Access Metro A, Saint-Cyprien – République with photography and cinema's beginnings in the 19th century whereas Bus n° 31, 45 and 131, the Abattoirs VélôToulouse, stations n°80 and n°81 the South wing references the apparition of colour and sound up to the all-digital. While today the process picture-making passes more and more via computers instead of through a camera's lens, the artist reveals the emergence of a new form of optics that could be specific to a multimedia experience. He calls it Dark Optics (Vision de nuit) because we could very well “turn off the lights and gaze at the night all day long” when faced with these images. Far from considering real objects as existing inside a virtual universe once they have passed behind the screen, the artist reveals the presence of a new materiality of the image in the hope, he says, of “finding the confirmation that we are still alive and that we perceive a coherent world.” Exhibition realised in Video artist and talented and narrative in order to offer partnership with Les Abattoirs, draughtsman David Claerbout a more sensitive film experi- Musée – Frac Occitanie was born in 1969 in Kortrijk ence. He now lives in Antwerp Toulouse. Belgium. From 1992 to 1995 and continues these consider- With the support of he studied at the Académie ations he begun in the 1990's. Casino Barrière Toulouse. Royale des Beaux- Arts in Antwerp, Belgium. From an early stage his work David Claerbout, Travel, 1996-2013, single channel video, HR animation, colour, stereo sound, questioned the characteris- 12 min. Courtesy of the artist and galleries Sean Kelly, New York; Untilthen, Paris; Esther Schipper, tics of classic cinema, Berlin; Rüdiger Schöttle, Munich. especially the notions of time

20 21 Les Abattoirs' library hosts an exhibition dedicated to Béatrice Cussol. The BÉATRICE CUSSOL artist who is known for her drawing was invited to invest the space as well as to present an ensemble focusing on books that includes her novels and Les Parties several of her collage note-books that the museum acquired last year. Béatrice Cussol has developed a socially and politically committed 27 la Médiathèque des Abattoirs – Frac Occitanie Toulouse drawing practice. She distorts the leisurely medium that is watercolour in Exhibition favour of a feminist approach. She particularly borrows the lightness of

Curator Annabelle Ténèze watercolour's shapes in order to turn it into an expressive or even Expres- sionist and transgressive creation. The dewy softness of watercolour Exhibition Opening on Friday 21 September, 6pm comes into contrast with the crudeness of the pictures, becoming elegant Wednesday to Sunday from noon to 6pm Late-night openings on 21, 22, 28 and 29 September and explicit, vaporous and deep, light and politically committed, funny but until midnight worrying. Her artistic practice has developed around drawing but also Late-night openings on Thursdays until 8pm reaches to fabrics and literature. She is also a novelist and has been writ- Closed on Mondays and Tuesdays Exhibition runs until 9 February 2019 ing a picture-story for the past years in notebooks using cut-outs from magazines, bringing together her influences, angers, moving history, etc. Address 76 allées Charles-de-Fitte 31300 Toulouse The project presented at the Abattoirs bridges Béatrice Cussol's different 05 34 51 10 60 | www.lesabattoirs.org Discover their visits and activities on their website facets for the first time by combining drawing, notebooks and novels in her architectural intervention. Access Metro A, Saint-Cyprien – République Exhibition realised in partner- Béatrice Cussol graduated as in group shows (Yerba Bus n° 31, 45 and 131, the Abattoirs ship with les Abattoirs, from the Villa Arson in Nice in Buena Center for the Arts, VélôToulouse, stations n°80 and n°81 Musée – Frac Occitanie 1993. She is known for her San Francisco, USA; Brooklyn Toulouse. figurative drawings that stage Museum, New York; Musée women in a dreamlike départemental d’art contem- universe that thwarts female porain de Rochechouart; clichés (witches, eroticism Musée des Beaux-arts de etc.) She has also published Dôle; Musée d’art contempo- five books: Merci (2000) rain de Lyon; Centre d’art and Pompon (2001) with La Criée, Rennes, etc., as well Balland editions and Diane? as at the Pavillon Blanc in (2003) Sinon (2007) and Colomiers for the 2016 edition Les Souffleuses (2009) with of Le Printemps de septem- Léo Scheer editions. bre. She was a resident at the Her work is part of public Villa Medicis from 2009 to collections in France and 2010 and currently teaches Switzerland and her work has at the École des Beaux-Arts been shown in solo exhibi- in Rouen. She was born in tions (Villa Arson, Nice; 1970 in Toulouse and lives Mamco, Geneve; Centre d’art and works in Paris. de Neuchâtel, etc.) as well

© Béatrice Cussol, N°456, Ballpoint ink and watercolour on paper, 100×160 cm, February 15, 2008, photo Claire Dorn, detail. 22 23 Stéphane Dafflon was invited to conceive a work for COVIVIO's Riverside STÉPHANE DAFFLON building. He chose to place it on the ceiling of the forecourt that is the access to the building while remaining visible to the passers-by on the Blue in Green Boulevard de la Marquette. His intervention thus remains public whilst addressing itself specifically to the building's users. The artist's second 16 Riverside Permanent work – production choice was to base his composition on the structure presented by the metal tiles that cover the ceiling. They offered a grid design that allowed Exhibition Opening on Friday 21 September, 6pm him to concentrate his work on the ceiling's colouring. Address Immeuble Riverside Green and blue appeared essential to Stéphane Dafflon because of the 22, boulevard de la Marquette 31400 Toulouse terrace's roof garden and the trees on the dock that clearly suggested nat- www.covivio.eu ural green whereas the idea of the canal's water and the southern sky sum- Access Metro B, Canal du Midi mon blue. Hence this shaded composition, from lightest to darkest, mov- Bus n°15,27, 29 and 70, Pont des Minimes ing inwards, following a diagonal line that frees itself from the structure's right-angled characteristic, seemingly an invitation to climb the steps to the platform. The work's title is also that of a famous jazz piece played by Miles Davis. This musical reference underlines the melodic nature of this painting whose tone goes from the brightest to the darkest, that is to say the melancholy of the blues; united with the vitality of yellow, the freshness of green emerges. Commissioned by COVIVIO. Initially created on-screen at the Mamco in Geneva, at and then transposed to a the Contemporary Art Institute canvas or a wall, the seemingly in Copenhagen at the Villa simple, smooth and perfectly Arson in Nice as well as the controlled works of Stéphane Plateau in Paris. He was born Dafflon take on their meaning in 1972 in Switzerland and once they become part lives and works in Geneva. of their environment; they change the way the viewer perceives it as much visually as physically, whether they are paintings on canvas, murals or objects. His artistic process is part of the trend of historical movements of modernity, whose formalism he replays by giving his paintings a vibratory power like the sound and music that inspires him. Stéphane Dafflon graduated from the École Cantonale d'Art de Lausanne en 1999 where he now teaches. His work has been shown in solo exhibitions © Stéphane Dafflon, Blue in Green (sketch), car bodywork paint on aluminium cassettes, 2018. 24 25 Alexander the Great rebuilt a Palais Bénédictine in Fécamp, as much a fac- ANNE DEGUELLE tory as a museum, in order to distil his liquor “La Béné” and to give his lit- tle orphan-girls packaging work there. This diverse palace welcomed Anne Les Mariées de Fécamp Deguelle for a residency in 2002. During the residency, the artist high- lighted the subtle link between this place steeped in history that could only 31 Musée Calbet (Grisolles) Installation give rise to extraordinary productions and The Bride Stripped Bare by Her Bachelors, Even – also called The Large Glass – by Marcel Duchamp. Associate curator Marie Delanoë Les Mariées de Fécamp was born from the inappropriateness of a bot- Exhibition Opening on Sunday 23 September, from 11am to 3pm tle of Bénédictine in the The Green Box, preliminary to The Large Glass. Wednesday to Saturday from 3pm to 6pm These notes were a starting point for Anne Deguelle's work in her research Closed on Mondays, Tuesdays and Sundays Exhibition runs until 10 November 2018 that resembles a documentary investigation stemming from the intuition that this palace could not have been unknown to Marcel Duchamp because Address 15, Rue Jean de Comere 82170 Grisolles of his architectural creativeness in this area that he frequently visited as a 05 63 02 83 06 www.musees-occitanie.fr/musees/musee-calbet/ child. Anne Deguelle proceeds to reread the Large Glass's composition. It Discover their visits and activities on their website is organised in two superimposed floors that resemble the way the palace is divided: at the top the bride and groom and underneath the celibate Access From Toulouse Matabiau train station, take the Montauban-Ville -Bourbon line (TER) to Grisolles (30 mins) machine of which Marcel Duchamp left a sketch in his Green Box that is the pivotal point of this demonstration. Anne Deguelle's research – docu- Sunday 23 September: launch of Marcel Duchamp et la bouteille de Bénédictine, a book by ments compiled and arranged like different archival collections that show Anne Deguelle for the inauguration of the exhibition Les Mariées de Fécamp at the Musée Calbet. Edition of the Musée Calbet, Graphic design by ROVO. the link between The Large Glass and the abbey – give all of their signify- ing force to the hundreds of bottles of “Béné”, miniature Brides of Fécamp in their white tissue paper, petrified and timeless that together make up Les Mariées de Fécamp. Exhibition realised in co- Anne Deguelle's work is Pompidou (2014), Le Fresnoy production with the Musée strewed with references to (2015), 6e Thessaloniki Calbet (Grisolles). emblematic figures of the 20th Biennale (2017). She was The artwork Les Mariées century – Raymond Roussel, born in 1943 in Paris de Fécamp is part of the Sigmund Freud, Duchamp, and lives and works between collection of Les Abattoirs, Beuys, Manzoni, Zadkine – Paris and Aveyron’s region. Musée – Frac Occitanie as well as Shakespeare, etc. Toulouse. Starting from forgotten or neglected details she extracts new signs from them in order to elaborate a fiction that could be a reality despite the existing literature. Trained at the École nationale supérieure des Arts Appliqués in Paris her work is exhibited in France and Europe – Centre

© Anne Deguelle, Les Mariées de Fécamp, 2002, partial view. The artwork is part of the collection of Les Abattoirs, Musée – Frac Occitanie Toulouse. 26 27 This first French retrospective of Jacqueline de Jong's work offers a pano- JACQUELINE DE JONG rama of her creation starting from her paintings and engravings in the 1960's, her affiliation with the Situationist International, her role as pub- Rétrospective lisher of The Situationist Times and her participation in the events of May 1968 up to her more recent works – paintings, books or jewellery. 27 les Abattoirs, Musée – Frac Occitanie Toulouse The exhibition reveals the richness of her artistic history as well as her Exhibition life. Jacqueline de Jong was born to a Jewish family in 1939 and was forced

Curator Annabelle Ténèze to flee the country faced with Nazism. After theatre lessons in London she worked with Willem Sandbery at the Stedelijk Museum in Amsterdam. Her Exhibition Opening on Friday 21 September, 6pm encounter with the members of CoBrA and the Situationist International at Wednesday to Sunday from noon to 6pm Late-night openings on 21, 22, 28 and 29 September the Stedelijk Museum marked her artistic début. In 1962 she founded The until midnight Situationist Times – the movement's only English-speaking journal – prac- Late-night openings on Thursdays until 8pm tised engraving and painting in Paris and took part in the May '68 protest in Closed on Mondays and Tuesdays Exhibition runs until 10 January 2019 the French capital. Living through the avant-garde of the 1960's with free- dom, disobedience and commitment as for her return to painting in the Address 76 allées Charles-de-Fitte 31300 Toulouse 1980's, Jacqueline de Jong's painting is figurative and expressionist. It bor- 05 34 51 10 60 | www.lesabattoirs.org Discover their visits and activities on their website rows from mundane objects – windbreaks, mirrors or suitcases – as much as it plays on a bestiary that is at at the same time monstrous and naïve, Access Metro A, Saint-Cyprien – République combining eroticism, violence and humour. Since the 2000's the artist Bus n° 31, 45 and 131, the Abattoirs VélôToulouse, stations n°80 and n°81 shares her time between Holland and the French countryside, creating books and paintings whose motif is potatoes. She also transforms them into jewellery after having harvested, dried and plunged them into gold. Exhibition realised in partner- Besides the acquisition of her tion at the Stedelijk Museum ship with Les Abattoirs, archives by Yale University a Amsterdam. Musée – Frac Occitanie in 2011, Jacqueline de Jong's Born in Hengelo (Holland) Toulouse. work has recently been in 1939 she lives and works With the support of shown in monographic in Amsterdam. Casino Barrière Toulouse. exhibitions (Cobra Museum for Contemporary Art, Amstelveen, 2003; Moderna Museet, Stockholm, 2012) as well as in group shows (Musée Tinguely, Bâle, 2007; Bibliotheque nationale de France, Paris, 2013; Blume and Poe, Los Angeles, 2015; Château Shatto, Los Angeles, 2017) as has her jewellery (Musée d’art moderne de la Ville de Paris, 2016; Musée des Arts © Jacqueline De Jong, Le Salau et les Bastards, 1966, triptych (painting and mirror), collection décoratifs, Paris, 2018). In Les Abattoirs, Musée/FRAC Occitanie Toulouse. Courtesy of the artist and the Chateau Shatto, 2019 her body of work will be Los Angeles. the subject of a solo exhibi- 28 29 For the past fifteen years Latifa Echakhch has developed a practice of LATIFA ECHAKHCH installation, pictures and sculptures that allegorically echoes a perception of the world tinted with melancholy. Her art works show themselves in an “afterwards” temporality in which the exhibited elements demonstrate the vigorous gestures that the artist makes upon them. Choosing materials 35 La Chapelle Saint-Jacques (Saint-Gaudens) and objects that are invested by a strongly intimate or historical charge Installation – production (personal belongings, revolutionary equipment, household objects, thea-

Curators Marc Bembekoff, Garance Chabert and Valérie Mazouin-Charrier tre accessories, etc.), she deprives them of their use by more or less vio- lent acts of destruction, covering, erasing. Thinned-out carpets show their Exhibition Opening on Thursday 20 September from 7pm to 9pm skeletal outlines (Frames, 2000-2010), sheets of carbon paper drip with A free shuttle bus will take visitors to La Chapelle Saint-Jacques; departs from 1, place du Pont-Neuf at 5:45pm. ink after having been drenched in alcohol (À chaque stencil une révolution, Registration: + 33 (0)5 61 14 23 51. Within capacity limits. 2007), masts deprived of their flags intermingle in a wild and mute hedge Wednesday to Saturday from noon to 7pm (Fantasia, 2011). The work she proposed to the Chapelle Saint-Jacques Closed on Sundays, Mondays and Tuesdays was specially thought and produced in relation to the particular architec- Address Avenue Maréchal Foch 31800 Saint-Gaudens ture and spiritual past of the art centre. 05 62 15 00 93 | www.lachapelle-saint-jacques.com Exhibition co-produced with Latifa Echakhch's work has Discover their visits and activities on their website La Chapelle Saint-Jacques been presented in important (Saint-Gaudens). contemporary art institutions Access From Toulouse take the A64 in the direction of Tarbes, in Europe (MAC Lyon, Centre exit 18 (1h10min) Pompidou, Tate Modern, From Toulouse Matabiau train station, take the Tarbes line (TER) Kunsthaus Zurich, etc.) and to Saint-Gaudens, then walk 10 mins (1h30 min) internationally (PS1, Hammer Museum, Swiss Institute NY) as well as in many biennales (Venice in 2011 and Istanbul in 2017). She was awarded the Prix Marcel Duchamp in 2013 and the Zurich Art Prize in 2015. Latifa Echakhch was born in El Khnansa (Morocco) in 1972 and she lives and works in Paris.

30 31 Sculpture, even more-so than painting, has rarely delivered comical or BRUNO GIRONCOLI whimsical works of art. With the exception of Franz Xaver Mersserschmidt and Honoré Daumier's jokes and satires, it is not until Hans Ruedi Giger La Grande Cavalcade and the sci-fi aesthetics of the Alien series that “biomechanical” sculptural objects pervaded our globalised culture. This is why it is difficult to situate 8 Couvent des Jacobins Installation Bruno Gironcoli's strange and singular work that seems to have antici- pated this cinematic imaginary. From 1963 until his death in 2010 he was Exhibition Opening on Friday 21 September Tuesday to Sunday from 10am to 6pm until 28 September a sculptor as well as an active artist. He belongs to an Austria whose writ- Closed on Mondays ers and artists, from Karl Kraus to Thomas Bernhard, from Robert Musil to Late-night opening Saturday 29 September until midnight Elfriede Jelinek and from Otto Muehl to Heimo Zobernig, not to mention Exhibition runs until 6 January 2019, Tuesday to Sunday from 10am to 6pm Franz West have made irony the driving force of their expression and of their unforgiving view on society and the world. The visual universe of Sur- Address Rue Lakanal 31000 Toulouse realism and the monsters that occupy the primitive Flemish and German 05 61 22 23 82 | www.jacobins.toulouse.fr also resounds in Gironcoli's monumental sculptures. Access Metro A, Capitole, Navette centre-ville Their characteristic mechanisation is always hybridised by organic ele- VélôToulouse stations n°12, n°11 and n°4 ments as if it were a monstrous confusion of a kingdom, a strange or joyous process of continuous metaphor. A sort of dreamy carnival parades past the bewitched eyes of the viewer: Gironcoli's world is haunted by Diyonisiac gatherings in the age of the “single machines”. André Breton's proposed notion of “symbolic function” is perfectly applied to these pro- phetic carts, these cruel mechanisms, these mutant bodies that oscillate between menace and communicative jubilation. As if it were a parable about the artificial becoming of our organisms coupled with the growing biomimetic ability of machinery. Exhibition realised with Initially a goldsmith, Bruno the patronage of VRANKEN- Gironcoli studied sculpture at POMMERY MONOPOLE. the University of Applied Arts The project received Vienna. In 1977 he took the support of the Austrian the place of Fritz Wotruba and Cultural Forum. taught sculpture at the Acknowledgments: Academy of Fine Arts Vienna. Mrs. Gironcoli and the Galerie In 2003 he represented Elisabeth & Klaus Thoman Austria at the Venice Biennale. Innsbruck/Vienna. An important retrospective of his work was shown at the Mumok in 2018. Bruno Gironcoli was born in 1936 in Villach (Austria). He died in 2010 in Vienna where he lived and worked.

Bruno Gironcoli, Cavalcade, Mamco, Geneva, 2012, © Ilmari Kalkkinen. 32 33 Associated through the fictional character that is Hippolyte Hentgen, Lina HIPPOLYTE HENTGEN Hentgen and Gaëlle Hippolyte cancel their individualities in favour of this third creative entity. For the Château d'Eau, Hippolyte Hentgen has there- B-R-E-E-K fore designed an installation titled B-R-E-E-K that combines drawing, collage, sewing and video. This title refers both to George Herriman's comic 22 Château d’Eau Installation – production strip Krazy Kat (1913-1944) and to Toulouse's famous red brick (“brique rose”) that the Château d'Eau is made of. On the ground floor a set of thir- Exhibition Opening on Friday 21 September, 6pm Wednesday to Sunday from noon to 7pm teen wall hangings closely fit the roundness of the space, almost com- Late-night openings on 21, 22, 28 and 29 September pletely covering its walls. Because of its fluidity, fabric is the ideal medium until midnight to use here. A patchwork of second-hand upholstering fabrics and fabrics Closed on Mondays and Tuesdays printed with patterns characteristic of the artist's iconography, these hang- Address 1, place Laganne 31300 Toulouse ings present a panorama of bursts of brick in a form close to the comic 05 61 77 09 40 | www.galeriechateaudeau.org strips it references. Downstairs, The Hound and the Rabbit – a vid-

Access Metro A, Saint-Cyprien – République eo-graphic proposal – shows a digitised version of a 16mm print of a car- VélôToulouse, station n°75 toon made by Rudolf Ising (1937) that the artists have reworked using ink. As often with this genre, it's about a race between two animals. The soundtrack is divided into three parts, firstly isolated sounds of interfer- ence, then, identifiably, sounds from the original cartoon, finally, abstract sounds, created by the warping of the original, and now unrecognisable sounds. This work by Hippolyte Hentgen is as inspired by contemporary art as it is by popular culture and transfigures and renews with humour a comic myth that is anchored in collective memory. More than a four-hand collab- Semiose gallery in Paris (2012 oration, the character who and 2014), at the Centre is Hippolyte Hentgen is a realm Pompidou (2015) and at the of sharing and a way of taking CAC La Traverse d'Alfortville distance from the work that (2017), Hippolyte Hentgen's is produced. By appropriating work is notably part of comic-book and editorial the collections at MAC/VAL cartoon codes, Gaëlle and – Musée d'Art Contemporain Lina play on tones (burlesque, in Vitry-sur-Seine, the Fonds naïve) and references (from National d'Art Contemporain, Jim Shaw to 1930's cartoons, and the Frac Champagne- from underground art to Ardenne, Limousin, Corse and Modernism) and revive popular Normandie. Born in 1977 imagery as well as its clichés. and 1980 they live and work Even though they mostly in Paris. practice drawing, they often ally it with painting, fabrics, installation and theatre scenery. Exhibited amongst other places at the Pavillon Baudoin in Paris (2014), at the © Hippolyte Hentgen, Sentiments Adrift, series, 2013. 34 35 Writer, film-maker and philosopher, Alexander Kluge has been active for ALEXANDER KLUGE over fifty years, and is now one of the “sacred monsters”: he was a close friend of philosopher Theodor W. Adorno, played a central part in the history Le Frêle Bruit de la Révolution of New German Cinema, was awarded a Golden Lion at the Venice Film Fes- tival for his second feature-film and today runs a daring audio-visual produc- 5 Goethe-Institut and other places tion company. Video – creation In order to present this abundant and varied work, Le Printemps de sep-

Exhibition Opening on Friday 21 September, 6pm tembre's proposal is an exhibition spread across the city like a constellation The Goethe-Institut is open from Monday to Thursday whose anchor point is the screening of his first short film Brutalität in Stein and Saturday from 2pm to 6pm (Brutality in Stone, 1961), at the Goethe-Institut. This film, in which Kluge Late-night opening 21 September until 10pm Closed on Fridays and Sundays stages the ways that Nazi past survives in its own ruins, already contains the The CIAM – La Fabrique, the Cinémathèque de Toulouse, program of his work: a committed cinema that questions dominant histori- the institut supérieur des arts de Toulouse and the Médiathèque ography. José-Cabanis respect their own opening hours Alexander Kluge has also imagined a new series of short films that echo Address 4 bis, rue Clémence Isaure 31000 Toulouse the title of this year’s edition of the festival, Fracas et Frêles Bruits. In various 05 61 23 08 34 | www.goethe.de/toulouse spots around the city join us for video-graphic punctuations (at the CIAM –

Access Metro A, Esquirol La Fabrique, the Cinémathèque de Toulouse, the Goethe-Institut, the isdaT Many buses, Esquirol or Pont-Neuf and the Médiathèque José-Cabanis) that reveal the artist's many-centred VélôToulouse, stations n°49 and n°27 interests, from music to literature, not to mention the history of thought. Exhibition realised in partner- Initially one of philosopher W. Adorno prize in 2009 and ship with the Goethe-Institut Theodor Adorno's students the Heinrich Heine prize on the occasion of La Quin- and a legal counsel, Alexan- in 2014. For his body of work, zaine Franco-Allemande der Kluge was Fritz Lang's he was awarded the en Occitanie. assistant for his film The Georg-Büchner prize in 2003 Acknowledgments: Indian Tomb before starting and the Grimme Award in Aude Pierre. his career as a film-maker 2010. The French edition of in 1961. A signatory of the the second volume of his Oberhausen manifest that Chroniques des sentiments will marked New German Cinema, be released by P.O.L. in he became its principal September 2018. He was born advocate among public in 1932 in Halberstadt and authorities in order to encour- lives and works in Germany. age the funding of the kind of films the entertainment industry generally disdains. He has directed many documentaries, short and feature-length films and imposed himself as one of the main German writers of fiction as well as social critique by the end of the 20th Century. Alexander Kluge was awarded the Theodor © Alexander Kluge, BRUTALITÄT IN STEIN, 1961, film. 36 37 He created his video installation named Girls, Ghosts and War to occupy ANGE LECCIA the whole of the Maison Salvan. Despite its conversion into an art center, the space remains aware of its domestic past, of which it conserves the Girls, Ghosts and War intimate quality. Leccia's screenings fit into this intimacy, directly on the whitened surface of the walls, without an intervening screen. They are five 34 Maison Salvan (Labège) Video installation – production distinct films – one central film and four satellite films – accompanied by a shared soundtrack. Curator Paul de Sorbier They stem from a dive made by the artist into his archives. Scenes of Exhibition Opening on Saturday 22 September from 12:30pm to 6pm everyday life, episodes shot during journeys abroad: from New York (1986) Wednesday to Saturday from 2pm to 6pm to Asia through the Middle East (Egypt, Damascus and Palmyra in Syria, Closed on Mondays, Tuesdays and Sundays Extra opening Sunday 23 September in the 1990's and 2000's). Added to these fragments of personal film, pic- Exhibition runs until 27 October tures taken from digital traffic: wars in the Middle East, the Arab Spring or Japanese pop icon, model, actor and singer Rie Miyazawa. The moving Address 1, rue de l’Ancien Château 31670 Labège 05 62 24 86 55 | www.maison-salvan.fr portraits of young women filmed by Ange Leccia haunt the films that are saturated with images of the violence of the world. A double focal point, Access Metro B, Ramonville; then bus n°79, Occitanie or Payssiere sentimental and objective, a double urgency of desire and horror. Girls, Canal du Midi Cycle path, exit Écluse de Castanet VélôToulouse, stations n°49 and n°27 Ghosts and War plays on two scenes, two planes: the young women in the background are blurred by the double exposure of the pictures of conflict. Pictorial conflicts, here and there mixed up in this ghostly maelstrom. As if the affective memory was constantly engulfed by the commotion of history. These five screenings explore the artist's thought as much as the spectator's perception since his or her gaze composes and edits a meta film that starts over and over again. Exhibition realised in partner- After studying Fine Art, Ange at the Centre Georges- ship with La Maison Salvan Leccia committed to the Pompidou in Paris and in Metz, and the city of Labège. double activity of artist and at the Guggenheim in New filmmaker. He began his York, at the Documenta in research as resident of the Kassel, at the Venice Biennale Académie de France in Rome etc. He presented a mono- and was later a resident at graphic exhibition in 2013 at the Villa Kujoyama in Kyoto. the MAC/VAL in Vitry as He taught in Grenoble at the Palais de Tokyo in 2014 and Cergy's art schools and the HAB in Nantes (2016). before being named director In 2017 he was granted a of the Palais de Tokyo's retrospective at the National research lab, Le Pavillon in Gallery in Reykjavik. 2000. His work has been shown at the Musée d'Art Moderne de la Ville de Paris,

38 39 For her exhibition at Lieu-Commun, Élodie Lesourd has proposed a set of ÉLODIE LESOURD paintings and installations that reveal, through a work of pairings and col- lisions of high and low cultures, the relationship between Sol Lewitt and EremitA rock music, or Jean-Paul Sartre and Black Metal. Built upon several layers of meaning, the exhibition first captivates the 20 Lieu-Commun Installation – production gaze with a hypnotic mural that saturates sight and space. The viewer then becomes a visitor and discovers throughout his stroll a number of installa- Associate curator Manuel Pomar tions, including three staged hyperrockalist paintings. Exemplary of the Exhibition Opening on Friday 21 September from 6pm to 9pm artist’s pictorial practice they mix solid colour and extremely minute Wednesday to Saturday from noon to 6pm details, taken from other artists' installation views; sealed inside steel Closed on Mondays and Tuesdays structures their apprehension is distanced as much as it is personalised. Address 25, rue d’Armagnac 31500 Toulouse If painting, oscillating between representation and abstraction, is the 05 61 23 80 57 | www.lieu-commun.fr vibrant and troubling face of the exhibition, the installation work shows in

Access Metro ligne A, Marengo SNCF turn a colder, more reflexive approach to the problems raised by the ways Bus n°38, 39 and 42, Arago an artistic act is received. Structured around Sartre's play No Exit, Erem- VélôToulouse, station n°126 itA then appears as much a semiotic reflection on the representations of Hell, as an ontological reflection on the experience of interpretation, of dis- tantiation and of isolation specific to Art – and therefore specific, in a larger sense, to our relationships with these “others”. Exhibition realised After having graduated from Born in 1978 at Saint-Germain in partnership with the national Beaux-Arts -en-Laye, she lives and works Lieu-Commun. school in Lyon in 2004, in Paris. Élodie Lesourd completed a post-diploma degree at the regional Beaux-Arts school in Nantes in 2005. Her work has been notably shown in France: at the Fondation Cartier pour l'Art Contemporain in 2005, at the MAC/VAL in 2007 and 2014, at the Palais de Tokyo in 2014, at the Parvis in Tarbes in 2016; abroad, at the CAN in Neuchâtel in 2008, at the CER Modern in Ankara in 2011 and the Casino-Luxembourg in 2015 for a solo exhibition. Her work is part of public collections such as the FNAC, the MAC/ VAL, and the FRAC Ile-de- France and Poitou-Charentes.

© Lesourd Elodie, , 2017, acrylic on MDF, 85,6×128 cm, Courtesy AkillsB. 振りきれた風 40 41 Each of Camille Llobet's projects defines the precise conditions of an CAMILLE LLOBET encounter and a protocol of filmed experience. Here, Magali Léger, a classical singer chosen for the preciseness of her listening and vocal ability Les Contours du dire takes part in a special adventure. By way of a setup that instantly reproduces sound, she imitates excerpts of pieces heard through head-speak- 17 Musée Paul-Dupuy Film screening ers as a dubbing artist would. Filmed in a studio, this experiment aims to extract the prosody, that is Exhibition Opening on Friday 21 September, 6pm Tuesday to Sunday, from 10am to 6pm the emphasis, tone, modulation and rhythm of spoken language. Thus the Late-night openings on 21, 22, 28 and 29 September adult voice of the cantatrice experiments what makes up a baby's stam- until midnight mering from four to twenty-four months, amusing herself with variations of Closed on Mondays sound before grasping it and formulating words. Another phase of the Address 13, rue de la Pleau 31000 Toulouse filmed experiment starts with a spoken interview with the singer and con- 05 31 22 95 40 | www.ampdupuy.fr sists in exploring the nature of a word, betraying whoever is speaking and Discover their visits and activities on their website revealing the wealth and musicality of language. Access Metro B, Carmes With the support of the Centre Camille Llobet graduated Bus n°12, Carmes national des arts plastiques from the ESAAA in 2007 and VélôToulouse, stations n°45 and n°46 and the Fondation Nationale her work has been shown des Arts Graphiques. in personal exhibitions for the Produced by Résonance project of the Le Printemps de septembre. Lyon Biennale (Buffet Froid, Galerie de l’Étrave) at the Centre d’Art 3 Bis f (Aix-en- Provence), as well as the Centre d’art Madeleine-Lam- bert (Vénissieux). She has also taken part in exhibitions such as No Walk, No Work at the Centre d’art contemporain (Yverdon-les-Bains, Suisse), Les Nouvelles Babylones, Centre d’art contemporain, Parc Saint- Léger (Pougues-les-Eaux) and Rendez-vous 12, Plateforme internationale, South-African National Gallery (Cape Town, South Africa).

42 43 In her wake, Marie Losier leaves smiles and feelings of wanting to jump. MARIE LOSIER Childish urges that are moments of joy. She constructs her art work spon- taneously through portraits of lifelong friends, a chosen family made up of Hello Happiness! free-thinkers, creators and eccentrics who invent their own lives far from norms and rules, like Tony Conrad, Alan Vega, Genesis P. Orridge or Felix 21 BBB centre d’art Exhibition Kubin. Jumping on a bed wearing a pink nightie and a pumpkin suit, eat- ing a scarlet flower whilst wearing a swimming cap or starting a mackerel Curator Émilie Flory Artist's assistant Simon Fravega fight on the deck of ferry, her films' characters are half-fictional representations of underground icons, having fun. Exhibition Opening on Friday 21 September from 6pm to 9pm The exhibition is thought out like an extension of her cinematographic Wednesday to Sunday from noon to 6pm Closed on Mondays and Tuesdays and documentary universe. The artist, like an archaeologist of her own Exhibition runs until 21 December 2018, work, has chosen unseen excerpts from her rushes, unedited views from Tuesday to Saturday from 2pm to 6pm projects to-come in order to create boxes of pictures, kinds of magic lan-

Address 96, rue Michel Ange 31200 Toulouse terns or photographic kamishibais. Less known to the public, her mono- 05 61 13 37 14 | www.lebbb.org types are also portraits of her close family and friends. In black and white, Discover their visits and activities on their website on large pieces of rice-paper, Marie Losier keeps showing day to day life

Access Metro A, Roseraie; then bus n°36, Louin and eccentricity but a certain seriousness arises from her stroke. A dis- Metro ligne B, Barriere de Paris; then bus n°41, Pradet turbing counterpoint that brings a new strength and lighting onto her work. Bus n°27, Lycée Toulouse-Lautrec The exhibition space becomes a set in which sketches communicate with VélôToulouse, stations n°153 and n°252 an orchestra of eagle owls, a mural confronts screenings whereas music – Saturday 22 September – a series of events linked to Marie Losier's work: ever-present in the artist's work – pervades the atmosphere. Between the 1:30pm: meeting and screening of Cassandro, The Exotico! magic of a fun-fair, the imaginary of a childhood tree-house and the magic at the American Cosmograph (see cinema's rates) 5:30pm: exhibition tour with the artist and curator Émilie Flory of a disused cinematograph, the dreaminess of Marie Losier's work fills the at the BBB centre d'art BBB. Hello Happiness! 7pm: screening of a selection of Mexican films by La Forêt Électrique Exhibition realised in partner- Marie Losier studied litera- Richard Foreman, Tony at the Halles de la Cartoucherie ship with the BBB centre d'art. ture at the Université de Conrad and Genesis P. 8:30pm: wrestling match with Cassandro El Exotico at the Halles Nanterre and Fine Art in New Orridge. Her films are regularly de la Cartoucherie (see page 84) York. Her films are based presented at festivals (Berlin, A free shuttle bus will take visitors to the BBB centre d'art and then to the Halles de la Cartoucherie; on a bond of confidence and Rotterdam, Tribeca etc.) departs from L’Adresse du Printemps de septembre at 5pm. Registration: + 33 (0)5 61 13 37 14 friendship that allows for and in museums such as the any folly or eccentricity. They Tate Modern, the Whitney explore life and works Museum, the Centre Pompidou by artists that lie far from or the MoMA. For her film biographical or factual Cassandro, The Exotico! she conventions in order to con- was awarded The Guggen- centrate on pleasure, dreams heim Award in 2018. Born in and a sublimation of every- 1972 in Boulogne-Billancourt, day life. She thus creates she lives and works in Paris portraits for directors, musi- and New York. cians and composers such as George Kuchar, Guy Maddin,

Cassandro, The Exotico! © Simon Fravega. 44 45 Virginie Loze creates an imagery populated by hybrid figures, by strange VIRGINIE LOZE characters in comical situations, and individuals confronted by the tor- ments of contradictory forces that reveal the fragility of being, its fleeting L’Envers du décor nature and the violence of the world. Tenderly and with humour, her body of work reminds one of caricatures and underground comic strips, fed by 17 Musée Paul-Dupuy Exhibition existential angst and images of surrealism. Virginie Loze's stroke alternates between figures and crude lines. The Exhibition Opening on Friday 21 September, 6pm Tuesday to Sunday from noon to 7pm media used are colouring pencils, acrylic paint, felt-tips, dry pastels, Late-night openings on 21, 22, 28 and 29 September until midnight graphite. The shapes are made up of lines, solid colour and coloured shad- Closed on Mondays ing. The bases are large pieces of white paper. Thus, like ectoplasm float-

Address 13, rue de la Pleau 31000 Toulouse ing in space, her mutant creatures and anthropomorphic landscapes form 05 31 22 95 40 | www.ampdupuy.fr rebuses, puzzles. The empty space left underlines these hybrid characters Discover their visits and activities on their website that are confronted by division, mental disturbance or fanciful disfigure-

Access Metro B, Carmes ments. These works are like dreams, hallucinations, outlets or keys to per- Bus n°12, Carmes sonal or collective situations that would not have been perceived without VélôToulouse, stations n°45 and n°46 their illustration. The driving force for Virginie her work was presented as Loze's work is the desire part of the Vertiges publication to see her unconsciousness of Le Printemps de septem- appear through the formal bre. Born in 1964 in Toulouse game in which her plas- where she lives and works. tic thought develops. Cartoon artists like Reiser inspired the basis of her work. She ap- preciates the work of Frie- drich Schröder-Sonnenstern, Uwe Henneken, Jessica Stockholder, Edvard Munch, Salvador Dalí, Raymond Petitbon or Jim Shaw. Having graduated from the isdaT in Toulouse she has presented solo exhibitions at the Officina gallery (Perugia, Italy), at the Villa Formose, the Beaux-Arts school in Pau as well as at the Galerie de la Borde Basse in Castres. She has also taken part in group exhibitions such as Tandem, European Cultural Season France / North Rhine-West- phalia, Draw! At the Galerie du Jour, agnès b. and the 38th Salon de Montrouge. In 2005 © Virginie Loze, Sans titre, 2017, 180×180 cm, mixed media. 46 47 Adjacent to the Salle des Pèlerins (the “Pilgrims Room”) the Hôtel-Dieu's LAURENT MARESCHAL chapel appears as a small baroque chapel devoid of abundant gold stucco decorating. It is a simple room that does not follow the classic cross-shaped Ici ailleurs layout. From the main entrance to the altar lies quite a large slabbed space. It is on this mineral expanse that Laurent Mareschal has laid out his work. 23 Hôtel-Dieu Installation – production The viewers cannot see it as soon as they enter the space. They are not used to finding a work of art at their feet. And the altar, the architecture, the pan- Exhibition Opening on Friday 21 September, 6pm Wednesday to Sunday from noon to 7pm elling, the decorations and the old paintings that hang on the walls sponta- Late-night openings on 21, 22, 28 and 29 September until neously catch their eye. But the perfumed air could strike or just intrigue midnight them. Upon discovering the coloured shape spread out on the floor it is easy Closed on Mondays, Tuesdays, on Friday 5 and Saturday 6 October to understand that these scents are coming from it. This ample oval shape made up of concentric circles that spread out from a dark core is made from Address 2, rue Viguerie 31300 Toulouse pigments that are in fact spices. The idea of a real and mythically familiar 05 61 77 82 33 elsewhere supersedes the supernatural elsewhere that stems from the Access Metro A, Saint-Cyprien – République or Esquirol; then 5 mins chapel itself: these spices are the taste of Mediterranean cooking. Thus the walk. Many buses to Cours Dillon East and its fragrances burst into the Hôtel-Dieu with these spices that trav- VélôToulouse, stations n°75 and n°76 elled the roads that ran between India and Europe; the Silk Road and the roads of precious and rare things, so warmly coloured and with such heal- ing and flavoursome virtues. As economical wealth and a completely aesthetic object (it affects three senses: smell, sight and taste) spices are the taste of the other and of the faraway, a world to be conquered. Like most of Laurent Mareschal's work this installation at the Hôtel-Dieu carries political meanings beneath its airs of a sumptuous abstract painting. Is it not from this searched-after matter that the West has, through colonialism, com- merce and wealth, made the mark of its power and domination? Exhibition realised with Laurent Mareschal has been the support of Maison Alex active on the international and Café Cerise. scene since he left the École nationale supérieure des Beaux-Arts de Paris in 2002 and presents installations as well as films and performances. The question of conflict is central to all of his work. He was bornin 1975 in Dijon and he lives and works in Paris.

© Laurent Mareschal, Ici ailleurs (Here Elsewhere) (mock-up), irregular ellipse diameter approx. 10 m, about 70 m2, spices (coffee, cinnamon, sumac, paprika, turmeric, curry, Ras el hanout, ginger…), carpet, 2018.

48 49 Thanks to the 2016 edition of Le Printemps de septembre Vincent Meessen VINCENT MEESSEN introduced Afro-American poet Kain The Poet to Toulouse. We meet with him again this year with Ultramarine, a filmic, musical and textile installation. Ultramarine Despite having been neglected by history, Kain The Poet figures among the illustrious founders of spoken word who are, in the wake of the Black Arts 12 Musée Saint-Raymond Video installation – production Movement – the cultural movement stemming from Black Power in the USA – at the origin of hip-hop. Ultramarine, a visual and polyphonic score about Exhibition Opening on Friday 21 September, 6pm Tuesdays from 10am to 6pm the blues and about exile, is presented for the first time at the Musée Wednesday to Sunday from 10am to 7pm Saint-Raymond on the occasion of the 2018 edition of the festival. The fruit Late-night openings on 21, 22, 28 and 29 September of an exchange between the artist born in 1971 and Kain, author of the until midnight Closed on Mondays album Blue Guerilla that came out that same year, the film finds its motif in the colour blue whose chromatic, historic and discursive tones are set out – Address 1ter, place Saint-Sernin 31000 Toulouse ultramarine blue from overseas, the pastel and indigo trade but also coloni- 05 61 22 31 44 | www.saintraymond.toulouse.fr alism, slavery and the blues of exile. Rendered in words by Kain, voiced in Access Metro A, Capitole; or B, Jeanne d’Arc music by drummer Lander Gyselinck, and spatialised by textile designer VélôToulouse, station n°54, n°55 and n°56 Diance Steverlynck, the film refers to the travelling troubadour tradition and the pastel trade that made Toulouse's wealth. He pairs treasures from the region's archives and museum collections with simple stage accessories that Kain has surrounded himself with since his exile to Amsterdam in the 1980's – a suitcase, a voodoo doll, a toy piano etc. dialogue with an autom- aton, Albi's mappa mundia, a blue penitent's tunic or apocalyptic frescoes. Disrupting the Eurocentric written logic of historiography as well as that of museum classifications, Ultramarine sets a constellation of objects moving and requires them to reveal their hidden meaning. The immersive experience of colour, a living, textured, spectral and polymorphic substance is here rendered inseparable from its vague political component and from cinema as magical practice. Produced by Jubilee (Brussels) In 2015 Vincent Meessen (2016) and at the MMCA in in colllaboration with represented Belgium in Seoul (2016). He is one of the Le Printemps de septembre, the 56th Venice Biennale with founders of Jubilee, an artistic Leonard & Bina Ellen Gallery Personne et les autres. He research and production (Montreal), Concordia Univer- recently had an exhibition at platform and is developing a sity (Montreal) and the Power the WIELS in Brussels (2016), publication project named Plant (Toronto). at the Kunsthalle Basel Prospectus, whose fourth With the support of the (2015), at the Taipei Biennale volume The Other Country/ Flanders Audiovisual Fund, (2016), at the Centre Georges- L'autre pays was published the Vlaamse Gemeenschap Pompidou (2018) and has by WIELS/Sternberg Press and the Nouveau Musée presented his films at the in 2018. Born in 1971 in National de Monaco. International Film Festival of Baltimore, he lives and works © Vincent Meessen, Ultramarine, 2018, Video HR, colour, surround sound, video still. Rotterdam (2016), at the in Brussels. Lincoln Center in New York

50 51 Throughout her work, Australian photographer and filmmaker of Aborigi- TRACEY MOFFATT nal roots Tracey Moffatt addresses colonialism and the confrontation of the coloniser's and the colonised's different viewpoints. For Vigil she alter- Vigil nately screens re-painted images of shipwrecked refugees and portraits of horrified Hollywood stars that condemn the extent to which human misery 28 Théâtre Garonne | Scène européenne feeds the consumption of images in public media. Vigil is inspired by the Video installation shock the artist felt at the television coverage of the drowning of tens of

Exhibition Opening on Friday 21 September, 6pm asylum-seekers whose boat ran aground in rough seas off the coast of Wednesday to Sunday noon to 7pm Christmas Island in the Indian Ocean in December 2010. Late-night openings on 21, 22, 28 and 29 September until midnight The video mixes news shots of damaged boats overflowing with dark- Closed on Mondays and Tuesdays skinned refugees and close-up cinema shots of white Hollywood actors – Address 1, avenue du Château d’Eau 31300 Toulouse Elizabeth Taylor, Kathleen Turner, Julie Christie, Donald Sutherland – 05 62 48 54 77 | www.theatregaronne.com shown peering through windows. The black, indistinct bodies sink under

Access Metro A, Saint-Cyprien – République; then by 10 mins walk their alarmed gazes that remain at a distance, safe western protagonists. Buses n° 31 and 45, Les Abattoirs; or n°66, Fontaines Tracey Moffatt intensifies the bloody tint of the sea, accentuating the feel- VélôToulouse, station n°95 ing of disaster. Exhibition realised in Born to an Indigenous style of her work. In 2017 partnership with Théâtre Australian mother and an Irish Tracey Moffatt represented Garonne | Scène européenne father, Tracey Moffatt was the Australian pavilion – Toulouse. brought up by a white working during the 57th Venice Biennale class foster family. She is with her exhibition one of those artists who My Horizon from which Vigil place their ethnic and social is taken. Born in 1960 in roots at the heart of their Brisbane (Australia), she lives work: her first feature-length and works in Sydney and film is symptomatically called New York. Nice Coloured Girls (1987). Her work articulates historical elements and personal archives that make up photographic series or films. Her photographic series Something More (1989) brought her international attention: the juxtaposition of black and white and colour clichés of natural and painted scenes, the fragmentary story of a female main character, the mix between fiction and reality immediately define the

52 53 In the depths of a carnivalesque labyrinth, fragmented body parts pile up LAURENT PROUX like remnants of a glorious past, caught in the disarticulate claws of an organic machine that's out of control. A pictorial remake of Frankenstein Jungle métallique fed by industrial waste where organic and mechanical movements inter- lock, invert and oppose each other in a Chaplin-like funniness. 20 Lieu-Commun Installation – production Laurent Proux collects bits of pictures of models from German magazines from the eighties. He creates collages with this material and then Curator Manuel Pomar minutely reproduces them in paint. A given moment in which fashion Exhibition Opening on Friday 21 September from 6pm to 9pm accessories and social attributes (shoes, jewellery, watches) as well as Wednesday to Saturday from noon to 6pm skin, slightly faded but unscratched, find themselves fixed, intact. These Closed on Mondays and Tuesdays broken bodies emanate fragility, confronted as they are by cold and heavy Address 25, rue d’Armagnac 31500 Toulouse metallic arms that seem to put these scattered scraps back in order. This 05 61 23 80 57 | www.lieu-commun.fr recomposition of the world answers a meticulous logic but also an expres- Discover their visits and activities on their website sive movement, perceptible in the big abstract lines that bind the tangled Access Metro A, Marengo SNCF bodies and machines like drafts of air. The elements keep appearing dis- Bus n°38, 39 and 42, Arago orderly in their material and temporal heterogeneity like after a car-crash. VélôToulouse, station n°126 Exhibition realised Laurent Proux's painting is part He was born in 1980 in Ver- in partnership with of a desire to renew the sailles and lives and works in Lieu-Commun. question of realism. He artic- Paris. ulates this notion, that comes from Courbet, with research on the representation of the body as a fragmentary whole. He confronts Realism and Muralism (Rivera, Siquier- os), the descriptive and the photographic with Pop Art, graffiti, the burlesque and caricature (James Ensor, Jacques Tati, Werner Büttner, Kerry James Marshall, Mike Kelley, Jim Shaw). Repre- sented by Sémiose gallery, he partook in the group exhibition No Cover at Arti et Amicitiae (Amsterdam, 2016). His last solo exhibition Line-off Ceremony was in 2017 and he has recently been awarded a grant from the CNAP for the United States of America.

54 55 At the end of the 18th, and especially at the beginning of the 19th century LISA REIHANA the wallpaper industry made important progress in France. It particularly developed panoramas, i.e. wallpapers that were scaled to fit entire rooms In Pursuit of Venus [Infected] of the triumphant and world-conquering bourgeoisie's houses. Thus, bour- geois interiors extended to magnificent circular views of the French cam- 28 Théâtre Garonne | Scène européenne paign in Egypt or the faraway isles described by the great voyagers of the Video installation 18th century – the Bougainvilles, La Pérouse, Cook, etc. The colonialist

Exhibition Opening on Friday 21 September, 6pm conception of the world is present in them, in gestation. Wednesday to Sunday from noon to 7pm Lisa Reihana unfolds the sentimental imagery of these exotic European Late-night openings on 21, 22, 28 and 29 September wallpapers in her work, In Pursuit of Venus (Infected), 2015-2017. Starting until midnight Closed on Mondays and Tuesdays from the famous panorama drawn by Jean-Gabriel Charvet and printed by Joseph Dufour in 1804-1805, Les Sauvages de la mer Pacifique, she Address 1, avenue du Château d’Eau 31300 Toulouse implants filmed saynètes into it that stage the first “encounters” between 05 62 48 54 77 | www.theatregaronne.com these voyagers and the people they discovered. And we know how disas- Access Metro A, Saint-Cyprien – République; then by 10 mins walk trous these first contacts were, if only because of the illnesses these “emis- Buses n° 31 and 45, Les Abattoirs; or n°66, Fontaines saries” brought with them. In this deceptive décor in which the European VélôToulouse, station n°95 view is expressed, the interactions are this time imagined from the indigenous point of view. A happy reversal of perspective in which it appears that no veritable encounter can be possible since the otherness is so considerable. Few post-colonial art works have reached this degree of overwhelm- ing intensity. The artist saw in it “an act of resistance against the stereo- types established between the explorers and the inhabitants of the Pacific upon their encounters, by the demystification of older images and a living representation of indigenous cultures…” Exhibition realised in partner- After practicing photography, ship with Théâtre Garonne | Lisa Reihana has been Scène européenne – Toulouse. interested for several years in digital video experimenta- tion. Artist of Maori origin, she spent ten years creating her installation In Pursuit of Venus [Infected], which employs four projectors for a twenty-meter screen; with this work, Lisa Reihana represented New Zealand at the Venice Biennale in 2017 and was nominated for the Walters Prize in 2016. Born in 1964 in Auckland, she lives and works there. © Lisa Reihana, In Pursuit of Venus [infected], 2015-17. Installation view, John Curtin Gallery, Perth, Australie 2018. Photo: Brad Coleman. 56 57 When he first entered this church, Sarkis was immediately amazed by the SARKIS strong verticality of its central colonnade. Whoever comes into this space can only raise their eyes to “heaven”: the long, narrow nave seems to have been Mesure de la lumière built to suggest elevation, transcendency, the beyond. But Sarkis quickly made this spontaneous remark: “the sacredness has been removed from here”. 8 Couvent des Jacobins Installation – production What has happened in this ancient church is symptomatic of so many other religious monuments whose spiritual dimension and worshipping function Exhibition Opening on Saturday 15 September Tuesday to Sunday from 10am to 6am until 28 September have progressively given way to a cultural function and a patrimonial dimen- Tuesday to Sunday from 10am to 7pm until 21 October sion. And the light that baths the nave, mediocrely coloured by the stained- Late-night opening Saturday 29 September until midnight glass windows that symmetrically punctuate its heights seem to bear witness

Address Rue Lakanal 31000 Toulouse to this absence. And yet “a light on one side, another on the other, each with its 05 61 22 23 82 | www.jacobins.toulouse.fr own structure and running the length of the main axis [form] a place in which both lights meet” (Livio Vacchini). This opposition-conciliation of two lights Access Metro A, Capitole Navette centre-ville according to the church's central axis gave Sarkis the substance and applica- VélôToulouse stations n°12, n°11 and n°4 tion point of his work. A long thin neon tube made of crystal hangs in each of the colonnade's seven intervals. Each tube is one of the seven colours of the rainbow. In the choir stands the column from which the twenty-two ribbed arcs that form the “palm tree” burst out. This is where the artist has suspended a sheaf of seven neon tubes that bring together the seven colours. This sheaf lights up and turns off to the beat of calm breathing. Thus Sarkis unravels the procession of colours that state light in all its metaphors throughout his sepa- ration plan: life, joy, diversity, conciliation, ascension. This retrieved plane of moral and spiritual elevation makes its imprint to a soundtrack created with musician Jacopo Baboni Schilingi. It gently plays outside noises, ordinary noises of shared life, sounds of weather patterns, of time going by; a whole The GROUPE PIERRE FABRE murmur of the outside world, at our feet in the choir. It slips its repetitions and is the main patron of the discrepancies in between the visitors and the sounds of real time, between the installation which also benefits from the support of the associ- material and spiritual worlds. What size to give the luminous tubes that rhythm ation Les Amis du Printemps the nave? Sarkis chose the “cane of Toulouse” – a measuring stick roughly de septembre. equal to 6ft or 1.8m, a multiple of the unit of measure in use at the time the

Active on the international church was built. The work is titled Mesure de la lumière, and that is what it art scene since the late does: it measures the place as well as the light. Hence the knotted ropes that sixties, he benefited from hang alongside the tubes and measure their length. We can see that Sarkis a major retrospective in 2011 at the Mamco in Geneva. experiences this exceptional monument with the humility of the respect it In 2015, he represented inspires in him and the empathy it stirs in him. The past cannot pass when art- Turkey at the Venice Biennale. ists bring it to the present. Sarkis has been an active member of the interna- Born in 1938 in Istanbul, Sarkis lives and works in Paris tional artistic scene since the end of the 1960's and the Museum of Modern © Sarkis, Mesure de la lumière, sketch, 2018. since 1964. and Contemporary Art in Geneva (Mamco) held a retrospective of his work in 2011. In 2015 he represented Turkey at the Venice Biennale. 58 59 Bert Theis was born in 1952 in Luxembourg, where he died in 2016. He BERT THEIS lived and worked in Milan. His international acclaim arose at the 1995 Ven- ice Biennale. There, he represented Luxembourg and joined the Belgian In Preparation of the and Dutch pavilions by way of a so-called Luxembourgish pavilion made of white-painted wooden planks that formed a backyard containing only a Philosophical Platform few sun loungers – also white. The access was made through a hallway in which Marcel Duchamp's recognisably ironic voice was played in a sort of 26 Jardin Raymond VI Installation rap. Sun loungers are recurring objects in his installations, symbolic of the idea of rest, a break, laziness, in a word of retirement and of the suspen- Exhibition Opening on Friday 21 September, 6pm Monday to Sunday from 7:45am to 7:30pm until 30 September sion of the alienating rush of day to day life. to 7pm from 1-15 October and to 6:30pm from 16-21 October In 1997 Bert Theis presented a sculpture also made from white-painted wooden planks as part of the Skulptur Projekte Münster. It is a vast rectan- Address 76 allées Charles-de-Fitte 31300 Toulouse 05 62 27 48 48 gular stage accessible via steps or lateral slopes. Its visual vocabulary brings to mind that of minimal art but its structure, an invitation to actual Access Metro A, Saint-Cyprien – République usage, symbolically removes it from the scope of art-objects that exist sim- Buses n°31, n°45 and n°131, the Abattoirs VélôToulouse stations n°12, n°11 and n°4 ply for free contemplation. This work is called Philosophical Platform. The term platform is here programme-based: it proposes an open, available, useful space that doesn't actually prescribe any specific use. The reference to philosophy must be understood as a recalling or commemoration of the ancient practice of philosophy as a questioning dialogue between minds concerned with agreement between equals. The Philosophical Plat- form has been appropriated in many ways, from critical discussion to tango lessons, from lovers' conversations to the peaceful stop during a tour of a large exhibition. Having not managed, as we hoped, to secure its reconstruction in Tou- louse for its 20th anniversary we will be presenting benches conceived by Bert Theis in the Jardin Raymond VI. An homage to this exemplary artist’s search for anti-authoritarian and convivial forms and the opening of ways to a reasoned exodus from the scope of art towards an emancipated city. Acknowledgments: Bert Theis's work has been Bert Theis was born in 1952 Mariette Schiltz (Isola Art presented at various interna- in Luxembourg, where Center, Milan) and the Mamco. tional biennales including he died in 2016. He lived the Venice Biennale (1995), and worked in Milan. Manifesta 2, the Gwangju Biennale (2002), Skulptur Projekte Münster (1997) and the Taipei Biennale (2008).

L’ É Benoîtlégie Laffiché, des lisières, Michel Perot

and

Yvan Salomone, Éloge du carburateur (Le Syndicat des initiatives 1), Cao Fei, Juliette Goiffon and Charles Beauté, Sonia Kacem, Maxime Lamarche and Nicolas Momein, L’Emprise des sens, Tarek Atoui and Camille Llobet, France électronique, L’agence du doute, Grégory Chatonsky, Cindy Coutant, Arnaud Dezoteux, Nicolas Garait-Leavenworth, Lauren Huret, Charlie Malgat and Samir Mougas, Grottesques, Sylvie Auvray, Florent Dubois and Amandine Meyer, I’ll Be Your Mirror, Sylvie Auvray, Nina Childress, Béatrice Cussol, Hippolyte Hentgen, Virginie Loze and Amandine Meyer. 62 Three artists share this exhibition: Yvan Salomone, whose work was the L’Élégie des lisières starting point for the project, Benoît Laffiché, Salomone's guest and Michel Perot who is returning to Le Printemps de septembre after having shared 30 CIAM – La Fabrique Group exhibition the walls of the BBB with Samuel Richardot in 2008. These three artists are above all walkers who pace disdained, peripheral places. These are Artists Benoît Laffiché, Michel Perot and Yvan Salomone moving edges then (a reference to the exhibition title, Elegy of the Edges); Exhibition Opening on Friday 21 September, 6pm underdeveloped countries, abandoned areas or the vague outskirts of cit- Wednesday to Sunday from noon to 7pm ies are worlds in which entropy wins. This exhibition shows that artists can Late-night openings Friday 21 and Saturday 22 September until midnight reveal the fleeting beauty of these places without turning their elegy into a Closed on Mondays and Tuesdays lament. BENOÎT LAFFICHÉ MICHEL PEROT frontiers which all human Address Bât. La Fabrique, 5 allées Antonio Machado 31058 Toulouse Pirogues Le Bleu des rails presence seems to have 05 61 50 44 62 | ciam.univ-tlse2.fr Born in 1970, Benoît Laffiché Born in 1981, Michel Perot withdrawn from. He views Discover their visits and activities on their website lives and works in Lillemer. lives and works in Colombes, them with mythological and Close to Dakar, he embarked in the suburbs of Paris. iconographic eyes. He turns Access Metro A, Mirail Université on a nigh-time fishing trip in a Exploring by foot or by train, them into obvious and Bus n°14, Mirail Université pirogue. The almost abstract he manifests its modest puzzling familiarities. VélôToulouse, stations n°220 and 221 film he is presenting was beauty and discreet joys in Here, twelve watercolours chosen by Salomone. watercolour. His categorically inspired by a stroll through The night-time pictures make modern railway-landscapes the Bellefontaine neighbour- the scene barely visible, appear hazy, as if veiled by a hood are presented next to except for uncertain lights soft nostalgia reminiscent of black and white reproductions that sway in the darkness. the arrival of urban figuration of the twenty pictures he And this gives the soundtrack in 19th century painting. painted this year. A whole real importance: here the year of work is therefore sound reveals whereas the YVAN SALOMONE reunited, allowing his visual picture comes up against Ce matin-là universe to be evaluated. darkness. The limit of rep- Born in 1957, Yvan Salomone resentation, representation of lives and works in Saint-Malo. a limit. We see that Laffiché He has been painting the observes components of the same sized watercolours since world that are not shown in 1991. They are mostly the spectacle of our lives. inspired by the same theme: His work is constructed harbours, left-overs of the through contact with the industrial era, marginal areas. invisible. These pictures are strongly Acknowledgments: coloured and their very the Centre national des arts structured composition relies plastiques. on the joining-together of photographic fragments, reminiscent of the history of art and of modern architecture, © Yvan Salomone, 0981_1217 _mxxsxxjxxdx, 2018. which both give his work a lyrical aspect. Salomone's world is more a view of the spirit than it is a reproduction of the visible. He wanders

64 65 The old Sérignac body shop hosts Éloge du carburateur, a group exhibi- Éloge du carburateur tion whose title is inspired by Matthew B. Crawford's book about the value of manual labour of the same name (Shop Class as Soul Craft, 2009). The (Le Syndicat des initiatives 1) project floats between the memory of a place dedicated to one of the sym- bols of an industrial society (the auto-mobile and its shining engines) and 14 Carrosserie Sérignac Group exhibition the programmed demolition of the site. It brings an ensemble of proposals concerned with the evolution of labour into perspective. Emerging technol- Artists Cao Fei, Juliette Goiffon and Charles Beauté, Sonia Kacem, Maxime Lamarche, Nicolas Momein ogy as well as its growth-rate bring about a new, interrelated system, nour- ishing the spirit of initiative. Heralding new, participative methods that Curators Marc Bembekoff and Garance Chabert answer every need and want of the worker/consumer in search of personal

Exhibition Opening on Friday 21 September, 6pm fulfilment, the artists play on the smooth, surface aesthetics that we per- Wednesday to Sunday from noon to 7pm ceive in this new economy. Late-night openings on 21, 22, 28 and 29 September As a counterpoint, some of them advocate “making” and privilege a until midnight Closed on Mondays and Tuesdays strong, direct use of material in which the “home-made” confronts the “industrial”. This echoes the widespread idea that the future of labour Address 69, boulevard Lascrosses 31000 Toulouse could potentially involve a return to the past. In this building linked to indus- 05 62 27 48 48 | www.serignac.fr try and destined to disappear the space indeed sets the tone. Access Metro B, Compans-Caffarelli Éloge du carburateur is a curatorial proposition imagined in the scope Buses n°31, 45, 63 and L1, Héracles of a larger reflection on the transformation of industrial spaces into cultural brown-fields and the changes made between an economy centred on mass-production and a capitalism of cultural improvement, of which priv- ileged experiences are emblematic. Acknowledgments: Born in 1978 Cao Fei lives Laurent Sérignac. and works in Beijing. Born respectively in 1987 and 1985 Juliette Goiffon and Charles Beauté live and work in Lyon. Born in 1980, Nicholas Momein lives and works in Paris. Born in 1985 Sonia Kacem lives and works in Geneva and Amsterdam. Born in 1988 Maxime Lamarche lives and works in Saint-Chamond.

66 67 Since the 1910's, Art has continued to develop its notions and the spectre L’Emprise des sens of its practices. With the Italian Futurists and especially Luigi Russolo, sound entered its field on the fringes of music and sculpture. Later, John 33 Quai des arts (Cugnaux) Group exhibition Cage introduced silence into music. Found or constructed objects became more and more part of art works. The questioning of language and com- Artists Tarek Atoui, Camille Llobet munication offered artists a whole field of thinking and of work. With con- Exhibition Opening on Saturday 22 September, 3:30pm ceptual art, the part played by senses was almost abolished. However, Tuesday, Thursday and Friday from 2pm to 6pm works of art first address the senses that perceive them directly. Our Wednesday and Saturday from 10:30am to 6pm Closed on Mondays and Sundays senses are what give us our daily hold upon the world. Therefore, how does a deaf or partially deaf person experience sound-related events? Address Place Léo Lagrange 31270 Cugnaux How can they grasp them? And how can they replicate their singular hear- 05 81 60 82 62 | www.ville-cugnaux.fr/quai-des-arts Discover their visits and activities on their website ing experience? This exhibition reunites Tarek Atoui and Camille Llobet, two artists who confront these questions and invite us to experience per- Access Bus n°47, Cugnala ception differently. What is at stake here is an inclusive practise of contem- By car from Toulouse (20 mins): A64 direction Tarbes, exit 37, then D63 and D15 porary art. Exhibition realised in partnership with the Quai des arts and the city of Cugnaux.

TAREK ATOUI CAMILLE LLOBET Within Voir ce qui est dit Born in 1980 in Lebanon, Tarek Atoui lives Born in 1982 in Bonneville, Camille Llobet lives and works in Paris. and works in Sallanches. WITHIN is a collaborative project investi- She explores the most diverse manifesta- gating how deafness can influence our recep- tions of non-articulate forms of language: tion and understanding of sound performance. physical, emotional, artistic. Voir ce qui est dit Call for participation It expands the notion of listening beyond is a work made up of two videos directed Visits will allow viewers to discover Tarek Atoui's instruments for the duration of the exhibition, the hearing towards tactile and visual sound with Noha El Sadawy, a deaf performance artist, without registration. If you would like to further your experience, regardless of your musical perception. Initiated in 2012 and enriched by during the Collège de Genèves orchestra's practice and of your hearing abilities you can register for a series of workshops that will lead to the contribution of the curatorial duo Council, rehearsals. Placed next to the conductor concerts. Discovery workshops on Wednesdays 26 September and 17 October from 7pm to WITHIN also gradually evolved as it was during each rehearsal, the signer searched 10pm, in the presence of a sign language interpreter. Information and registration: presented in different places across the world for ways to describe, tell, comment on the [email protected] | 05 81 60 82 62 – at the Sharjah Biennale (2013), the Berkeley orchestra at work through sign-language, Art Museum, the Experimental Music and rendering visible what is being played. In this Performing Art Center in New York (2015), exhibition, Camille Llobet also presents the the Galerie Chantal Crousel in Paris (2017), video Faire la musique and the series of screen the Kunstenfestivaldesarts in Brussels (2017), printing Séquence. etc. All along this journey, Tarek Atoui conceived an ensemble of eleven musical instruments throughout workshops and collaborations with instrument makers, software engineers, deaf and non-deaf students and volunteers and art educators. Acknowledgements: the Centre national des arts plastiques and Galerie Chantal Crousel.

Tarek Atoui, WITHIN, 2016, performance 2, © Camille Llobet, Voir ce qui est dit, 2016, Bergen Assembly 2016 © Thor Brødreskif. performance, two HD videos.

68 69 France électronique takes an interest in France's visual arts' electronic France électronique imaginary by placing side by side two periods (1977-1989/today). Whether this brings to mind certain television shows' opening titles – so 2 isdaT – institut supérieur des arts de Toulouse often watched and yet removed from our mental radars – or a set of musical Group exhibition productions that don't fit into the dominant history of popular culture, we

Artists L’agence du doute, Grégory Chatonsky, Cindy Coutant, come to the idea that there is a specifically French way of bonding with this Arnaud Dezoteux, Nicolas Garait-Leavenworth, Lauren Huret, electronic culture. Charlie Malgat, Samir Mougas Like Vasarely, who collaborated with IBM to develop an abstract image

Curator Jill Gasparina synthesizer or Nicholas Schöffer who rethought art and the city through cybernetic inspiration. The research led on this electronic culture immerses Exhibition Opening on Friday 21 September, 6pm one in a country obsessed with technical progress, where a synthetic cul- Wednesday to Sunday from noon to 7pm Late-night openings on 21, 22, 28 and 29 September ture that crosses over music and design as much as the technology then until midnight referred to by the dated term "telematic” is developed. The 1980's are a Closed on Mondays and Tuesdays great futuristic moment in culture's history, having been witness to the

Address 5, quai de la Daurade 31000 Toulouse development of networks, 3D animation, computer-generated imagery, 05 31 47 12 11 | www.isdat.fr electronic music. France électronique is a double exhibition, structured around the juxta- Access Metro A, Esquirol VélôToulouse, station n°27 position of two periods: “The Synthetic Years” (1977-1989) and “Artificial imagination”. “The Synthetic Years” brings together works made by means of computers as well as a set of audio-visual documents that showcase the broadcasting of technological ideals. “Artificial Imagination” presents creations produced specifically for the exhibition that are oriented towards what machines do to imagination and illustrate the disappearance of dis- tinction between digital and visual art in the work of today's artists. Exhibition realised in As part of the Mardis de l'INA, Born in 1971 in Paris, Grégory partnership with isdaT – curator Jill Gasparina has Chatonsky lives and works institut supérieur des arts been invited to present the between Paris and Montréal. de Toulouse and with the exhibition. She will illustrate Born in 1984 in Vitry-sur- collaboration of the Institut the question of the history Seine, Cindy Coutant lives and national de l’audiovisuel (INA). of computer-created imagery works in France. in France supported by Born in 1987 in Bayonne, archives from the Institut Arnaud Dezoteux lives and National de l'Audiovisuel. works in Paris. 18 September at 6pm in the Born in 1978 in Grenoble, Grand Auditorium at Média- Nicolas Garait-Leavenworth theque José-Cabanis. lives and works in Lyon. Born in 1990 in Bergerac, Charlie Malgat lives and works in Paris. Born in 1980 in Muret, Samir Mougas lives and works All rights reserved in Rennes.

70 71 One comes into this exhibition as one would a cave full of strange figures. Grottesques Three artists whose worlds are colourful, excessive and baroque associate drawing and sculpture. They compose processions of joyous and 32 Pavillon Blanc Henri-Molina Médiathèque | Centre d’art de Colomiers frightening figures that go from stroke to object. Group exhibition Elaborated from children's drawings, creative manuals or objects

Artists Sylvie Auvray, Florent Dubois, Amandine Meyer hunted down in flea markets, some of these creations toy with comic strips. Amandine Meyer installs her disused ceramics in a vast mural of rustic and Curator Arnaud Fourrier extravagant forms as well as in the shape of a game laid out on a drawn

Exhibition Opening on Friday 21 September, 6pm space. Florent Dubois presents his drawings opposite a parade of anthro- Wednesday to Friday from noon to 6.30pm pomorphic sculptures and paper lanterns. He arranges an almost kitsch Saturday from 10am to 6.30pm universe in which references to popular art and children's tales mix. Sylvie Closed on Mondays, Tuesdays and Sundays Exhibition runs until 5th January 2019, Auvray embeds masks into a monumental drawing and shows a series of Tuesday, Wednesday and Saturday from 10am to 6:30pm monotypes for the first time. Although she is known for her burlesque and Thursday and Friday from noon to 6:30pm ceramics, drawing is everywhere in her atelier: it invents itself in compari-

Address 1, place Alex Raymond 31770 Colomiers son to encounter-objects, illustrated books and old comics from which she 05 61 63 50 00 | www.pavillonblanc-colomiers.fr takes motifs in order to give them a second life. Discover their visits and activities on their website Exhibition in partnership Sylvie Auvray was born in 1974 with the Pavillon Blanc in Paris where she lives Access Bus n°64, Correze; or n°21, Lauragais Henri-Molina, Médiathèque | and works. Her work has From Toulouse Matabiau train station take the Toulouse- Centre d'art and the city been shown at the Consortium Colomiers-Auch line (TER) to Gare de Colomiers of Colomiers. in Dijon, the Musée d’Art Moderne de la Ville de Paris, at the Mamco in Geneva and the Centre Georges Pompidou. Florent Dubois is an illustrator and a ceramicist. He was born in 1990 in Besançon and lives in Toulouse. He has exhibited at the CNEAI, at the Centre d’art Les Capucins in Embrun. Amandine Meyer lives and works in Montreuil. She has had work published by ION and Misma as well as Lagon, a prospective journal about contemporary drawing.

© Amandine Meyer, Le naufrage enchanté de Tête d’Oeuf et des enfants chewing-gum, 2013 series of 40 drawings, in ink. 72 73 An interest must one day be taken in the “minor art” that is spread around I’ll Be Your Mirror hotels and shown in restaurants. Two types of places that are not destined for art but that are still used to exhibiting it. Restaurants, especially, often 3 Les Beaux-Arts Brasserie Flo Group exhibition lend their walls to painters who, neglected by the usual art circuits (galleries, art centres, museums etc.), seek to show and negotiate their work Artists Sylvie Auvray, Nina Childress, Béatrice Cussol, Hippolyte Hentgen, Virginie Loze, Amandine Meyer. there. Generally, they are works that clumsily recycle dated codes and barely contribute to artistic creation. If one could think that an art-space Exhibition Opening Friday 21 September, 7pm has an establishing effect on the works, it must be said that this effect is Sunday to Thursday from noon to 2:30pm and 7pm to 10:30pm Friday and Saturday from noon to 2:30pm and 7pm to 11:30pm drastically reduced in restaurants. Still, these kinds of exhibitions mean that the idea of art appears in unexpected contexts. Hotel paintings then Address 1, quai de la Daurade 31000 Toulouse write a parallel history of art in which an average taste unemotionally forms 05 61 21 12 12 | www.brasserielesbeauxarts.com and bleeds into the setting of communal life in a muted and delayed man- Access Metro A, Esquirol ner. They are more destined to be seen as a humanising element of the VélôToulouse, station n°27 scenery than actually looked at. The Brasserie des Beaux-Arts is situated next to L’Adresse du Printemps de septembre. It naturally plays host to some of our activities and meetings. This year, in place of the exhibitions that adorn the mirrors and panels one after the other, we chose to invite some of the festival's artists to freely paint the mirrors in a kind of festive “exquisite corpse”. Free, reversible works presented for the ephemeral delight of the visitors and guests. The work of Sylvie Auvray, Nina Childress, Béatrice Cussol, Hippolyte Hentgen, Virginie Loze and Amandine Meyer is presented in solo exhibitions for this edition of Le Printemps de septembre.

74 75 Les Nocturnes du Printemps are first and foremost exhibition spaces open Les Nocturnes du Printemps from noon to midnight. When dusk sets, the pace changes: one slows down, takes time to dream and quietly enters into the intimacy of an exhibition or on the contrary speeds up and dances to hectic rhythms. Les Nocturnes will allow you to contemplate, reflect and even celebrate. Offer- ing you the opportunity to discover a dynamic and refreshing artistic scene that is anything but dull. On the first weekend, the track is marked by performances directly linked to the universe of each individual artist, thus giving us the opportunity to discover other aspects of his or her artwork. The second weekend focuses on every aspect of artistic creation, regardless of mode or support. Choreographers, musicians and videographers using sound and speech as means of expression will also be presented. At the end of the day the festival’s own radio station called this year La Radio *DUUU bout de la nuit will go on air.

21, 22, 28

76 and 29September 77 SONIA KACEM Performance Friday 21 September With Bea McMahon

7:30pm 14 Carrosserie Sérignac JACQUELINE DE JONG Le Faux Fac-similé déchiqueté, 2018 69, boulevard Lascrosses 31000 Toulouse Participative performance Free entry within capacity limits

Starting at 6pm 27 les Abattoirs, Musée – Frac Occitanie Toulouse, basement 76 Allées Charles-de-Fitte 31300 Toulouse Presented in the exhibition Éloge du carburateur, Sonia Kacem’s sculp- Free entry within capacity limits tural works are spread out in installations in which the elements are in tension in the exhibition space, evoking a suspended theatre scene, as if wait- In 1962, Jacqueline de Jong published The Situationist Times, the only mag- ing for an action. Even though they are abstract, their titles suggest a azine of the Situationist movement available in English at the time. Six issues fiction and invite the visitor to imagine his own narrative. It is not surprising were published between 1962 and 1967, the first two were co-edited with that Sonia Kacem has started doing performances, experimenting via Noël Arnaud, and the fourth and fifth issued focused on one theme. In 2012, physical contact with the materials she uses. For Le Printemps de septem- on the occasion of the 50th anniversary of the magazine's publication, bre, she invites the Irish artist Bea McMahon to engage in this artistic field Boo-Hooray New York publishes The Situationist Times Facsimile by Jacque- and to present for the first time, a performance, outside of the intimacy of line de Jong without her permission. The artist rejected this fake facsimile and her studio. published an erratum, called FAKE Simile. Today the artist invites the visitors to the opening to modify and destroy it on the spot along with the heritage of LAURENT MARESCHAL Backgammon the magazine, which will constitute an original performance act by the public. Performance, 15 min per session Created with the collaboration of Jonathan Loppin In partnership with les Abattoirs, Musée – Frac Occitanie Toulouse. With the contribution of Le club toulousain de la Fédération Française de Backgammon CINDY COUTANT Performance, 25 mins With Theo Pozoga 8pm-8:30pm-9pm-9:30pm 10 Théâtre du Capitole, Place du Capitole 31000 Toulouse Free entry within capacity limits, tickets available on location 30 min before each session Starting at 6:30pm 2 isdaT – institut supérieur des arts de Toulouse 5, quai de la Daurade 31000 Toulouse Free entry within capacity limits Whether he invites spectators to eat an edible carpet or to play backgammon with melting checkers, Laurent Mareschal works with ephemeral art. Cindy Coutant belongs to a generation of artists who think and create Backgammon, a collective performance, invites experienced backgam- based on technogenesis (K. Hayles), e.g. how humans and technical mon players to compete on a transparent table and ice cubes as checkers. devices co-evolve as they interact. Although it often takes the form of an Through the heat of their fingers, the ice cube checkers liquefy, drawing installation, the principal reception mode is reading and/or listening. In arabesques before disappearing into a puddle. One can see a metaphor of recent years, she has developed forms of readings that include perfor- a useless conflict which ends with the death of soldiers and where the bor- mance on the one hand and an exhibition on the other hand. For Le Prin- ders are blurred. temps de septembre, she has conceived an "augmented and immersive Created in 2003, this performance has since been redesigned for Le reading" device that will be exhibited during the entire duration of the fes- Théâtre du Capitole’s orchestra pit. The spectator is invited to observe the tival. She collaborates on this occasion with the musician Theo Pozoga, performance from above or from the majestic Italian-style room below. based in Berlin. Cindy Coutant's work is presented in the group exhibition Laurent Mareschal' work is presented at the Hôtel-Dieu. France électronique. Performances in partnership with the Théâtre du Capitole.

78 79 La Radio *DUUU bout de la nuit Broadcasting on www.duuuradio.fr and on Hertzian waves Friday 21 September on RADIO RADIO (106.8 fm)

9pm-midnight 2 isdaT – institut supérieur des arts de Toulouse ÉLODIE LESOURD Diminished Finlucier 5, quai de la Daurade 31000 Toulouse Concert-performance, 25 min 21, 22, 28 and 29 September With Romain Bardot (Saåad / FOUDRE!) Free entry within capacity limits

9pm 20 Lieu-Commun, 25, rue d'Armagnac 31500 Toulouse Free entry within capacity limits Le Printemps de septembre reactivates its radio, a project born in 2009 out of a desire to open a space where people can meet and be creative all at once. To resonate with her exhibition at Lieu Commun, Élodie Lesourd has con- With artist Alain Bublex as radio host and *DUUU in charge, this new radio sta- ceived a concert-performance involving three musicians. Diminished Fin- tion broadcasts, live and in public, during the four Nocturnes of the festival. lucier explores various heterogeneous materials seen through a malevo- People will be invited to mingle with the festival artists, have friendly lent eye. Élodie Lesourd and her partners deconstruct the soundscapes of discussions in a creative environment, discover all sorts of artistic crea- two American musicians, Elliott Smith and Alvin Lucier, including Black tions, listen to a concert or simply have a drink between two exhibitions. Metal, using translations and slides. The significance of sound and its her- A medium of diversity, the radio will be inspired by the tension of live meticism are revealed through a deflected dark and muted light. It is above music while offering a dynamic beat, exempt from the usual restraints of all a way of highlighting musical plasticity as well as expressing the musi- the radio format. This year Le Printemps de Septembre has commis- cality of art. In partnership with Lieu-Commun. sioned *DUUU – a web radio station dedicated to contemporary creation which continuously invents what an art radio could sound like today – to prepare these custom-made radio events. Making room for parallel voices, encouraging unexpected encounters and experimenting with ZA! Concert alternative modes of speech, *DUUU will provide the festival with original custom-made programs. 11pm 2 isdaT – institut supérieur des arts de Toulouse 5, quai de la Daurade 31000 Toulouse Every night at 11pm, Les Siestes électroniques will broadcast a music Free entry within capacity limits concert of their choice. Co-produced by the Jeu de Paume and Le Printemps de septembre, in partnership with isdaT – institut supérieur des arts de Toulouse. There's something anachronistic about ZA! The way these two boys dress and look might add to that impression but it is mainly a question of attitude. A punk attitude, or "alternative" a term we would have deemed appropri- ate to use in the 90's. A willingness to mix influences and to retain only the pleasure of playing, in a raw and childish way. With various percussion instruments, guitars, trumpets and vocals, the two Spaniards from ZA! are not only “playing music” they are playing with traditional rock and roll codes and practices extracting its pure ecstatic substance. Proposed by Les Siestes électroniques.

© Alain Bublex, preparatory study for La Radio *DUUU bout de la nuit for Le Printemps de septembre 2018. 80 81 RiMaflow, an experience of self-management Saturday 22 September Meeting, 90 min With the artist Barbara Barberis, Luca Federici, who works for RiMaflow, Diego Lettieri, member of the Occupy Maflow association and Jacques Prades, economics researcher and co-founder of the ALEXANDER KLUGE Nouvelles de l’antiquité idéologique: Marx – Eisenstein – Le Capital European Centre of resources on solidary initiatives and social entreprises (Cerises). Film screening, 9h30 min, original version with French subtitles Introduction by Vincent Pauval, translator and collaborator 5:30 pm 26 Bert Theis benches, Jardin Raymond VI of Alexander Kluge 76, Allées Charles-de-Fitte 31300 Toulouse Free entry The meeting will be held on Bert Theis benches, a symbolic location since one of the factory halls 1pm 27 Auditorium des Abattoirs was named after the Milanese artist who passed away in 2016, as a tribute to his support of the 76, Allées Charles-de-Fitte 31300 Toulouse RiMaflow project. Free entry within capacity limits Rimaflow is utopian and yet a very real project documented by Barbara Eighty years after the attempt to adapt Karl Marx's “The Capital” to a film Barberis. It is a cooperative created by the former workers of the Maflow by Sergueï Eisenstein, the German director Alexander Kluge brings new factory, shut down in 2012. Rimaflow is an extraordinary adventure of life to the project. He combines documentaries and fictions, conversations social struggle whose primary objective is to create jobs. Offices, labora- with artists and intellectuals, such as Boris Groys and Peter Sloterdijk into tories, artists' workshops, various inventories… 35 different trades rub a monumental film lasting nearly 10 hours. Kluge takes a look at art and shoulders in this self-ruled factory which, when faced with economic cri- cinema, while at the same time questioning the economic crisis, revolu- sis, chose solidarity rather than giving in to the 'free' market economy. tionary thinking, modernity, utopia, technology… Among stories of experiences and analyses, the topic will be social move- This major contribution by one of the great names of German film-mak- ments, self-management but also art. The meeting will be held on Bert ing is presented in France in its complete version for the first time. Thies’s benches, an homage to this artist who passed away in 2016 and Film screening is in partnership with les Abattoirs, Musée – Frac supported of the Rimaflow project. Occitanie Toulouse as part of La Quinzaine Franco-Allemande Barbara Barberis' work is presented at the Espace Saint-Cyprien. en Occitanie. Alexander Kluge's work will be shown at CIAM – Acknowledgements: Mariette Schiltz (Isola Art Center, Milan). La Fabrique, the Cinémathèque, Goethe-Institut, isdaT – institut supérieur des arts de Toulouse and at the Médiathèque LAUREN HUET Relaxing Data José-Cabanis. Performance, 40 min TAREK ATOUI WITHIN Concert 1/3, 30 min 6pm 2 isdaT – institut supérieur des arts de Toulouse 5, Quai de la Daurade 31000 Toulouse Free entry within capacity limits, tickets available on location 3:30pm 33 Quai des arts (Cugnaux), Place Léo Lagrange 31270 Cugnaux Free entry within capacity limits 30 min before the performance starts Lauren Huret is a visual artist based in Geneva. Much of her work focuses For several years, Lebanese artist Tarek Atoui has been building a multi- on technological imaginaries, including artificial intelligence, computer faceted project based on the way deaf and hearing-impaired people per- history, and the mass-distribution of images on the Internet. Relaxing data ceive sound. WITHIN is a collaborative project that explores the act of lis- is a relaxation session that uses the simple method of body scan medita- tening, how instruments are built, how improvisations are conducted, how tion, consisting of "scanning" the whole body starting with the toes and scores are written and the relationship with an audience. At the Quai des ending with the forehead. The artist uses the body as a time measure. arts de Cugnaux, music instrument resulting from this research are exhib- Starting in 1984 (her year of birth), she narrates the history of the techno- ited and used in a series of concerts and workshops. Each concert is a logical advancements of the last three decades especially in the fields of unique performance. For the opening of the exhibition, Tarek Atoui gives a communication and information, with the goal of creating an impersonal concert in which for the first time we will play solo. autobiography. Lauren Huret's work is presented in the group exhibition In partnership with the Quai des arts (Cugnaux). France électronique. 82 83 La Radio *DUUU bout de la nuit Broadcasting online on www.duuuradio.fr and on-air Saturday 22 September on RADIO RADIO (106.8 fm)

9pm-midnight 2 isdaT – institut supérieur des arts de Toulouse CASSANDRO, EL EXOTICO Los Exoticos vs Los Luchadores 5, Quai de la Daurade 31000 Toulouse Wrestling match Free entry within capacity limits First part: musical set by Chris Imler

8:30 pm 29 Halles de la Cartoucherie A second radio session will broadcast live in the presence of an audience, 101, avenue de Grande Bretagne 31300 Toulouse hosted by artist Alain Bublex along with the *DUUU team. You are invited Tramway station: Casselardit Free entry within capacity limits, tickets available on location to listen to interviews with artists featured in the festival, discover all sorts as soon as 6.30 pm of artistic creations, listen to a concert or simply have a drink between two exhibitions in a friendly and creative environment… Following the portraits of Tony Conrad or Genesis P-Orridge, director Marie This year Le Printemps de septembre has commissioned *DUUU to Losier draws the portrait of Cassandro El Exotico, a champion of lucha libre provide the festival with original custom-made programs thus making (Mexican wrestling) who fights his opponents dressed as a drag queen. First room for parallel voices, encouraging unexpected encounters and experi- exotico wrestler to ever win the world championship – exoticos are gay wres- menting with alternative modes of speech. tlers or transvestites from Latin America – Cassandro is a colourful charac- Co-produced by the Jeu de Paume and Le Printemps de ter, gripping with fragility and exuberance. In addition to Marie Losier's exhi- septembre, in partnership with isdaT – Institut supérieur des arts de Toulouse. bition at BBB and a few months before the theatrical release of the film selected in Cannes this year, Cassandro installs a ring at La Cartoucherie for a spectacular show. Hosted by the fantasmatic mistress of ceremony Louise CARLA DAL FORNO Concert de Ville, the match is preceded by a musical set by Chris Imler, (collaborator 11pm 2 isdaT – institut supérieur des arts de Toulouse of Peaches and Puppetmastaz) whose solo performances end up in an elec- 5, Quai de la Daurade 31000 Toulouse trifying rhythmic trance where the spirit of Alan Vega is never far away. Free entry within capacity limits Proposed by Les Soirées Nomades of the Fondation Cartier Starting at 7pm pour l'art contemporain, which already in 2014 hosted an Carla dal Forno is a frail Australian who seems to prefer the London fog La Forêt Électrique, an unforgettable match with Cassandro and his Exoticos in one of ephemeral open-air cinema their own exhibition spaces. and the harsh Berlin winters to the fine sandy beaches bathing in the bright located in La Cartoucherie, in sunlight. From the underground scene of Melbourne (Mole House, Fin- association with this special gers, Tarcar) she is actually based in Berlin. She displays a minimalistic event will celebrate this Mexican tradition in their own musical universe, delicate but never precious. Her lo-fi songs and intimate way. A selection of quirky lyrics resonate, vibrate, twirl into melodic pieces within a mixture of effects movies around lucha libre will and evanescent delays like the echo of an old VHS tape recording. be shown to the public, in a very peculiar industrial Proposed by Les Siestes électroniques. wasteland, refreshments will be served.

5:30pm A visit of Marie Losier's exhibition is scheduled at the © Olivier Ouadah /Fondation Cartier pour l’art contemporain. BBB centre d'art. A bus will Soirée Nomade Cassandro El Exotico, 3 November 2014, take you to Les Halles de la on the occasion of the 30 Year Anniversary of the Fondation Cartoucherie. Cartier pour l’art contemporain. 84 85 Wednesday 26, Thursday 27, Friday 28 September and Friday 28 September FLORA DÉTRAZ Tutuguri Dance, 25 min Conception and interpretation: Flora Détraz. LZ DUNN Flyway Lighting design: Arthur Gueydan. Urban stroll, 80 min Dramaturgical assistant: Anaïs Dumaine Direction, interpretation, video creation: Lz Dunn Sonic creation: Lawrence English 7pm 24 La Place de la Danse – CDCN Toulouse Occitanie Artistic consultant: Lara Thoms 5, Avenue Étienne Billières 31300 Toulouse Drama, writing: Catherine Ryan tel: 05 61 59 98 78 Booking from 17 September at La Place de la danse 6:45pm 28 Théâtre Garonne | Scène européenne 1, Avenue du Château d’Eau 31300 Toulouse | 05 62 48 54 77 Dancer, choreographer and ventriloquist, Flora Détraz transforms her Flyway is performed every day from the 26 to the 30 September body and her voice into a world full of strange figures. The metamorphosis Booking from 17 September with the Théâtre Garonne. is unique and happens there and then. Flora Détraz simultaneously brings In the late hours of the day, equipped simply with binoculars and head- into play two art modes, one corporal, consisting of gestures and attitudes, phones, a small group of spectators is invited to embark on an urban tour the other vocal, combining melodies, growls and sounds either in accord that is about bird watching, performance, land art and audio-visual crea- or discord, matching or differing, accompanied by a strange silent movie tion… Guided by the choreographer and performer Lz Dunn, the pedestri- transposed onto a soundtrack. This mix produces presences, abstract fig- ans are invited to stroll along the banks of the Garonne towards the urban ures of an oracle or a monk in prayer, of a rapper and an opera singer. Flora contours of the city centre, so they may (re)create their own vision of a Tou- Détraz reveals herself, very precisely in a physical and sonic performance, louse, a long-sequence shot in which they are both the momentary direc- as someone deeply inhabited from within. tor and the only spectator. Co-directed with La Place de la Danse – CDCN Toulouse Occitanie.

JONATHAN DRILLET Spokaoké AND MARLÈNE SALDANA Karaoke Created by Annie Dorsen. French version by Jonathan Drillet and Marlène Saldana. With Jean-Phillipe Valour In partnership with the Théâtre Garonne, L'Usine, the Centre 8pm 15 Bar Le DAda d'art nomade and the 27, Avenue Honoré Serres 31000 Toulouse Muséum de Toulouse. Free entry within capacity limits With the support of the Australian Council and Spokaoke is a participative event where people are invited to perform Creative Victoria. Produced by Alison Halit and APHIDS. speeches just as they would sing songs in a bar. After all, aren't speeches songs of persuasion, debates or motivations? Just like karaoke gives the opportunity to affirm a mutual attachment to pop music, Spokaoke ena- bles to play with the common heritage of spoken texts, using the extracts as a sort of "Top 50" speeches: Victor Hugo on the abolition of slavery, Colonel Gaddafi before the United Nations, Dominique Strauss Kahn on © Lz Dunn television, Sophie Marceau at the Cannes Film Festival… 86 87 Friday 28 September Saturday 29 September

La Radio *DUUU bout de la nuit Broadcasting online on www.duuuradio.fr TAREK ATOUI WITHIN and on-air on RADIO RADIO (106.8 fm) Concert 2/3, 30 min With Thierry Madiot 9pm-midnight 2 isdaT – institut supérieur des arts de Toulouse 5, Quai de la Daurade 31000 Toulouse 3:30 pm 33 Quai des arts (Cugnaux) Free entry within capacity limits Place Léo Lagrange 31270 Cugnaux

Bus From 2pm to 5:30pm, a bus will link the group exhibitions A third radio session will broadcast live in the presence of an audience, of the isdaT, the Quai des arts and the Carrosserie Sérignac. hosted by artist Alain Bublex along with the *DUUU team. You are invited Information and registration: [email protected] | 06 77 17 16 74 to listen to interviews with artists featured in the festival, discover all sorts of artistic creations, listen to a concert or simply have a drink between two For the second concert under the WITHIN project, Tarek Atoui joins forces exhibitions in a friendly and creative environment… with composer and sound artist Thierry Madiot. Both amateur and profes- This year Le Printemps de septembre has commissioned *DUUU to sional musicians, people with or without impaired hearing are invited to provide the festival with original custom-made programs thus making play on instruments presented in the exhibition using scores or improvis- room for parallel voices, encouraging unexpected encounters and experi- ing freely. After a few rehearsals, a concert will be performed. The WITHIN menting with alternative modes of speech. project allows us to listen to music in an entirely new manner. Co-produced by the Jeu de Paume and Le Printemps de Workshops, open and accessible to all, on Wednesday 26 septembre, in partnership with isdaT – institut supérieur des September from 7pm to 10pm. To go beyond and be part of the arts de Toulouse. concert, rehearsals are organised from Wednesday 26 to Friday 28 September. Information and registration at the Quai des arts: ÈLG Concert 05 81 60 82 62 / [email protected] In partnership with the Quai des arts (Cugnaux).

11pm 2 isdaT – institut supérieur des arts de Toulouse 5, Quai de la Daurade 31000 Toulouse Free entry within capacity limits AURÈLE NOURISSON Musique et hybridation technique, du GRM aux années électroniques. Conference, 1h Èlg is the project of a whimsical scholar, with a biting sense of humour and a remarkable culture. Starting in 2004 he has built improbable bridges 6pm 2 isdaT – institut supérieur des arts de Toulouse between concrete music and the French musical tradition of the chanson. 5, Quai de la Daurade 31000 Toulouse Free entry within capacity limits He has produced music that is both popular and experimental with great success. Combining electronic sounds with Dadaist lyrics, Èlg's sound- Aurèle Nourisson is an art and music critic, a publisher and an independ- scapes are the playground for a work on language. It is immersive, as ent researcher, based in Poitiers. He currently focuses on meeting spots beautiful as it is strange, and makes our irrational core vibrate and recon- between aesthetic movements and political struggles. For Le Printemps de nects us with our primal emotions. septembre, he looks back at the first academic, then popular history of The artist was selected by the Shape platform, with the support French-style electronic music, from Pierre Schaeffer to Bernard Fevre, of the European Union under its Creative Europe program. including the golden age of sound illustration music. Proposed by Les Siestes électroniques. This conference is held as part of the exhibition France électronique. 88 89 Saturday 29 September The Night of Courtyards 9pm-midnight 4 Courtyard of the Hôtel d’Assézat 6 Courtyard of the Hôtel de Madron LZ DUNN Flyway 12 Courtyard of the Musée Saint-Raymond Urban stroll, 1h20 7 Courtyard of the Musée du Vieux-Toulouse Free entry 6:45pm 28 Théâtre Garonne | Scène européenne 1, Avenue du Château d’Eau 31300 Toulouse | 05 62 48 54 77 In the following pages, you will find six proposals for The Night Flyway is performed every day from the 26 to the 30 September of Courtyards in this 2018 edition of the festival Booking from 17 September with the Théâtre Garonne. In the late hours of the day and equipped with binoculars and headphones, The Night of Courtyards, which took place for the first time in 2016, is an spectators are invited to embark on an urban tour that is both about bird invitation to explore the city. We will wander from the Courtyards of one watching, performance, land art and audio-visual creation… Guided by hôtel particulier to another to watch a selection of open-air artistic films the Australian performer Lz Dunn to the rhythms of a sound landscape cre- selected for their capacity to take us on a journey from dream-like uni- ated especially for the event, everyone may (re)create his/her own vision verses to singular sound compositions. of a Toulouse momentarily transformed by the ephemeral presence of Acknowledgements: Hôtel d’Assézat, Musée du Vieux-Toulouse, Musée Saint-Raymond, Mr. Laffont and the co-owners of the these long-distance migratory birds - and by their virtual appearance on Hôtel de Madron. monitors positioned here and there. A long-sequence shot of which you are both the momentary director and the only spectator. In partnership with the Théâtre Garonne, L’Usine, the Centre d’art nomade, the Muséum de Toulouse and the support of the Australian Council Creative Victoria. Produced by Alison Halit and APHIDS.

PHILIPPE DECRAUZAT Solides Film-performance, 20 min, with Will Guthrie

8:30pm 13 Auditorium Saint-Pierre-des-Cuisines 12, Place Saint-Pierre 31000 Toulouse Free entry within capacity limits, tickets available on location from 8pm Philippe Decrauzat expresses himself through all sorts of mediums (paintings, installations, films or sculptures) yet all his works have in common complex geometric compositions. For this new film-performance, he teams up with Will Guthrie, an Australian musician and his drums. His pure and rhythmic polyphonies do not fit any label. The starting point of Solides is an architectural ornament, a 24-facet polyhedron placed on André Bre- ton's grave. Shot in 16 mm, the edges and planes of this starry octahedron Explosion ma baby (2016, Pauline Curnier Jardin) The Netherlands, France | 2016 | 8.27 min. | are structuring and decomposing the image. He invokes stories of mathe- HD file | 1:1.33 | colour | stereo | no dialogue matical objects, from Plato's solids to Giacometti's cube via Dürer's Mel- encolia stone. Co-produced by the 19 CRAC, Centre régional d’art contemporain, with the support of Prohelvetia. 90 91 PAULINE CURNIER JARDIN Explosion ma baby Saturday 29 September Film screening, 8 min In the framework of The Night of Courtyards

TAMARA HENDERSON Seasons End: Out of Body 9pm-midnight 7 Cour du Musée du Vieux-Toulouse Projection, 26 min 7, rue May 31000 Toulouse In the framework of The Night of Courtyards

9pm-midnight 6 Courtyard of the Hôtel de Madron We are in the month of August, the heat is suffocating and the atmosphere 32, rue des Paradoux 31000 Toulouse saturated with sounds and colours. Dozens of naked babies with tinsels of banknotes around their necks are presented as an offering to the statue of Tamara Henderson has been developing her installation Seasons End since Saint Sebastian. Cries, songs, fireworks… this votive festival is so carnal 2015 and has subsequently made a film based on the installation. It was pre- and exuberant that one would think it was staged by Pauline Curnier Jar- sented for the first time in France on the occasion of The Night of Court- din, until one notices the almost total absence of women. Inspired by reli- yards. Shot with a 16mm pocket camera, Seasons End: Out of Body is a cho- gious iconography, which she likes to re-interpret, the artist filmed the reography of objects assembled and manipulated intuitively, almost summer mutations of this small village over several years. Based on abun- unconsciously, using hidden threads as in puppet theatres. Costumes, dant rushes, she has made a full-length film. sculptures, plants, shells, fruits and various objects made or gathered on the Acknowledgements: EYE film MUSEUM. artist’s travels weave a poetic tale of wandering, transitions from one world to another, particularly from a material world to an "out of body" world. Tamara Henderson focuses on the modification of ordinary objects and cre- BRICE DELLSPERGER Body Double 32 Film screening, 11 min ates a personal visual language that relates to dreams and to the spiritual In the framework of The Night of Courtyards and natural world. Proposed by Marc Bembekoff and Garance Chabert. Acknowledgements: galerie RODEO and to Nancy Hushion 9pm-midnight 7 Cour du Musée du Vieux-Toulouse for her generous support. 7, rue May 31000 Toulouse

JAVIER TÉLLEZ Letter on the Blind, For the Use of Those Who See Brice Dellsperger began to work on the Body Double series in 1995. The Film screening, 27 min In the framework of The Night of Courtyards title is borrowed from Brian de Palma's film, and his obsessive theme is the idealised body in cinema. Each Body Double acts out a scene from the 9pm-midnight 4 Courtyard of the Hôtel d’Assézat movie. From remake to remake, Brice Dellsperger explores the dubbing Place d’Assézat 31000 Toulouse process: all the characters are interpreted by one single actor, usually cross-dressed as women, using techniques such as repetition, inversion, Letter on the Blind, For the Use of Those Who See is a film in black and superimposition to intensify the scenes. white in which the viewer witnesses an encounter between six blind protag- In Body Double 32, Brice Dellsperger acts out the famous scene from onists and an elephant. The film focuses on the sensorial perceptions of the the movie Carrie, in which Carrie, a shy and bullied teenager later on characters as the elephant is perceived as an odour, a texture or a sound. becomes a bully herself with evil supernatural forces. As she showers in Inspired by the Indian parable of the blind men and the elephant and named the school locker room, she discovers that her hands are covered in after Denis Diderot's essay written in 1749, Lettre sur les aveugles à l'usage blood, while the young girls around her turn into a multitude of variations de ceux qui voient is a poetic and sensorial film, at the frontier of documen- of herself. tary and cinema. Acknowledgements: the Gallery Peter Kilchmann.

92 93 La Radio *DUUU bout de la nuit Broadcasting on www.duuuradio.fr and on Hertzian waves on Saturday 29 September RADIO RADIO (106.8 fm)

9pm-midnight 2 isdaT – institut supérieur des arts de Toulouse ANNE-CHARLOTTE FINEL Château en Espagne 5, Quai de la Daurade 31000 Toulouse Film screening, 3 min Free entry within capacity limits In the framework of The Night of Courtyards

9pm-midnight 12 Courtyard of the Musée Saint-Raymond The fourth and last radio session will broadcast live in the presence of an Place Saint-Sernin 31000 Toulouse audience, hosted by artist Alain Bublex along with the *DUUU team. You are invited to listen to interviews with artists featured in the festival, dis- Anne-Charlotte Finel, a video artist works on "entre chien et loup" using the cover all sorts of artistic creations, listen to a concert or simply have a title of a 2015 video in which she observes deers in an undergrowth on the drink between two exhibitions in a friendly and creative environment… outskirts of a town. She films locations at the junction of the inhabited and This year Le Printemps de septembre has commissioned *DUUU to the wilderness, at dawn or dusk. Château en Espagne (2018) is no excep- provide the festival with original custom-made programs thus making tion: an unknown location at an evanescent point in time, a castle in ruins room for parallel voices, encouraging unexpected encounters and exper- surrounded by dense vegetation. Moving away from black and white, imenting with alternative modes of speech. Anne-Charlotte Finel colours her work, selecting the colours one by one like Co-produced by the Jeu de Paume and Le Printemps de septembre, in a painter. The subtle romanticism of the topic is disrupted by the work on partnership with isdaT – Institut supérieur des arts de Toulouse. the image, deliberately pixelated as well as the powerful drone sound lay- Co-produced by the Jeu de Paume and Le Printemps de ers created by Luc Kheradmand, a musician and long-time collaborator. septembre, in partnership with isdaT – Institut supérieur des arts de Toulouse.

AMY O’NEILL Holy Land U.S.A. LARRY GUS Concert Film screening, 5 min In the framework of The Night of Courtyards 11pm 2 isdaT – institut supérieur des arts de Toulouse 5, Quai de la Daurade 31000 Toulouse 9pm-midnight 12 Courtyard of the Musée Saint-Raymond Free entry within capacity limits Place Saint-Sernin 31000 Toulouse Larry Gus' concerts are highly physical performances. He is a worried lit- Holy Land U.S.A. is a biblical theme park located in Waterbury, Connecti- tle character who transforms himself into a troublemaker on stage, sweat- cut, it has been closed since 1984. Amy O'Neill's camera wanders through ing blood and tears in order to produce all by himself the music of a poly- the now-decaying tourist attraction, in between mini-replicas of religious phonic orchestra including a thousand micro-samples. A Greek in his monuments. A fake wailing wall stands next to Egyptian pyramids covered thirties, an erstwhile IT engineer, makes simple and endearing pop music with graffiti. There is something kitsch about this desolated scenery, sort revealing all kinds of influences. Some may say explosive but you just of like an abandoned mini-golf course. Nevertheless, a bewitching impres- have to let yourself be carried away to appreciate these hip-hop and naive sion of melancholy emerges from the scene as it basks in winter light. A songs. Proposed by Les Siestes électroniques. powerful choir enhances the impression of time standing still. Amy O'Neill (born in 1971) is an American artist, inspired by vernacular culture as well as American and Swiss folklore. American beauty pageants, flower char- iot parades, Santa Claus boots, etc. She invests her subjects with a phan- tasmatic force.

94 95 Sunday 30 September Saturday 20 October

LZ DUNN Flyway TAREK ATOUI WITHIN Urban stroll, 1h20 Concert 3/3, 30 min With Glenn Marzin 6:45pm 28 Théâtre Garonne | Scène européenne 1, avenue du Château d’Eau 31300 Toulouse | 05 62 48 54 77 3:30pm 33 Quai des arts (Cugnaux) Booking from 17 September with the Théâtre Garonne Place Léo Lagrange 31270 Cugnaux Free entry within capacity limits In the late hours of the day, equipped simply with binoculars and headphones, a small group of spectators is invited to embark on an urban tour For the third and last concert under the WITHIN project, Tarek Atoui joins that is about bird watching, performance, land art and audio-visual crea- composer and lute maker Glenn Marzin. Both amateur and professional tion… Guided by the choreographer and performer Lz Dunn, the pedes- musicians, people with or without impaired hearing are invited to play on trians are invited to stroll along the banks of the Garonne towards the instruments presented in the exhibition, using scores or improvising freely. urban contours of the city centre, so they may (re)create their own vision The workshops and concerts presented under the WITHIN project intro- of a Toulouse, a long-sequence shot in which they are both the momen- duce us to a marvellous experience, allowing us to listen to music in an tary director and the only spectator. entirely new manner. Workshops, open and accessible to all, on Wednesday 17 October In partnership with the Théâtre Garonne, L’Usine, the Centre from 7pm to 10pm. Information and registration at the Quai des d’art nomade, the Muséum de Toulouse and the support of the arts: 05 81 60 82 62 / [email protected] Australian Council Creative Victoria. In partnership with the Quai des arts (Cugnaux).

ALEXANDER KLUGE Danse avec les toiles Film screening, 5h30, original version with French subtitles Thursday 4 October With an intermission around a German buffet Introduction by Hilda Inderwildi (University of Jean-Jaurès) Peindre, dit-elle, et après ? Meeting, 1h30 4pm 18 Cinéma Le Cratère 6:30pm 27 Auditorium of Les Abattoirs 95, Grande-Rue Saint-Michel 31400 Toulouse 76, Allées Charles de Fitte 31300 Toulouse Free entry within capacity limits Thoughts are born while we speak, according to Kleist. Seated in front of his Nina Childress, Béatrice Cussol and Elodie Lesourd were presented in the paintings in Croissy-Beaubourg, the painter Anselm Kiefer comments on his exhibitions Peindre, dit-elle (Musée départemental d’art contemporain de work and inspirations. The person interviewing him off the record is the writer, Rochechouart, 2015), and Peindre, dit-elle [Chap. 2] (Musée des Beaux-Arts essayist and film director Alexander Kluge. The film introduces us to the inti- de Dole, 2018). The project which at first featured 19 and then 40 artworks macy of a conversation which is not only profound, but also surprising and by female artists gave rise to debates. The project organizers Julie Crenn entertaining. From tunnels to starry processions, the film contains tremen- and Annabelle Ténèze had foreseen a feminist approach, but these exhibi- dous gravitational tempests as well as visible and invisible images. tions testified from the outset to the current vitality of French painters. What With the support of the Goethe-Institut of Toulouse, Leben in conclusion do the three artists draw from this experience? Each of them will Midi-Pyrénées, the German Section of the Université Jean-Jaurès, AFAEA (Association franco-allemande d'Expression artistique) also present a monographic exhibition during this year’s edition of Le Prin- and the Cinema Le Cratère, as part of La Quinzaine Franco- temps de septembre. For this edition of Le Printemps de septembre, Nina Childress Allemande en Occitanie. Alexander Kluge's work will be shown presents an exhibition at the Musée Paul-Dupuy, Béatrice Cussol at at CIAM – La Fabrique, the Cinémathèque de Toulouse, the the Médiathèque des Abattoirs and Élodie Lesourd at Lieu-Commun. Goethe-Institut, isdaT – institut supérieur des arts de Toulouse In the framework of Les Jeudis des Abattoirs. and at the Médiathèque José-Cabanis. 96 97 Driven by a desire to share experiences with the public, various events are being held in different exhibition sites throughout the festival, they are all free of charge and open to everyone. In accordance with your desires, your Reception information mediation personal sensitivity or the time at your disposal, a team of mediators will Phone service and information: Wednesday to Friday assist and guide you during a visit or a tour. Reception staff agents are also from noon to 6pm present in the exhibition spaces to exchange freely about the artworks. On Saturdays and Sundays from 2pm to 6pm call: +33 (0)6 77 17 16 74 or contact us by e-mail at [email protected]

99 Follow a circuit (approx. 2 hrs) Our Visits accompanied discover two or three exhibition spaces, with a mediator with an event attend one or several exhibitions associated with a particular These visits are free; they are open to all except for the events marked event (film screening, performance, etc.) accompanied by a mediator “upon reservation”, which should be done by calling +33 (0)6 77 17 16 74 or by sending an e-mail to [email protected]. double voice circuit, contemporary art and heritage visit with a tour guide from the Tourist Office of Toulouse and a For further information concerning event dates and locations, please mediator from Le Printemps de septembre, a circuit combining refer to the Visitors' Calendar (page 102). the discovery of Toulouse's heritage and contemporary art Le Printemps de septembre's partner venues are also proposing (upon reservation) actions of mediation of their own; the program is available online on their crossed circuit, contemporary art and heritage, industrial and scientific respective websites. urban stroll led by a Historian of Heritage Studies and a mediator, mixing discovery of industrial culture, architectural heritage and contemporary art (upon reservation)

bus circuit (approx. 4 hrs) thematic circuit in three different exhibition sites between Toulouse and its surroundings, accompanied by a mediator (upon reservation)

Taking action (approx. 2 hrs and 30 min) fine art workshop (adults and families) during a workshop visit, a visual artist invites the audience to observe as well as to actively practice, based on a selection of works Visit an exhibition (approx. 1 hr) (upon reservation) accompanied discover an exhibition with a mediator Schools accompanied exhibition families can discover an exhibition with a mediator Assistance will be provided to teachers in the preparation of their school visit, a mediator will be for families available to guide them through the exhibitions (upon reservation) behind the scenes an opportunity to learn about the secrets of producing and editing a work specially conceived for a given location Leisure centres A recreational tour of the exhibitions supervised by a mediator looking beyond sensory experience blindfolded around Laurent Mareschal's (upon reservation) work at the Hôtel-Dieu, open to all and suitable for the visually impaired Personalised visits or circuits (in French or English) (upon reservation) Individuals, associations, works councils, social centres, people with disabilities, have the possibility to book a tour or a personalised circuit, led by a mediator (in French or English) (upon reservation, group of 8 persons minimum; please contact us to tell us about your project: +33 (0)6 77 17 16 74 [email protected])

100 101 SATURDAY 22 SEPTEMBER Visitors’ Calendar 13:15pm-4:30pm event circuit – Around the Artwork of Alexander Kluge – Auditorium of Les Abattoirs/isdaT/Goethe-Institut (meeting point: Les Abattoirs’ entrance) Exhibitions from Friday 21 September For further or more detailed 5:30pm-7pm event circuit, RiMaflow – Espace Saint-Cyprien/RiMaflow’s meeting in to Sunday 21 October 2018. information regarding opening the Jardin Raymond VI (meeting point: Espace Saint-Cyprien) hours of the venues, please refer 9pm-11pm accompanied circuit, Left Bank – Les Abattoirs/Théâtre Garonne (meeting point: Les Abattoirs) to each exhibition's practical information. SUNDAY 23 SEPTEMBER 3pm-5pm accompanied circuit – Musée Saint-Raymond/Fondation écureuil/ Couvent des Jacobins The exhibitions open Les Nocturnes du Printemps take (meeting point: Musée Saint-Raymond) on 21 September at 6pm. place in a selection of venues on 4pm-5pm accompanied exhibition for families – Les Abattoirs Friday 21, Saturday 22, Friday 28 (meeting point: Musée Saint-Raymond) 5pm-6:30pm accompanied circuit – Château d’Eau/Hôtel-Dieu/Espace Saint-Cyprien and Saturday 29 September until (meeting point: Château d'Eau) midnight. WEDNESDAY 26 SEPTEMBER 5:30pm-6:30pm looking beyong visit – Hôtel-Dieu (upon reservation) 6pm-7pm accompanied exhibition – Musée Saint-Raymond/Fondation écureuil/ Théâtre Garonne (location of your choice, without reservation)

THURSDAY 27 SEPTEMBER 12:30pm-1:30pm accompanied exhibition – Les Abattoirs 6pm-7pm accompanied exhibition – Hôtel-Dieu/isdaT/Château d’Eau (location of your choice, without reservation)

FRIDAY 28 SEPTEMBER 5pm-6pm accompanied exhibition – Musée Paul-Dupuy/Couvent des Jacobins Goethe-Institut (location of your choice, without reservation) 9pm-11pm event circuit – Goethe-Institut/isdaT (meeting point: Goethe-Institut)

SATURDAY 29 SEPTEMBER 10am-12:30pm taking action, workshop visit for families – Musée Paul-Dupuy (upon reservation) 2pm-5:30pm bus circuit, the group exhibitions – isdaT/Quai des arts/ Carrosserie Sérignac (meeting point: isdaT, upon reservation) 2:30pm-4:30pm crossed circuit, Reappropriation of an Industrial Heritage Site – Espace Saint-Cyprien/works in the Metro/Lieu-Commun (meeting point: Espace Saint-Cyprien, upon reservation) These visits are free; they are open to all except for the events marked 4:30pm-5:30pm accompanied exhibition for families – Pavillon Blanc “upon reservation”, which should be done by calling +33 (0)6 77 17 16 74 9pm-11pm event circuit, The Night of Courtyard – Hôtel d’Assézat/Musée du Vieux-Toulouse/Musée Saint-Raymond (meeting point: Hôtel d’Assézat) or by sending an e-mail to [email protected]. SUNDAY 30 SEPTEMBER 3pm-5:30pm taking action, workshop visit for families – Les Abattoirs (upon reservation) 4pm-5pm accompanied exhibition for families – Château d’Eau 5pm-7pm accompanied exhibition – Musée Saint-Raymond/Fondation écureuil/ Couvent des Jacobins (meeting point: Musée Saint-Raymond)

102 103 WEDNESDAY 3 OCTOBER SATURDAY 13 OCTOBER 2:30pm-4:30pm double voice circuit, Contemporary Art and Heritage – Château d’Eau/ 10am-12:30pm taking action, workshop visit for families – Musée Paul-Dupuy Hôtel Dieu/Théâtre Garonne (meeting point: Château d'Eau, (upon reservation) upon reservation) 10:15pm-4pm bus circuit, After the Cinema – Maison Salvan/BBB centre d’art/ 5:30pm-6:30pm looking beyond – Hôtel-Dieu (upon reservation) Théâtre Garonne (meeting point: Compans Caffarelli subway station, 6pm-7pm behind the scenes – Couvent des Jacobins upon reservation) (meeting point: in the church) 2:30pm-5:30pm bus circuit, The Surroundings – Lieu-Commun/Musée Calbet (meeting point: 1, Place du Pont Neuf, upon reservation) THURSDAY 4 OCTOBER 4pm-6:30pm crossed circuit, The Renewal of a Site: Birth or Destruction of a Heritage? 12:30pm-1:30pm accompanied exhibition – Les Abattoirs – Goethe-Institut/isdaT/Carrosserie Sérignac 6pm-6:30pm accompanied exhibition – Hôtel-Dieu/isdaT/Espace Saint-Cyprien (meeting point: Goethe-Institut, upon reservation) (location of your choice, without reservation) 4:30pm-5:30pm accompanied exhibition for families – Pavillon Blanc

FRIDAY 5 OCTOBER SUNDAY 14 OCTOBER 5pm-6pm accompanied exhibition – Musée Paul-Dupuy/Couvent des Jacobins 2:30pm-3:30pm behind the scenes – Musée Paul-Dupuy Goethe-Institut (location of your choice, without reservation) 3pm-5:30pm taking action, workshop visit for families – Les Abattoirs (upon reservation) 6pm-7pm behind the scenes – isdaT 4pm-5pm accompanied exhibition for families – Théâtre Garonne 5pm-6:30pm accompanied circuit – Château d’Eau/Hôtel-Dieu/Espace Saint-Cyprien SATURDAY 6 OCTOBER (meeting point: Château d’Eau) 2pm-5:30pm bus circuit, The Guiles of the Burlesque – Musée Paul-Dupuy/Lieu-Commun/ Pavillon Blanc (meeting point: Musée Paul-Dupuy, upon reservation) WEDNESDAY 17 OCTOBER 3pm-5:30pm taking action, workshop visit for families – Les Abattoirs (upon reservation) 4pm-6pm crossed circuit, On Uses of Peripheral Sites – CIAM/works in the 5pm-7pm accompanied circuit – Musée Saint-Raymond/Fondation écureuil/ Metro/Hôtel-Dieu (meeting point: Mirail-Université metro station, Couvent des Jacobins (meeting point: Musée Saint-Raymond) upon reservation) 6pm-7pm accompanied exhibition – Couvent des Jacobins/Espace Saint-Cyprien/ SUNDAY 7 OCTOBER Fondation écureuil 2:30pm-3:30pm accompanied exhibition for families – Couvent des Jacobins 3pm-5pm double voice circuit, Contemporary Art and Heritage – Château d’Eau/ THURSDAY 18 OCTOBER Hôtel-Dieu/Théâtre Garonne (meeting point: Château d'Eau, 12:30pm-1:30pm accompanied exhibition – Les Abattoirs upon reservation) 6pm-7pm behind the scenes – isdaT 3pm-5:30pm taking action, workshop visit for families – Les Abattoirs (upon reservation) 5pm-7pm accompanied circuit, Left Bank – Les Abattoirs/Théâtre Garonne FRIDAY 19 OCTOBER (meeting point: Les Abattoirs) 5pm-6pm accompanied exhibition – Musée Paul-Dupuy/Goethe-Institut/isdaT 5:30pm-6:30pm looking beyond – Hôtel-Dieu (upon reservation) WEDNESDAY 10 OCTOBER (location of your choice, without reservation) 5pm-6pm behind the scenes – Couvent des Jacobins (meeting point: in the church) 6pm-8pm accompanied exhibition – BBB centre d’art SATURDAY 20 OCTOBER 1:30pm-5:30pm bus circuit, Around the Contemporary Patrimony – Pavillon Blanc/Quai THURSDAY 11 OCTOBER des arts/CIAM (meeting point: Espace Saint-Cyprien, upon reservation) 12:30pm-1:30pm accompanied exhibition – Les Abattoirs 3pm-4pm accompanied exhibition for families – BBB centre d’art 2:30pm-4:30pm double voice circuit, Contemporary Art and Heritage – Château d’Eau/ 4pm-6pm assisted circuit – work of art tram stop Palais-de-Justice/Musée Paul-Dupuy Hôtel-Dieu/Théâtre Garonne (meeting point: Château d'Eau, /isdaT (meeting point: in front of the Théâtre Sorano, upon reservation) upon reservation) 6pm-7pm accompanied exhibition – Musée Saint Raymond/isdaT/Les Abattoirs SUNDAY 21 OCTOBER (location of your choice, without reservation) 2:30pm-3:30pm accompanied exhibition for families – Couvent des Jacobins 3pm-5pm double voice circuit, contemporary art and heritage – Château d’Eau/ FRIDAY 12 OCTOBER Hôtel-Dieu/Théâtre Garonne (upon reservation) 5pm-6pm accompanied exhibition – Musée Paul-Dupuy/Couvent des Jacobins/ (meeting point: in the refectory) Goethe-Institut (location of your choice, without reservation) 3pm-5:30pm taking action, workshop visit for families – Les Abattoirs (upon reservation) 5:30pm-6:30pm looking beyond – Hôtel Dieu (upon reservation) 5pm-7pm accompanied circuit – Musée Paul-Dupuy/Couvent des Jacobins (meeting point: Musée Paul-Dupuy) 104 105 CIRCUIT A Post-colonial World Our Suggestions Musée Saint-Raymond – Vincent Meessen Théâtre Garonne – Tracey Moffatt and Lisa Reihana

Free circuits: exhibition sequences and geographical circuits CIRCUIT The Place Sets the Tone 2 Riverside building – Stéphane Dafflon Hôtel-Dieu – Laurent Mareschal Couvent des Jacobins – Sarkis

CIRCUIT The Guiles of the Burlesque (a day-long circuit) Château d’Eau – Hippolyte Hentgen Jardin Raymond VI – Franz West Médiathèque of les Abattoirs – Béatrice Cussol Couvent des Jacobins – Bruno Gironcoli Musée Paul-Dupuy – Virginie Loze and Nina Childress BBB centre d’art – Marie Losier Pavillon Blanc Henri-Molina, Colomiers – Grottesques

CIRCUIT Heart of the City (a day-long circuit) Les Beaux-Arts Brasserie Flo – I’ll be your mirror CIRCUIT The Night of Courtyards (Saturday 29 September, 9pm-midnight) isdaT – France électronique Courtyard of the Hôtel de Madron – Tamara Henderson Goethe-Institut – Alexander Kluge Courtyard of the Hôtel d’Assézat – Javier Téllez Musée Paul-Dupuy – Nina Childress, Virginie Loze and Camille Llobet Courtyard of the Musée du Vieux-Toulouse – Pauline Curnier-Jardin and Fondation espace écureuil – Gerard Byrne and Sven Anderson Brice Dellsperger Couvents des Jacobins – Sarkis, Bruno Gironcoli Courtyard of the Musée Saint-Raymond – Anne-Charlotte Finel and Carrosserie Sérignac – Éloge du carburateur Amy O’Neill Riverside building – Stéphane Dafflon

CIRCUIT Around the Artwork of Alexander Kluge CIRCUIT Left Bank (a day-long circuit) Les Abattoirs (film screening on Saturday 22 September, 1:30pm-11pm) Château d’Eau – Hippolyte Hentgen Cinéma Le Cratère (film screening on Saturday 20 October, 4pm-9:30pm) Hôtel-Dieu – Laurent Mareschal Goethe-Institut Espace Saint-Cyprien – Barbara Barberis Cinémathèque de Toulouse Jardin Raymond VI – Bert Theis Médiathèque José-Cabanis Musée des Abattoirs – David Claerbout and Jacqueline de Jong institut supérieur des arts de Toulouse Théâtre Garonne – Gerard Byrne, Tracey Moffat and Lisa Reihana CIAM – La Fabrique

CIRCUIT The Surroundings (circuit for a weekend) CIRCUIT After the Cinema Pavillon Blanc Henri-Molina, Colomiers – Grottesques Musée Saint-Raymond – Amy O’Neill Quai des arts, Cugnaux – L’emprise des sens (Saturday 29 September, 9pm-midnight) Maison Salvan, Labège – Ange Leccia Fondation espace écureuil – Gerard Byrne and Sven Anderson Musée Calbet, Grisolles – Anne Deguelle Les Abattoirs – David Claerbout Chapelle Saint-Jacques, Saint-Gaudens – Latifa Echakhch Goethe-Institut/Cinémathèque/Médiathèque José-Cabanis/isdaT/CIAM – Alexander Kluge Maison Salvan – Ange Leccia

106 107 B 48 Alain JOSSEAU T1 Aéroconstellation 48 ŒUVRES D’ART Borderouge 47 Pierrick SORIN Trois Cocus 27 KM DE METRO 46 Corinne SENTOU La Vache A Bernar VENET Jean-Michel OTHONIEL 16 KM DE TRAMWAY Daniel COULET Stéphane PENCREAC’H 10 44 45 Balma-Gramont Place du Relais Barrière de Paris Jacques VIEILLE Argoulets 11 Hervé Olivier MOSSET & Philippe RAMETTE 43 Damien ASPE AUDIBERT 12 Damien CABANES Aéroport Minimes Claude Nougaro Daniel POMMEREULLE Roseraie T2 Canal du Midi 42 13 Jean-Louis GARNELL Jolimont Raphael ZARKA Sophie CALLE Nadot Jeanne d’Arc 41 14 Bernard GERBOUD Ange LECCIA 40 Marengo-SNCF Compans Ca arelli Gloria FRIEDMANN Felice VARINI Guilio PAOLINI Arènes Romaines 15 39 Julije KNIFER Capitole Jean Jaurès François 16 MORELLET François BOUILLON Patrick CORILLON Saint-Cyprien- 38 Esquirol François Verdier Noël CUIN République 17

Patte d’Oie 18 37 Jean-Paul MARCHESCHI 19 Carmes

Olivier DEBRÉ Laurent LE DEUNFF Groupe IRWIN 20 Arènes Fer à cheval 1 36 Thomas HOUSEAGO Palais de Justice Michel VERJUX 35 Saint-Michel-Marcel -Langer Daniel DEZEUZE Richard & Hervé Empalot 34 Yazid OULAB Monique FRYDMAN DI ROSA 33 21 Croix de Pierre 32 Fontaine-Lestang Saouzelong Nicolas HÉRUBEL Jean-Paul CHAMBAS 22 Saint-Agne-SNCF Claude CAILLOL & 31 Mermoz Judith BARTOLANI Rangueil Dimitry ORLAC 23 Bagatelle Didier MENCOBONI Faculté de Pharmacie 30 Beate HONSELL-WEISS Daniel COULET 24 Basso-Cambo Université Mirail Université Romain OPALKA 29 Jean-Pierre BERTRAND 27 TAKIS Université Paul Sabatier Ramonville 25 Reynerie A 28

26 Guy-Rachel GRATALOUP B Bellefontaine 108 soutient Le Printemps de septembre 109 ART IN THE METRO AND THE TRAM: AN AMBITIOUS PRACTICE

Since 1993, when the first metro line was put into service, Tisséo Collec- tivités has been committed to enhancing public space thanks to contemporary art works. These artistic interventions build a coherent and plural group, creating a sensitive link on the passenger’s route, from one station to another, from one work to the other. Specifically created for the place where it is installed, each work is unique and invites the viewer to leave his daily life in order to be carried away, if only for a moment, by the artist’s intention. Renovated works of art, renew the dialogue with the passengers: since 2015 Tisséo Collectivités has started a renovation and maintenance programme for its artistic heritage.

During Le Printemps de septembre festival, Fracas et Frêles Bruits, choose public transportation, the metro, tram and bus, to go to the different festival venues.

On this occasion, (re)discover the work of Ange Leccia (line B, station Compans Cafarelli), artist invited by Maison Salvan for this 2018 edition.

Didier Mencobini, station Faculté de Pharmacie

Téléchargez gratuitement l’appli ARTéo et proﬁtez de toutes les fonctionnalités pour créer votre propre parcours au cœur des 48 œuvres d’art du métro et du tramway.

› Géolocalisation des œuvres › Des ﬁches complètes sur les œuvres et les artistes › Parcours personnalisé › Aimez et partagez › Actualités › Infos pratiques ANGE LECCIA, Untitled. Photograph: © Saada-Ferrer Disponible sur Android Two imposing dynamic artificial light panels in woven optic fibres, with changing colours, remind et bien tô t sur I OS us of the natural light of sundown and sunrise, contrasting with the underground and urban universe of the metro. Télécharger dans DISPONIBLE SUR

110 111 Partners Media partners

Main partner

Institutional partner

Institutional support

Main private partners

With the help of

Partners Arts et cultures Centre d’art nomade Centre de ressources régional culture et handicap

Forum Culturel Autrichien Nouveau Musée l’Usine - Centre national National de Monaco des arts de la rue et de l’espace urbain

Partner venues Auditorium Fondation Bemberg Musée Paul-Dupuy Saint-Pierre-des-Cuisines Goethe-Institut Musée Saint-Raymond BBB centre d’art Halles de la Cartoucherie Musée du Vieux-Toulouse Les Beaux-Arts Brasserie Flo Hôtel-Dieu Pavillon Blanc Henri-Molina Carrosserie Sérignac Hôtel de Madron La Place de la Danse La Chapelle Saint-Jacques Le Cratère Quai des arts Le Château d’Eau Le DAda Théâtre du Capitole CIAM – La Fabrique Lieu-Commun de Toulouse Cinémathèque de Toulouse Maison Salvan Théâtre Garonne Couvent des Jacobins Médiathèque José-Cabanis Espace Saint-Cyprien Musée Calbet

112 113 For the visitors’ calendar, Events Calendar please refer to pages 102-105.

Friday 21 Sept. Sat. 22 Sept. Wed. 26, Thurs. 27. Friday 28 Sept. Sat. 29 Sept. Sun. 30 Sept. Thurs. 4 Oct. Sat. 20 Oct.

From 6pm 1:30pm 6:45pm 6:45pm 3:30pm 6:45pm 6:30pm 3:30pm JACQUELINE DE JONG ALEXANDER KLUGE LZ DUNN LZ DUNN TAREK ATOUI LZ DUNN NINA CHILDRESS, TAREK ATOUI performance projection, 9h30 urban stroll, 80 min urban stroll, 80 min concert, 30 min urban stroll, 80 min BÉATRICE CUSSOL, concert, 30 min Les Abattoirs Les Abattoirs Théâtre Garonne Théâtre Garonne Quai des arts, Cugnaux Théâtre Garonne ÉLODIE LESOURD Quai des arts, Cugnaux Meeting, 90 min Les Abattoirs 6:30pm 3:30pm 7pm 6pm 4pm CINDY COUTANT TAREK ATOUI FLORA DÉTRAZ AURÈLE NOURISSON ALEXANDER KLUGE performance, 25 min concert, 30 min dance, 25 min conference, 1h projection, 5h30 isdaT – institut supérieur des Quai des arts, Cugnaux La Place de La Danse isdaT – institut supérieur des Cinéma Le Cratère arts de Toulouse arts de Toulouse

8pm 5:30pm 6:45pm 7:30pm JONATHAN DRILLET RIMAFLOW AND MARLÈNE SALDANA LZ DUNN SONIA KACEM talk, 1h30 karaoke urban stroll, 80 min performance, Jardin Raymond VI Bar le DAda Théâtre Garonne Carrosserie Sérignac

6pm 9pm-midnight 8:30pm 8pm – 8:30pm – 9pm – 9:30pm LAUREN HURET LA RADIO *DUUU BOUT PHILIPPE DECRAUZAT LAURENT MARESCHAL performance, 40 min DE LA NUIT film-performance, 20 min performance, isdaT – institut supérieur des on duuuradio.fr and Auditorium 15 min per session arts de Toulouse on th air Saint-Pierre-des-Cuisines Théâtre du Capitole RADIO RADIO (106.8 fm) isdaT – institut supérieur des arts de Toulouse 8:30pm 9pm-midnight 8:30pm CASSANDRO, EL EXOTICO THE NIGHT OF COURTYARDS ÉLODIE LESOURD wrestling match 11pm Projections of artists’ films, concert-performance, Halles de la Cartoucherie in a loop, 25 min. ÈLG In several hôtel particulier Lieu-Commun concert isdaT – institut supérieur des 9pm-midnight arts de Toulouse 9pm-midnight 9pm-midnight LA RADIO *DUUU BOUT DE LA NUIT LA RADIO *DUUU BOUT LA RADIO *DUUU BOUT on duuuradio.fr and DE LA NUIT DE LA NUIT on the air on duuuradio.fr and on duuuradio.fr and RADIO RADIO (106.8 fm) on the air on the air isdaT – institut supérieur des RADIO RADIO (106.8 fm) RADIO RADIO (106.8 fm) arts de Toulouse isdaT – institut supérieur des isdaT – institut supérieur des arts de Toulouse arts de Toulouse

11pm 11pm 11pm CARLA DAL FORNO concert LARRY GUS ZA ! isdaT – institut supérieur des concert concert arts de Toulouse isdaT – institut supérieur des isdaT – institut supérieur des arts de Toulouse arts de Toulouse

114 115 Practical information SHARING AND UNDERSTANDING (VISITS AND OTHER ACTIONS OF MEDIATION) Notes FESTIVAL Registration and information: LE PRINTEMPS DE SEPTEMBRE [email protected] Telephone helpline From Friday 21 September from Wednesday to Friday from noon to 7pm to Sunday 21 October 2018 weekends from 2pm to 6pm: +33 (0)6 77 17 16 74 Free festival

For each venue's opening hours please refer WELCOME DESK AND INFORMATION to each exhibition's practical information L’Adresse du Printemps de septembre 2, quai de la Daurade 31000 Toulouse T: +33 (0)5 61 14 23 51

From Wednesday to Sunday from noon to 7pm Open on 21, 22, 28 and 29 September until 10pm Closed on Mondays and Tuesdays

PROFESSIONALS Requests for information and images to be made to:

National and international press Claudine Colin Communication | Dimitri Besse : [email protected] T: +33 (0)1 42 72 60 01

Local and regional press C’DA | Luc Le Fraper du Hellen: [email protected] T: +33 (0)5 61 12 40 80

Designed by H5 Translated from the French by Vladimir Bourrec and Matilda Holloway Editorial coordination by Alessandra Bellavita Printed by Standartų Spaustuvė

117 Agence du doute (L’) Alexander Kluge Sven Anderson Benoît Laffiché Tarek Atoui Maxime Lamarche Sylvie Auvray Ange Leccia Sylvain Azam Élodie Lesourd Barbara Barberis Diego Lettieri Ioa Beduneau Camille Llobet and Satyavan Beduneau Marie Losier Alain Bublex Virginie Loze Gerard Byrne Charlie Malgat Grégory Chatonsky Laurent Mareschal Nina Childress Vincent Meessen David Claerbout Amandine Meyer Cindy Coutant Tracey Moffatt Pauline Curnier Jardin Nicolas Momein Béatrice Cussol Samir Mougas Stéphane Dafflon Aurèle Nourisson Carla Dal Forno Amy O’Neill Philippe Decrauzat Michel Perot Anne Deguelle Jacques Prades Jacqueline de Jong Laurent Proux Louise de Ville Lisa Reihana Brice Dellsperger Yvan Salomone Flora Détraz Sarkis Arnaud Dezoteux Javier Téllez Jonathan Drillet Bert Theis and Marlène Saldana Virginie Yassef Florent Dubois ZA! Lz Dunn *DUUU radio Latifa Echakhch Cassandro El Exotico Èlg Luca Federici Cao Fei Anne-Charlotte Finel Romain Gandolphe Nicolas Garait-Leavenworth Bruno Gironcoli Juliette Goiffon and Charles Beauté Larry Gus Will Guthrie Tamara Henderson Hippolyte Hentgen Anne Holveck Lauren Huret Chris Imler Charlie Jeffery Sonia Kacem

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