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    Saturday March 24 - 11 a.m. - 7 p.m.

    Closure of the exhi­bi­tion with the (-)auteur col­lec­tive.

    Villa Vassilieff invites (-)auteur for a day of per­for­mances and actions!

    You are invited to come at the time that suits you, for the infinite time you want.
    Find us, (-)auteur, and our hazard pro­gram­ming.
    Your opened con­tri­bu­tion is wel­come.
    Public artist, bring what drives you.
    We will talk about the story of an ephemeral squat. A reflec­tion in action, on life, on our ways of living. This invi­ta­tion is the occa­sion to be together else­where, here.
    Performances, acoustic con­cert, writing, games, gus­ta­tory exper­i­men­ta­tions, meeting between enti­ties (-)auteur, between the living space of your bodies, of your voice in the space, the space you rep­re­sent, the exhi­bi­tion space, the square round table, pil­lows and maybe car­pets, togas and drapes, text read­ings, exchanged words, sewing and weaving of all these sto­ries.
    Buffet cold at will, throughout the day.

    (-)auteur

    Opening of the exhi­bi­tion Akademia : Performing Life

    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.
    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.
    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.
    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.
    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.
    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.
    Opening of the exhibition "Akademia : Performing Life", Villa Vassilieff, Paris, January 13, 2017. Image: Mathilde Assier.

    Thursday, January 25 - 1 p.m

    Lunch (-)auteur #1

    Every two Thursdays at Villa Vassilieff, (-)auteur invites you over to dis­cuss and con­tribute to the on-going story of squat H, as an invi­ta­tion to have a hand in their pub­lishing pro­ject.

    Lunch (-)auteur, "Akademia : Performing Life", Villa Vassilieff, January 25, 2018. Image : Camille Chenais.
    Lunch (-)auteur, "Akademia : Performing Life", Villa Vassilieff, January 25, 2018. Image : Camille Chenais.

    Thursday, February 08 - 1 p.m

    Lunch (-)auteur #2

    Every two Thursdays at Villa Vassilieff, (-)auteur invites you over to dis­cuss and con­tribute to the on-going story of squat H, as an invi­ta­tion to have a hand in their pub­lishing pro­ject.

    Lunch (-)auteur, "Akademia : Performing Life", Villa Vassilieff, February 08, 2018. Image : Camille Chenais.

    Thursday, February 22 - 1 p.m

    Lunch (-)auteur #3

    Scouts at the Akademia canteen, unknown date. Courtesy: Duncan Collection

    From 1pm for the ones who signed up with timely appetite

    Every two Thursdays at Villa Vassilieff, (-)auteur invites you over to dis­cuss and con­tribute to the on-going story of squat H, as an invi­ta­tion to have a hand in their pub­lishing pro­ject.

    We will be here to share our para-artistic adven­ture of bud­ding squat­ters, our artistic find­ings? Our eman­ci­pa­tory ideas, or simply, there to visit the cur­rent exhi­bi­tion, read a book, look at what is or isn’t hap­pening out­side or to drink a glass of water or simply go to the bath­room...

    On earth with other earth­lings, in a white cloud*
    From 11am to 7pm for exhi­bi­tions inhab­i­tants
    From 11.30am to 18.30pm to become fic­tion (-) auteur

    *white cube or more com­monly, white exhi­bi­tion space
    this cloud of the ACADEMY exhi­bi­tion

    Free of charge, twenty seats

    Lunch (-)auteur, "Akademia : Performing Life", Villa Vassilieff, February 22, 2018. Image : Camille Chenais.
    Lunch (-)auteur, "Akademia : Performing Life", Villa Vassilieff, February 22, 2018. Image : Camille Chenais.

    Saturday 24th of February, from 3pm to 6pm

    LATEX, UNICORN, LANGUAGES: FOR A DISHONEST RESEARCH
    Conversation with Mercedes Azpilicueta, Elisabeth Lebovici (to be con­firmed), Inga Lāce and Virginie Bobin

    Mercedes Azpilicueta, Untitled, 2018. Courtesy: Mercedes Azpilicueta

    Argentinean artist Mercedes Azpilicueta pre­sents her­self as a "dis­honest" researcher. During her res­i­dency at Villa Vassilieff as part of the Pernod Ricard Fellowship, she began writing a script for an upcoming per­for­mance, where she inter­laces the work of the Franco-Argentinian artist Lea Lublin, the series of enig­matic tapestries The Lady and the Unicorn, the lit­erary aes­thetics of the Neobarroso Rioplatens, Chilean reg­gaeton, imag­i­nary char­ac­ters and vagrants of the under­world, as well as the the­o­reti­cians Suely Rolnik and Gloria Anzaldúa.
    Mercedes Azpilicueta’s sce­nario was fueled by working ses­sions with the chore­og­ra­pher Pauline Simon, Jean-Baptiste Veyret-Logerias (per­­former and per­­for­­mance maker, and a prac­ti­tioner of per­cep­tive somatic-psy­choe­d­u­ca­tion), the actress Emmanuelle Lafon, the artist and designer Lucile Sauzet, the film­maker Hélène Harder as well as public work­shops. It tes­ti­fies to a research pro­cess that joy­fully jumps genres, dis­ci­plines and eras, is embodied in mul­tiple voices and lan­guages, solicits the senses as much as the thought and wel­comes the joy of a col­lec­tive con­struc­tion, wobbly and vol­un­tarily cor­rupted.

    The dis­cus­sion will take place in the spaces of the exhi­bi­tion Akademia : Performing Life, on view until the 24th of March at the Villa Vassilieff, in which Mercedes Azpilicueta pre­sents Pink pop­ping plank (2018), an art­work that is both sculp­ture, set, script and score to be acti­vated.
    Conceived by cura­tors Solvita Krese, Inga Lāce (Latvian Center for Contemporary Art) and Camille Chenais (Villa Vassilieff), the exhi­bi­tion Akademia: Performing Life itself com­poses a poly­phonic nar­ra­tive around the artistic com­mu­nity founded by Raymond Duncan, focusing on a lesser known figure, that of the Latvian dancer and writer Aia Bertrand. Like the weaves cre­ated by its self-taught mem­bers, the exhi­bi­tion inter­twines the threads of myth, cura­to­rial and artistic research, and the sub­jec­tive inter­pre­ta­tion of the sto­ries pro­duced by and around the Akademia.

    In the pres­ence of film­maker Hélène Harder, and with the par­tic­i­pa­tion of Raymond Duncan san­dals, latex tumors, a uni­corn and a few poems.
    Languages: English, French, Spanish, Latvian ...

    Mercedes Azpilicueta is a visual and per­­for­­mance artist from Argentina based in The Netherlands. Drawing on a tran­s­dis­­­ci­­plinary approach within her artistic prac­tice, she develops pro­­jects that explore the affec­­tive qual­i­ties of lan­guage and voice, the polit­ical dimen­­sion of female desire, and the con­nec­­tions between embod­i­­ment, glo­­cal­i­ties and resis­­tance. Her work opts for per­­sonal and par­tic­ular method­­olo­gies such as mnemonic and lit­erary tech­niques, public sound­s­capes in rela­­tion to social and cul­­tural con­di­­tions and the use of per­­for­­ma­­tive ele­­ments for pro­­ducing knowl­­edge, allowing pro­cesses where con­t­in­­gency, asso­­ci­a­­tion and play­­ful­­ness take place.

    Élisabeth Lebovici is a his­­to­rian, art critic, activist and writer. She has been a jour­­nalist at Libération, writing in its cul­­tural column from 1991 to 2006. She wrote Femmes Artistes/Artistes Femmes (Hazan, 2007) in col­lab­o­ra­­tion with Catherine Gonnard and runs the blog le beau vice.
    In 2017, she pub­­lished     Ce que le sida m’a fait (What AIDS has done to me, Paris, Les presses du réel), an inti­­mate and polit­ical account of inter­sec­­tions between art and activism, seen through the AIDS epi­­demic in the 1980s and 1990s in France and the United States.

    Inga Lāce is a curator at the Latvian Centre for Contemporary Art (LCCA) and a cura­to­rial fellow at de Appel arts centre, Amsterdam (2015-2016), where her exam­i­na­tion of the inter­twined rela­tion­ships between nature and cul­ture, and (art) insti­tu­tions and ecology has led to the pro­duc­tion of a sym­po­sium and a pub­li­ca­tion (forth­coming in 2017). She has recently curated the exhi­bi­tions Resilience. Secret Life of Plants, Animals and Other Species at Бükü (the Büro für kul­turelle Übersetzungen) in Leipzig (2016), and Lost in the Archive, with Andra Silapetere, in Riga (2016), which took the LCCA’s archive of con­tem­po­rary art as its starting point. She also curated the exhi­bi­tion (Re)con­struc­tion of Friendship (2014), which was held in the former KGB house in Riga. Lāce co-edited the book Revisiting Footnotes. Footprints of the Recent Past in the Post-Socialist Region with Ieva Astahovska (2015), and she was a curator,with Solvita Krese of the 7th and 8th edi­tions of the con­tem­po­rary art fes­tival Survival Kit (2015- 2016).

    February 27, 28 & March 1, 2, 4:30 P.M.

    L’expéri­ence, la trace et la recherche de l’œuvre

    « People are not what they think they are, they are what they do » (R. Duncan)
    Yaïr Barelli will start four appoint­ments of 2h30 with a phys­ical prac­tice called “yoga” which will then drift, depending on the group, towards dance, song or speech, cre­ating a common expe­ri­ence and a trace that will be called “art­work”.

    Mandatory reg­is­tra­tion at publics(at)villavas­silieff.net

    Raymond Duncan, Kinetics studies. Phographic documentation for Akademia: Performing Life
    Extracted from the periodical Græcia, undated. Available at BNF, Paris.

    Yaïr Barelli  in 1981, Jerusalem. Works and lives in Paris. He received training at the C.D.C in Toulouse and enrolled the pro­gramme Essais at the CNDC in Angers under the super­vi­sion of Emmanuelle Huynh. He works and col­lab­o­rates with dif­ferent artists and chore­og­ra­phers : Emmanuelle Huynh (Cribles), Marlène Monteiro Freitas (Paraiso- Colleçao Privada), Tino Sehgal (Instead of allowing some thing to rise up to your face dancing bruce and dan and other things), Jocelyn Cottencin (Monumental), Christian Rizzo (D’après une his­toire vraie) and Jérôme Bel (Jérôme Bel).
    He worked with Neal Beggs, col­lec­tive åbäke, Pauline Bastard, Ivan Argote and lec­tures in sev­eral insti­tu­tions, such as CNDC (Angers,France) The Place (London, Uk) , CN D (Pantin, France) and at the Haute École d’Art et Design (HEAD) in Geneva.
    Current pro­jects include      Ce ConTexte,  Sur l’inter­pré­ta­tion - titre de l’instant et  Le Magnifique aven­ture.

    Saturday, March 3 at 3 p.m.

    UTOPIA’S LEFTOVERS
    Conversation with Corinne Giandou, Inga Lāce & Camille Chenais

    Monte Verità via Google, on February 27, 2018, all right reserved.

    As part of the exhi­bi­tion Akademia: Performing Life, which explores the con­cepts and prin­ci­ples embodied by Akademia, we invite Inga Lāce, curator of the exhi­bi­tion, and Corinne Giandou who worked alongside Harald Szeemann on Monte Verità, to share their expe­ri­ences and method­olo­gies in working around com­mu­ni­ties whose his­to­ries are volatile.
    In the chaos of the archives, the inter­lacing of dates and places, the sto­ries mixing facts, myths and prej­u­dices, it is dif­fi­cult to trace these his­to­ries. It is nec­es­sary to deploy, dif­fuse, inter­pret, romance, unravel, create and gather archives to sketch the sto­ries of these two utopian attempts to build a com­mu­nity, these two lab­o­ra­to­ries of exper­i­ments both social, moral and artistic in con­nec­tion with con­tem­po­rary dance.
    The story of Monte Verità was out­lined by Harald Szeemann, who worked for six years on the exhi­bi­tion Monte Verità, the breasts of the truth (Ascona 1978 then Zurich, Berlin, Vienna, Munich). Corinne Giandou met him in the mid-1990s and worked alongside him in the "fac­tory" in the moun­tains of Ticino, a former restau­rant and then cinema turned into a lighters fac­tory before being bought by Szeemann. In its large halls without heating, he piled up masses of archives through which one had to find his/her way to access the many doc­u­ments (let­ters, pho­to­copies of police reports, the­o­ret­ical writ­ings, ...) objects and pho­tographs col­lected by the curator, in par­tic­ular from the descen­dants of the local pop­u­la­tion who had been in con­tact with the com­mu­nity.
    The story of Akademia is yet to be written by exploring the family archives pre­served between Massachusetts and New York, the writ­ings pub­lished by the com­mu­nity and the arti­facts pre­served between Paris, Riga or even Budapest. Inga Lace will pre­sent her first explo­rations into this magma of places and sources and her col­lab­o­ra­tion with artists around this pro­ject.

    Today, Monte Verità is a 332 meters tall hill perched above Ascona in the Swiss Canton of Ticino. Its name comes from a com­mu­nity of writers, painters, musi­cians, dancers, who came to settle on its flanks at the begin­ning of the cen­tury around Henri Oedenkoven (natur­opath and patron), Ida Hoffmann (pianist) and Gustav Gräser (painter, poet, prophet). Rejecting indus­tri­al­iza­tion, cap­i­talism and the life pro­duced by indus­trial and bour­geois society, they advo­cated for a return to nature, finan­cial self-man­age­ment, a veg­e­tarian diet, daily gym­nas­tics … Today, we know this com­mu­nity above all through the dis­tri­bu­tion of stereo­typ­ical images of bodies dressed in white or naked dancing and jumping in the moun­tains of Ticino. However, this society devel­oped mul­tiple activ­i­ties: pub­li­ca­tion of the­o­ret­ical texts (Provisional sta­tuses of the veg­e­tarian society of Monte Verità, Oedenkoven, 1905), cul­ture of the land whose prod­ucts were sold at the sur­rounding mar­kets, dances, con­certs or per­for­mances in the woods, building con­struc­tions (Casa Centrale, Casa Anatta, Casa Semiramis) which will become an inspi­ra­tion for Bauhaus, ... But very quickly, the per­sonal for­tune of Oedenkoven and the sale of agri­cul­tural prod­ucts at the mar­kets are not enough any­more to sup­port the needs of this alter­na­tive coop­er­a­tive. In 1905, they open a sana­to­rium offering steam and mud baths, gar­dening activ­i­ties, gym­nas­tics or sun­bathing. Even though the First World War inhib­ited the activ­i­ties of this inter­na­tional com­mu­nity, it only dis­ap­peared defini­tively in 1920 when its indebted cre­ators left the place. The build­ings have been ren­o­vated and now house a luxury sem­inar center.

    Akademia, behind this name hides an eclectic com­mu­nity, a school open to all, a nomadic space having known mul­tiple addresses. Created in 1911 (1909? 1910? 1919?) by Raymond Duncan, it moved from one city to another (Montfermeil, Nice, Paris) and from one street to another (rue Campagne-Première, rue des Ursulines, rue du Colisée), before set­tling, in 1929, at 31 rue de Seine until the death of Raymond Duncan (1966) and then of Aia Bertrand (1977). This 16th-cen­tury, four-storey, court­yard house was home to a the­ater, a gallery, artists’ stu­dios, living spaces and a «Duncans’ Museum» of arti­facts and pho­tographs depicting the life and career of the four Duncan sib­lings: Isadora, Elizabeth, Augustin and Raymond. At 31 rue de Seine there also was a letter press, used by Raymond Duncan to print numerous col­lec­tions of poems, essays, pam­phlets and magazines. The life of the Akademia was orga­nized around many activ­i­ties: dance, music, weaving, gym­nas­tics, crafts, spin­ning, Orphic singing, Greek lan­guage and phi­los­ophy. These courses included out­side stu­dents - who paid according to their means - and mem­bers of the com­mu­nity living within its walls for a few days, months or years. Housed and fed - fol­lowing the veg­e­tarian diet pro­moted by Duncan - the latter, in return, par­tic­i­pated in the com­mu­nity economy by making san­dals, spin­ning wool and weaving tunics on prim­i­tive looms. These arte­facts were then sold - at high prices - in the Akademia shop located on rue du Faubourg Saint-Honoré. The com­mu­nity formed around Duncan was eclectic and cos­mopolitan, yet, over the decades, Akademia and its ideals with­ered and stiff­ened. After 1945, the fol­lowers of 31 rue de Seine are above all aging people gath­ered around an increas­ingly nar­cis­sistic Raymond Duncan and Aia Bertrand, who will con­tinue to sup­port the school after the death of her hus­band.

    Corinne Giandou is an art pro­fes­sional. She has worked in sev­eral cul­tural insti­tu­tions in France, Belgium and Switzerland such as Espace Lyonnais d’Art Contemporain (Lyon, France), MAC and the Lyon Biennale (Lyon, France), CRAC Languedoc-Roussillon (Sète, France) as well as in Harald Szeemann’s per­sonal archives (Maggia, Switzerland). She fre­quently lec­tures in art schools (Brussels, Lyon).

    Inga Lāce is a curator at the Latvian Centre for Contemporary Art (LCCA) and a cura­to­rial fellow at de Appel arts centre, Amsterdam (2015-2016), where her exam­i­na­tion of the inter­twined rela­tion­ships between nature and cul­ture, and (art) insti­tu­tions and ecology has led to the pro­duc­tion of a sym­po­sium and a pub­li­ca­tion (forth­coming in 2017). She has recently curated the exhi­bi­tions Resilience. Secret Life of Plants, Animals and Other Species at Бükü (the Büro für kul­turelle Übersetzungen) in Leipzig (2016), and Lost in the Archive, with Andra Silapetere, in Riga (2016), which took the LCCA’s archive of con­tem­po­rary art as its starting point. She also curated the exhi­bi­tion (Re)con­struc­tion of Friendship (2014), which was held in the former KGB house in Riga. Lāce co-edited the book Revisiting Footnotes. Footprints of the Recent Past in the Post-Socialist Region with Ieva Astahovska (2015), and she was a curator,with Solvita Krese of the 7th and 8th edi­tions of the con­tem­po­rary art fes­tival Survival Kit (2015- 2016).

    Thursday, March 8 - 1 p.m

    Lunch (-)auteur #4

    Every two Thursdays at Villa Vassilieff, (-)auteur invites you over to dis­cuss and con­tribute to the on-going story of squat H, as an invi­ta­tion to have a hand in their pub­lishing pro­ject.

    Free of charge, twenty seats
    RSVP publics(at)villavas­silieff.net

    Saturday, March 10 at 3 p.m.

    Aias , 3 - 5 p.m.

    Since 2010, Myriam Lefkowitz, per­for­mance artist and chore­og­ra­pher, has been researching the ques­tion of atten­tion and per­cep­tion through var­ious immer­sive devices that involve direct rela­tion­ship and engage­ment between the spec­tator and artist.
    Myriam Lefkowitz is prin­ci­pally inter­ested in the inven­tion of atten­tion regimes that are rooted in non­verbal com­mu­ni­ca­tion. Focusing on haptic phe­nomena and blinking eyes, she seeks to deploy and share the polit­ical poten­tial of the resources con­tained in dif­ferent forms of lim­i­nality, between sleep and wake­ful­ness.
    With Aias, Myriam Lefkowitz seeks to make con­tact with the ghostly figure of Aia Bertrand (who was shad­owed by the imposing and mega­lo­ma­niac figure of her hus­band, Raymond Duncan) and of the Akademia, through guides who will be the hosts.
    At La Galerie (Noisy-le-Sec), Myriam Lefkowitz con­ducted a series of indi­vidual ses­sions using a form of dia­logue, sim­ilar to the prac­tice of hyp­nosis to appeal to an aug­mented imag­i­na­tive activity, to which the spec­tator could imme­di­ately tes­tify, where she offered a group of acolyte artists (Héléna De Laurens, Jean-Philippe Derail,Charlotte Imbault, Catalina Insignares, Thierry Gropotte, Julie Laporte, Anne Lenglet, Florian Richaud, Lina Schlageter, Jean-Baptiste Veyret-Logerias et Yasmine Youcef) to incor­po­rate one of the pos­sible lives of Aia and Akademia. Their per­cep­tions, sen­sa­tions, mem­o­ries, images, thoughts, ges­tures thus become the vec­tors, the sup­ports and the archives of an oral, affec­tive, informal, ellip­tical story about a ghost invited to haunt the art center.
    On March 10, at Villa Vassilieff, each of these artists car­rying one of the pos­sible lives of Aia and the Akademia, will share their memory of the story born from these hyp­nosis ses­sions. Through an asso­ci­a­tion game, they will weave a pos­sible col­lec­tive mind map of the school which will evolve over the time of this public meeting.

    Project sup­ported by La Galerie, Center for Contemporary Art, Noisy-le-Sec and the DRAC Ile-de-France / Ministry of Culture for chore­o­graphic res­i­den­cies.

    Aia Bertrand in Montfermeil, 1910’s. Courtesy: Duncan Collection, all rights reserved.

    Artist asso­ci­ated to the second edi­tion of the magazine watt, Myriam Lefkowitz invites to Villa Vassilieff the launch of the magazine, with whom mul­tiple par­tic­i­pants to Aias have col­lab­o­rated.

    Launch of the second number of the magazine watt, 5 - 7 p.m.

    Where, dance? The bilin­gual magazine (fr./eng.) which is inter­ested in bringing to life, for the per­for­ma­tive arts, an open-air studio where the artists deploy a space to speak about the making and the mate­rial of the work, focuses for its second issue on the ques­tion of how to dance without per­forming. Since its first issue, the magazine has priv­i­leged the inter­view form by thinking about the act of speaking as a learning pro­cess that allows ele­ments that were not, or not yet, iden­ti­fi­able in prac­tice to emerge. For this second launch: dis­cus­sions, drinks and petits fours!
    Issue coor­di­nated by Charlotte Imbault and Sandrine Fuchs with the par­tic­i­pa­tion of Lisa Nelson, The Bureau for the Future of Choreography, Nobody’s Business, Barbara Manzetti, Carolina Mendonça, Alexandra Pirici, Valentina Desideri, Catalina Insignares, Yasmine Youcef and Myriam Lefkowitz.

    Saturday, March 17 at 3 p.m.

    Faire école
    Conversation with Yann Chateigné and Anna Colin

    Ieva Epnere, Green school, 2017, HD video. Courtesy Ieva Epnere

    As part of the exhi­bi­tion Akademia: Performing Life which explores the notions and prin­ci­ples embodied by Akademia, a com­mu­nity and school cre­ated by Raymond Duncan, we invite Anna Colin (curator, edu­cator and researcher, co-director of Open School East) and Yann Chateigné (Professor of Art History and Theory and Researcher at the Geneva School of Art and Design (HEAD) to share their work expe­ri­ences and their reflec­tions on the issues of trans­mis­sion in art. What can be passed down? How to create phys­ical and mental spaces for hor­i­zontal and open exchanges?

    Yann Chateigné is Professor of History and Theory of Art and Researcher at the Geneva School of Art and Design. Between 2009 and 2017, he was Head of the Visual Arts Department of HEAD - Genève, where he was also in charge of the pro­gram­ming of LiveInYourHead, his cura­to­rial insti­tute, of Fieldwork: Marfa, an inter­na­tional research res­i­dence located in Marfa, Texas as well as the HEAD / ISR Summer Academy, at the Istituto Svizzero di Roma. Curator, critic, he was chief curator at the CAPC Centre of Contemporary Art in Bordeaux (2007 - 09), curator at the Délégation aux Arts Plastiques (2001 - 07) and the Pompidou Center / National Museum of Modern Art in Paris ( 2000 - 01). Recent pro­jects include: 1977 (L’Onde, Vélizy, on the occa­sion of the 40th anniver­sary of the Pompidou Center Paris, 2017), the Biennale de l’Image en Mouvement (Centre d’art con­tem­po­rain Genève, 2014, with Andrea Bellini and Hans Ulrich Obrist), La vie matérielle (Fondation d’entreprise Ricard, Paris, 2013), Panegyric (Forde, Geneva, 2012), The Mirage of History (Pacific Cinematheque, Vancouver, Kaleidoscope Project Space, Milan; Whitechapel Art Gallery, London, 2010-13). His texts have been pub­lished in Artforum, Frieze, Mousse and Spike, as well as in sev­eral the­matic works and mono­graphic pub­li­ca­tions.

    Anna Colin is a curator, edu­cator and researcher. She co-founded and co-directs Open School East in Margate (UK), works as asso­ciate curator at Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette in Paris, and is a PhD can­di­date in the School of Geography at the University of Nottingham, where she is researching alter­na­tive learning, social and arts cen­tres in the UK, the US and fur­ther afield, from the late 19th cen­tury to the pre­sent. Anna was co-curator, with Lydia Yee, of the touring exhi­bi­tion British Art Show 8 (Leeds, Edinburgh, Norwich and Southampton) in 2015-16. Previously, she was asso­ciate director of Bétonsalon, Paris (2011-12) and curator of Gasworks, London (2007-10).

    Open School East is a space for artistic learning that is free, exper­i­mental, col­lab­o­ra­tive and brings together diverse voices. We provide tuition and studio space to emerging artists, run learning activ­i­ties for young people and adults, com­mis­sion artists to develop par­tic­i­pa­tory pro­jects, and pro­duce and host cul­tural events and social activ­i­ties for and with everyone. Open School East was founded in 2013 in East London and relo­cated to Margate, Kent in 2017. It is com­mitted to making the arts a more open sector and to fos­tering cul­tural and social exchanges between artists and the broader public.