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    from TUESDAY, 11 to SATURDAY, 15 DECEMBER

    Shelves Project at Villa Vassilieff

    Villa Vassilieff invites Lia Rochas-Pàris and Parties Prises to invest the space of its book­shelves for a Christmas Pop-Up Store. During five days, you will be able to dis­cover Shelves pro­ject with the pos­si­bility to buy artists works from 5 to 500 euros.

    Opening on Tuesday 11, December from 6pm to 9pm

    Creations of: Alix Delmas, Annabelle Jouot, Célia Nkala, Emmanuelle Roule, Emile Degorce-Dumas, Judith Prigent, Katia Kameli, Léo Dorfner, Lemégot éditions, Lia Rochas-Pàris, Marine Jezequel, Margaux Dereume, Nikita Garrido, Parties Prises éditions, Patrick Frey éditions, Dorothée Marot, Profane, Quentin Lefranc, Sandra Berrebi, Seem Soap, Sémiose éditions, Stéphane Ruchaud, We Do Not Work Alone

    Shelves exhi­bi­tion is an exhi­bi­tion space restricted to a daily plat­form:
    a basic shelf resting on squares.
    In this per­spec­tive, Shelves ques­tions the impor­tance of exhi­bi­tion space in the val­u­a­tion of works as much as the cre­ative pro­cess and the rela­tion­ship to inti­macy. Since 2015, Shelves gives "carte blanche" to artists to exhibit inspi­ra­tional objects. Since 2017, Shelves pre­sents col­lec­tive exhi­bi­tions orches­trated by Lia Rochas-Pàris.

    Founded in 2013 by Lia Rochas-Pàris, Parties Prises pre­sents itself as a lab­o­ra­tory of ideas, a cre­ative studio, a pub­lishing house and a con­sulting agency.
    Rich with a net­work of cre­ative people and mul­tiple col­lab­o­ra­tions, Parties Prises puts its exper­tise in Story Telling, artistic direc­tion and dig­ital com­mu­ni­ca­tion at the ser­vice of insti­tu­tions, com­pa­nies and brands by pro­moting a panoramic vision of a changing era per­petual.
    Through col­lec­tive exhi­bi­tions such as Shelves exhi­bi­tions, work­shops - work­shops, round tables - talks - and print and mul­tiple edi­tions of artists, Parties Prises offers tools of reflec­tion allowing to define con­tem­po­rary issues that are part of a cre­ative pro­cess to the pro­duc­tion of con­tent with a real bias.

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    THURSDAY DECEMBER 13, 7:00 PM

    Céline Gillain - Live
    Drama DJ’s

    Invited by Mélanie Matranga, Céline Gillain will per­form a live at Villa Vassilieff.


    credits: Mélanie Matranga

    Céline Gillain is an exper­i­mental artist living in Brussels. Her work is a hybrid com­bi­na­tion of cor­rupted pop songs, fem­i­nist sci-fi, dark humour, story telling.
    Her first album ‘Bad Woman’ is out on Parisian new record label Drama on December the 12th of 2018.

    More infos on the record

    PAST EVENT

    SATURDAY SEPTEMBER 29, 3:30 PM

    Launch of the book Sophie Podolski, The Country Where Everything is Permitted and con­ver­sa­tion between Caroline Dumalin (editor and curator, WIELS, Brussels) and Salome Schmuki (graphic designer).

    Cover, Sophie Podolski, The country where everything is permitted / Le pays où tout est permis, WIELS, Mercatorfonds, 2018

    Two months after the exhi­bi­tion Sophie Podolski : The Country Where Everything is Permitted, the Villa Vassilieff is delighted to meet the work of the artist again at the time of the launch of the epony­mous edi­tion pub­lished by WIELS in Brussels.

    Sophie Podolski (1953-1974) was an artist and poetess who pro­duced a remark­able body of graphic work during her brief yet tumul­tuous life. The exhi­bi­tion pre­sents a selec­tion of her draw­ings and the orig­inal manuscript of her book The Country Where Everything Is Permitted (1972), emblem­atic of a time marked by sexual lib­er­a­tion, antipsy­chi­atry and youth dis­en­chant­ment in the wake of May ’68. She wrote in an expres­sive, provoca­tive and unin­hib­ited style about her per­sonal life, pop­ular cul­ture and con­formist society, which raised the interest of the Parisian lit­erary avant-garde. Her visionary lan­guage, in which writing and drawing were inex­tri­cably inter­twined, made her the unique voice of a coun­ter­cul­ture that cel­e­brated exper­i­men­ta­tion, imag­i­na­tion and the explo­ration of con­scious­ness. The WIELS then the Villa Vassilieff wel­comed this work never inte­grated into the world and the his­tory of art until now to give it to see in the light of our pre­sent, while leaving its char­ac­ter­istic unseiz­ability.

    This is the first major pub­li­ca­tion about the work of Belgian poet and artist Sophie Podolski (1953–1974), who has lin­gered in obscu­rity since her untimely death. It fea­tures a gen­erous selec­tion of pre­vi­ously unpub­lished draw­ings and texts, as well as explo­rations of Podolski’s per­sonal mythology and of her place in the coun­ter­cul­ture of the late 1960s and early 1970s by authors Jean-Philippe Convert, Caroline Dumalin, Chris Kraus, Lars Bang Larsen, and Erik Thys.

    Pages 52-53, Sophie Podolski, The country where everything is permitted / Le pays où tout est permis, WIELS, Mercatorfonds, 2018

    On this occa­sion, the edi­tion will be avail­able for sale at a price of 25 euros.
    Softcover, 18.8 x 27 cm, 144 pages
    Published by: WIELS and Mercatorfonds
    Edited by: Caroline Dumalin
    Designed by: Salome Schmuki
    Languages: French/English
    Print run: 1,500

    Pages 86-87, Sophie Podolski, The country where everything is permitted / Le pays où tout est permis, WIELS, Mercatorfonds, 2018

    Caroline Dumalin is a curator at WIELS Contemporary Art Centre in Brussels, where she curated, among other things, the solo exhi­bi­tions of artists Vincent Meessen, Sophie Podolski, and Hana Miletić.

    Salome Schmuki is a graphic designer living and working in Brussels and St. Gallen Switzerland. She studied at the Hochschule der Künste in Zurich, CH, and the Gerrit Rietveld Akademie in Amsterdam, NL. Following her studies, Schmuki was a Researcher in the design depart­ment at the Van Eyck, Maastricht, NL, from 2007–8. She has been working on own self ini­ti­ated pro­jects con­nected to lan­guage and dyslexia. In 2013, Schmuki won the Prix Fernand Baudin for her book Dyslexia – chunking along a straight line – at the crossing turn left (Van Eyck, NL, 2013). She has designed many artists books, and in 2014 received the Most Beautiful Swiss Book prize for Ear Lights, Eye Sounds by Andy Guhl (Edizione Periferia, CH, 2014). Selected exhi­bi­tions include Kunstmuseum St. Gallen, CH, Mukha Antwerpen, BE, and Fundació Antoni Tàpies, ES.

    FRIDAY OCTOBER 5, 6:30 PM

    At the invi­ta­tion of Mélanie Matranga, Marie Canet pre­sents her last pub­li­ca­tion, Juntos en la Sierra, Speech Act, iden­tité et glob­al­i­sa­tion at the Villa Vassilieff - Pernord Rucard Fellowship. On the occa­sion of this event, two videos of A.M Baggs and Martha Rosler, linked with the author’s research, will be shown in the exhi­bi­tion space. After the screen­ings, Mélanie Matranga will put some music on and the con­ver­sa­tion will con­tinue over a drink.

    Marie Canet, Juntos en la sierra, Speech Act, iden­tité et glob­al­i­sa­tion at the Shelter Press Editions

    This essay offers to think the way beings up to then deprived from rep­re­sen­ta­tion tools seized visu­al­izing tech­nolo­gies to pro­duce protest and sol­idary state­ments. The con­tex­tual issue of those hack­ings is the pro­duc­tion of alter­na­tive and sol­idary know­eldge devel­oped from the lin­guistic, sexual, bio­logic and geo­graphic mar­gins of his­tory.

    Marie Canet is critic and curator. She col­lab­o­rated with insti­tu­tions as the Musée d’Art et d’Histoire du Judaïsme (Paris), Flat Time House (London), the Credac (Ivry), the Frac Aquitaine (Bordeaux), the Tate Modern (London) or the Centre Pompidou (Paris)... She is a member of CaroSposo, a col­lec­tive spe­cial­ized in cinema and per­for­mance. She teaches aes­thetics at the Ecole des Beaux-Arts de Lyon and holds a the­o­r­ical sem­inar at the Arts Décoratifs in Paris. She is cur­rently working on the writing of a mono­grah ded­i­cated to Eliane Radigue’s work, and another about Marc Camille Chaimovicz’s work.

    Projections :
    A.M Baggs, In My Language (2007, 8:37min)
    Martha Rosler, How Do We Know What Home Looks Like? (1993, 31:18 min)

    A.M Baggs, In My Language (2007, 8:37min) :

    Posted in 2007 on the Youtube plat­form by the activist A.M Baggs, In my Language is both a video and a man­i­festo that opens con­cretly the ques­tion of iden­ti­tary attach­ments and marginal lin­guistic prac­tices, in the trans-spaces of glob­al­i­sa­tion. A.M Baggs, as an autistic person, cam­paings for the con­sid­er­a­tion of sub­al­tern out­looks and the prac­tising of dif­ferent knowl­edges. The movie, shot in the familiar set­ting of a home, allows A.M Baggs to developp a con­tex­tual and envi­ron­mental way of com­mu­ni­cating that goes through the direct con­tact with the mate­ri­al­i­ties that sur­rounds it. She sings, makes the house sing as well as the objects around it.

    Martha Rosler, How Do We Know What Home Looks Like ? (1993, 31:18 min) :

    Made in 1992 by American artist Martha Rosler, How Do We Know What Home Looks Like ? is shot in Firminy in the French depart­ment of la Loire at the occa­sion of the exhi­bi­tion "Projet Unité", held the same year by Swiss artist Christian Philipp Müller and curator Yves Aupetitallot. The sub­ject of this movie is an "Unité d’habi­ta­tion" (Housing Unit) by Le Corbusier that was opened in 1967, seven years after the death of the archi­tect. Built at first to adress the needs of the con­stantly increasing pop­u­la­tion, this Unit will even­tu­ally only be par­ti­cally occu­pied, which leads to the closing of the North wing in the 1980’s. Secluded of the city center, "L’Unité d’Habitation" of the Corbusier is inhab­ited by frail pop­u­la­tions (single mothers, stu­dents, immi­grants, eldery people). In her movie, through visitis and meet­ings, Martha Rosler brings face to face the Corbusean ideal and the reality of the social and domestic life in the area. Taking place in the middle of the social turning point of art, this art­work by Martha Rosler con­tributes to an exhi­bi­tion type which will be defined in 1993 by Claire Bishop as "site-specific".

    For this occa­sion, Marie Canet’s book will be avail­able for sale at the cost of 12 euros.

    Marie Canet, Juntos en la sierra, Speech Act, iden­tité et glob­al­i­sa­tion
    Shelter Press, 2018, French edi­tion
    Soft-cover, per­fect binding
    14 x 21 cm, 80 pages
    Text : Marie Canet
    Illustration : Albane Duvillier
    Graphic design : Bartolomé Sanson

    Albane Duvillier, 2018

    SATURDAY NOVEMBER 24, 4:00 PM

    Les Siestes électroniques at Villa Vassilieff #2
    Les Siestes and la Villa Vassilieff-Pernod Ricard Fellowship pre­sent :
    Playlist for a Parisian art center vol. 02 by Orange Milk Records

    While we spend most of our time lis­tening to "indi­vid­u­al­ized" playlists depending on our "moods", how can we pro­pose a playlist adapted to a col­lec­tive lis­tening within a con­tem­po­rary art exhi­bi­tion ?

    Niether a back­ground music, nor a sound design, and not a per­for­ma­tive event, the playlist exer­cise wants to be a semi-domestic expe­ri­ence of lis­tening, that seems fit­ting to the inti­mate con­text of the Villa Vassilieff.

    To put together this orig­inal playslist, we invited the American label Orange Milk Records whose pop cat­alog swing between the ele­giac, the dans­able and the con­tem­pla­tive, and takes unde­ni­ably part of the zeit­geist of the 2010s.

    🍊http://www.oran­ge­mil­kre­­cords.com
    🥛https://oran­ge­mil­kre­­cords.band­­camp.com

    Facebook event
    Free Entrance

    SATURDAY DECEMBER 1, 4 PM

    EAAPES #2
    Exploration of Alternative Alternatives of Extra-Solar Provenance, Launch EAAPES Reader #2 and con­ver­sa­tion with Charlotte Houette and Clara Pacotte
    Free entrance
    Event in French

    Invited by Mélanie Matranga, Clara Pacotte and Charlotte Houette pre­sent the Reader EAAPES #2 at Villa Vassilieff- Pernod Ricard Fellowship. On this occa­sion, texts will be read by Helena de Laurens.

    EAAPES is a research group led by Charlotte Houette and Clara Pacotte in the Cheapest University. The reader 344P35#2 par­tic­i­pates in a group research around the ques­tion of queer and fem­i­nism in the science-fic­tion lit­er­a­ture. He regroups the trans­la­tions of doc­u­ments from the new Sisters of the Revolution col­lec­tion: inter­views, orig­inal and con­tem­po­rary texts, fic­tion extracts, and the­o­ret­ical essays. All the texts are pub­lished in their orig­inal lan­guage and trans­lated to French, since one of their main pre­oc­cu­pa­tions is acces­si­bility. The texts are con­sid­ered as ref­er­ences, a source of reflec­tion on the ques­tions of the hybrid bodies, inclu­sive lit­er­a­ture, vari­ance in genres, and utopian and dystopian social pro­jec­tions.

    credits: Mélanie Matranga