(1979 Paris, lives and works in Berlin and Trondheim)
His exclusively video, editorial and photographic works gathers or produces narratives on politics of memories, migration or architecture since many years. The photographic series and book "Where is Rosa L." (2001-2006), for example, was the study of the traces or ghosts of various political regimes in Berliner public spaces. His films or installations, using diverse documentary, fictional or essayist forms deal also with social and political issues of the day such as immigration and post-colonial issues in France (Trappes, Ville Nouvelle 2003; Cooperative 2008). Recent films lead him to work in Budapest (national motives 2011), in french students´ strikes situations (the indians 2011), in China (The exchange of perspectives 2011), in Rio de Janeiro around the social housing complex Pedregulho (Minhocão 2011) and in the Brazilian Positivist Church (Amor e Progresso 2014) or in Brazil around Quilombola communities (Remanescentes 2015). His work includes also collaboration projects such as the films Prvi Deo and Red Star (2006) with Florence Lazar and the project Cooperative (2008) with Bouba Touré.
Since 2001 his work has been shown in several international video and film festivals (FID Marseille (FR); Hotdocs Vancouver (CA); Zinebi Bilbao (SP); Berlinale (G); Doc Lisboa (PR); Forum Doc (BR); Nuit Blanche (FR); Documentary Forum (G); Rencontres Internationales; Arsenal Kino Berlin (G); Saison Video, Lille (FR); Underdox München (G), as well as in art centers and museums including: Kunsthalle Budapest; Centre Georges Pompidou; Rennes Biennale; Art Center Les Eglises Chelles (FR); Art Center Passerelle Brest (FR); Espace Khiasma (FR); Casa Encendida (SP); CPIF (FR); Uqbar (G); CHB (G); Kunstraum Kreuzberg (G); MAM Sao Paulo (BR); MIS (BR); MCA Chicago (US); Savvy Contemporary, Berlin (G); Contemporary Art Center Huarte (SP); NGBK (G); Halle Für Kunst Lüneburg (G); General Public, Berlin (G).
COLLECTIVITIES IN BECOMING
Collectivities in becoming aggregate and create interdependencies, like images and sounds in a film, members of a cooperative or ecosystems. Their motion is non-essentialist, generative, and implies definition of futurity, potentiality, time and history and an existential way of dealing with politics.
Collectivities in becoming is an artistic investigation, with the means of texts, films, archival researches and presentations or exhibitions, of collective forms – encompassing humans and non-humans protagonists, multiple territories and archives – that resist towards bio-political commodification, identification, representation and taxonomy by states politics, techno-sciences and therefore create a movement of decolonization and possible mode of empowerment.
Images themselves will be considered as collectivities, as actor and network in moving processes of appearance and disappearance for their own survival.
A theoretical post-colonial and eventually post-human approach will lead the researches to focus on mutation and “creolization” of these processes, which implies a becoming-animal or to discover the other in oneself rather than to insist on the colonizer/colonized binomial and narcissist cultural/political differences (Deleuze/Guattari; Viveiro de Castro; Edouard Glissant).
How could we think of images production, that tends to care or create relations to human or non-human collectivities, without giving to their agencies a too simplistic intentionality and rather support their contingency resistance? Does artistic practices have this capacity and will of being a “spoke person” in the edification of a collective (Alfred North Whitehead ; Bruno Latour)? Or are they rather instruments that would reveal the unseen and the unspoken of entanglements through the mean of time, bringing something from the past or from an unfold materiality into an actuality? How much techno capitalism and the new era of digital and algorithmic computation, informs the experiments and the use of certain instruments in science as in film practice and our understanding of non-human agencies?
Two works in progress, Cooperative and Remanescentes, consider the existential and empowerment processes of two collectivities in becoming of the African Diasporas within the means of documentary practices and text production : The agricultural cooperative of Somankidi Coura in Mali and the afro-brazilian quilombola communities in Brazil. Both have singular relations to post colonial states ‘politics, to vernacular or global technologies, representational politics and share definitions of futurity, ecologies and affects that will need to be understand in their partial and multi-situated differences. Both adopted along their history the survival strategy of fireflies: their capacity of appearance and disappearance, to territorialize and deterritorialize, to produce minor lights to communicate and create revolutionary communities of desire in a diasporic panafrican context.
Moreover, The Bay, a new collaborative project with the theatre company Kaddu Yaraax in the Bay of Hann in Dakar, will deal similarly with chemical waste, fishes and fishermen, their agencies and their translation to local politics with the means of the Theatre of the Opressed and moving images. The rocks and the fungi collective, a research that wish to be held in collaboration with specific science departments of the NTNU, will consider the politics and agencies of the rather non-human collective of fungis, its translation in sciences and techno capitalism as well as its chemical and semiotic entanglements with images production, humans, rocks and other beings.