Manifesta 13 Marseille - Final Report - Booklet 3

The European Nomadic Biennial Manifesta takes place every two years in a different European city. The biennial rethinks the relations between culture and society, investigating and catalysing positive social change in Europe through contemporary culture in a continuous dialogue with its host city and its citizens.

Booklet 3

Traits d’union.s Venues, Projects, Programmes and New Commissions

INITIATING PARTNERS

INITIATING PUBLIC PARTNERS

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By taking the Condicio Marseillaise as its starting point, Manifesta 13 Marseille set rela tionships into play between its local and international participants. Though Marseille’s conditions are truly special, they also relate to similar conditions elsewhere in the world. Consider the housing crisis, the ecological crisis, prevailing social inequalities or indeed the pandemic that connected us all. If Manifesta 12 Palermo had spoken about cultivating co-existence, then Manifesta 13 Marseille asked: How can we not only co-exist, but actually come together, create new forms of solidarity, a new sense of community?

At a time when social and political institutions were being tested and contested often from the di erent sides of the political spectrum, Manifesta 13 Marseille infused existing institutions with di erent voices, temporarily expanding their narratives outwards and inwards, activating the possibilities that these institutions might still hold, leaving them more permeable, maybe more vulnerable and better equipped to speak to some of the challenges of our current predicament.

Traits d’union.s translates as a hyphen: as a mark linking two elements, bringing together two di erent words without assimilating them into one.

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Traits d’union.s is a form of coming together.

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Traits d’union.s allies within di erences: languages, stories and spaces that allow for forms of deviance and discrepancy.

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Traits d’union.s goes beyond the centrality of the human subject, instigating new forms of care and responsibility.

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Traits d’union.s is many and has many identities.

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Traits d’union.s is Us not I.

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

↘Tuan Andrew Nguyen, Crimes of Solidarity, 2020 ©VOST COLLECTIF / Manifesta 13 Marseille

PLOTS & PARTICIPANTS

THE HOME

Rentals, Experiences, Places

Venue: Musée Grobet-Labadié, stage PARC LONGCHAMP

Satellites: Bel Horizon, Cité Radieuse, Hôtel Dieu Intercontinental

In an age of mass migration caused by climate change, war, totalitarian regimes, genocide and gentri cation, housing has become one of the major global challenges.

For too many, it has become increasingly di cult to nd a safe place to live, and virtually impossible to own a home. Yet having a home — or just a safe place — is the precondition for rehearsing new forms of communality, equality, care and indeed love.

In Marseille, the consequences of the global housing crisis are clear and present. Nonetheless, numerous local associations have been working toward better living conditions and increased rights for migrants in recent years. Thus, the idea of home is constantly being renegotiated at the crossroads between displacement and belonging.

Musée Grobet-Labadié is one of many historic bourgeois homes that were transformed into a museum in the hope of giving us a clearer idea of “our” social history. It is a powerful political time machine that immerses you in a life lived at di erent times, in a home di erent to your own.

But could this time machine also help us see a di erent past and envision a more communal future? Can it be repurposed to generate a more collaborative plan?

The threads of this plot are woven throughout the city: L’Unité d’Habitation by Le Corbusier in the south, Bel Horizon residential condominium at the entrance to the northern neighbourhoods and the hotel Hôtel Dieu Intercontinental.

Participants: Black Quantum Futurism* (Collective, US), Martine Derain* (1960, FR), Lukas Duwenhögger (1956, DE), Jana Euler (1982, DE), Ken Okiishi* (1968, US), Cameron Rowland (1988, US), Reena Spaulings (Collective, US), Arseny Zhilyaev*(1984, RU), Samia Henni* (1980, DZ), Noailles Debout (Collective, FR).

THE REFUGE: WAITING FOR NEW BEGINNINGS Venue: Musée Cantini

Following the Nazi occupation of France in 1940, communists, Jewish residents and members of the Resistance sought refuge at a local chateau run by the American journalist Varian Fry. In the middle of the war, Villa Air-Bel had been the temporary home of some of the 20th century’s most prominent artists and thinkers, including Wifredo Lam, Jacqueline Lamba, Victor Serge, Anna Seghers, Max Ernst, Hannah Arendt, André Breton, Claude Lévi-Strauss and Marcel Duchamp, among many others. For a short time, it was a safe haven where political dissidents, united in uncertainty and suspended in time, engaged in playful artistic experiments to cope with their bleak realities, while they awaited the arrival of documents that would let them escape to the Americas. Today, little remains of this wartime sanctuary: no monuments, no reminders.

Over the past decades, the Musée Cantini has amassed an amassed a large collection collection of images depicting Marseille’s Pont Transbordeur, a bridge built in 1905 to transport people and commodities from one side of the port to another. In 1944 it was destroyed by Nazis in an attempt to foil the liberation of Marseille. Now, it continues only in the city’s collective memory.

The Refuge: Waiting for New Beginnings takes these two historical precedents as its starting point for telling stories about forms of isolation and refuge. It imagines how building new connections or bridging social and geographic divides could open portals to di erent worlds, helping us move beyond the structures that have come to dominate our reality.

Participants: Hannah Black (1981, GB), Lynn Marie Kirby (1952, US), Marc Camille Chaimowicz* (1947, FR), Trinh T.Minh-ha (1952, VN).

With historical works by: Antonin Artaud (1896-1948, FR), Victor Brauner (1903-1966, FR), André Breton (1896-1966, FR), Anita Conti (1899-1997, FR), Frédéric Delanglade (19071970, FR), Oscar Dominguez (1906-1957, FR), Max Ernst (1891-1976, DE/FR) Florence Henri (1893-1982, US), Jacques Hérold (1910-1987, RO), Germaine Krull (1897-1985, DE/ FR/NL), Wifredo Lam (1902-1982, CU), Jacqueline Lamba (1910-1933, FR), Ergy Landau (1896-1967, HU/FR), Bovis Marcel (1904-1997, FR), André Masson (1896-1987, FR), László Moholy-Nagy (1895-1946, HU/US), George Platt Lynes (1907-1955, US), Théodore Louis Auguste Rivière (1857-1912, FR), Louis-Mathieu Verdilhan (1875-1928, FR).

THE ALMSHOUSE: THE ODD, THE POETIC AND THE POSSIBLE Venue: Centre de la Vieille Charité

The Almshouse: The Odd, The Poetic and The Possible looks and listens to Marseille’s multi-layered linguistic landscape. It explores the city’s complex cultures and their often-competing narratives. The unexpected breaks and the occasional poetic resonances between them. The dialects, if you like, that form and inform the multiple identities of Marseille. Much like language itself, La Vieille Charité has ful lled many con ning functions throughout its life: an almshouse, an asylum, a hospital, a cloister and now several

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

museums. It was once the architectural embodiment of Marseille’s social immunology. In other words, it was a place designed to con ne anyone who threatened to contaminate the social body: the homeless, the beggars, the prostitutes, the mad and the poor.

The Almshouse: The Odd, The Poetic and The Possible brings together the historical spectre of contamination with poetic incursions into the institution of language: a place to listen with your eyes and see with your ears. It re ects the emergence of hybrid voices and subjectivities, intermingling in de ance of a puri ed body politic.

Participants: Anna Boghiguian* (1946, EG), Aoziz* (Béatrice Pedraza, Ludovic Mohamed Zahed, Andrew Graham) (Collective, GB / FR), Judith Scott (1943-2005, US), Dennis Cooper and Gisèle Vienne (1953, US / 1976 FR, AT), Pauline Curnier Jardin (1980, FR), Lionel Soukaz (1953, FR), Reena Spaulings (Collective, US).

With historical works by: André Acquart (1922-2016, FR), Antonin Artaud (1896-1948, FR), Roland Barthes (1915-1980, FR), Georges Bataille (1897-1962, FR), Walter Benjamin (18921940, DE), Leonora Carrington (1917-2011, UK), Pierre Guyotat (1940-2020, FR), Arthur Rimbaud (1854-1891, FR), Hélène Smith (1861-1929, CH).

THE PORT: WHERE HISTORIES LIE

Venue: Musée d’Histoire de Marseille

Satellites: Centre Bourse, Métro Noailles, place des Capucins

The Musée d’Histoire de Marseille is a singular space, nestled between a shopping centre and the garden of vestiges, between the Old Port and the Belsunce neighbourhood. Neither here nor there, it is a space in-between antiquity and the present, in-between preservation and consumption, a space where 2600 years of stories are shared and sometimes erased.

Starting from the city’s earliest settlements to its most recent urban developments, the histories of Europe’s oldest port city have always been shaped by trade. Situated between the imperatives of global economics and local struggles, its urban centres have subsequently emerged as intractable sites of con ict and compromise. In recent years, the ways collective memories are shared in public spaces have become increasingly contested.

The Port: Where Histories Lie explores some of the political implications of selective historical narration. Here, the objects and o cial narratives enshrined in the Musée d’Histoire de Marseille are interwoven with conversations and memories of Marseille’s inhabitants. Taken together, they paint the city as a hybrid territory, a kind of cultural carrefour.

Participants: Yassine Balbzioui* (1972, MA), Samia Henni* (1980, DZ), Sara Ouhaddou* (1986, FR/MA).

THE PARK: BECOMING A BODY OF WATER

Venues: Musée des Beaux-Arts, Muséum d’histoire naturelle, Consigne Sanitaire

Satellite: Citerne des Moulins

Water ows through our bodies and our cities. Any water spilt here will inevitably be drunk elsewhere. Its movements are transnational, trans-species and trans-corporal. It binds us to a complex ecology spanning the entire planet. Port cities like Marseille have always been structured by comings and goings, ebbs and ows. Positioned on the frontline of the ecological emergency, these cities are especially suited to nurturing a new sense of

our interconnectedness and the new forms of responsibility that must emerge. The Park: Becoming a Body of Water takes the fountains anked by two connected museums — the Musée des Beaux-Arts de Marseille and the Muséum d’Histoire Naturelle — as a symbol of transformation and interconnectedness. Flowing outwards, it encompasses the Palais Longchamp, a former palace celebrating the arrival of drinkable water, the Consigne Sanitaire built in the 17th century to examine sailors arriving in Marseille for signs of infectious disease and the forgotten Citernes du Moulin in Le Panier.

Like the water coursing through these buildings, The Park: Becoming a Body of Water dissolves the simplistic binaries between nature and culture, sentient and non-sentient, proposing de-colonial ecologies that reveal the complex inter-dependencies between all forms of life, from humans to algae.

Participants: Minia Biabiany (1988, FR), Center for Creative Ecologies* (Isabelle Carbonell, Hannah Meszaros Martin, T. J. Demos) (Collective, US) in collaboration with Collective Ñambi Rimai, Yesica Florez Arroyo and Edinson Arroyo Mora), Ali Cherri* (1976, LB), Peter Fend* (1950, US), Mathieu Kleyebe Abonnenc (1977, GF), Amy Lien & Enzo Camacho* (1987, US / 1985, PH) (Citerne des Moulins), Reena Spaulings (Collective, US).

THE SCHOOL: THE SONOROUS, THE AUDIBLE AND THE SILENCED

Venue: Le Conservatoire National à Rayonnement Régional Satellites: Bar Le Perrin, Chez Fun Funk, La Brasserie Communale

For two centuries, the Palais des Arts has been home to many of the city’s educational and cultural institutions: museums, libraries, archives, ballet and now a music school. Throughout the building, rehearsals can be heard, coming from di erent rooms and resonating through its walls—at times clearly audible, at others silenced. The School: The Sonorous, The Audible and The Silenced unfolds throughout the building’s neo-classical architecture encapsulating some of its previous functions. Simultaneously charged with the potentialities of the past, it becomes a multi-layered sonic space where works in progress are paralleled by virtuoso performances.

For most of human history, creating, performing and listening to music has been a social activity. Over the past 400 years, orchestral music has developed its own set of governing principles. One might even think of the orchestra, soloist and conductor as composing one social body with clear hierarchies, rules and scripts. But it is not without its own historical and ideological tensions: between discipline and spontaneity, between individualism and collectivity. What does it mean to act in concert? How can we imagine a social virtuosity?

Participants: Yalda Afsah* (1983, DE), Mounir Ayache* (1991, FR), Mohamed Bourouissa* (1978, DZ/FR), Julien Creuzet* (1986, FR), Benjamin de Burca & Barbara Wagner* (1975, DE / 1980, BR), Ymane Fakhir* (1969, MA), Tuan Andrew Nguyen* (1976, VN), Reena Spaulings (Collective, US).

At the satellites from the 11th of September on: Calla Henkel & Max Pitego * (1988, US / 1987, US), Philippe Pujol* (1975, FR), Sara Sadik* (1994, FR).

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

QUOTES FROM PARTICIPANTS

“My project revolved solely around a collaboration with a group of undocumented migrants who were under threat of eviction from their squat by the state. The idea that solidarity and banding together is a form of resistance resonated strongly in the project. Manifesta 13 happened during the rst year of the pandemic, which added extreme pressure to the people at Squat St-Just, as well as to the project. Without the perseverance and dedication of the Manifesta team working on the ground, the project (and the biennial) would have been impossible to realise. The team’s dedication to understanding the stakes at play were essential to both my project and to the biennial as a whole. Solidarity became essential, not only as a concept explored in the project, but as a tool to connect and actualise.”

TUAN ANDREW NGUYEN

“The Manifesta team met me at the workshop of La Friche, during the summer of 2019. I then became a permanent “resident” of the Musée d’Histoire de Marseille, whose team welcomed me to conduct my research directly with its curators. I literally designed the work in the museum, in consultation with the teams who had worked on the excavation. For over a year, it was a perfect immersion for me. I was very lucky to really be able to do my whole project. I had time to address and explore all aspects of it.”

SARA OUHADDOU

“I was very happy in this experience to work with the director of the Musée des Beaux-arts de Marseille who was really welcoming and open to all my ideas, even the idea of bringing a tiger to his museum. It was also a very positive experience to work with the Manifesta team. The production team was always there and present despite all the di culties during this very special year. The human relationships with the people I was able to work with is what I remember most.”

ALI CHERRI

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

↘French artist Mounir Ayache in his studio at at Triangle-Astérides, Marseille, 2020 ©Manifesta 13 Marseille

Traits d’union.s, Manifesta 13’s externally curated programme, unfolded in six plots across the museums of Marseille and other unexpected venues such as the Conservatoire National à Rayonnement Régional, the Citerne des Moulins in the Panier neighbourhood and the Consigne Sanitaire at the emblematic Vieux-Port. The museums of Marseille, Manifesta 13’s main partner, housed ve out of the six Traits d’union.s plots: the Musée Grobet-Labadié, the Musée Cantini, the Centre de la Vieille Charité, the Musée d’Histoire de Marseille, the Muséum d’histoire naturelle and the Musée des Beaux-Arts.

Traits d’union.s continued in satellite venues across the city in Bel Horizon, at the Intercontinental Marseille Hôtel Dieu, at Centre Bourse, at the Place des Capucins in Noailles, at Bar Le Perrin, at Chez Fun Funk and at the Brasserie Communale.

Le Tiers Programme presented its projects Invisible Archives at Tiers QG and GROUP-THINK at Coco Velten.

CONSIGNE SANITAIRE

During Manifesta 13 Marseille, the Consigne Sanitaire explored and interrogated themes and issues related to ecology, including: the e ects of climate change, the impact people have on the planet, bio-ecologies and circular economies. Situated at the entrance of the Vieux Port, the Consigne Sanitaire was built in 1719 by French engineer Antoine Mazin. It housed the sanitary control of all boats and sailors entering the port of Marseille. Throughout Marseille’s history, the city has been a major maritime trading centre in the Mediterranean and was consequently often a gateway to epidemics. One way to control the spread of diseases was to inspect ships as they entered the port and place any suspected infectious individuals in quarantine. Despite the controls imposed by the Consigne Sanitaire, Marseille was hit in 1720 by a plague epidemic that killed more than 400,000 inhabitants in the region. Medical progress and the development of travel by plane in the 20th century led to the closure of the Consigne Sanitaire in 1933. The building was classi ed as a national heritage site in 1949. The Consigne Sanitaire is a testimony to the period of great industrial activities in the port of Marseille.

LA CITÉ RADIEUSE

During Manifesta 13 Marseille, the Cité Radieuse explored and reimagined our contemporary notion of the Home. Built in 1952, the Cité Radieuse (the “radiant city”), is one of the famous unité d’habitation (housing block units) designed by the Swiss architect Le Corbusier. The Cité Radieuse was innovative at the time of its construction as it was an experiment conceived to be an actual village: in addition to the 337 apartments, there were interior streets with shops, o ces, a school, a gym and a swimming pool, some of which are still active today. It received a mixed welcome from local citizens many of whom called it “La Maison du Fada” (The Crazy’s house). Still inhabited, the Cité Radieuse has a 360 degrees rooftop, which became the MAMO in 2013, a modern art centre designed by Ora Ito. The Cité Radieuse was built on the principle of verticality, in contrast to the horizontal city and to favour the distribution of light. The building (along with all of Le Corbusier’s work) was classi ed as a UNESCO World Heritage site in 2016.

VIDEODROME 2

Throughout Manifesta 13 Marseille, Videodrome 2 presented a public programme consisting of lm screenings and other events. Videodrome 2 is a cinema, bar and lm rental shop located in the heart of Marseille. Run by SCOP DCA (Alternative Cinematographic Di usion) and the Solaris association, it o ers an alternative and experimental lm

programme. Its cinema has six weekly non-commercial screenings of original lms and its lm rental shop has a rental catalogue of over 5,400 lms from all over the world. The cinema’s programming is the result of a collaboration of a collective of professionals and enthusiasts from di erent backgrounds (the Goethe Institute, Image de Ville, L’Embobineuse, Data, Rencontres des Cinémas Arabes, etc.) The programming is organised in cycles and aims to make “heritage cinema” accessible while simultaneously celebrating contemporary creation.

BEL HORIZON

During Manifesta 13 Marseille, Bel Horizon explored and reimagined our contemporary notion of The Home. The Bel Horizon tower was built by architect Dunoyer de Segonzac in the third district of Marseille, St Lazare. It is an “Immeuble de Grande Hauteur” (skyscraper) composed of two residential buildings: Bel Horizon 1 built in 1956 with 76 apartments and Bel Horizon 2 built in 1962 with 57 apartments. Bel Horizon is part of a national programme of rehabilitation. Several cultural actors such as Les têtes de l’art have created participative artistic initiatives in Bel Horizon. Moreover, the building’s location and the remarkable views of Marseille have captured many lm directors’ attention to shoot scenes there.

MUSÉE DES BEAUX-ARTS DE MARSEILLE

During Manifesta 13 Marseille, the Musée des Beaux-Artsde Marseille, located in Palais Longchamp, investigated the relationship between culture and nature, whilst celebrating the multiplicity of identities. Inaugurated in 1869, Palais Longchamp was designed by the prominent architect Henri-Jacques Espérandieu, architect of Notre-Dame-dela-Garde. Restored between 1990 and 2019, it was built to house the Muséum d’histoire naturelle and the Musée des Beaux-Arts de Marseille. The museums ank a fountain that was built to celebrate the arrival of water in the Durance canal in Marseille in the second half of the 19th century. The interior decorations of the palace were made by major artists of the time such as Barye and Puvis de Chavannes. Musée des Beaux-Arts de Marseille is the oldest museum in Marseille, created in 1801. The collection spans all major European artistic movements from the 16th Century to the 19th Century: masterpieces from French and Italian schools of the 16th and 17th century, Northern schools of the 17th century, Provencal art of the 17th and 18th century, the French school of the 19th century and an array of paintings and sculptures of Pierre Puget, a leading French Baroque artist from Marseille.

MUSEUM D’HISTOIRE NATURELLE DE MARSEILLE

During Manifesta 13 Marseille, Muséum d’histoire naturelle, located in Palais Longchamp, investigated the relationship between culture and nature, whilst celebrating the multiplicity of identities. Muséum d’histoire naturelle covers an array of natural history disciplines and has a rich collection of botany, palaeontology, mineralogy and zoology. The historic and scienti c collection holds more than 1 million specimens.

PARK LONGCHAMP

During Manifesta 13 Marseille, Park Longchamp welcomed an installation by the collective Black Quantum Futurism as part of the plot The Home as well as the Sound Programme, organised in collaboration with Radio Grenouille.

MUSÉE GROBET-LABADIÉ

DuringManifesta 13 Marseille, Musée Grobet-Labadié explored and reimagined our contemporary notion of The Home Musée Grobet-Labadié was built in the 19th century by French architect Gabriel Clauzel for Alexandre Labadié, a wealthy local politician. The house was left to his daughter Marie Grobet, and her husband Louis Grobet, who subsequently acquired numerous artworks and pieces of furniture, ranging from the Middle Ages to the 20th century, whilst travelling through Europe. In 1919, after her husband’s death, Marie Grobet donated the private house and the collection to the city of Marseille. Situated next to Palais Longchamp, Musée Grobet-Labadié is a historic home which has been turned into a museum and therefore allows for visitors to gain a better understanding of the multiple layers of social history. This museum presents a 19th Century French a uent family’s domestic space that has been frozen in time.

MUSÉE CANTINI

DuringManifesta 13 Marseille, Musée Cantini was transformed into a space where the audience can explore the boundaries between art in the public space and private life, the ne arts and decorative arts, and between scholarly and popular culture. Musée Cantini is located in a historical mansion built in 1694 by the trading company Compagnie du Cap Nègre. Bought by the prominent local art collector and marble supplier, Jules Cantini in 1888, the house and its collection was

bequeathed to the city in 1916 to become a museum dedicated to modern art. The collection covers a vast period from 1900 to 1960, with important pieces of Fauvism, Cubism, Surrealism, Lyrical Abstraction and the Gutaï movement.

MUSÉE D’HISTOIRE DE MARSEILLE

During Manifesta 13 Marseille, Musée d’Histoire de Marseille elaborated and investigated on the diverse histories of the city. Founded in 1983, and renovated in 2013, Musée d’Histoire de Marseille was constructed after major archaeological nds were discovered when the site where the museum now stands was excavated for the redevelopment of the “Derrière la Bourse” district in the 1960s. Located next to the Old Port, the museum, that has a collection of more than 4000 pieces from the last 2600 years, presents the history of Marseille in 13 chronological sequences, ranging from the rst prehistoric occupations to contemporary urban developments.

CENTRE DE LA VIEILLE CHARITÉ

During Manifesta 13 Marseille, the Centre de la Vieille Charité looked at, and more im portantly, listened to, multi-layered linguistic landscape and the connections between social, cultural, mental and political alien ation. Situated in the heart of Le Panier, north of the Old Port, the Centre de la Vieille Charité was designed in the 17th century by the famous French architect Pierre Puget, as a shelter for homeless people, the poor and other marginal groups. It has had multiple roles throughout its history, from being a hospice for children and the elderly at the end of the 18th century to being transformed into an asylum, a military barracks and social housing. It became a National Monument in 1951 and was restored in 1961 and 1986. The Centre de la Vieille Charité has become a symbolic place in Marseille. A multi-disciplinary centre dedicated to arts and research, it now houses the Musée d’Archéologie Méditerranéenne; the Musée d’Arts Africains, Océaniens, Amérindiens; temporary exhibition rooms; the Centre international de poésie Marseille (cipM) and the Ecole des Hautes Etudes en Sciences Sociales

CENTRE BOURSE

During Manifesta 13 Marseille, Centre Bourse hosted the exhibition The Port: Where Histories Lie that explores the multiple histories of the city. Centre Bourse is a shopping centre built in 1977 and located in Belsunce, near the Old Port of Marseille. It houses roughly 70 shops across four oors. The Centre Bourse is built next to the Musée d’Histoire de Marseille, where the main exhibition is accessible via the shopping centre.

MARCHÉ DES CAPUCINS AND MÉTRO NOAILLES

During Manifesta 13 Marseille, the marché des Capucins and métro Noailles hosted the exhibition The Port: Where Histories Lie that explored the multiplicity of histories of the city. The marché des Capucins is a food market located in the heart of Noailles, a district of Marseille also known as “Le ventre de Marseille”. Founded in 1956, it is the cheapest food market in town. The marché is situated on a square where formerly a Capucins monastery was located. Built in 1579, the monastery welcomed the largest male religious community in Marseille and by the end of the 18th century, the monastery housed a sheet factory, a pharmacy, a botanical garden, a natural history collection and a cabinet of medals. In 1791, the monks were expelled, and the buildings and land were sold. The underground station Métro Noailles is located next to the market.

LE CONSERVATOIRE NATIONAL À RAYONNEMENT RÉGIONAL

During Manifesta 13 Marseille, Le Conservatoire National à Rayonnement Régional Pierre Barbizet (name of its former director) presented artistic interventions through sound, music, dance, body and game practices. The works and spaces revealed di erent functions for preserving knowledge, education and performativity. Le Conservatoire is located in the former Palais des Arts, designed in 1864 by Marseille’s leading architect Henri-Jacques Espérandieu, also known as the architect of Palais Longchamp, Notre-Dame-de-la-Garde and Cathédrale de la Major. The Palais des Arts was one of Marseille’s main cultural centres, hosting the Ecole des Beaux-Arts and the public library until the end of the 1960s. In 1973, the main building was assigned to the municipal archives and the annexes to Le Conservatoire. In 2001, the entire building became Le Conservatoire. Since March 2020, Le Conservatoire and the Beaux-Arts de Marseille have been brought together in a single public institution, the National Higher Institute of Artistic Education Marseille Méditerranée — INSEAMM. Situated in the centre of Marseille, le Conservatoire is a National music and drama school. It o ers a diverse range of classes for beginners to professionals, as well as a rich cultural and musical programme.

LA CITERNE DES MOULINS

During Manifesta 13 Marseille, la citerne des Moulins investigated the relationship between culture and nature, whilst celebrating the multiplicity of identities. La Citerne des Moulins is one of the ve water tanks which were built throughout Marseille in the 1850s to distribute water from the Durance Canal to the city. The main tank was located in Longchamps and was linked to the other urban tanks by a complex system of underground tunnels and wells. La citerne des Moulins was built underneath the place des Moulins,

one of the highest points of Le Panier, north of the Old Port. Constructed from small brick vaults resting on 160 pillars, it has the capacity to contain 12,000m3 of water. The roof was covered with a layer of topsoil about one meter thick to keep the water cool. No longer used for its original purpose, La citerne des Moulins is rarely open to public.

IMÉRA

During Manifesta 13 Marseille, IméRA hosted listening sessions and public discussions as part of the externally curated programme Traits d’union.s. Visitors and participants were invited to discuss and debate topics concerning contemporary creation in the Mediterranean region. IMéRA, Institute for advanced study of Aix-Marseille University, annually receives international researchers and artists-in-residence to undertake highly innovative interdisciplinary projects. The institute organises its work around four thematic programmes: Art, Science and Society; Global Phenomena and Regulations; Crossing paths: Exploring Interdisciplinarity and the Mediterranean programme. IMéRA is a meeting place between stories and research, imagination and critical thought and artists and researchers. The space encourages meetings, debates, collaborations and the exploration of new ideas.

L’INTERCONTINENTAL MARSEILLE HÔTEL DIEU

During Manifesta 13 Marseille, a suite in l’Intercontinental Marseille Hôtel Dieu explored and reimagined our contemporary notion of The Home as part of the externally curated programme Traits d’union.s. Located in Le Panier and overlooking the Old Port of Marseille, l’Intercontinental Marseille Hôtel Dieu is a 5-star hotel that opened in 2013. The hotel is located in a former hospital built in 1593 and extended in 1753 following the plans of

Dieu remained a hospital until 2006.

ESPACE MANIFESTA 13

Located in one of the most iconic historical and central buildings in Marseille, formerly known as “Espace Culture”, Espace Manifesta 13 was one of the leading hubs of Manifesta 13 Marseille. The space was designed for encounters and exchange, welcoming the neighbourhood and its habitants. This exible space hosted pre-biennial activities such as events including performances, screenings and talks, and was the main ticketing and infor mation o ce throughout the biennial.

MANIFESTA 13 MARSEILLE

architect Jacques Hardouin-Mansart. The Hôtel

TIERS QG

Tiers QG, the headquarters of Le Tiers Programme, the Education and Mediation programme of Manifesta 13 Marseille, is situated at Bernard du Bois square. This former snack bar next to a students’ dormitory was transformed into a space to welcome projects and people. From December 2019 until October 2020, Tiers QG housed The Invisible Archives, a year-long project of exhibitions and public programmes that told the stories of local resilience and community cooperation across Marseille. Tiers QG had an open space for projects, a shared space for workshops and gatherings, and a small shared garden. The complex transformation of the space was done by the students of the College of Arts and Design of Marseille (ESADMM) under the guidance of Cookies, a design and architecture studio based in Rotterdam.

COCO VELTEN

Coco Velten is a temporary occupation project in the former “Direction des Routes” on rue Bernard du Bois in Marseille. The Coco Velten project hosts more than 80 people in social residencies, and o ers workspaces to 40 associations, artists, artisans, social entrepreneurs and small businesses. Coco Velten also has a restaurant, archives and a roof terrace with a very diverse cultural programme. During Manifesta 13 Marseille and as part of Le Tiers programme, Coco Velten welcomed the installation GROUP-THINK by Stine Marie Jacobsen.

↘The bar Le Perrin, one of Manifesta 13 Marseille’s satellite venues, is a bar-restaurant located right next to Espace Manifesta 13, at the corner of La Canebière.

↘ Chez Fun Funk, one of Manifesta 13 Marseille’s satellite venues, is a café located right next to Tiers QG, in the Belsunce neighbourhood.

↘ La Brasserie Communale, one of Manifesta 13 Marseille’s satellite venues, is a bar, a local produce restaurant and a craft beer brewery. Located at Cours Julien, in the beating heart of Marseille, La Brasserie Communale also organises cultural events.

As part of the plot The School from the externally curated programme Traits d’union.s, those satellite venue were supposed to host the screening of Paradise by the artists Calla Henkel and Max Pitego (1988, US / 1987, US).

The screenings were partly cancelled due to the successive French lockdowns and closing of bars and restaurants throughout the country.

PROJECTS, PROGRAMMES AND NEW COMMISSIONS

04 PUBLIC PROGRAMME

The Public Programme of Manifesta 13 Marseille was inhabited by the Sonic, the Visual, the Poetic and the Political. It considered Marseille and the Mediterranean from multiversal perspectives as a place for the transfer of goods, people, knowledge and ideas in order to address the question: how to build future(s) and enable world-making on a more common and just basis?

The programme included a one-day intensive programme for thinking about restitution, repair and beyond at the Vielle Charité; a three-day series of encounters tackling questions around creative production in the Mediterranean in collaboration with IMéRA institute; Listening Sessions in collaboration with Radio Grenouille and a lm programme in collaboration with Vidéodrome 2.

It explored current discourses on responsibilities, shared histories, colonial heritage, ecology, reparation and restitution, modernisms, urbanity and their inseparable bond with capitalism and the current crises.

↘Listening Session #2 Une Méditerranée sonore by Radio Grenouille in collaboration with Samia Henni at IMéRA, September 2020 ©Manifesta 13 Marseille

↘Performance by Ymane Fakhir, 2020 at Conservatoire National à Rayonnement Régional ©VOST COLLECTIF

↘ Tracing Fractures — Across Listening, Movement, Restitution and Repair, series of rencontres at Centre de la Vieille Charité, Sept. 2020. ©VOST COLLECTIF / Manifesta 13 Marseille

↘ Les Traits d’union.s by Radio Grenouille with Jordi Colomer and Jean-Pierre Rehm, January 2020 at Espace Manifesta 13 ©Manifesta 13 Marseille

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

05 NEW COMMISSIONS

PLOT: THE HOME

VENUE: MUSÉE GROBET-LABADIÉ SATELLITES: BEL HORIZON, HÔTEL DIEU INTERCONTINENTAL

Courtesy Martine Derain. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille Martine Derain, Sans titre / Untitled, 2020 Site speci c installation at Musée Grobet-Labadié

The Belsunce district of Marseille is historically a place of arrival and transition of workers from North Africa, many of which continue to live there, often in dilapidated furnished hotel rooms. At the beginning of the 2000s, the municipality launched an urban renewal plan of which

they were the rst victims. Community and activist groups such as Un Centre-Ville Pour Tous then rallied to support them. Martine Derain brings together fragments of this history.

Photo ©Jeanchristophe Lett / Manifesta 13 Marseille Arseny Zhilyaev, The Keepers. One-dimensional Sphere Game — Les Gardiens. Jeu de sphère unidimensionnelle at Musée GrobetLabadié, 2020

In this installation the Russian artist Arseny Zhiyaev created a scenario in which futurism and football were combined. A costume display “commemorated” a football tournament from the dystopian future of Marseille, with teams including police, local residents, activists and

artists (groups often involved in con icts). The artist composed four poems in Russian then translated them into Arabic, English and French, and incorporated them into the team’s uniforms.

Arseny Zhilyaev, The Keepers, 2020

Mixed media installation at Intercontinental Hotel Dieu

Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

The installation presents fragments of a museum exhibition from a potential future. The costume display commemorates a football match from the dystopian future of Marseille, an ultra-defensive version of the game with only goalkeepers left. The teams are police, local

ict.

the 1950s, which is in need of renovation and the new luxurious rental experience of Hôtel Dieu Intercontinental.

residents, activists, artists — social groups often involved in con

These four sculptural displays are hosted by di erent institutions throughout the city: a historic 19th-century bourgeois home transformed into a museum; the residential skyscraper Bel Horizon from

Arseny Zhilyaev, The Gravity, 2020 Mixed media installation at Bel Horizon

© Arseny Zhilyaev. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

The Gravity is a participatory performance. The project developed out of Arseny Zhilyaev’s ongoing experiments with live action role-playing (LARPing) — a genre of real-life role-playing game where participants negotiate their actions according to a shared script.

In Alexandre Labadié’s former o ce, Black Quantum Futurism has installed a small sound station that functions as both a recording booth and an audio archive. Prompted by a brief questionnaire, visitors are invited to record their own visions for the futures of housing,

land and public space in Marseille. At the same time, the booth o ers memories of housing and land that may have been erased or are at risk of being erased from public memory.

Black Quantum Futurism, Oral Futures Booth, 2020 Interactive sound recording booth at Musée Grobet-Labadié

Courtesy Black Quantum Futurism. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

A Model Childhood is a meditation on the artist’s country of birth, the USA, as much as the concept of home itself. Stemming from Japan’s merchant class, Ken Okiishi’s paternal ancestors lived thoroughly transnational lives in the early 20th century. But during World War II,

they were forced to recon gure their identities when the US government decided to strip Japanese Americans of their rights and, in many cases, con ne them to concentration camps.

Ken Okiishi, A Model Childhood, (Telegram message, April 2020), 2020 Inkjet print

Courtesy Ken Okiishi. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

The history of housing in Marseille is intrinsically related to the history of its harbour, colonisation, labour force, migration and the rapid industrialisation and reconstruction e orts that followed World War II. Architectural historian and theorist Samia Henni invites visitors to pause and re ect on the various housing typologies of Marseille

Samia Henni, Right to Housing / Droit au logement, 2020 Trolley, mirror, oorplans at Musée Grobet-Labadié

Courtesy Samia Henni Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

which are not necessarily displayed in museums or given a forum in public institutions. Henni focuses particularly on shelters that host unhoused, badly housed and rehoused populations. Located in the antechamber of Musée Grobet-Labadié, Right to Housing confronts visitors with their own image, the villa’s interior and collections, and the

living spaces of those who might have worked for the Grobet-Labadié family. These spaces are presented on a freestanding mirror, in nitely re ecting in the villa’s built-in mirror, which testi es to the golden age of the European bourgeoisie.

Courtesy Hannah Black. Photo © Jeanchristophe Lett / Manifesta 13 Marseille

Hannah Black, Bastille, 2020 Bricks, pages. Installation at Musée Cantini.

Upon storming the Bastille, Arnoux de Saint-Maximin found a manuscript tucked into the walls of a prison cell. This text turned out to be the novel The 120 Days of Sodom by the Marquis de Sade — a scion of the aristocracy whose celebration of perversion ultimately cost him

his class. Hannah Black’s Bastille playfully reconstructs this anecdote in brick and paper, evoking both the autonomy of minimalist sculpture (Carl Andre) and the prison cell.

Courtesy Marc Camille Chaimowicz. Photo © Jeanchristophe Lett / Manifesta 13 Marseille

Marc Camille Chaimowicz, Stuart’s Way (a work in Progress), 2020

Video (shot on a Huawei P40 Pro), 27’07’’

Throughout the ground oor of the Musée Cantini, Marc Camille Chaimowicz has conceived a presentation that re ects on his time spent quarantining in his London home. Shot in the neighbouring Vauxhall Pleasure Gardens, his new lm Stuart’s Way is essentially a

‘home movie’. It draws on the formal genre of home movies, but also addresses the notion of home, of living space, of stage and décor, interiority and interiors, between model and representation, simulacra and the unexchangeable silence of private life.

05 NEW COMMISSIONS

PLOT: THE ALMSHOUSE

THE ODD, THE POETIC AND THE POSSIBLE VENUE: CENTRE DE LA VIEILLE CHARITÉ

AOZIZ’s performance at Centre de la Vieille Charité © AOZIZ.

Photo © VOST COLLECTIF / Manifesta 13 Marseille

Aoziz (Béatrice Pedraza, Ludovic Mohamed Zahed, Andrew Graham), AOZIZ 2020

AOZIZ

facilitate

is a network of inclusive houses founded by two live performance companies based in Marseille, L’Autre Maison and L’Atelier de Mars, as well as a humanities research organisation, the CALEM Institute. AOZIZ aims to stimulate new intercultural encounters and

alternative ways of being together. It looks at the language of inclusion within bodily practices and makes no judgment on what ideal bodies should be, but rather cultivates an aesthetic based on relationships.

Courtesy Anna Boghiguian. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Anna Boghiguian, Untitled 1, 2, 3, 2019 (re-enactment)

Cutting and mixed media on paper and wooden base and metal at Centre de la Vieille Charité.

In the chapel of the Vieille Charité, the Armenian-Egyptian-Canadian artist Anna Boghiguian envisioned a conversation between Clarice Lispector and Virginia Woolf — two writers who explored pictorial art within the semantic limits of literature.

05 NEW COMMISSIONS

PLOT: THE PORT WHERE HISTORIES LIE

VENUE: MUSÉE D’HISTOIRE DE MARSEILLE SATELLITES: CENTRE BOURSE, MARCHÉ DES CAPUCINS— MÉTRO NOAILLES

Courtesy Yassine Balbzioui. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Yassine Balbzioui, Ghostline, 2020

Wool carpets “Ait Ouaouzguite” exhibited at Centre Bourse.

Ghostline presented a series of seven handmade wool carpets, featuring scenes inspired by the Moroccan artist’s stay in Marseille and produced in collaboration with the women from Douar Taznakht area (High Atlas, Morocco). These works took the form of cinematic cut-outs,

with visible and invisible links between absurd, sarcastic scenes full of disguised characters. The scenes were particularly striking in contrast to the aesthetics of the mall in the centre of Marseille where they were installed.

During

his artistic residency, Yassine Balbzioui set up a workshop in the market of Place des Capucins: a crossroad of stories, encounters and tensions. The artist opened himself up to interactions and confrontations in order to construct narratives based on a combination of

Yassine Balbzioui, Embouteillages, 2020 Painting installation in the public space.

Courtesy Yassine Balbzioui. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

people’s stories and his own imagery. The characters and situations in his work are staged between ction, the absurd and the unusual.They combine hybrid, unconventional, heterogeneous and ordinary elements, all strongly anchored in the present. By forging links between

the visible and the invisible, Balbzioui’s works create spaces where anything is possible, bringing new perspectives and possibilities that are open to interpretation.

Courtesy Samia Henni. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Samia Henni, Housing Pharmacology, 2020

Prints, speakers, publication, clotheslines, clothespins, metallic props at Musée d’Histoire de Marseille

Based on various conversations with Marseille’s inhabitants after the lockdown was lifted in May 2020, Housing Pharmacology by Algerian artist Samia Henni explored the interface between the politics of healthcare and access to housing in Marseille’s neighbourhoods.

The exhibition examined the history of housing rights, including housing policies for migrant workers, among other related themes.

Ancestral methods of manufacture meet mass industrial production. Starting from the history of the oven of Sainte-Barbe, Ouhaddou takes us on a journey through her thoughts on the choice of the stories told and their development, the heritage of one of the rst tools for the

Sara Ouhaddou, Kiln with Islamic Technology — Ceramic with Oriental and African Origins – Production of Red Clay, 2020

Screenprints | Courtesy Sara Ouhaddou. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

industrial production of crockery and everyday objects, the physical limits of matter and the experimental dimension in the transmission of knowledge. By using the terminology used for some of the objects presented, the artist questions the choice of their names by making

large silk-screen prints in which the alphabets are mixed together to create a new and unique language. She covers the showcases, proposing an alternative, interrogative de nition that is open to visitors’ interpretations.

Je

ce

Installation at Musée d’Histoire de Marseille

In this installation the French-Moroccan artist Sara Ouhaddou created a ctitious storage space. She displayed Marseille soap, born from the various exchanges between Marseille and Aleppo. On the shelves, the artist re ected on the interdependence of knowledge in the Middle Ages between the Arab-Andalusian world and Marseille.

Sara Ouhaddou, I Give You Back What’s Mine / You Give Me Back What’s Yours, 2020 /Kiln with Islamic Technology — Ceramic with Oriental and African Origins — Production of Red Clay, 2020

rends

qui m’appartient Tu me rends ce qui t’appartient- I Give You Back What’s Mine You Give Me Back What’s Yours, 2020 © Sara Ouhaddou. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

05 NEW COMMISSIONS

PLOT: THE PARK BECOMING A BODY OF WATER

VENUES: MUSÉE DES BEAUX-ARTS, MUSÉUM D’HISTOIRE NATURELLE, CONSIGNE SANITAIRE

SATELLITE: LA CITERNE DES MOULINS

In its curatorial presentation, the Center for Creative Ecologies o ers two artistic case studies asking what kind of pluriverse is possible in the face of di erent kinds of socio-ecological violence? The rst study addresses the criminalisation of nonhuman life in Putumayo, southern Colombia by

Center for Creative Ecologies (Isabelle Carbonell, Hannah Meszaros Martin, T. J. Demos), War Ecologies, 2020.

Installation at Muséum d’histoire naturelle. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Hannah Meszaros Martin; the other considers sci- surrealism and extinction in Mar Menor, a saltwater lagoon in southeastern Spain, by Isabelle Car bonell. These comprise part of the Center’s ongoing research project Beyond the End of the World, which seeks out spaces of hope emerging

from geographies of despair. War Ecologies identi es not only neoliberal enterprises using climate breakdown to introduce authoritarian politics, but also the struggle — human and more-than-human — for ways to transcend the forces of socio-economic inequality and politico-environmental disaster.

Courtesy Ali Cherri. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Ali Cherri, The gatekeepers, 2020 Wooden poles, metal, taxidermy, woodcarving, various objects.

This project drew on the tradition of erecting totem poles at the gates of certain communities. Using gures inspired by the animal kingdom, the aquatic world and imaginary hybrid beasts, The Gatekeepers by Lebanese artist Ali Cherri welcomed visitors to the Musée des Beaux-

Arts de Marseille and o ered a tribute to the souls of all the animals lodged in the Muséum d’histoire naturelle, only a few steps away.

Courtesy the Muséum d’Histoire naturelle de Marseille and Ali Cherri. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille.

Ali Cherri, Tiger fed by a Raven after Giovanni Lanfranco’s Elijahfed by a Raven (1624 – 1625), 2020 Wood, metal, taxidermy

Courtesy Amy Lien & Enzo Camacho. Photo ©Jeanchristophe Lett Manifesta 13 Marseille

Amy Lien & Enzo Camacho, waves move bile, 2020 Mixed media installation, light and audio programming at La Citerne des Moulins

Through this project the American and Filipino artist duo Amy Lien and Enzo Camacho explored France’s colonial history. A series of lantern-like female gures, composed of organic matter, hung from the ceiling, evoking the Ahp, a female spirit of Cambodian folklore.

These gures were a contrasting echo of the monumental female gure Colonies d’Asie sculpted by Louis Botinelly between 1923 and 1924 and situated in Marseille’s main train station, a powerful reminder of the city’s role in the European colonial project.

Courtesy Peter Fend. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Peter Fend, La Mer et Marseille /The sea and Marseille, 2020 Installation at Consigne Sanitaire de Marseille

Through site speci c, research-based projects, La Mer et Marseille by American artist Peter Fend responded to the water conditions of the Marseille area, not only in identifying speci c regional problems but also in proposing concrete courses of action.

This three-part project mapped water systems on the global, regional and local scale.

05 NEW COMMISSIONS

PLOT: THE SCHOOL

THE SONOROUS, THE AUDIBLE, AND THE SILENCED

VENUE: LE CONSERVATOIRE NATIONAL À RAYONNEMENT RÉGIONAL

SATELLITES: BAR LE PERRIN, CHEZ FUN FUNK, LA BRASSERIE COMMUNALE, MOON ROOF CAFÉ, STADE VÉLODROME

Courtesy Yalda Afsah. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Yalda Afsah, Centaur, 2020 Film screened at Le Conservatoire

Yalda Afsah’s lm Centaur concentrates on an activity shaped by the physical relation between human and animal: the movements in the classical dressage of horses. Controlled down to the tiniest detail, they seem far removed from the categories nature, drive or instinct.

Courtesy Mohamed Bourouissa. Photo © Jeanchristophe Lett / Manifesta 13 Marseille

Mohamed Bourouissa, Hara, 2020 Sound piece at Le Conservatoire

The expressions ‘hara’ and ‘aouin’, which are very popular in Marseille, come from lookouts posted around places where drugs are sold. The lookouts chant these words to warn of the police’s arrival, thus preventing drug dealers from being arrested. For Manifesta 13 Marseille,

Mohamed Bourouissa takes these almost incantatory slogans and twists them further into a sound piece that is simultaneously poetic and political.

©VOST COLLECTIF / Manifesta 13 Marseille

A ‘crime of solidarity’ is an informal term that human rights advocates use to denounce the criminalisation of assistance given to undocu-

Tuan Andrew Nguyen, Crimes of Solidarity, 2020 Video 71’

mented migrants in France. In the face of this state prohibition against caregiving and solidarity, Tuan Andrew Nguyen examines how we hear others and tell our own stories. In the process, he shows how memory and voice can be used to resist erasure and disposability.

Squat Saint-Just, a temporary housing shelter created in late 2018 by the volunteers making up ‘Collectif 59 Saint-Just’, provided shelter for up to 300 undocumented migrants at any given time.

Ymane Fakhir’s project is a performance that tells the tale of Le gou re du léopard (The Leopard’s Abyss). Bina is an island dweller. She tells us about the journey of her parents Doress and Ahras, who left their mountain for a new land of welcome: ‘the island’.

Ymane Fakhir, The Leopard’s Abyss, 2020 Performance at Le Conservatoire.

Courtesy Ymane Fakhir. Photo © VOST COLLECTIF / Manifesta 13 Marseille.

The title of the performance was inspired by the coloured clay stains deposited by water on walls which have patterns similar to the furs of the leopards and the hyenas of Djurdjura. Whenever problems happened there, rescue was almost impossible given

the hostile environment, hence the hopelessness of the ‘abyss’.

Courtesy Calla Henkel and Max Pitego . Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Calla Henkel & Max Pitego , Paradise, Episode 1: Tara & Josef, 2020 16mm lm transferred to video on loop, oil on linen. 22’30”. Installation at La Brasserie Communale

show.

Paradise is the ctional bar that serves as the setting for Calla Henkel and Max Pitego ’s ongoing tv series, shot at their own bar, TV, in Berlin. Cast with a mix of bar regulars and employees, actors and neighbours, and set in 2023, Paradise is part documentary, part tv

The show imagines a near future where a dystopian political landscape is o set by the possibility of hope and collective action.

Sara Sadik during the shooting of the video Carnalito Full Option, 2020. © VOST COLLECTIF / Manifesta13 Marseille

Sara Sadik, Carnalito Full Option, 2020 Video, 20’

programme

Hlel

Carnalito Full Option is the second phase of Hlel Academy, a fourpart project exploring teenage interactions and displays of emotions.

Academy is a ctive training centre that welcomes those love has forgotten, heartbroken men between 16 and 20. Its academic

is based on emotional and sentimental rehabilitation with the goal of training the elite Hlels of tomorrow.

Extract of the lm ©Philippe Pujol & Jean-Laurent Feurra / Manifesta 13 Marseille Philippe Pujol, La lle qui ne voulait pas sortir / The girl who didn’t want to go out, 2020. Online. lm written and directed by Philippe Pujol and Jean-Laurent Feurra

The lm evolves as a reference to a classical musical romantic comedy, centering its plot around a tragedy and disguising social conditions with dance and music.

The lm discloses ctions, and realities, of inhabitants’ daily lives in Saint-Mauront district, considered to be one of the poorest neighbourhood of France.

The installation Khadija revolved around a short science ction lm inspired by elements of the French-Moroccan artist Mounir Ayache’s family history as well as by events in the MENA region. The work drew on science ction aesthetics as a way of transposing current issues into

another space and time, thus opening up new perspectives on the present.

Mounir Ayache, Khadija 2020 Mixed media installation at Le Conservatoire

Courtesy Mounir Ayache. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

Julien Creuzet, Là-haut, Nos aïeux, Dans nos yeux, words come from far away, from my ancestral memory astral, sky, I’m not alone on the way anymore (...), 2020.

As a continuation of his Opera Archipelago project started in 2014, French artist Julien Creuzet took apart the elements that make up an opera and reassembled them into fragmentary artistic forms. At the Conservatoire of Music he created a sonic and visual

ecosystem composed of two voices, two bodies and two sculptures. Music played a special role in this project as the background to a ctional epic poem that portrayed the conditions of African descendants living in French territory.

Installation at Le Conservatoire. Courtesy Julein Creuzet. Photo ©Jeanchristophe Lett / Manifesta 13 Marseille

05 NEW COMMISSIONS GROUP-THINK

VENUE: COCO VELTEN

Courtesy Stine Marie Jacobsen. ©Jean-Christophe Lett / Manifesta 13 Marseille

Stine Marie Jacobsen, GROUP-THINK, 2020 Participatory, educational project and video installation at Coco Velten

GROUP-THINK was a project by Danish artist Stine Marie Jacobsen that sought to expand the current formal education programme at schools by implementing training in nonviolent civil protest, rst aid, and collective intelligence skills. Working in schools in Marseille the

artist introduced a series of conceptual and physical exercises that fostered the students’ capacity to act in solidarity and to take collective action for global justice.

P. 23

“Tracing Fractures — Across Listening, Movement, Restitution and Repair”, series of rencontres at Centre de la Vieille Charité, Sept. 2020. ©VOST COLLECTIF

P. 26–27

Screening of the lm “The Undercurrent” by Rory Pilgrim, Parc Lomgchamp, 2020 © Manifesta 13 Marseille

P. 28–29

Live performance by AOZIZ at Centre de la Vieille Charité, 2020 Courtesy AOZIZ ©VOST COLLECTIF / Manifesta 13 Marseille

P. 30–31

Radio Grenouille radio show with Samia Henni at the Iméra Institute, as part of Manifesta 13 Sound programme, 2020 © Manifesta 13 Marseille

P. 34–35

Behind the scenes images with artists Sara Sadik, Marc Camille Chaimowicz and Peter Fend. Marseille, 2020 © Manifesta 13 Marseille

P. 36–37

Shooting of the lm “ONE HUNDRED STEPS” by Bárbara Wagner & Benjamin de Burca at Maison Grobet-Labadié, Marseille, 2020. © Manifesta 13 Marseille

We wish to thank the following people for their collaboration: Noureddine Abouakil, Yalda Afsah, Marielle Agboton, Elena Agudio, Sabrina Alamghari, Pierre-Louis Albert, Fabienne Albertini, Thierry Aldebert, Fabrice Alimi, Florence Allagnat, Gala-Alexa Amagat, Frédérique Angelier, Pascal Ansourian, Jean-Christophe Arcos, Jean-Olivier Arnaud, Alain Arnaudet, Charles Asprey, Lucas Astruc, Cécile Aubert, Marie Aubert, Hélène Audi!ren, Mounir Ayache, Negar Azimi, Prof Babacar, Celenk Bafra, Yasemin Bagci, Sarah Bagshaw, Yassine Balbzioui, Florence Ballongue, Roxane Barbier, Nicolas Barthe, Thérèse Basse, Michaël Batalla, Georges Bataille, Jean-Manuel Bathilde, Marie Batoux, Stéphane Bauw, Linda Be Diaf, Guillaume Bean, Mirjam Beerman, Gilles Begusseau, Shéhérazade Ben Messaoud, Sylvie Bénarous, William Benedetto, James Benning, Cathy Berbon, Pierre-Edouard Berger, Daniela Berglehn, Laurent Berneron, Omar Berrada, Éric Berton, Mariéva Bethe, Françoise Beton, Guus Beumer, Jean-Luc Beuzit, Minia Biabiany, Fabien Bickel, Dominique Bille, Pascale Biscay, Kerry Bishop, Rikke Bjørnbøl, Hannah Black, Frédéric Blancart, Bernard Blistène, Jan Boelen, Anna Boghiguian, Mario Bompart, Marie Bonafos, Patrick Bonhomme, Julie Bonnaud, René Borruey, Alain Boschet, Camille Bosshardt, Thierry Botin, Marion Bottaro, Fathi Bouaroua, Émilie Bouchet, Fouad Bouchoucha, Mustapha Bouhayati, Vincent Boulay, Aissa Boumediene, Christian Bour, Chloé Bourdon, Stanislas Bourgain, Jean-Claude Bourgault, Caroline Bourgeois, Mohamed Bourouissa, Karim Boussalem, Isabelle Brémond, Carole Brenet, Christine Breton, Grégory Brindizi, David H. Brolliet, Christian Brunner, Benjamin de Burca & Barbara Wagner, Valérie Bureau, Marianne Burki, Marie-Cécile Burnichon, Alice Callegarin Demangeat, Susana Caló, Sabine Camerin, Marc Camille Chaimowicz, Constanza Caminita, Nicolas Capron, Laure-Agnès Caradec, Daniel Carrière, Bart Cassiman, Caroline Casta, Sauveur Cavataio, Marc Ceccaldi, Pascal Cesaro, Hervé Chalchitis, Sandra Chalinet, Sarah Champion-Schreiber, Renaud Chantraine, Camille Chapuis, Valentin Charvet, Jean-Luc Chauvin, Éric & Patricia Chaveau, Julien Chenivesse, Julie Chenot, Ali Cherri, Azizah Chesneau, Bénédicte Chevallier, Marion Chevalier, Rachel Cholet, Jean-François Chougnet, Michael Clark, Valérie Cohen, Hubert Colas, Véronique Collard Bovy, Virginie Colleu, Thierry Colombier, Christelle Colonna, Nathalie Commande, Dennis Cooper & Gisèle Vienne, Alban Corbier-Labasse, Noël Corbin, Christian Cortambert, Charlotte Cosson, Christopher Crimes, Jean Cristofol, Émilie Cromarias, Julien Creuzet, Pauline Curnier Jardin, Olga da Costa, Frédéric Dagnet, Marine Daniel, Dominique Davy, Sophie De Castelbajac, Pieter de Gooijer, Véronique de Laval, Julie de Muer, Anne de Maximy, Julie de Muer, Marlène de Saussure, Juliette de Wijkerslooth, Delphine Defrance, Aurélia Defrance, Christian de Leusse, Jean-Claude Deleville, Marie Delouze, Fabrice Denise, Jérome Dentz, Martine Derain, Marion Desmares, Anne di Nicolas, Karine Djanoyan, Tsveta Dobreva, Eva Doumbia, Georg Döring, Isadora Dubeux Ganem, Catherine Dureuil, Isabelle Duwat, Lukas Duwenhögger, Vincent Ecochard, Badr El Hammami, Aude Eisinger, Aline Espana, Jana Euler, Victorine Fabre, Thierry Fabre, Mohamed Fariji, Ymane Fakhir, Kamel Fassatoui, Alexandre Fassi, Cyrille Fauvel, Emmanuelle Felce, Peter Fend, Claudia Ferrazzi, Alexandre Field, Maria Finders, Katia

Fiorentino, Sekou Fofana, Christian Foloppe, Éric Fombonne, Robert Fouchet, Vincent Fouchier, Céline Fournet, Céline Fournier, Sarah Frappier, Cécile Gagu, Paolo Gangini, Katya Garcia-Antón, Alain Gargani, Luc Georget, gethan&myles, Valérie Ghez, Tarik Ghezali, Richard Gil, Olivier Gineste, Anthony Giordano, Jean-Michel Giraud, Benoît Girerd, Perrine Giry, Paul Gomez, Jan Goossens, Andrew Graham, Claire Grancher, Jean-Romain Granger, Christian Grenz, Charlene Grimaud, Lisa Grob, Ariane Groos, Anne-Emmanuelle Grossi, Nadège Guinard, Anaïs Guthleben, Laura Guzman, Luz Gyalui, Bedira Hadjab, Nedjma Hadj, Anders Härm, Alice Helleboid, Calla Henkel & Max Pitego!, Samia Henni, Jochen Hetterich, Olivier Hilaire, Maja Ho!man, Bart Hofstede, Brigitte Houbey, Klaus Ib Jørgensen, Douke Ijsselstein, Jean-Baptiste Imbert, Ariane Jaboeuf, Bertrand Jacoberger,

VENUES, PROJECTS, PROGRAMMES AND NEW COMMISSIONS

Stine Marie Jacobsen, Christopher Jacques, Stéphanie Jacques, Pascale Janny, Diana Jimenez, Klaus Ib Jørgensen, V. Jourdain, Nicolas Journot, Isabelle Juanco, Cécile Khann, Mira Kho, Pamela King, Martha Kirszenbaum, Ingrid Klenner, Mathieu Kleyebe Abonnenc, Raoul Klooker, Nicolette Koopman, Céline Kopp, Herman Kuijer, Stephan Kutniak, Christian Laget, Carole Lains, Laura Lamonea, Mohamed Lansari, Mohamed Laouli, Claire Lasolle, Florian Laurençon, Jeanine Le Go!, Édouard Le Scan!, Olivier Le Fahler, Bertrand Lebars, Hervé Lebrun, Aurélien Lécina, Matthieu Lelièvre, Jean-Noël Léon, Nicola Leong, Francois Leroux, Fabrice Lextrait, Béatrice Lezaun, Amy Lien & Enzo Camacho, Anne-Claire Lienhardt, Françoise Linot, Marie-Josée Linou, Isabelle Lonchampt, Olivier Loosli, Pierre Louis, Emmanuelle Luciani, Yulia Lytvynets, Sarah M’bodji, Florence Magnan, Gregorio Magnani, Loïc Magnant, Macha Makeïe!, Anastassia Makridou-Bretonneau, Marc Mamelli, Frédérique Maréchal, Réjane Marsault, Hervé Martel, Stéphanie Martel-Reison, Antoine Martinez, Stéphanie Martinon, Pauline Mateo, Jérôme Matéo, Daniel Maurin, Teresa Mavica, Fyras Mawazini, Rebekah McCabe, Gemma Melgar, Julia Mesman, Wilfried Meynet, Claude Miglietti, Olivier Milhe, Yves Millo, Trinh T. Minh-ha, Anne-Charlotte Montandon, Susana Monteiro, Philip Montnor, Olivier Morel, Myriam Morel, Fabienne Morris, Jérôme Mortier, Frédéric Moschetti, Diego Moscosoni, Stéphanie Mousserin, Henri Moysan, Catherine Munger, Stephan Muschick, Renaud Muselier, Jacqueline Nardini, Pascal Neveux, Caroline Nicod, Tuan Andrew Nguyen, Françoise Nyssen, Alice O’Connor, Pascale Obolo, Paul-Emmanuel Odin, Vassilis Oikonomopoulos, Cyril Olive, Thierry Ollat, Ken Okiishi, Marie-Louise Oster, Pierre Oudart, Sara Ouhaddou, Selma & So”ane Ouissi, Alfred Pacquement, Gaël Palos, Jérôme Pantalacci, Pamela Pantoja, MarieClaude Paoli, Didier Parakian, Hugues Parant, Thierry Pariente, Éliane Pastural, Stéphanie Pécourt, Yann Pelen, Guillaume Pellegrin, Stéphane Pellen, Michel Peraldi, Godofredo Pereira, Paola Perfetti, Stéphanie Pes, Florence Petit, Alice Petitjean, Theodore Philipakos, Annie Philippon, Thomas Pierre, Marie-Victorie Pietri, Marc Pietri, Jérôme Plaza, Kevin Polizzi, Mikaela Poltz, Isabelle Pomes, Lara Pontégnie, Dominique Poulain, Géraldine Pourrat, Stéphane Protic, Tommy Puertas, Philippe Pujol, Evelyne Putero, Christian Qui, François Quintin, Anne Racine, Cathy Racon-Bouzon, Cristiano Raimondi, Thibault Rameau, Jean-Pierre Rehm, Michel Rein, Odile Reine-Adélaïde, Brigitte Reuter, Robert Ribeiro, Michel Ricard, Ferdinand Richard, Sylvain Rigaud, Marta Rincón, Isabelle Rivoire, Marine Rivoire, Anne-Françoise Robert, Emmanuelle Robert, Martine Robin, Florence Roche, Katherine Rochester, Julien Rodier, Amandine Roggeman, Maylis Roques, Jean-Claude Rosa, Sandra Rossi, Inès Roux de Bézieux, Jean-François Rovetto, Cameron Rowland, Louisiane Roy, Sandrine Ruitton, Arne Saatkamp, Sara Sadik, Mariam Saint-Denis, Dominique Samanni, Michel Samson, Vanessa Saraceno, Margriet Schavemaker, Philippe Schneider, Raphaël Seghin, Frédéric Selle, Vincent Semery, Fabienne Serina, Marion Serre, Alexandra Servel, Jasper Sharp, Valérie Sicard, Nathalie Simon, Cyril Simon, Éric Sirven, Jacob Skeltved, Bonaventure Soh Bejeng Ndikung, Jacques Soncin, Clémence Sormani, Alexandre Sorrentino, Lionel Soukaz, Reena Spaulings, Marta Stalla, Michael Starbaek Christensen, Philippe Stefanini, Philippe Stepczak, Anna Stergel, Sam Stourdzé, Katrin Stroebel, Ellen Strittmatter, Mbaé Tahamida Mohamed, Kadi-Ell Tähiste, Francis Talin, Amandine Tamayo, Michel Tamisier, Olivier Tavernier, Daniel Tchenio, Guillaume Theulière, Ali Timizar, Jonas Tinius, Maxime Tissot, Marcelle Trapolino, Véronique Traquandi, Kiedes van Wouden, Julien Valnet, Annaïg Velay, Guy Velu, Françoise Vergès, Veronique Verges, Mathieu Vis, Jérémy Vizon, Michel Vlahovitch, Anna von Brühl, Friso Wijnen, Pascal Willekens, Marcel Witvoet, Philippe Woehrel, Arseny Zhilya, Abdeslam Ziou Ziou, Assia Zouane

We wish to thank the following institutions and groups: Acción Cultural Española AC/E, Acta Vista, ALF Alimentation, Ancrages, Amsterdam Art Weekend, Aoziz (Béatrice Pedraza, Ludovic Mohamed Zahed, Andrew Graham), Association La

Cloche, Association Varian Fry, Atelier Luma, Ballet National de Marseille, Bar Le Perrin, Black Quantum Futurism, British Council, Cabinet Gallery, Cap Au Nord Entreprendre, Campoli Presti, Casa Ortega, CEF Les Cèdres, Center for Creative Ecologies (Isabelle Carbonell, Hannah Meszaros Martin, T. J. Demos), Ecole Centrale Marseille, Cér”ne de Limoges, Château Ricard, Chez Fun Funk Co!ee Shop, CIQ CaDuNaBe Canebière Dugommier National Belsunce, Cité des Entrepreneurs d’Euroméditerranée, Club de la Croisière Marseille Provence, Club Marseille Métropole, Club Top 20, Coco Velten, Collectif du 5 Novembre, Collectif SAFI, Collège Elsa Triolet, Collège Louis Armand, Collège Stéphane Mallarmé, Collège Vieux Port, Contact Club, Cinéma L’Alhambra, DAAC Délégation Académique à l’Action Culturelle Aix- Marseille, DIVERSIS, DSF, École élémentaire Maurice Korsec, École élémentaire Rose La Garde, École Nationale Supérieure des Beaux-Arts, Entre 2 Murs, Entrepreneurs dans la Ville, ESADMM École Supérieure d’Art et de Design Marseille-Méditerranée, Estonian Contemporary Art Development Center, Euroméditerranée, Félix Pyat, Festival International de Cinema Marseille FIDMarseille, Filles de Blédards, Fraeme, Friche la Belle de Mai, Galerie Isabella Bortolozzi, Genimage, Gemeente Amsterdam, Golden Tulip Marseille Euromed, Hogeschool voor de Kunsten Utrecht, Hôtel Dieu Intercontinental Marseille, Hôtel Hermès, Hôtel La Résidence du Vieux-Port, Hôtel Le Ryad, Hôtel Les Bords de Mer, The Institute of Contemporary Arts in London, Ici Marseille, Institut CALEM, Institut Méditerranéen de Biodiversité et d’Écologie, Institut Français, Institut Néerlandais, InterContinental Marseille Hôtel Dieu, Jaguar Network, Jardin Botanique de Marseille, Jaune Sardine, Kedge Business School, la compagnie, Lieu de création, La Criée — Théâtre National de Marseille, La Fabulerie, La Horde — Ballet National de Marseille, La Menthe Sauvage, La Quique, La Réserve des Arts, Laboratoire d’Astrophysique de Marseille, Le Carburateur, Le Couvent Levat, Le LAB Pôle Emploi, Les chambres de l’Abbaye, Les Gourmandises de la Frangine, Les Têtes de l’Art, Luma lab, Lycée Diderot, Lycée Périer, Maison pour Tous la Rougière, Master Arts, Médiation culturelle des arts — Université Aix-Marseille, Mendes Wood DM, Meta 2, MIO — Mediterranean Institute of Oceanography, Montévidéo, NH Collection Marseille, Nos Quartiers Demain, O#ce for Contemporary Art Norway, Parc National des Calanques, Pâtisserie Triebel, Pernod — Ricard, Phileas Art Fund, Pinksummer Contemporary Art, Plus Belle la Vigne, Centre Pénitentiaire des Baumettes, Provence Azur TV, Provence Promotion, Réseau Canopé, Réseau Potentielles, RIAM Festival, Rives et Cultures, SAHA Association, Savoirs et devenir, Scout et Guides de France, Service des publics et médiateurs des Musées de Marseille, Singa, SMM Events, Stichting Hartwig Foundation, Super Terrain, Syndic de co-propriété Bel Horizon 1, Synergie Family, The Babel Community, The Camargo Foundation, Théâtre les Karnavires, Triebel Pâtisserie, Unis Cité, UPE 13 — Union pour les entreprises des Bouches-du-Rhône, WePush