RÉ-AMARRAGE – XENO-EXPOSITION / Retour de résidences

Centre Wallonie-Bruxelles

Eight artists who completed residencies in France in 2026 are invited to re-dock at the Centre with projects sketched out and realized thanks to these residencies. In residence at the Fondation Fiminco for Adrien Degioanni, at the Cité internationale des arts for Harold Lechien, Nadia Guerroui, Orso Caël and for Céline Cuvelier in partnership with the association Françoise pour l'oeuvre contemporaine en société, known as Françoise, at the Péniche Pop for Cléo Totti, within the Maison Hermès for Priscilla Beccari, and at the Centre Wallonie-Bruxelles|Paris for Simon Mahungu in synergy with the Musée du Quai Branly – Jacques Chirac and the BnF - Bibliothèque nationale de France and the CREM -CNRS. They take over the gallery space as an ephemeral laboratory mediating their research. While some of these residencies have led to the production of "stabilized" works to be discovered in our gallery, others have allowed those who undertook them to engage in research work whose stakes remain to be uncovered. Adrien Degioanni's recent works plunge us by turns into a sensory and sonic experience of silence and anonymous voices, following the traces of the comet 67P/Churyumov-Gerasimenko and confronting the artist's latest sculptural research undertaken during his residency at the Fondation Fiminco. The exploration of fertile crossings between art and science is also at the heart of Nadia Guerroui's approach, whose installation, resonating with quantum physics, echoes research into invisible forces and the structure of the universe. Céline Cuvelier and Cléo Totti explore societal and environmental issues. Céline Cuvelier evokes the unthought of infanticide in a series of watercolors that questions the way society takes hold of these human tragedies. In one of her new sculptures, she also interrogates the harshness of conditions in juvenile prisons and society's inadequate response. Cléo Totti, for her part, gives voice back to materials and plants, and invites us to envision the earth as a common good in a monumental installation, plunging us into a fictional and sonic landscape. Harold Lechien recomposes forgotten family archives through a series of paintings, whose digital montages highlight the visual saturation caused by intensive internet use and the unease that results from it. The domestic universe and the body take center stage with Priscilla Beccari through the presentation of a mysteriously agentive and anthropomorphic piece of furniture that conceals drawings questioning the feminine condition, power relations, social assignments, and the role of the body in private space. As for Simon Mahungu's installation, developed in residence at the Centre Wallonie-Bruxelles|Paris, it constituted the first stage in the realization of a broader research-creation project dedicated to the circulation and reactivation of sound archives between Europe and the Democratic Republic of Congo.

Source: Paris Open Data ↗