4 split-albums, with a selection of pieces recorded at the festival, are now available as digital releases on Bandcamp: 
Oscillation ::: Tuned Circuits 1 > Jonáš Gruska / Farida Amadou
Oscillation ::: Tuned Circuits 2 > Billy Roisz / Jeroen Uyttendaele
Oscillation ::: Tuned Circuits 3 > Stellan Veloce / Yannick Guédon with Rebecca Lane & Catherine Lamb
Oscillation ::: Tuned Circuits 4 > Catherine Lamb with Bryan Eubanks & Rebecca Lane / Lukas De Clerck

Furthermore, most of the talks and some radio works created for the festival, are available now on our Podcast Channel:
You can listen to Lendl Barcelos, Jonas Gruska, Edyta Jarzab, Goodiepal, Anna Steiden, Pierre Deruisseau, Sarah van Lamsweerde & Esther Mugambi & Raoul Carrer.

L’exposition collective Glad to Take Height and See the Slow Motion World, à la galerie Jeune Création est ouvrira le dimanche 12 septembre de 14h à 19h ! 

« Glad to take height and see the slow motion world ». Ces paroles que j’emprunte, à deux mots près, au poète et musicien Gil Scott-Heron, je les détourne à mon usage pour qu’elles portent dans leur intensité poétique, tout le double sens qu’induit l’expression « prendre de la hauteur ». Au littéral, monter quelques marches et pouvoir apprécier par en haut le monde qui nous entoure ; au figuré, la formule s’emploie lorsque le besoin de prendre du recul sur une situation afin d’en saisir toute la mesure s’en fait sentir. Faire une pause donc, et changer de perspective, passer de l’horizontal au vertical, pour mieux constater ce qu’il se passe.

Mathilda Portoghese, commissaire de l’exposition

Une exposition de Mathilda Portoghese avec les artistes : Nadjib Ben Ali, Aïda Bruyère, Jérémie Danon, Rayane Mcirdi et Chalisée Naamani 

Galerie Jeune Création 
43 rue de la Commune de Paris
93230 Romainville 

Visuel: Nadjib Ben Ali, HC300MSKN004, feutres sur papier, 2021

L’artiste El Mehdi Largo s’empare de la Petite Galerie des Selles en cette rentrée 2021. Vous pourrez découvrir son installation à partir du dimanche 12 septembre de 14h à 19h.  

Ne chie pas sur les autres
Il y aura toujours quelqu’un d’autre
Pour chier sur toi ! 
Attention !!!!
Masse moléculaire prête à nourrir la terre

Le pigeon te ramène à ta condition 

Gris comme l’asphalte
Gris comme le cerveau
Gris comme la vie
Gris comme les avis
Gris comme le béton dans lequel on vit ou survit
Il n’y a pas de blanc, pas de noir
Il n’y a pas de colombe immaculée
Que des colombes grises

– El Mehdi Largo

Avec les associations Jeune Création et A.KEN, la petite galerie des selles, invite depuis 2013 des artistes et des commissaires d’expositions à proposer dans des lieux d’aisance, des oeuvres in situ, des expositions ou de simple accrochages, célébrant de manière joyeuse la création et la diversité de notre humble condition humaine. 

La Petite Galerie des Selles
Galerie Jeune Création 
43 rue de la Commune de Paris
93230 Romainville 

L’artiste Agnès Birgersson Widin s’empare de la Galerie du Couloir en cette rentrée 2021. Vous pourrez découvrir son installation à partir du dimanche 12 septembre de 14h à 19h. 

« En 2017, j’ai commencé à me prendre en photo toutes les fois où je ressentais de la tristesse ou du désarroi. Des photos prises en état de vulnérabilité. Il ne s’agissait pas de prendre une “jolie photo”. Mon visage apparaissait souvent légèrement gonflé, rouge et sans maquillage, rendant compte de sa naturalité. Il n’y avait pas d’intention particulière dans ma démarche, seulement un moment avec moi-même comme une sorte de rituel. Autoportraits après autoportraits j’embrassais ma tristesse et la peinture devenait ma thérapie. 
Ma peinture est tout à la fois medium d’introspection, révélant mes doutes, ma sensibilité, mes peurs, exutoire, m’offrant des moments d’euphorie lorsque je pose la couleur sur la toile. »

– Agnès Birgersson Widin

Galerie du Couloir
Galerie Jeune Création 
43 rue de la Commune de Paris
93230 Romainville 

Rue Lebeau 18, Lebeaustraat 1000 Bruxelles

Thanks to our dear partner hotels you have the chance to book a stay in Brussels and make sure to not miss a single day during The Brussels Gallery Weekend. This year, we are partnering up with The Dominican, The Radisson Collection Grand Place Brussels, Jam, each of them offering special rates and conditions ! Find all the details on our website.

June Crespo
Am I an Object, part III

Opening: 11 September, 14:00-18:00
12 September – 24 October 2021
Thu-Sun, 14-18 hrs

June Crespo is conducting research with a particular focus on the relationship between the body and its representation. (…) The starting point is a shape that can be traced back to the body, but the investigation leads in different directions, constructing forms that allude to other things as well (…) a sensual analysis of contemporary models of representation, commenting on the actual and symbolical dynamics enveloping the body. Crespo’s interest in the concrete and corporeal conditions of the object/body, as well as in the immaterial contexts where it circulates and shifts—as seen in her recurring interest in figures such as conductors and vessels—questioning contemporary life’s composite configuration made out of material and discursive dynamics. In a moment in which visual culture is dominated by stylized and hyper-perfect portraits, the work challenges homogenous approaches to the corporeal, proposing dissident images that liberate our gaze and our bodies themselves.*

As Crespo likes to work quite intuitively her approach for the project at P/////AKT has been decidedly open – just two molds and a mental baggage of older unexecuted ideas to experiment with. And as other materials (large blocks of Styrofoam, textiles, resin, flowers) have started to arrive at the space since her own arrival early August, things are still very much in progress. Or rather, in a process that is based on, and executed as, an investigation towards a state of transformation or in-betweenness. 

A space and an artist working inside it, molding and casting, fluids solidifying into objects with an outside and an inside, things that are hard and things that are stretchy, the body and the object, the subject and the object, the chicken and the egg. The answer to the question of what is leading can, for the time being, only be answered by trying to find the right tension and watching things transform into a state of ambiguity. 

*João Laia (curator), John Colpans + June Crespo, P420, Bologna, 2018.

Benjamin Francis & Tessa Langeveld
P/////AKTPOOL part 3/3 & part 1/3

Opening: 11 September, 14:00-18:00
12 September – 24 October 2021
Thu-Sun, 14-18 hrs

Two questions between Tessa Langeveld and Benjamin Francis

Benjamin
How would you define chaos?
I describe chaos as white noise. It’s the vagueness, the insecurity, that which is frightening and only half visible. This noise is never the same, it doesn’t have a purpose. It isn’t something that is predestined, like a clockwork always pointing at the same numbers. The noise is unavoidable, the noise is not perfect, pure or harmonious. The noise is scary, it pushes away from the universal construct. It’s the opposition without a foundation. Its foundation is permeable, self-destructive, self-renewing. The noise observes but only allows half to pass through. It resists both what is questionable and what we can rely on. The noise is the unrest – the tension between the conqueror and the conquered. It is the process towards breath without us having to feel it. It’s the dancing out of tune.
We are the engines of white noise as well as the ones who cannot see it. An uncertain contact. The way the noise affects us is similar to a blind spot.

Is there a relationship between chaos and horror?
A horror scene of course isn’t a horror scene if we already know when the monster jumps out. Fear is about what lies beyond our reach, we find it only when our certainties are taken from us, when our sense of purpose disappears and lose our grip. We avoid fear because we don’t want to become shapeless, to become chaos. Shapeless and in decay, unavoidable like a catastrophe. 

Tessa
How would you define chaos?
I often have the feeling that, from a human perspective, everything is naturally chaotic, disordered. This corresponds with how I work: I seldom know what I want to make, or why. I don’t think I’m interested in meaning, but I have a neurotic side in me that is and which can cause quite a bit of friction during the process of making. That’s why a feeling of trust during the process is very important to me. Chaos is natural, it’s there – trust and stillness are, too (sometimes I think we’ve collectively forgotten that). I have to intentionally and actively remind myself of that conscience, which I think is hard and not always easy to attain. But that’s okay. A feeling of trust, hope, lightness: I’d like to give that to the person who is seeing my work.

Is there a relationship between chaos and horror?
I think horror thrives in chaos. It constantly wants to remind you that you’re not in control. As a genre it’s defined by the curiosity for the unknown. Rational meaning is no longer relevant. I think that’s what attracted me to horror to begin with. For a few moments, the plot doesn’t seem significant compared to what the character must go through, so there’s this hyperfocus – which is sometimes even serene (probably because we’re the spectator) – on space and objects, body and breath. Mostly anxiety-driven, but still.