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As an immaterial gallery, Galerie does not have a location, it occurs in existing contexts and venues, such as art fairs, festivals, galleries, and institutions. Un film de sa production, un film de son choix.

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Ana Vega, she blue, red, yellow , [film HD couleur, approx. Il a tout vu. Photography is not used to reveal its technical origin. Just as cinema, photography only exists in the second state of the photo print on media of diverse quality and format, be it in the form of copies, rushes, or versions. Lasse de l'objectif, invasive, elle se lovera ou elle pourra. On les appelle les existentialistes, les zazous, les troglodytes ou encore les rats de cave. La structure de son sol est riche en sel de lithium et en sel de sodium.

C'est le Projet-Elina. The show needs to exist and survive to our absence.

Dalhousie French Studies - Department of French - Dalhousie University

Let's do something simple, something immaterial, something to play with your absence. Mais pourquoi un sac? It starts innocently with a questionnaire; everything else depends on what you believe in. This experiment might get out of hand.

ELDORADO - lille3000 / 27 AVR › 01 DEC 12222

We meet at 18h, Nov 28, at the art space 22 rue Muller, Paris. Take your vitamins. It follows a first workshop titled Valituskanava that occurred this year in Tampere University of Applied Sciences. Our fetishes are embodied by name brands that become the essence of the connection between signifier and the signified, they cover up our bodies as a second skin.

The garment acts like a canvas that generates a specific style, a singular ergonomic Self.

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Considering garment as flesh, the artists responded to these video projections with a collective sculpture that evokes the body as a canvas. Curator : Sylvia Navarrete Bouzard.


Famous for their immense murals, the Tlacolulokos collective, named after their hometown of Tlacolula in the state of Oaxaca in Mexico, focus on local social topics that connect to universal sociocultural issues and highlight their own indigenous origins. They are designers, sculptors, painters, photographers and architects and come from both sides of the Mexican-American border.

In these places, where meetings and exchanges take place, it is the indigenous culture that is honoured. From the city of Oaxaca in Mexico to the borders of the Amazonian forest, passing through the mountains of the Sierra Madre, three collectives take, one after the other, possession of the spaces. The public can discover the rich heritage of these guests through numerous graphic creations, songs and stories, crafts or even gastronomy.

Drawn from the collections of the Mexican Museum of Popular Art, these objects relate to traditional Mexican culture and the Mexican imagination, bearing the strong imprint of biodiversity, whether real or imagined. While questioning identity issues, the Tlacolulokos, artisans of the Wixarika Huichol people and members of the Huni Kuin tribe accompanied by Naziha Mestaoui tell and share their universe.

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While they are very different in their practices and aesthetics, they share a common message: the promotion of the richness of Aboriginal cultures. Testifying to the genuine richness and renewal of contemporary painting, the exhibition invites visitors to embark on a journey of unprecedented pictorial explorations, between enchantments and disenchantments, lost illusions and new ecstasies. The exhibition is an opportunity to discover the artistic practices of this international artist. Nearly works are gathered together to immerse the visitor in a novel journey through the founding myths of the history of modern art.

An exhibition-event presented in collaboration with the Giacometti Foundation, Paris.