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Artistes
Charlotte Imbault
Geneviève Cohen-Cheminet
Fiona McMahon
David Haddad
Nathalie Quintane
Violaine Lochu
Till Roeskens
Hélène Coeur
Souleymane Mbodj
Fantazio
Yves Robert
Guillaume Désange
Luce Goutelle
Vanessa Place
Maïder Fortuné
Jean-Paul Curnier
Céline Ahond
Matthieu Dibelius
Nicolas Richard
Alexis Fichet
Emmanuel Adely
Frank Smith
Currently resident
Curnier (Jean-paul)
Smith (Frank)
From September 22 to October 5, from the Porte des Lilas to the Porte de Vincennes, on both sides of the “périphérique” highway, the festival RELECTURES 15 hosts events concerning transdisciplinary creations, frequently entirely new, at the crossroads between contemporary literature, oral performance and writing practices that issue from art and the social field. Publishing this series of “documents” as access routes to the singular universes of certain artists in the program, this edition of the Khiasma Magazine allows you to trace your own path “in the margins” of RELECTURES 15!
This year, the festival RELECTURES 15 has chosen the theme of “the document”. We will test and question the document in its capacity to find a form and become a “poetic document”. We will see how artists—visual artist, poet, performer—take up this problematic and effect this conversion, producing poetic documents and giving them voice.
“There is no cultural document that is not at the same time a barbaric document.”
Walter Benjamin, On the concept of history
The document (vector of thought, means for its conservation and transmission, allowing a circulation of the information necessary to the exercise of power and the functioning of institutions…) is constitutionally linked to the society from which it emanates. But, by this remark, Walter Benjamin speaks less of the ambivalence of the document itself than of the ambivalence of the plurality of readings of which it may be the object.
A material, fixed, permanent and cumulative formalization of a memory of data, Robert Escarpit, in his General Theory of information and communication, qualifies the document as as “anti-event” because it preserves the trace of an event in order to make a reading of it available for the future. The document is thus the contrary of what happens, and it is on this condition, according to Escarpit, that it is could participate in building a knowledge.
RELECTURES 15 posits the opposite, as it puts the document back into play in the here and now of performance. So that documents acquire meaning via the tension of a catalyzing body and being given narrative form, becoming the tool for a “rereading” of the world, which takes place in the present instant.
