This book contains interviews we held with nine artists. In response, they tell parallel, infectious stories, their objects and their spaces are desires and ideas made tangible-pockets of fresh air which today must be preserved from words like salary, efficiency, rational. In a society that does not hold together, they shake things up or draw our attention to what appears to be natural and/or normal: the forms, colours, structures, and tone taken on by the myths that fill our everyday life.
It’s not about a subject, nor about any aesthetic characteristic, but rather a capacity to not take the world at face value, to not see reality as definite and inevitable. But that which most definitely links all these artists together is also that which is the least obvious, and not so readily accessible. The artists presented in this book have diverse practices, although sometimes common interests run through these: several of them share a taste for complex narrative structures through the words borrowing, copy, stealing, or fan art, in several places we come across the notion of appropriation there’s the idea of the whole that is greater than the sum of its parts, the exhibition as medium or as ecosystem the practice of collage, of assemblage, discrepant montages and non-linear associations. For the curatorial duo Roxane Bovet and Yoan Mudry, it is the last expression, for lack of an exhibition, of their mandate at Forde. This publication was born amid the chaos engendered by Covid-19, during the shutdown of art spaces and of just about everything else.
BIBLIOTEQ ROMA SERIES
Starting from this historical object, they developed a series of reflections on major contemporary issues in the framework of feminism, individual and collective emancipation and self-organization. Based on the subjects of the film, Camille Dumond and Camilla Paolino invited four authors to articulate a thought process around the issues of inter-generational sisterhood, autonomous and supportive learning, and Italian community feminism of the 1970s. They will learn to think about themselves in the world around them.
For 150 hours, in the company of feminist teachers, they learn writing, history and philosophy, but above all, they learn to think about their learning and the emancipation it brings them. It is based on the film Scuola Senza Fine by Adriana Monti, which bears witness to the experience of a group of Italian women in the 1970s who, at the age of 40, 50 or 60, returned to school. Gervasia Broxon is the second title in the collection “Entretiens pour un film” directed by Camille Dumond. Rue de Vermont 12, CH-1202 ouvrages de Clinamen sont distribués par Les presses du réel et leur partenaire Idea Books. We talk about sound editions, objects, digital cards, but also about the organization of events, meetings, residencies and the constitution of a library of specialized titles. For us, publishing is not limited to producing book-objects. Far from the notion of the publisher as a simple producer of written traces, clinamen aims to work closely with artists in order to question the very notion of publishing, to be part of the projects rather than a simple intermediary between the author and the printer. Clinamen is a research space in which publishing is curatorial and experimental.
They are active in the field of art and critical thinking valuing particularly ambiguous, experimental and difficult to define positionings.
A shock and then an explosion, in which a new universe is born.Įditions Clinamen were founded in Geneva in 2014 by Lucas Cantori, Mélanie Borès and Roxane Bovet. According to Lucretius, the clinamen is a spontaneous deviation at the origin of the creation of worlds an undetermined and random swerving of an atom, a change in trajectory that will finish in a meeting with another atom.
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