Artists Remake the World
The Author

The Author : Éric Mangion


Éric Mangion has been the director of the Villa Arson art center since 2006. There he hosted and organized numerous solo exhibitions, notably for Eva Barto, Sonia Boyce, Monster Chetwynd, Judy Chicago, Jeremy Deller, Jean Dupuy, Brice Dellsperger, Ryan Gander, Bernard Heidsieck, Emmanuelle Lainé, Zoé Léonard, Flora Moscovici, Roman Ondak, Linda Sanchez, Tatiana Trouvé, as well as group exhibitions such as Ne pas jouer avec des choses mortes, Go Canny! Poétique du sabotage, Double Bind / Arrêtez d’essayer de me comprendre!, Acclimatation, À moitié carré/À moitié fou, Transmission and À la vie délibérée. He was the director of Frac Provence-Alpes-Côte d’Azur from 1993 to 2005, during which time he oriented part of the collection toward evolutive works. He also was the independent head and co-curator of many exhibitions, including: Self in Material Conscience, Fondation Sandretto in Turin, 2002 ; Artur Barrio: Actions After Actions at the University of Philadelphia, 2006 ; Recommencer, Commencer de nouveau la peinture by Gérard Gasiorowski, Carré d’art in Nîmes, 2010 ; Modules (Thomas Teurlai, Vivien Roubaud and Tatiana Wolska), Palais de Tokyo, Paris, 2014 ; La voix libérée – Poésie sonore, Palais de Tokyo, Paris, 2019 ; Parties sans éteindre la lumière (Pauline Curnier Jardin and Marie Losier,) Fondation d’entreprise Ricard, Paris, 2019. He was also the artistic director of the Printemps de Septembre festival 2010 (Une forme pour toute action) and artistic advisor on the Live festival in Vancouver, 2011. A member of the dance commission for the Ministry of Culture from 2013 to 2016, he has presided over the Actoral and Montévidéo festivals (Marseille) since June 2017. As an art critic contributing to several publications, in 2007 he oversaw the artistic direction of the journal Fresh Théorie III. He is the co-founder and editor-in-chief of the online magazine Switch (on Paper)

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Investigation by Éric Mangion
03 June 2018

Dissident dissonance

Investigation by Éric Mangion

On January 1, 2016, Chinese artist and dissident Ai Weiwei announced his intention to create a memorial on the Greek island of Lesbos in honor of refugees crossing the Mediterranean. “A lot of people have lost their lives under the waves […] we need a memorial,” he told during a press conference. A few weeks later, a photo taken by Indian Today reporter Rohit Chawla floods the media and online social networks. It shows the body of Ai Weiwei lying on his stomach, facing the sea on that very island of Lesbos. The image refers to Aylan Kurdi, the Syrian child whose lifeless body was found washed ashore on a Turkish beach on September 2, and whose death elicited an outpouring of emotion worldwide. Yet Ai Weiwei’s photo disturbs in that elicits no compassion whatsoever. Nothing works in this heavy and indecent staging of Kurdi’s drama, delimiting the often-ambiguous process of an artist who embraces like no other the complexities of his country.

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