Artists Remake the World
The Author

The Author : Éric Mangion

Biography

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
18 July 2018

Otobong Nkanga
The Ethics of Cooperation

Investigation by Éric Mangion

Looking at the ensemble of what’s called post-colonial art, art articulated around the effects of colonialism, and more broadly the construction and deconstruction of individuals and the domination and power networks they are caught up in, it’s very hard to find meaningful work that doesn’t slip into stereotypical considerations. Recent years have seen a whole swath of work foregrounding a combination of modernist aesthetics and all sorts of exotic variations, meant to demonstrate the thesis that a hybrid art has been produced by the conflictual and yet common history of the West and its former colonies. While Nkanga’s work has broken free of this reductionist logic, nevertheless it is the fruit of her efforts to found new paradigms for thinking and making art that are not centered on concerns unique to “white” people.

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