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La très bouleversante confession de l'homme qui a abattu le plus grand fils de pute que la Terre ait porté

[Paris • France]
Finding its place in the epic register of a “chanson de geste” in rhythmed free verse, the flux of logorrhoeic conscience of La très bouleversante confession… emanates from 23 brains galvanized by stress and excitement: those of the members of the Navy Seals commando—the special forces of the American marines—during the raid destined to demolish “the biggest son of a bitch who ever walked on Earth”, “the number one star of evil”, a.k.a. Oussama Ben Laden. Steve, Joss, Ryan…: heroes “whose first names have been modified”, but who could not however resign themselves to the anonymity which the non-disclosure of information accord they had signed condemned them to. Not less than six different versions of the death of the head of Al Quaida were thus delivered to the press and monied information to screenwriters and the creators of video games
Using this material in a way comparable to Reznikoff, Emmanuel Adely forges with humor a language to express the inflated, empty heroism of this war without honor and carrying with it, as in a contemporary variation of the Homeric epithet, all the cliches generated by its Hollywood-media treatment. For RELECTURES, an integral reading of this epic will be given, as David Haddad improvises sound ambiances…

[Montreuil • France]
In-su-rrec-tion: 4 syllabes… 
prolongs in live form an epistolary dialogue engaged in by two authors—Nathalie Quintane and Jean-Paul Curnier — each of them having already reproduced it in their respective publications — Tomates (P.O.L, 2010) and Prospérités du désastre : aggravation 2 (Lignes, 2014) — so as to encourage its dissemination and to intensify its echo. “The people no longer exist, the serial individuality of the mass has replaced it” versus “The people exist. Serial individuality of the mass has not replaced it”: such are the terms of the discord of this first joust. At the heart of the debate is the question of the people (missing/rediscovered?) in what is called the “suburb”. As a sort of leitmotif almost ten years later and still offering food for thought: the riots of 2005. Between the arm of the critic and critique of arms, Jean-Paul Curnier and Nathalie Quintane will show us that discuss is a combat sport.

[Paris • France]
The performance: an ephemeral art that only exists through the “documentary” traces it leaves behind (photographs, sound or video recordings, results of actions, testimony…) and by its ability to generate stories. The document: one of the concrete vectors of human thought, with an explanatory or descriptive value, or as proof, and needing to be interpreted, put in relation and re-activated. This reciprocal tension—to document the performance/to perform the document — subjects on which the curators Guillaume Désange and Olivier Marboeuf will express themselves, lies at the heart of the new project of the Musée Commun: La Réserve. A living documentary collection and archive, based on the principle of donation, it aims to make accessible work processes and experiments that exist today only through their documentation and accounts of them.

[Montreuil • France]

The song of Roland is a famous example of the slippery slope at play in the History of legend, when events are taken over by a recounting whose scope goes beyond their purely factual dimension. And so, although the historic reality of the battle of Ronceveaux has been established by the crossing of documentary sources, the literary œuvre that emerged continues to serve as a “monument” in memory and language. Violaine Lochu submits it to a series of linguistic alterations, which literally “ruin” the text in an accelerated archeological time. Erosion, fragmentation, sedimentation: these phenomena applied to language are conjugated in whisperings, silences, noises, interrupted songs. The poem is presented in another form, another relief — new asperities, that allow us to glimpse its past splendor. In a quasi romantic vision, the vestige is perceived here as a re-creation of language.

Artist in residence at le 116 beginning in September 2014, Violaine Lochu proposes to reactive the antique practice of ars memoriae, and to compose, via contribution, a pluralized memory of Montreuil, a “Palace of Memory” in the form of cartography (or mapping), publishing and performed intervention.

Till R. raconte ses voyages et ceux des autres

[Paris • France]
As the festival RELECTURES wanted to celebrate the October launch of À propos de quelques points dans l’espace (Concerning a few points in space), to be published by Al Dante Editions, Till Roeskens has proposed to review twenty-five years of journeys, explorations and encounters with us. And to do so in the style of the book—part autobiography, part adventure story, part manifesto and part reasoned catalog—which proposes an assemblage of traces, images and testimonial.

 

“I’d like to try to connect the different points of the terrestrial surface that I have come to know, the way you’d attach thread between little flags on a map. Fragments of a possible map of my life, crossed by other lives, assembled here not in order to find me, but to understand where I am—to set off anew from there. I’d like to share this bit of the road with you.”

To close the evening, Till Roeskens reactivates his 2002 performance, Till R. raconte ses voyages et ceux des autres (Till R relates his journeys and those of others), a “conference-slide show in the tradition of a traveler returning from a long trip. But the trip in question turned out to mean taking other people’s trips. Non-stop hitchhiking, for two days and a night, with no predetermined direction. Follow each person who picks you up to his/her destination. Continue on, straight ahead.”

[Paris • France]

 

Restitution of the workshop “Discussions with Jean-Paul Curnier—4 dates for a radio creation”, conducted with the residents of the Fougères neighborhoods, in the 20th arrondissement of Paris, throughout 2014.

“To take place”: this could perhaps be the motto that lies at the heart of the Maison des Fougères project. In fact it is a “being together” that is to be sheltered and welcomed in this place. And so, in order that energies converge in action, but also in a reflection on what “a common house” means, Jean-Paul Curnier, philosopher-writer-poet—and residing (or in residence) himself, at the Espace Khiasma—led several sessions of an ongoing discussion on the theme of the charter. They were occasions to lay several apparent foundations crucial to the construction of this “maison” still under construction, and to forge a workshop of collective fabrication of the collective. The sound artist Hélène Cœur participated with her microphones open, so that the group could preserve their words, (re)listen to, recreate or reshape them and, through this dialogue of desires and opinions, compose with her help for r22-Tout-monde radio, a radiophonic polyphony whose vocation is to NOT be “just like on the radio”. As part of RELECTURES, in the presence of Jean-Paul Curnier and Hélène Cœur, the participants of the workshop open the doors of the Maison des Fougères to you and invite you to listen, in a convivial atmosphere, to the results of their work.

[Paris • France]
With the complicity of the two musicians Yves Robert and Fantazio, the philosopher Jean-Paul Curnier will transform the médiathèqe Marguerite Duras into an agora, pirate ship, area, pow-wow circle…into a primitive stage where there will be question of the relations between predation and democracy. His residency at the Espace Khiasma invited us to philosophize in concert with him; for RELECTURES, it will offer us a veritable “philosophical concert”!

And so, just before his thought assumes the concrete form of a book, it offers us yet another scenic detour. The public that has accompanied him throughout this long and full year will recall that there was question of bow hunting, the destruction of a shanty town, of piracy and bull-fighting, of Pat Garret and Billy the Kid. This manner of considering the exercise of thought has been at the heart of his project: not as a demonstration, but as a tale of adventures, creating a path into the shared space of public discussions.

At the crossroads of anthropology, fiction and political philosophy, Jean-Paul Curnier has undertaken the project of elucidating the way in which democracies could contain the kernel of that which could be considered to be in opposition to them. The most barbaric practice that exists, the most hated, the least defensible socially: predation.
Rereading the philosophers and reconsidering the Greek and North American heritage in light of this intuition, from the conquest of the west to the République de Salé (the Sallee Rover Corsaires), he has developed with us, from encounter to encounter, the idea of an original scene of the appropriation of territory and riches, which moral considerations of the principle of equality would tend to retract.
Yves Robert and Fantazio will join him onstage once again, and the Freudian hypothesis of the “primitive horde” will discover curious affinities with Sam Peckinpah’s Savage Horde…

 

closing of Jean-Paul Curnier’s residency at the Espace Khiasma, as part of the writers’ residency program initiated by the “service livre” of the Région Île-de-France.

[Les Lilas • France]
La table des opérations
, an essay of poetic investigations, is a work in progress. Frank Smith explores the typology of methods, protocols and processes that he employs in his poetic treatment of documentary material. For RELECTURES, it is this table itself that will materialize on the game board (so called “society game”): communion under the logo of the AFP, whose rules and rites were inspired by Bertolt Brecht’s ABC of War.

Spinoza in China, commencement

[Les Lilas • France]
Spinoza in China
 continues to be (for a short time) a construction site for writing: “autobiography of the child Ernesto, age 10 years and a few seconds, or, and, several centuries”, “tale of multiple instants of a slow, laborious, but tenacious emancipation”, “ode to love” and “poetic editorial program, for 34 years”.

 

Further, as news feeds from AFP arrive: “Spinoza in China is also an exhibition of the Faces of Ernesto, on a daily basis, in the form of a series of portraits, whose overarching title is the following: If the state of the world is a bit visible on my face then I can say that I am of this world.”

[Les Lilas • France]
In the United States in the 1930s, a group of young writers designated as “objectivism” the poetic usage they made of non-literary texts. The most famous of them, Charles Reznikoff, “recut” the minutes of trials culled from judiciary archives in order to give them rhythm, a versification, thereby composing a “recitation”: “a massively plural cry”.
This new way of perceiving the document resulted in many posterities or inheritances, irrigating multiple artistic methods that Frank Smith and his guests will review.

[Les Lilas • France]
Exposé des faits
questions the mechanisms of the construction of narrative in terms of the rhetoric of testimony. Vanessa Place proceeds by moving the language of law from the courtroom to the space of a book, using a montage of documents hailing from cases she worked on as a public defender. Only the names of victims and certain details have been suppressed to avoid them being too easily identified.
By forcing us to confront brutal material and to reconstruct, through the “exposition” of facts, their (problematical) truth, the reading experience takes on the “Rashomon effect”: subjectivity of our apprehension of situations, and thus of our capacity for judgment.
After her lecture, Vanessa Place will engage with Frank Smith on the subject of the project VanessaPlace Inc. (first international poetry firm), followed by the presentation of her new sound piece Last Words, composed of the last statements of all the prisoners executed in Texas since 1982. Anglophones: please note that the readings and presentations of Vanessa Place’s works will be in English.

Carte blanche to Frank Smith, as part of the launch of his residency “Writers in Seine-Saint-Denis” at Khiasma and the National Archives. A project initiated by the Seine-Saint-Denis department.

[Les Lilas • France]
In the bay of Rio, the phantom of a crocodile prowls.
It’s said the creature comes from the Northeast.
That it was devoured by a shark after meeting with president Vargas.
It’s said that it happened because of a film made by an American.
It’s also said that sharks don’t eat crocodiles.
And that Orson Welles had nothing to do with it.

Le petit parlement (conférence pour adulte à partir de dix ans)

Homère Homer plays at Greek comedy as a way to recount the subprime crisis. The tale is ineluctable : Homer (the one who eats donuts) must confront the economic crisis. Once his house is confiscated and his family traumatized, he ends up putting out his eyes in order not to see his unhappiness. After a long period of wandering, searching for his daughter Lisa, he becomes Homère (the teller of tales). Alternating (really) tragic overacted sequences and (falsely) improvised economic explanations, Homère Homer provokes laughter, as well as a real comprehension of contemporary economic mechanisms.