CIRCUL'ARTS Station#1 in Paris included a film screening program at Maison de l'Amerique Latine (11th September 2025), exploring the fusion between human and non-human natures in contemporary artistic production.

CIRCUL’ARTS AU CINÉMA
PRATIQUES ARTISTIQUES CIRCULAIRES, PÉDAGOGIES CRITIQUES
ET PENSÉE ÉCOLOGIQUE
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CIRCUL’ARTS ON FILM
Artistic Practices..... h18
Programmation des films: Marta Jecu
Moderation: Marie Gayet
Maison de l'Amerique Latine, Auditorium, Paris


Presented films:
Maurice Dubroca (France): Frans Krajcberg, Portrait d’une Révolte , 8 min. (Presented by Eric Darmon, film producer).

Bianca Dacosta (Brazil) : Interior da Terra, 17 min. (ARTIST PRESENT)3.

Gustavo Caboco (Brazil), Kanau'kyba, 11 min.

Vincent Voillat (France), Le centre, c'est les pierres, vidéo sur smartphone, 8 min. HD. 2020 (ARTIST PRESENT)

Luis Cyprien Rials (France), Babel, 2023, 12 min

Paulo Tavares (Brazil), Non-human Rights, 4min

Capucine Vever (France), Ô Diryanké, 21min, Dérives Alpines, 19 min.

Rosell Meseguer (Spain), SLHS Tamarugal, Total: 26 min. (ARTIST PRESENT)

Nana Oforiatta Ayim (Ghana), Nowhere Else But Here, 24 min

MadeYouLook (Molemo Moiloa and Nare Mokgotho) (South Africa), Menagano, 5 min.

Sofia Yala (Angola), Constellation of Dust, Slideshow (5 min.)

Arquitetura Expandida (Colombia), La Comunidad dela Pala, 20 min. (ARTIST PRESENT)

Left Hand Rotation (Spain/Portugal), Sem manifestação (5 min), Bye, Bye and Thanks for nothing (5 min) , Tigre e Yaguarete, (27 min).

FILM SYNOPSES:

1. Maurice Dubroca (France) : Frans Krajcberg, Portrait d’une Révolte, 8 min. Production Mémoire Magnétique, (français). Présenté par Éric Darmon
Juif d'origine polonaise, "naturalisé" brésilien dans les années 50, Frans Krajcberg a connu un destin hors normes. Laminé par la seconde guerre mondiale, où sa famille périt, il "veut fuir les hommes " dans l'immédiat après-guerre. Au contact de la nature brésilienne, son œuvre est un cri
contre la destruction de la nature et de la vie. Aujourd'hui, son œuvre a acquis une dimension universelle et planétaire. De l'Amazonie à l'État de Bahia, en passant par le Minas Gerais, du Brésil à la France, nous suivons Krajcberg dans les lieux où il vit et où il travaille. Mais à travers le portrait
d'un homme, c'est avant tout l'histoire d'un destin et l'histoire d'une révolte que le film raconte.

Parmi les prix: Premier Grand Prix du Film d'art militant FIFAP - Maison de l'Unesco - Paris 2004, Prix du meilleur film francophone Festival du film de l'environnement FRAPNA - Grenoble 2005 LINK FILM EN ENTIER: http://www.memoiremagnetique.com/?page_id=370
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A Jew of Polish descent, "naturalized" Brazilian in the 1950s, Frans Krajcberg had an extraordinary life. Crushed by the Second World War, in which his family perished, he "wanted to escape from humanity" in the immediate postwar period. In contact with Brazilian nature, his work is a cry
against the destruction of nature and life. Today, his work has acquired a universal and global dimension. From the Amazon to the state of Bahia, via Minas Gerais, from Brazil to France, we
follow Krajcberg in the places where he lives and works. But through the portrait of a man, it is above all the story of a destiny and the story of a revolt that the film tells. Among these awards: First Grand Prize for Militant Art Film FIFAP - Maison de l'Unesco - Paris 2004, Prize for Best French-Language Film FRAPNA Environmental Film Festival - Grenoble 2005

2. Bianca Dacosta (Brésil) : Interior da Terra, 17 min. (Brésilien sous-titré français) - Artiste présente La terre est une poussière magique qui a le pouvoir de conserver et de protéger les mémoires enfouies. Les couches qui se superposent dialoguent entre elles et racontent la transformation des
souvenirs de ce territoire en ressources. Couche après couche, extraire les richesses de la terre revient à effacer ses mémoires. Comme une exploration qui va du ciel jusqu’aux entrailles de la
forêt, le film est un voyage à travers les strates, pénétrant dans le sol pour révéler les couches d’histoire enfouie. Le film met en lumière la profondeur des enjeux politiques dans un récit à la
fois historique et actuel sur la destruction de la forêt amazonienne et de son peuple autochtone Mura.

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The soil is a magical dust that has the power to store and preserve buried memories. The overlapping layers speak to each other and tell of the transformation of the memories of this
territory into resources. Layer upon layer, extracting the richness of the earth is erasing its memories.Like an exploration from the sky to the bowels of the forest, the film is a journey that
leads through the strata into the soil to reveal the layers of buried history. The film demonstrates the depths of political issues in a historical and current account of the destruction of the Amazon rainforest and its indigenous Mura people. (texte Bianca Dacosta).



3- Gustavo Caboco (Brésil), Kanau'Kyba, 2021, 11' – film d’animation, commande pour la 34ª
Biennale de São Paulo. Kanau'Kyba means "Roads of Stone" in the indigenous Wapichana language, of who's ancestry the artists is. The film has as a starting point a huge meteorite (bendegó) preserved in the National Museum of Rio de Janeiro and which represents an ancestor to the indigenous populations. When
the Museum suffered a fire in 2018 that devasted it almost completely, the meteorite was one of the items that survived. The animation shows stone landscapes in their multiple forms in the indigenuous belief system and territory: from the earthly stones in Serra da Lua, in Roraima, in the
Canauanim Indigenous Territory, to the stones in Paraná, Kurityba and back to the museum- the stone carries the memory of indigenuous culture that cannot be erased.

Kanau'Kyba signifie « Chemins de pierre » en langue indigène Wapichana, dont les artistes sont les
ancêtres. Le film s'inspire d'une immense météorite (bendegó), conservée au Musée national de
Rio de Janeiro et représentant un ancêtre des populations indigènes. Lorsque le musée a été presque entièrement ravagé par un incendie en 2018, la météorite a été l'un des objets ayant survécu. L'animation montre les paysages de pierre sous leurs multiples formes au sein des systèmes de croyances et des territoires indigènes : des pierres terrestres de la Serra da Lua, du Roraima, du territoire indigène de Canauanim, aux pierres du Paraná et de Kurityba, et enfin au musée, la pierre porte en elle la mémoire indélébile de la culture indigène.

4-Vincent Voillat (France), Le centre, c'est les pierres, vidéo sur smartphone, 8 min. HD (français sous-titre anglais)
Le centre, c’est les pierres se déploie comme une incantation nocturne. Un faisceau unique effleure des fragments — pierres et corps mêlés dans l’ombre — comme pour réveiller leur pulsation cachée. Le film s’ouvre et se referme sur une lune floue, un souffle entre apparition et disparition. Une voix parle d’épuisement, de désir et de fuite, puis se dissout peu à peu dans les pierres elles-mêmes, confessant leur souveraineté. Elles se dressent en amantes et en témoins, gardiennes des luttes oubliées, murmurant un langage plus ancien que la mémoire. La caméra
insiste jusqu’à ce que la vision chancelle, que les formes deviennent constellations. Ne demeure qu’une transe minérale, un passage où l’humain devient poreux,happé par le temps des pierres. Dans ce cycle hypnotique, le centre n’est plus nous, mais les pierres — silencieuses, immobiles, compagnes infinies de notre effacement. (Texte Vincent Voillat)

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Le centre c’est les pierres unfolds like a nocturnal incantation. A single beam of light brushes over fragments—stones and bodies merging in the dark—as if awakening their hidden pulse. The film
opens and closes with a blurred moon, a breath between apparition and disappearance. A voice speaks of exhaustion, desire, and escape, yet gradually dissolves into the stones themselves, confessing their sovereignty. They stand as lovers and witnesses, guardians of forgotten struggles, murmuring a language older than memory. The camera lingers until vision falters, until forms turn to constellations. What remains is a trance of stone, a passage where the human becomes porous, swept into mineral time. In this hypnotic cycle, the centre is no longer us but the stones—silent,
immovable, and infinite companions of our vanishing.

5-Louis-Cyprien Rials (France), Babel, 2023, 12 min (artiste présent) Dans ce long plan-séquence sur un paysage de roches et de déserts, Louis-Cyprien Rials relie le mythe de Babel - la Tour de Babel, édifice construit tout en hauteur, perçu comme le moyen de
relier le ciel (le monde divin) à la terre et ses voix diverses, lieu de tolérance - au discours contemporain, où l'intelligence artificielle et le transhumanisme apparaissent comme de nouvelles  tours de Babel. Accompagnée d'une bande-son composée par Romain Poirier, l'œuvre présente des extraits du Livre de la Genèse, traduits et lus par des programmes d'IA (DeepL et ElevenLabs).
Ce choix de narrateurs met en évidence les parallèles entre le mythe antique et les technologies modernes, où la quête de perfection de l'humanité à travers l'augmentation virtuelle et biologique
fait écho à l'ambition des constructeurs de Babel. Le film de Rials capture la tension entre transcendance et destruction, invitant les spectateurs à réfléchir au prix de l'orgueil dans un
monde où les outils pour construire de nouvelles Babels sont déjà à notre portée.

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In this long sequence shot of a landscape of rocks and deserts, Louis-Cyprien Rials connects the myth of Babel—the Tower of Babel, a towering structure seen as a means of connecting heaven (the divine world) to earth and its diverse voices, a place of tolerance—to contemporary
discourse, where artificial intelligence and transhumanism appear as new Towers of Babel. Accompanied by a soundtrack composed by Romain Poirier, the work presents excerpts from the Book of Genesis, translated and read by AI programmes (DeepL and ElevenLabs). This choice of
narrators highlights the parallels between ancient myth and modern technologies, where humanity's quest for perfection through virtual and biological augmentation echoes the ambition of the builders of Babel. Rials' work captures the tension between transcendence and destruction,
inviting viewers to reflect on the price of pride in a world where the tools to build new Babels are already within our reach.

6- Paulo Tavares (Brésil), Non-human Rights, 4min et Trees, Vines, Palms, 2mn. (Espagnol et sous titres anglais)
Dans ces deux films NonHuman Rights (2012) et Trees, Vines, Palms and Other Architectural Monuments (2013), Paulo Tavares soulève d’un point de vue philosophique et d’un point de vue
historique la question du territoire et de la notion de nature ayant des droits au même titre que les êtres humains. NonHuman Rights s’appuie sur la pensée de Michel Serres et son livre Le
Contrat naturel (1990), dans lequel le philosophe propose de remplacer le contrat « social » par le contrat « naturel », ouvert à des formes de personnalités juridique non humaines. Le monde a droit au droit lui aussi. Dans Trees, Vines, Palms and Other Architectural Monuments, il nous
emmène sur les traces d’un village Xavante aujourd’hui disparu, où pourtant les espèces végétales
continuent de raconter une histoire, équivalant à des ruines architecturales, mais vivantes et non mortes. Peut-on considérer les arbres, les vignes et les palmiers comme des monuments
historiques ? La forêt est-elle un « patrimoine urbain » issu de formes d'aménagement non occidentales ?

*

In his two films NonHuman Rights (2012) and Trees, Vines, Palms and Other Architectural Monuments (2013), Paulo Tavares raises the question of territory and the notion of nature having rights on the same footing as human beings from a philosophical and historical perspective. NonHuman Rights draws on the thinking of Michel Serres and his book Le Contrat naturel (1990), in which the philosopher proposes replacing the ‘social’ contract with a ‘natural’ contract, open to
forms of non-human legal personality. The world also has rights. In Trees, Vines, Palms and Other Architectural Monuments, he takes us on a journey to a now-vanished Xavante village, where plant species continue to tell a story, equivalent to architectural ruins, but living and not dead. Can trees, vines and palms be considered historical monuments? Is the forest an ‘urban heritage’ resulting from non-Western forms of development?
7- Capucine Vever (France), Ô Diryanké, 21min, Dérives Alpines, 19 min (sous-titres français) Ô Diryanké est une ode à la mer, créée et interprétée par le chanteur et vieux pêcheur sénégalais
Thiarwa, de la baie de Dakar. Ô Diryanké (Oh la grande dame) est le surnom affectif que Thiarwa a pris l’habitude de donner à l’océan. L’océan, qui répond à Thiarwa, est le personnage central du film. Ses mouvements, ses ressacs, ses trafics, sa voix et sa mémoire nous accompagnent dans son
immensité. L'ode raconte l'histoire des navires migrants engloutis par la mer, mais rappelle aussi les chants des navires négriers qui naviguaient entre l'île de Gorée, autrefois l'une des plus
importantes citadelles esclavagistes. Le film montre la pollution de la mer et la manière dont la montée des eaux impacte cette île. L'histoire racontée par Thiarwa révèle la mer comme une
présence féminine à laquelle la population a établi une relation animiste intime.

*

Ô Diryanké is an ode to the sea, created and performed by the Senegalese singer and old fisherman Thiarwa, from the Bay of Dakar. Ô Diryanké (Oh the great lady) is the affectionate nickname that Thiarwa has taken to giving to the ocean. The ocean, which responds to Thiarwa, is
the central character of the film. Its movements, its undertows, its trafficking, its voice and its memory accompany us in its immensity. The ode tells the story of the migrant ships swallowed by the sea, but also recalls the songs of the slave ships that sailed between the island of Gorée, once
one of the most important slave citadels. The film shows the pollution of the sea and how the rising waters impact this island. The story told by Thiarwa reveals the sea as a feminine presence to which the population has established an intimate animist relationship.
Dérives Alpines captures the perspective of the mountains in a place once dominated by tourism.
The Alps, slowly melting due to global warming, are presented not as a solid, inert block, but through their own transformations, fragility and internal movements, revealed by innovative
cinematographic techniques.

CONNECTING CRITICAL PEDAGOGIES, INCLUSIVE ART FORMS AND ALTERNATIVE BAROMETERS FOR URBAN SUSTAINABILITY (CIRCUL’ARTS)

Cost Action: CA23117
STATION # 1

CIRCUL’ARTS is a COST ACTION gathering researchers and practitioners in a network that will focus, overall for 4 years (2024-2028), on enabling and empowering the public, thanks to the facilitation of art processes as modes of expression and exchange, to translate what they mean by ‘circularity and sustainability’ in urban settings. In this networking, we see these as a set of practices that involve not only the sharing of material resources, but more significantly, the transmission of immaterial knowledge and know-how—such as historical memory, vernacular solutions, practices of solidarity, and community-building. By investigating different ways to approach circularity and sustainability (with an accent on the Latin American and African contexts), participatory and genuine narratives emerge, that can induce a practical socio-ecological transition. 

When? 8th -10th of September 2025 (Conference and Training School) and 11th of September 2025 (Core Group Meeting and Film Screening with Artists Meeting). 

For how long? 4 days. 

Where? Fondation Mais n des Sciences de l'Homme /FMSH (54, Boulevard Raspail, 75006 Paris) ; Maison de l'Amérique Latine (217, Boulevard Saint-Germain, 75007 Paris)

Detailed Program: 8th -10th September: Conference: FMSH (Forum)

8th -10th September: Training school: FMSH (Room B01-01) 

11th September: 9.00-12.00. CORE GROUP MEETING Maison de l'Amérique Latine (Auditorium)

11th September: 13.00 - 18.00, FILM SCREENING WITH ARTISTS MEETING, Maison de l'Amérique Latine (Auditorium).

PROGRAM: CONFERENCE (Forum, FMSH) 8th September 2025

9.30 -10.00 : Welcome Coffee PROGRAM: CONFERENCE (Forum, FMSH)

10.00 -10.15 : Marta Jecu: Introduction Speeches and presentation of day's schedule.

10.15 – 10.40: WG1 Leaders Paolo Do and Carla Inguaggiato: Plural Schooling and Critical Pedagogies (including Q&A)

10.40 – 11.00: Maria Argyriou (University of the Aegean): Sensory Pedagogy and Alternative Forms
of Assessment: Learning Mappings through Art

11.00 – 11.20: Ana Paola Morel: Pluriversal Pedagogies: Weaving Belonging to the Earth

11.20 – 11.40: Analia Capponi: Singing as a practice of childhood – Towards an understanding of children’s political agency and voice in culturally diverse societies

11.40 – 11.50: Coffee Break

11.50 – 12.10: Muhammet Bas: Multidisciplinary Pedagogies for Inclusive Learning Environments
in Urban Margins

13.15 – 14.15 : Lunch break

14.15 – 15.00 : WG 5 Leaders Aurea Mota and Giovan Battista Tusa: Connecting 'natures' in the urban context (Including Q&A)

15.00 – 15.20 : Finat Cimsit Kos, ‘Responsive Ground: Transcalar Interventions in Urban Regeneration’

15.20 - 15.40 : Viktorija Mangaroska, ‘Urban Sustainability and Circular Arts: Reimagining Etno Selo as a Cultural-Ecological Educational Platform in Skopje North Macedonia’

15.40 - 15.50 : Coffee Break


15.50 – 16.10: Onur Birol, ‘Immersive Storytelling and Digital Reconstruction as Performative Pedagogy in Reclaiming Ancient Urban Ecologies’

16.10 - 16.30: Freyja van den Boom, ‘Paris 2030 Climate Futures’

16.30 – 16.50: Q&A for the case studies

16.50 – 17.30: Keynote Experts Communication : Prof. Dr. Carlos Alberto Torres, 'Global Citizenship Education, Sustainability policies, and eco-pedagogy: An agro-ecological experience in the Province of Buenos Aires, Argentina'.

9th September 2025

10.15 - 11.00: : WG 3 Leaders Agata Pięt and Isabel Carvalho: Urban installations and gathering
points. (Including Q&A)

11.00 – 11.15 : Rita Ochoa & Alessia Allegri: “Intermittent City: Developing Micro-Laboratories of Coexistence in the Age of Adaptation”

11.15 - 11.30 : Stella Schroeder: “Tactical Urbanism and Placemaking: Community-Led Urban Installation Methodologies”

11.30 - 11.45 : Kinga Kimic: “Greenery for CIRCUL’ARTs”

11.45 - 11.55 : Coffee Break

11.55 – 12.10 : Margarida Brito Alves: “On temporary uses and communities – T-FACTOR project in Trafaria”

12.10 - 12.30 : Q&A for the case studies

13.15 – 14.15 : Lunch break

14.15 – 15.00 : WG 2 Leaders Slavica Janeslieva, Katarzyna Cytlak, Hanna Musiol : Urban rituals, performances, street theatre, music. Slavica Janeslieva : "Skopje Urban Stories: site specific artistic practices".

15.00 – 15.20 : Medina Spahiu Çeko: "Revival of historical buildings through Art: The Case of Prizren"

15.20 - 15.40 : Hanna Musiol: “From art interventions to community rituals: Site-specific practices for cocreation, reciprocity, and durational care in environmental knowing”

15.40 - 15.50 : Coffee Break

15.50 – 16.10 : Katarzyna Cytlak: 'Dreaming of water:A ch’ixi practices by Ceclia Vucuña'

16.10 - 16.30 : Q&A for the case studies

16.30 – 17.00 : Report on Training School Day 1 and 2 (8th and 9th of September).

10th September 2025

10.15 - 11.00: : WG 4 Leader (Representative) Gerald Leindecker : Innovation through creative and circular technologies. 'Cirular Ecosystems on an Urban Scale ' . (Including Q&A)

11.00 – 11.20 : Renee Wansdronk: Emporium - Zero emission building concept - AR/VR/XR AI avatar tool

11.00 – 11.20; Aleksandra Stupar :‘Belgrade urban oases: Shaping the integrative nodes for environmental and social sustainability’ + Eleni Meletiadou: “Reclaimed Spaces: Empowering Migrant Women and Youth through Temporary Public Installations”.

11.20 - 11.40 : Songül Aral: "Integration of Sustainable Technical Basic Craft Knowledge: Weaving
and Knitting Applications and Prototypes."

11.40 - 11.50 : Coffee Break

11.50 – 12.10 : Q&A for the case-studies

12.10– 13.15 : Key Note Experts Communications and film screening: Odile Burluraux : 'Selection of artist’s videos from the Musée d’art moderne de Paris’s collection' (Part 1).

13.15 – 14.15 : Lunch break

14.15 – 15.00 : WG 6 Rahmin Bender-Salazar, Christian Roth, Breanne Pitt: Dissemination and Impact: Circular Economy, Arts, Educational Futures, & Systems Thinking. 

15.00 – 15.20 : Roxana Dela Fiamor - Focus on Plan of Action for Communicating with the Public

15.20 - 15.40 : Eleni Meletiadou - Frameworks Co-Creation and Participatory Workshops as Dissemination (Pre-Recorded Video)

15.40 - 15.50 : Coffee Break

15.50 – 16.10 : Banu Yucel Toy - Training framework for dissemination workshops regarding
urban design and circular cities

16.10 - 16.30 : Q&A for the case studies

16.30 – 17.00 : Film screening Expert Odile Burluraux: 'Selection of artist’s videos from the Musée d’art moderne de Paris’ collection' (Part 2).

17.00 – 17.30: Report on Training School Day 3.

PROGRAM: TRAINING SCHOOL (FMSH, Room B01-01)

8th of September 2025. 10.00 – 16.30: Trainer Françoise Vergés (France, La Réunion)

9th of September 2025: 10.00 – 16.30: Trainer Carlos Alberto Torres (Argentina)

10th of September 2025: 10.00 – 16.30: Trainers Carina Maria Guimarães Moreira with Carlos
Henrique Aurélio dos Santos (Brazil)

PROGRAM MAISON DE L'AMERIQUE LATINE
11th of September - Auditorium

9.00 – 12.00. Core Group Meeting

13.00 – 18.00. Film screening & meeting with artists

CIRCUL’ARTS ON FILM
Artistic Practices, Critical Pedagogies and Ecological Thinking Film Screening and Meetings with the artists

1. Maurice Dubroca (France): Frans Krajcberg, Portrait d’une Révolte , 8 min. (Presented by Eric Darmon, film producer).

2. Bianca Dacosta (Brazil) : Interior da Terra, 17 min. (ARTIST PRESENT).

3. Gustavo Caboco (Brazil), Kanau'kyba, 11 min.

4. Vincent Voillat (France), Le centre, c'est les pierres, vidéo sur smartphone, 8 min. HD. 2020
(ARTIST PRESENT)

5. Luis Cyprien Rials (France), Babel, 2023, 12 min

6. Paulo Tavares (Brazil), Non-human Rights, 4min

7. Capucine Vever (France), Ô Diryanké, 21min, Dérives Alpines, 19 min.

8. Rosell Meseguer (Spain), SLHS Tamarugal, Total: 26 min. (ARTIST PRESENT)

9. Nana Oforiatta Ayim (Ghana), Nowhere Else But Here, 24 min

10. MadeYouLook (Molemo Moiloa and Nare Mokgotho) (South Africa), Menagano, 5 min.

11. Sofia Yala (Angola), Constellation of Dust, Slideshow (5 min.)

12. Arquitetura Expandida (Colombia), La Comunidad dela Pala, 20 min. (ARTIST PRESENT)

13. Left Hand Rotation (Spain/Portugal), Sem manifestação (5 min), Bye, Bye and Thanks for
nothing (5 min) , Tigre e Yaguarete, (27 min).

CIRCUL’ARTS on FILM is a one-day film program presented within the framework of aninternational research project focused on contemporary artistic and creative contributions to
urban circularity and sustainability (www.circul-arts.com, 2024–2028). In this context, circularity is understood as a set of practices that involve not only the sharing of material resources, but more significantly, the transmission of immaterial knowledge and know-how—such as historical memory, vernacular solutions, practices of solidarity, and community-building. Particular attention is given to case studies originating from Latin America and the African continent.

The film program showcases artistic research by visual artists exploring sustainable urban interventions and forms of activism. This includes community empowerment strategies developed in Bogotá by Arquitectura Expandida, as well as international urban activism by Left Hand Rotation. Rosell Meseguer investigates resource extraction in Latin America, shifting the perspective from the human to the mineral realm itself. Gustavo Caboco, Maurice Dubroca, and
Bianca Dacosta are artists deeply engaged in the defence of Indigenous ecologies and belief systems in Brazil.


Other works adopt experimental and empathetic approaches (Vincent Voillat), or are embedded within multimedia research frameworks (Paulo Tavares), exploring the non-human world and the interdependencies that exist between species—within a long-term historical perspective that precedes human temporality (Capucine Vever, Luis Cyprien Rials). Films by the Ghanaian writer and curator Nana Oforiatta Ayim, the Angolan artist Sofia Yala, and the French artist Capucine
Vever address the transmission of ancestral knowledge and the affirmation of cultural identity
across diverse African cultures.


This film program is associated to a conference that takes place between thé 8th-10th of Septembre at Fondation Maison des Sciences de l'Homme (54, Boulevard Raspail, 75006 Paris).

ARTISTS BIOS

Vincent Voillat (www.voilla.tv) Vincent Voillat lives and works in Paris. Graduated from the Fine Arts Schools of Grenoble and Le Fresnoy (2003). He is represented by Galerie Éric Mouchet Paris and teaches sculpture at the École Supérieure d’Art et de Design TALM-Tours.

Gustavo Caboco (https://almeidaedale.com.br/artistas/gustavo-caboco/ ) born in Curitiba, Roraima (1989). He identifies himself as a indigenous Wapichana visual artist. He works with drawing, painting, text, embroidery, animation and performance and proposes ways of reflecting on the displacements of indigenous folks and on the recovery of memory.

Sofia Yala (https://www.sofiayala.art/) is an Angolan/Portuguese photographer. She has a BA in African Studies and an MA in Anthropology & Visual Cultures and an MA in Arts: Film & Photography in the UK. Yala's artwork explores archival material, to reshape memories and experiences.

Arquitetura Expandida (https://arquitecturaexpandida.org/ ) is a Bogotá based collective, founded in 2010, working on the intersection between art, architecture, design. Their activism is based on collaborations with social communities, often involving their grassroots footage. They act
in defense of social rights. They have showed their work in various international museum,
including Centre Pompidou, Paris in 2017.

Left Hand Rotation (https://www.lefthandrotation.com/) is an artistic collective active since 2005 that develops projects that combine urban intervention and art activism, in defense of
communitries and their social rights, involving performance, recording, foto and video
manipulation.

Louis Cyprien Rials (www.louiscyprienrials.com) is a French artist whose artistic work is based on extensive travelling in conflict zones. He is currently based in Iraq . His most recent show was at the Institut Français (Baghdad) and the Fondation Le Corbusier (Paris), 2024.

Nana Oforiatta Ayim (www.nanaoforiattaayim.com) is a historian, writer, and filmmaker, living in Ghana. Her research is dedicated to indigenous knowledge models and their contemporary
expression in Ghana. Her novel, The God Child, was published by Bloomsbury, UK & US (2019, 2020). She curated Ghana’s first Venice Biennale pavilion, founded the ANO Institute of Arts and Knowledge and the Pan-African Cultural Encyclopaedia.


Paulo Tavares (www.paulotavares.net) is a Brazilian architect, researcher, and writer, working on ecology and territories. He wrote Forest Law (2014), Memória da Terra (2018), and Des-Habitat (2019). He published in Harvard Design Magazine, the Oslo Architecture Triennale, the Istanbul
Design Biennial, and the São Paulo Biennial. He teaches at the University of Brasília.

MADEYOULOOK (www.made-you-look.net) is a Johannesburg-based interdisciplinary art
collective founded in 2009 by Molemo Moiloa and Nare Mokgotho. Their work focuses on re
examining everyday Black practices in South Africa, often through installations, gatherings, and research, aiming to challenge and re-interpret societal norms. In 2024 they represented South Africa at the Venice Bienniale.

Capucine Vever (www.capucinevever.com) born in 1986 in Paris, lives and works in Bobigny, develops a contextual practice centered on the territory, as an ecological, geographical or cultural presence. Her work has been presented in the Chapelle de l’Oratoire of the Musée d’Arts de Nantes (2025), the Musée des Beaux-Arts de Caen (2025), the Grantham Foundation for Art and the Environment (Quebec, 2025) etc.

Rosell Meseguer (www.rosellmeseguer.com) born in 1976, lives and works in Spain. Her work is focused on mineral colonization, expanding geopolitical reading with artistic questions thorough fieldwork, archival research, historical research, producing artist books, installations, printmaking, video. She has participated in MANIFESTA 8 and presented her artist books at MNCARS Reina Sofía Madrid. Her work is in colllections such as MIRÓ Foundation Mallorca or the Board
Whitney Museum NY.

Bianca Dacosta (https://www.biancadacosta.com/) Through a multifaceted practice combining film, photography, installation and sculpture, Brazilian artist Bianca Dacosta works on the memory of territories, where natural and sensitive resources intertwine, within a postcolonial and anti extractivist approach. Her work draws on natural, scientific and symbolic elements to question endangered nature in the Anthropocene, the imaginaries of colonized lands and organic forms,
sketching a reconciliation between humanity and its environment.

Éric Darmon, ethnologist by training, is a French director and producer, founder of the
documentary film production company Mémoire Magnétique (1982). Filmography: Au soleil même la nuit (1994), Les Coulisses de la création (documentary portraits of composers - Philip Glass, Pierre Henry, Steve Reich, Heictor Villa-Lobos etc.), videos and installations for exhibitions, artist performances. He produced Frans Krajcberg, Portrait of a Revolt by Maurice Dubroca, Gypsy Memoirs, The Other Genocide by Juliette Jourdan.

Maurice Dubroca, Brazilian at heart, he is a screenwriter and director. The relationship between man and nature is the main theme of several of his films, which have been noted and awarded, such Des Poissons dans les arbres, Chanteurs d’oiseaux, Les hyènes de Harar, et Frans Krajcberg, Portrait d'une révolte - winner of the Grand Prix du Film d'art militant (FIFAP - Maison de l'Unesco -
Paris 2004), Special Jury Mention (FICA) Goiás - Brazil 2004, Best French-Language Film Award, Frapna - Grenoble 2005.

Marie Gayet is an independent curator and art critic, lives and works in Paris. Her recently
published Écritures transversales (2025, Edition Caza d’Oro) and published in various journals (Esse, Artais, etc.) and catalogs (Fondation Bullukian, L’art dans les chapelles, etc.). She works for the Observatoire de l’Art Contemporain and teaches in IESA and Formation Drouot. She is AICA France
member and a member of the Board of Directors of C-E-A (see profile on www.aicafrance.org)

Marta Jecu (www.martajecu.com, www.exodusstations.com) is researcher, professor at Universidade Lusofona and independent curator. Her curatorial work is research oriented. She initiated various research and curatorial projects on the role of contemporary art for new museology, such as EXODUS STATIONS (www.exodusstations.com) and Carim (https://carimproject.com/) and edited various volumes on natural, immaterial and material heritage.