Archives mensuelles : octobre 2015

‘Qui a peur des femmes photographes ? 1839 à 1945’ au Musée d’Orsay et au Musée de l’Orangerie jusqu’au 24 janvier



Première partie au Musée de l’Orangerie (1839-1919):


« L’idée selon laquelle la photographie, outil physico-chimique de reproduction, aurait été une simple affaire de technique et donc « d’hommes », est tenace. Des femmes ont pourtant joué dans l’histoire de ce médium un rôle plus important que celui qui est reconnu à leurs consoeurs dans le domaine des beaux-arts traditionnels.

Pour la première fois en France, l’exposition Qui a peur des femmes photographes ? présentée au musée de l’Orangerie aborde les 80 premières années de ce phénomène, à travers ses manifestations aussi bien dans l’hexagone que dans la sphère anglo-saxonne. »

Lien vers le Musée de l’Orangerie:



Deuxième partie au Musée d’Orsay (1918-1945):

Madame Yevonde (1893-1975) Portrait de Joan Maude 1932 Vivex colour print H. 35,6 ; L. 27,8 cm Londres, National Portrait Gallery © Yevonde Portrait Archive


« S’appuyant sur des recherches nouvelles comme sur les nombreuses histoires de la photographie qui, depuis une quarantaine d’années, ont réévalué l’extraordinaire contribution des femmes au développement du médium, cette exposition et la publication qui l’accompagne sont les premières du « genre » en France.

Le phénomène est en effet appréhendé à travers ses manifestations aussi bien en Europe – essentiellement en France, Grande-Bretagne et Allemagne – qu’aux Etats-Unis, de l’invention officielle de la photographie en 1839 jusqu’en 1945. »

Lien vers le Musée d’Orsay:



« Heather Cassils – The Body As Social Sculpture » à Goldsmiths College (Londres) le 10 novembre

Cassils – The Body As Social Sculpture
Tuesday November 10

Ian Gulland Lecture Theatre
Chair: Gavin Butt

Elaborating on the idea that our bodies are formed in relation to societal expectations, Cassils will discuss two recent works « Cuts: A Traditional Sculpture » and « Becoming An Image, » in relation to current works in progress. In these projects Cassils performs transgender not as a crossing from one sex to another, but rather as a continual becoming, a process oriented way of being in a space of indeterminacy, spasm and slipperiness. Forging a series of powerfully trained bodies for different performative purposes constructs a visual critique and discourse around physical and gender ideologies and histories. Drawing on conceptualism, feminism, body art, gay male aesthetics, and Hollywood cinema, Cassils creates a visual language that is at once emotionally striking and conceptually incisive.

Cassils’ recent exhibitions include solo shows at MU Eindhoven (NL), Trinity Square Video (Toronto) and Ronald Feldman Fine Arts (NYC); screenings at the ICA (London); performances at The National Theater Studio (London) and commissions by Los Angeles Contemporary Exhibitions (Pacific Standard Time). Recent writings have appeared in ‘Signs: Journal of Women and Culture and Society’ and in ‘Commerce By Artists’. Cassils is listed by the Huffington Post as one of 10 transgender artists changing the landscape of contemporary art and their works have featured on the covers of multiple journals. Cassils received a MOTHA (Museum of Transgender Hirstory) award in 2013.


Organised by the Department of Visual Cultures


Lien facebook:

Appel à communications et contributions visuelles: « Visualità e (anti) razzismo / Visuality and (anti) racism » (InteRGRace, Université de Padoue)


Keynote speakers

Monica Moreno Figueroa – University of Cambridge

Anna Scacchi – University of Padova

The second symposium of InteRGRace – Interdisciplinary/Intersectional Research Group on Race and Racisms (FISPPA, University of Padua) focuses on the relationship between visuality and ‘race’, visibility and (anti)racism: it intends to explore the importance of visualisation e of counter-visuality (Mirzoeff 2011) both in the practices that constitute, assign and incorporate race and whiteness, and in those by racialized subjects resisting the hegemonic and racist aesthetic codes.

Leading from what Shawn Michelle Smith has said about the relationship between Visual Studies and Critical Race Studies, the symposium aims to think about ‘race’ as a visual cultural dynamics: not as the object of the gaze, but as the subjective status generated by the performance of the same gaze. In this sense, race and gaze correspond to those social and cultural dynamics which produce both the objects of a racialized vision and the subject of such a vision.

The symposium will maintain Italy at the core of its reflections, but this geographical focus will be positioned in the context of the transnational trajectories in which the materials that substantiate the (visual) regimes that produce and signify race are built.

The angle will thus be that of a reading of the historical, social and cultural specificity of the Italian case, keeping an eye on the common dynamics and on the geographical and historical fractures around the discourse of race.

Following an intersectional perspective that positions the gaze, the subject that sees, the one assigned with race, and the one who embodies and/or resist it, along gender, class, colour and sexuality lines, the symposium aims to encourage a multifaceted and interdisciplinary approach, able to understand genealogies, meanings and material consequences of racialised visual codings. Historically, the ‘regimes of truth’ (see Judith Butler 1993) representing the colonial Self and its Others, where the latter corespond to the monstrous, were established through visuality and the repetition of models of visual representations in which ‘what you see corresponds to the truth’ (see for example the studies for the Pacific and India by Tracy Banivanua Mar and Radhika Mohanram respectively, and Sòrgoni for the translation in Italy of the image of the Hottentot Venus).

At the beginning of the twentieth century African-American intellectual W.E.B. Du Bois critically explored the link between the gaze that disciplines and naturalises monstrosity and double consciousness. Fifty years later Franz Fanon devoted to the issue one of the most important chapters of his Black skin, white masks (1952).

Soon after, the emancipatory and anticolonial movements of the second half of the twentieth century focused on the issue of visibility as an instrument of opposition to a cultural hegemony which assigns inferiorising meanings to a certain ‘appearance’. Twenty years later, from the late Eighties, Fanon’s reflections on the visual construction ‘of the black man’ [the fact of blackness] are taken up by black and postcolonial feminists: their critique goes on to examine the many orientalisms present in colonial aesthetics and white hegemony.

Since then a variety of racialized representations coded in imperial drawings and paintings, ‘ethnographic’ photographs, cinema, advertising, sport and fashion magazines, all become research materials (see for example the work of Stuart Hall, Shirley Tate, Monica Moreno Figueroa, Diana Poole, James R. Ryan and, with regards to Italy, the work, among others, by InteRGRace, Liliana Ellena, Anna Scacchi, and Leonardo de Franceschi).

Today the relationship between visuality, visibility and race is at the centre of many of the reflections of black and postcolonial feminists, engaged in both a close analysis of (racialised) cultural hegemony, and its counter- (aesthetic/visual) discourse (see the significant academic production within the field of Beauty Studies, popular especially in the United States and United Kingdom, but with important examples also in Australia and Asia. For Italy see, for example, the work of Annalisa Frisina).

The legacy of these studies – in terms of approaches and methods – will guide us in mapping the relationship between visuality, visibility and the intersectional constructions of race and whiteness. This mapping will bring together all disciplinary fields, in the Humanities, Social Sciences and so-called hard sciences.

The common approach will be that of leading from an idea of race as a social construction and sematic field which is never foreclosed once and for all, resulting from the sedimentation over time of racialized images and imaginations both locally and transnationally.


The symposium opens the second and third sessions – out of the four that form it – to external contributions.

The second section (21 January afternoon) will be built through a call for papers. The selected papers, which can be presented either in English or in Italian, will compose one or two consecutive panels, for a total number of 6-8 papers of 15 minutes each plus discussion.

The third section (22 January morning) will be built through a call for visual contributions in Italian and English carried out by artist and scholar activists. The productions can be either in the field of visual arts or of performative arts.

Abstract – of a maximum length of 200 words preferably in Italian or English – need to be submitted to by 15/11/2015.


Relazioni plenarie

Monica Moreno Figueroa – Università di Cambridge

Anna Scacchi – Università di Padova

Il secondo simposio di InteRGRace – Interdisciplinary/Intersectional research group on Race and Racisms (FISPPA, Università di Padova) si concentra sul rapporto tra visualità e ‘razza’, visibilità e (anti)razzismo: esso si propone di esplorare l’importanza della visualizzazione e della controvisualità (Mirzoeff 2011) nelle pratiche sia di costituzione, assegnazione ed incorporamento della ‘razza’ e della bianchezza,sia di resistenza ai codici estetici egemonici e razzisti da parte dei soggetti razzializzati.

Partendo da ciò che ha affermato Shawn Michelle Smith a proposito del rapporto tra Visual Studies e Critical Race Studies, il simposio vuole pensare alla ‘razza’ come visual cultural dynamics: non come l’oggetto dello‘sguardo’, ma come status soggettivo generato dalla performance di quello stesso sguardo. In tal senso, ‘razza’ e sguardo corrispondono a quelle dinamiche sociali e culturali che producono sia gli oggetti di una visione razzializzata sia i soggetti di tale visione.

Pur restando, l’Italia, al centro delle riflessioni, quest’ultima verrà collocata nell’orizzonte delle traiettorie transnazionali in cui vengono costituiti i materiali che sostanziano i regimi (visuali) che producono e significano la ‘razza’.

La prospettiva sarà dunque quella di una lettura della specificità storica, sociale e culturale italiana con uno sguardo a dinamiche comuni e alle fratture storiche e geografiche del discorso sulla ‘razza’.

Muovendoci nel solco di una prospettiva intersezionale che posiziona il genere, la classe, il colore e la sessualità di chi parla la ‘razza’ e di chi è detto/a incarnarla, il simposio vuole stimolare uno sguardo multiprospettico ed interdisciplinare, in grado di cogliere genealogie, significati e effetti materiali dello sguardo.

Storicamente, è mediante la visualità e la reiterazione di modelli di rappresentazioni visive in cui ‘ciò che si vede corrisponde al vero’, che sono stati costruiti quei ‘regimi di verità’ (si veda Judith Butler 1993) che hanno diviso il mondo coloniale nelle due sfere del Sé e degli Altri e assegnato al secondo lo status del mostruoso (si vedano, ad esempio, gli studi per il Pacifico e l’India rispettivamente di Tracy Banivanua Mar e Radhika Mohanram e Sòrgoni per la traduzione in Italia dell’immagine della Venere ottentotta).

All’inizio del Ventesimo secolo fu l’intellettuale afroamericano W.E.B. Du Bois ad esplorare criticamente la connessione tra sguardo che disciplina e naturalizza, mostruosità e doppia coscienza, questione a cui Frantz Fanon, cinquant’anni dopo, dedicherà uno dei capitoli più significativi del suo Pelle nera, maschere bianche (1952). Poco più tardi, saranno i movimenti emancipazionisti e anticoloniali della seconda metà del Ventesimo secolo a porre al centro la questione della visibilità come strumento di contrasto all’egemonia culturale che assegna significati inferiorizzanti ad una determinata ‘apparenza’. Vent’anni dopo, a partire dalla fine degli anni Ottanta, sarà il recupero della riflessione fanoniana sulla costruzione (anche) visuale ‘dell’uomo nero’ [the fact of blackness] a stimolare l’esame dell’orientalismo all’interno dell’estetica coloniale e dell’egemonia bianca da parte della critica femminista nera e postcoloniale.

Materiali di ricerca sono allora divenute le rappresentazioni razzializzate nei disegni e nei dipinti imperiali, nelle fotografie ‘etnografiche’ così come nel cinema, nell’industria pubblicitaria e nelle immagini di copertina di giornali sportivi e riviste di moda (si vedano, ad esempio, i lavori di Stuart Hall, Shirley Tate, Monica Moreno Figueroa, Diana Poole, James R. Ryan e, per l’Italia, i lavori, tra gli altri, di InteRGRace e di Liliana Ellena, Anna Scacchi e Leonardo de Franceschi).

Oggi il rapporto tra visualità, visibilità e ‘razza’ è al centro di molta riflessione del femminismo postcoloniale e nero, impegnato nella decostruzione del pensiero egemonico da un lato, e nel fare emergere l’agency femminile nella costruzione di codici estetici differenti (si veda la cospicua produzione accademica all’interno dei Beauty Studies, diffusi soprattutto negli Stati Uniti e in Gran Bretagna, ma con importanti esempi anche in Australia e in Asia. Per l’Italia si veda, ad esempio, il lavoro di Annalisa Frisina).

Il lascito di questi studi – in termini di approcci e metodi – ci guiderà in una mappatura della relazione tra visualità, visibilità e costruzioni intersezionali della ‘razza’ e della bianchezza in grado di far dialogare tutti gli ambiti disciplinari, sia all’interno delle scienze umane, sia delle scienze sociali e delle cosiddette scienze dure.

La prospettiva comune sarà quella che parte da un’idea della ‘razza’ come costruzione sociale e come campo semantico mai conchiuso una volta per tutte, risultato della sedimentazione nel tempo di immagini e immaginari razziali locali e transnazionali.


Il simposio apre la seconda e la terza – delle 4 di cui si compone – a contributi esterni.

La seconda sezione (pomeriggio del 21 gennaio) verrà costruita mediante call for papers. I papers selezionati, che possono essere presentati sia in inglese sia in italiano, andranno a comporre 1 o 2panel consecutivi per un numero complessivo di 6-8 papers di 15 minuti ciascuno e discussione.

La terza sezione (mattina del 22 gennaio) verrà costruita attraverso la call for visual contributions in italiano e in inglese realizzati da artisti e ricercatori attivisti. Le produzioni potranno essere sia nell’ambito delle arti visuali sia in quello delle arti performative.

Termine per l’invio all’indirizzo degli abstract preferibilmente in italiano o in inglese, di massimo 1500 caratteri spazi inclusi: 15/11/2015.

Le requiem des Innocents de Louis Calaferte par Virginie Despentes – Maison de la poésie, le 19 novembre



Accompagnée par le groupe Zerö : Éric Aldea (guitare), Ivan Chiossone (claviers),
Frank Laurino (batterie)
Son : Wilo

Depuis Baise-moi en 1994, Virginie Despentes s’est imposée comme un écrivain majeur avec notamment Les Jolies Choses (prix Flore 1998), Teen Spirit, Apocalypse bébé (prix Renaudot 2010) ou encore son essai King Kong Théorie. C’est qu’il y a chez elle une énergie d’écriture salutaire et sans concession, mais aussi une intelligence rare. L’acuité de son regard sur le monde contemporain (tantôt hilarant, tantôt glaçant de vérité), on la retrouve dans la « série » Vernon Subutex, fresque incroyable dont les deux premiers tomes sont parus. Personne n’échappe à Virginie Despentes et, en même temps, elle sait très bien qu’il est jouissif de canarder à tous crins. Elle s’efforce donc de prendre à bras-le-corps, et d’aimer aussi, cette galerie de personnages ultramodernes qu’elle met en scène.

Ce soir elle vient accompagnée du groupe de rock Zëro pour payer une dette littéraire : celle qu’elle doit au mythique Requiem des innocents de Louis Calaferte.


Maison de la poésie

Passage Molière
157, rue Saint-Martin – 75003 Paris
M° Rambuteau – RER Les Halles

Tarif : 15 € / adhérent : 10 € RÉSERVER

Annamarie Jagose: Housework, Sex Work – Feminist Ambivalence and Chantal Akerman’s Jeanne Dielman – ICI Berlin, 26 octobre

Time: Monday, 26 October 2015, 19:30
Venue: ICI Berlin
In English



Included as part of the Official Selection in the Directors’ Fortnight at the Cannes Film Festival in 1975, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles brought the then twenty-five-year-old Chantal Akerman to international attention. Widely acclaimed for its thematic and formal originality, the novelty of Akerman’s film was nevertheless immediately recognizable to a new generation of feminist film scholars, who were, in that same mid-1970s moment, taking up psychoanalytic models to theorize relations between femininity and its cinematic representation. Much of this work took Jeanne Dielman as a key text, reading its sustained attentiveness to the grindingly real time of quotidian female domestic routine as a more general critique of the social marginalization of Western women.
Yet the initial feminist reception of Akerman’s film hinged ambivalently on Jeanne Dielman’srepresentation of the temporalities of a female everyday. The feminist film critics who wrote about Jeanne Dielman often emphasized the interventionist force of Akerman’s lengthily held shots of culturally insignificant housework activities, as if subscribing to a folk-Bazinian faith in the aesthetic value of the deep-focus long take. As Jagose will argue with reference to key scenes as well as material aspects of the film’s production, however, this feminist championing of Akerman’s film style enabled a covert subscription to a different order of temporality, endorsing a sense of lived time animated by the generational divide between second-wave feminism and the women it succeeded.


Annamarie Jagose is a professor in the School of Letters, Art and Media at the University of Sydney. Internationally known as a scholar in feminist studies, lesbian/gay studies, and queer theory, she has published four monographs: Orgasmology (Duke UP, 2013); Inconsequence: Lesbian Representation and the Logic of Sexual Sequence (Cornell UP, 2002); Introduction to Queer Theory (New York UP, 1998), and Lesbian Utopics (Routledge, 1994). She co-edited theRoutledge Queer Studies Reader (Routledge, 2013) with Donald E. Hall.
She has previously held research fellowships at Johns Hopkins University, New York University, Northwestern University and the University of Manchester. From 2003-2011, she co-edited the leading humanities sexuality studies journal, GLQ: A Journal of Lesbian and Gay Studies (Duke UP), with Ann Cvetkovich. Jagose is an editorial board member of a number of international journals in gender studies and sexuality studies. She is also an award-winning novelist.

Flyer (PDF)


Call for papers Women and Performance, A journal of feminist theory: « Sentiment and Sentience: Black Performance since Scenes of Subjection » – deadline: 16 janvier 2016

Sentiment and Sentience: Black Performance since Scenes of Subjection

Issue Guest Editors:

Sampada Aranke (Assistant Professor, The History & Theory of Contemporary Art, San Francisco Art Institute)
Nikolas Oscar Sparks (PhD Candidate, English, Duke University)

Submission Deadline: January 15, 2016

Maria Magdalena Campos-Pons, "De Las Dos Aguas," 2007. 12 Polaroid Polacolor Pro, 20 X 24 in. Photographs courtesy of the Art Appreciation Foundation

“It is important to remember that blackness is defined here in terms of social relationality rather than identity; thus blackness incorporates subjects normatively defined as black, the relations among blacks, whites, and others, and the practices that produce racial difference. Blackness marks a social relationship of dominance and abjection and potentially one of redress and emancipation; it is a contested figure at the very center of social struggle.”

—Saidiya Hartman, Scenes of Subjection, 56–57

Since its 1997 publication, Saidiya Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America has proven to be a scandal, unsettling the claims of recuperative studies that hinge upon sentimentality to understand a distinctive break between the horrors of chattel and the jubilee of emancipation. Instead, Hartman suggests that the historical continuity between slavery and Reconstruction can best be traced through the black body, which itself inhabited and performed the very relations of freedom and violence calcified by racism within liberal humanist frameworks. From the slave coffle to the pastoral landscape to the courtroom, these sites stage the quotidian and spectacular scenes of violence against enslaved and freed black people. Crucial to Hartman’s project is how black corporeality throws the subject position of the autonomous individual (liberal humanism’s desired ideal) into crisis. This crisis appears through a series of juridical and social performances that destabilize and eventually reinscribe the captive’s status as a being vacated of sentience. The performing black female body demystifies how this particular formulation of the subject denies the recurring violences enacted against her flesh. Hartman’s analytic of black performance reveals the enduring violences of the chattel system, and its particular constraints on black female embodiment and performances of self-possession.




Suite de l’appel à communications:

Cineffable – Festival international du film lesbien et féministe de Paris du 29 octobre au 1er novembre


Affiche réalisée par Miss Map


Retrouvez l’ensemble de la programmation sur le site de Cineffable:



She's Beautiful When She's Angry jeudi 29 octobre à 20h

She’s Beautiful When She’s Angry
jeudi 29 octobre à 20h


Vessel dimanche 1er novembre à 19h30

dimanche 1er novembre à 19h30


The Hungry Hearts jeudi 29 octobre à 19h30 dimanche 1er novembre à 19h30

The Hungry Hearts
jeudi 29 octobre à 19h30
dimanche 1er novembre à 19h30


 Je ne suis pas féministe mais...  ▶  vendredi 30 octobre à 12h

Je ne suis pas féministe mais… ▶ vendredi 30 octobre à 12h


Solar Mamas  ▶  vendredi 30 octobre à 17h

Solar Mamas ▶ vendredi 30 octobre à 17h


Six Days  ▶  samedi 31 octobre à 14h30

Six Days ▶ samedi 31 octobre à 14h30


Les vigilantes vendredi 30 octobre à 14h30

Les vigilantes
vendredi 30 octobre à 14h30


Out in the Night dimanche 1er novembre à 17h

Out in the Night
dimanche 1er novembre à 17h


Casablanca Calling samedi 31 octobre à 12h

Casablanca Calling
samedi 31 octobre à 12h

All Men Become Sisters : à Lodz (Pologne) du 23 Octobre au 17 Janvier

Curator: Joanna Sokołowska



In the factories, in the offices, in the hospitals, in old people’ s homes, online, in the kitchens, in the museums, in the movie theatres, we are married! Married to a straight white guy called ‘the economy’. The only thing to do is to ask for a divorce, and a huge settlement.

— Pauline Boudry/Renate Lorenz, Charming for the Revolution, 2009


The exhibition All Men Become Sisters and its accompanying performative program proposes a feminist appropriation of the idea of brotherhood, and negotiates and mediates social alliances through the concept of sisterhood—a category, which has the potential to transgress gender boundaries. The main battleground of this struggle is the sphere of labour and production, as well as reproduction of life. The presented artworks act as the means of diagnosis, transformation and interventions in the areas of memory, affects, meanings and imagination.


The point of departure of All Men Become Sisters is the critique of the economic oppression of women articulated by the international feminist art movement of the 1960′s and the 70′s. One of the areas of interest for female artists and collectives was the issue of unpaid care work, as well as the invisible, marginalized and privatized sphere of the household. The goal of artistic actions—undertaken with the help of diverse media, including agitprop exhibitions, social campaigns, performances and documentary films—was the incorporation of the aforementioned topics into the public sphere and the field of political economy, and, as a result, the revaluation of reproductive labour, performed mainly by women. A further objective was to draw on the experiences of the labour of love involved in caring for others  in order to change the ways, in which we define the goals and subjects of economy. Other debated topics included the discrimination of female wage workers, the high feminization of professions of low social prestige, and wage inequality. These discussions were supplemented by attempts at decolonizing the female body, both through contesting sexist and commodifying representations and feminist appropriations of such images.


The exhibition takes up these, still unresolved, social struggles and inscribes them into a set of issues brought on, displaced and intensified by globalization. It is against this backdrop that exploitation of gender difference intersects with other factors such as  race, social class, ethnicity and nationality, species, as well as differences between peripheral and central economies, all of which are used to generate inequality and perpetual accumulation of capital. The presented artworks address these complex, interrelated mechanisms and patterns of dominations in order to question their pretensions to cognitive hegemony. They also resonate with current changes in the way we think about cultivating life on Earth.


A further historical reference for the exhibition, a number of new artworks and performative events is the history of female textile labourers in Łódź, who spent their lives in an industry, which shaped the working class reality of the city.


For further information, please contact:


Exhibition architecture: Krzysztof Skoczylas Coordinator: Martyna Gajda
Graphic design: NOVIKI
Production of works of Jan Czapliński and Zorka Wollny: Marta Olejniczak/ Kazimierz Dejmek’s Teatr Nowy in Łódź
Co-production of the work of Aleksandra Polisiewicz: Anna Lisiewicz/Muzeum Fabryki in Łódź
Partners: Kazimierz Dejmek’s Teatr Nowy in Łódź Muzeum Fabryki in Łódź



All Men Become Sisters

23 October 2015–17 January 2016

Muzeum Sztuki ms2
19 Ogrodowa St.



Projection de ‘Gougnette’ de Jackie Raynal le 5 novembre en présence de la réalisatrice

L’équipe du Centre audiovisuel Simone de Beauvoir est heureuse de présenter le documentaire


de Jackie Raynal

le jeudi 5 novembre 2015 à 20h au cinéma LUMINOR Hôtel de Ville (anciennement Le Nouveau Latina) en présence de la réalisatrice.


“ Gougnette (désordonnée en patois camarguais), ou la mémoire de mes parents (morts en 1983 et 1995), résistants pendant la seconde guerre mondiale et communistes dans le Midi. Ce film, à travers des interviews filmées et sonores de mes parents et de personnes qui les ont connues – prises entre 1979 et 2005 – retrace leurs vies dans leur univers d’engagement politique. C’est aussi l’hommage d’une cinéaste à ses parents. Une oeuvre non pas politique mais évoquant la mémoire d’une époque et d’une région. ” Jackie Raynal


La séance sera suivie d’un débat avec la réalisatrice.


Découvrez le flyer de la soirée en pièce jointe ou rendez-vous sur l’Agenda du site du Centre en cliquant ici.


Nous espérons vous retrouver nombreuses et nombreux au LUMINOR Hôtel de Ville.


L’équipe du Centre


Le Luminor, 20 Rue du Temple, 75004 Paris, France

Rire Barbelé (compagnie TOUT&VERSA) – D’après Le « Verfügbar aux enfers » de Germaine Tillion



rire barbelé    rire barbelé 2



Le Musée Mendjisky-Écoles de Paris vous présente “Rire de Barbelé”: elles s’appellent Lulu, Titine, Marmotte… Elles sont enfermées, elles ont faim mais leur solidarité, et leur humour, sont intacts.


Germaine Tillion a écrit ce texte drôle et parsemé de chansons alors qu’elle se trouvait détenue, au camp de concentration de Ravensbrück, avec d’autres résistantes. Les personnages : les prisonnières elles-mêmes. Leurs aventures : l’absurdité du travail forcé, les coups, le passage des trains aux destinations menaçantes,les souvenirs, les rêves de repas… Quand la lucidité se teinte de malice, quand on est capable de dérision, là où l’espoir semble si lointain… Germaine Tillion a réussi ce réjouissant tour de force : rire pour résister.


Rire Barbelé, d’après le Verfügbar aux Enfers , l’Opérette à Ravensbrück de Germaine Tillion
Adaptation et mise en scène: Charlotte Costes-Debure.
Musique: Amelia Ewu
Avec : Chloé Vandermaesen, Marine Tonnelier, Marine Sigismeau, Théodora Sadek, Romane Grando-Yvonnet, Amelia Ewu, Charlotte Costes-Debure

Info sur l’évènement

  • Réservation: 0145323770
  • Horaire:18h
  • Tarif: 9EUR réduit et 12EUR plein tarif
  • Durée: 50 min
  • site de la compagnie TOUT&VERSA




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