Tout le Monde
Proposed by Cédric Aurelle, Tout le Monde is an invitation to close one’s eyes for a moment, and to dig into the bodies, the stories, the memories and the energies that constitute Marseille. Along with 5 artists (Sophie Bueno-Boutellier, Julien Creuzet, Estel Fonseca, Jean-Christophe Norman, Yoan Sorin) who chose to live in Marseille or who developed a special relation with the city, Tout le Monde takes us from the city center to the natural confines of the city, embracing some of its most significant geographical and social azimuts. Benjamin Valenza, artist based in Marseille, makes short films documenting those urban walks.
Thursday, August 27
11 a.m. Julien Creuzet : The Stairway Descent. Gare Saint-Charles
Meeting point at Gare Saint-Charles on the large intermediate landing west of the monumental stairway. (On the left when going up).
around 11:30 a.m. Jean-Christophe Norman : Ulysses, a long way. Boulevard d’Athènes
(after the stairway descent of Julien Creuzet).
Meeting point somewhere on Boulevard d’Athènes between the stairway to the Gare Saint-Charles and the Canebière following the traces of writings on the pavement.
Friday, August 28
11 a.m. Yoan Sorin : Via 66, Wander – South of Marseille.
Meeting point in front of the Parc Chanot Entrance, Gate A (Métro Rond-Point du Prado)
Saturday, August 29
10:45 a.m. to 12:30 Estel Fonseca avec Bouchta Saïdoun, Qu’entends-tu ? Que vois-tu ? La vie qui déborde. Walking – North of Marseille.
Meeting point Place des Capucins (Noailles market) to take the metro at 11 a.m. in the direction of Gèze. Strolling on the Arnavaux Market (possibility to extend with a tea/lunch on the spot)
Monday, August 31
Postponed Saturday, September 5
5:45 p.m. Sophie Bueno-Boutellier : Balade en forêt. Méditation with the voice of Won Jin Choi – Îles du Frioul
Meeting point in front of the Quai de Rive Neuve ferry terminal (Vieux-Port metro station) with a ticket for the ferry crossing. Book at the Quai de Rive Neuve Maritime Station (6:10 pm Shuttle) the day before or the same day. (please note that people who do not have their maritime shuttle ticket will not be able to make the crossing – Plan to buy your ticket 40 minutes before departure.)
6:50 p.m. Alternative meeting point for those who arrived earlier in the islands of Frioul is at the end of the quay between the islands of Pomègues and Ratonneau, on the departure side of the walks towards Pomègues (the landing stage being on Ratonneau).
Those who wish to do so can bring their own food and swimming equipment (a picnic and possible swimming will take place after the meditation).
Tout le Monde is an invitation to close one’s eyes for a moment, and to dig into the bodies, the stories, the memories and the energies that constitute Marseille. For this unprecedented edition of the contemporary art fair, of which the focal point is the encounter with galleries, is put to sleep because of the global context, it is time for us to come back to the city which has been fueling the event with the invisible matrix substrate it fed on for 13 years. Challenging the idea of a VIP program that became common in any international art event such as biennales or fairs, Tout le Monde wishes to move away from the liturgical exercises that are the visits of public museums and private collections as many social and mundane interfaces, allowing the temporary aggregation of an art system thought as networks, carriers and successes. Unlike the stunning postcard of a Mediterranean city bathed in sunshine, and the over-used photographs of the so-called “Phocean” city, Tout le Monde is not so much offering a “discovering of the town like a genuine local” following the principle of an experience of the world, which wouldn’t be fetishized by a tourist carbon-based economy, but it is about reinventing what an art economy based on travels as the experience of losing a part of oneself could be – even if it is just inside, of a displacement of one’s own center – even if it is motionless, of the confusion of reference points – as familiar as they could be. Here, the city would be to understand as the metaphorical vehicle of this loss and the path to build to find oneself back into the mishap of its relief, the ruins of its history, the dramaturgy of its everyday life as well as the sediments left by others before.
Along with artists who chose to live in Marseille or who developed a special relation with the city with time, Tout le Monde takes us from the urban center to the “natural” confines of the city, embracing some of its most significant geographical and social azimuths.
Patent place for arrival, welcoming and entry in the city from abroad, from the migrant to the traveler, the Saint-Charles train station is also the starting point of Tout le Monde. Offering from its forecourt one of the most beautiful point of view on Marseille, it stands out through the sculpted décor of its monumental stairway by Louis Botinelly (1927) whose program is a petrified anthem of the colonization of Asia and Africa taking the allegoric form of two sensual women whose forced consent has been compelling them to be prisoners of the rock for almost a century. Celebrating in a problematic way the “colonial adventure” which created most of the power and wealth of Marseille, the landmark remains unquestioned at the heart of the migratory hub of the train station and the popular neighborhood of Saint-Charles, and suddenly becomes visible through the colors and angry gestures of the Black Lives Matter and Justice for Adama protesters last June. Julien Creuzet’s turn is coming, as a black man going down the stairs, to put words on those unbearable stones and to oppose to the mineral order of racial assignations, the verbal and gestural chaos of a Tout le Monde (Whole-World) as Glissant would describe it.
At the foot of the stairs of the train station, as a metaphorical extension of the arrival thought as a departure to new geographic and time horizons, the Boulevard d’Athènes takes back to the confines of meridional Europe and to the founding story of a city created by the Greeks, 2600 years ago. It is on its sidewalks that Jean-Christophe Norman continues to rewrite Ulysses by James Joyce, using a chalk on the asphalt. Starting this process in other cities around the world, his projects finds in the nominal conjunction of physical spaces, literary or mythological, a mirroring game which introduces the city as the place for total confusion, in the same way a whole world fits in one day and one place: the Dublin described by James Joyce in Ulysses. To the endless travel of Homer’s Ulysses in the pursuit of going back home, Jean-Christophe Norman overlaps a material writing principle on the floor which turns the urban asphalt into an infinite palimpsest endlessly shaped by the bystanders’ soles in as many individual scenarios which, added to each other, would produce the hypothesis of a city.
Deriving to the south of the city and its wealthy neighborhood, Tout le Monde meets Yoan Sorin near the Prado roundabout, the Parc Chanot and Boulevard Michelet following the path of his grandfather. François Pavilla, a Martinican descent boxer, led one of his last match on February the 5th, 1966 at the Chevalier Roze swimming pool previously located Boulevard Michelet. The boxer died shortly after from several serious injuries from another match. Greek Antiquity and proletarian or racialized bodies fighting find an echo the Olympic aspect of swimming-pool. Exploring sound and written archives from then, the artist summons Buster Keaton, Mick Jagger and Frigolo ice cream sellers along with other ghost memories from his grandfather in Marseille.
Going North, Tout le monde finds itself at the heart of the city, the Noailles Market, to follow Estel Fonseca and her partner Bouchta Saïdoun during an unpredictable walk Qu’entends-tu ? Que Vois-tu ? La vie qui déborde which leads us through the moving cells of the urban body to the Arnavaux flee market. The two artists deliver a pathologic literal interpretation of the city appearing as a living body crossed by illness, viruses and scars participating in its very burst of vitality.
To enclose the journey, Tout le Monde boards in a final trip, on the see, to meet with Sophie Bueno-Boutellier to meditate on the Frioul islands, at sunset. Like the vestal virgin of an ancient cult, the artist guides us through a meditation session in line with the natural energies from an area articulated around dialogues between telluric, maritime and aeolian powers. In the background, there is the historical, geographical, urban and social background offered by the city from the islands; facing the horizon of an endless restart contained within the elements. Purified from the dregs of the travel, prepared for a new start.
Sophie Bueno-Boutellier had many opportunities to show her work in France and abroad. She is represented by The Approach gallery in London and was represented by Freymond-Guth Fine Art in Basel and New York. Her latest solo shows include « Le Don de Gaïa » presented in 2017 at The Approach gallery in London, « La ritournelle du peuple des cuisine » at the Fondation d’entreprise Ricard, « They sing a song only you can hear » at The Approach ; « Let me steal this moment from you now » at Freymond-Guth in 2013, « C’est à crier tellement c’est bleu » at Circus, Berlin (2012); and « Pensée Sauvage » at the Kunstverein of Langenhagen in 2011. She also took part in many group exhibitions, such as « White Noise », at the Kunsthaus Glarus and « Rotrixagatze » at On Stellar Rays in New York in 2015. « DIZIONARIO DI PITTURA » at Francesca Minini in Milano and « Occupy Painting », organized by Max Henry at Autocenter in Berlin in 2014. Then in 2012 « Archéologie(s) », organized by Aurélie Voltz at the Musée du château des ducs de Wurtemberg in Montbéliard; and « The Possessed » at Triangle Marseille.
She is currently working on the project « Touche-Moi », for the Panoramo of la Friche la Belle de Mai (producted by Fræme).
Julien Creuzet (b.1986, FR) is a visual artist, video-maker, performer and poet. In his multimedia environments, he explores different cultural heritages by organizing passageways between imaginaries of elsewhere, the social realities of here and now, and forgotten minority histories. By associating different temporalities and geographies, and preferring anachronisms and collusion over the simplicity of established tales, Creuzet evokes registers of life and technology, history and myth, poetry and politics.
What happens in Estel’s life overlaps with her projects. In 2018, she had to face what is unimaginable about illness, what is impossible to say, to describe, to think. She shapes a symbiotic contamination where anything can be formed, where everything is plastic, like the bodies personifying what is germinating. She is working on the creation of the visible through the invisible. Even though physical matter and image are so far the spaces for privileged experiences, her process gets closer and closer to the living form. Her interests have centered on the living and the unpredictable. She writes down the actions which engage the body as a vehicle for experiences, and which brings us to the world. An attempt of an lively representation of an idea : humanity in the living and living in the humanity.
“Le tremblement est invisible” at the HubHug of 40mcube, Rennes (2016), in Marseille in “Sauvetage Vertical”, at the Straat gallery (2017), “Automne Hiver Intersaison” at the Galerie du Tableau (2019) and “En phase de digestion” at the HLM gallery (2020).
Deeply influenced by Borges, the work of Jean-Christophe Norman (born in 1964, lives and works in Marseille) takes the form of performances, walks, writings, photographs or drawings all of which question the notions of time, territory and copy.
Since 2006, Jean-Christophe Norman develops a series of systematic explorations of large urban ensembles around the world, following the principles of analogy, superposition and evocation of other geographical areas through walks that reproduce the precise outlines of a city in another city.
Yoan Sorin lives and works between Douarnerez and Marseille. He graduated from Nantes School of Fine Arts and from Montreal and Cuenca universities. His drawings, paintings, videos and performances blur the distinctions between pop culture and art.
Through various collaborations, he is exploring and reinventing new creation processes. His installations often carry a double status, once activated, the works become accessories for performances. His work has been shown at the MNAC (Bucharest, 2016), at the Hunter East Harlem Gallery (New York, 2018) and at the CAC Bretigny in 2019.
He works along with the 14n61w gallery in Fort de France since 2018.