Changing the prose of the world

Lilou Vidal is an exhibition curator and editor based in Turin. She has been responsible for several monographic and group exhibitions at various museums and institutions, such as  The Weight of the Concrete Ezio Gribaudo, co-curated by Tom Engels, Museion Bolzano (2024) / Grazer Kunstverein (2023), Ernesto de Sousa – Exercises of Poetic Communication & other aesthetic operators, Galerias Municipais, Lisbon (2022); exhibition for the 22nd Prix Fondation Pernod Ricard, Bonaventure, This Is My Body, My Body Is Your Body, My Body Is The Body of The Word, Centre d’Art Le Delta Namur (2019–2020), Guy Mees: The Weather is Quiet Cool and Soft, MuZee, Ostend (2019) /  Kunsthalle Wien, Vienna (2018).

In 2014, she founded and directed the Bureau des Réalités in Brussels, based on a program focused on language, poetry, and its embodied manifestations (2014–2019).  She has recently edited several books and artist monographs, including Tomaso Binga – Euforia (Lenz Press, 2024), and works regularly with publishing houses and magazines such as Axis, Paraguay Press, Sternberg Press, Nero, and Mousse, to name but a few.

She is the co-founder alongside Cally Spooner of UNA SCUOLA AL CASTELLO DI RIVOLI, a new venue for artistic teaching since 2024 at the Castello di Rivoli, Museo d’Arte Contemporanea. She is the artistic and academic director of the Archivio Gribaudo in Turin.

Louisa Yousfi (1988, France) is a journalist and literary critic. She is the author of Rester barbare (La Fabrique, 2022), a work in which she takes up the motif of “barbarism” borrowed from the Algerian writer Kateb Yacine to offer both a political and literary account of the barbaric (re)becoming of Blacks and Arabs in France. More recently, she contributed to the collective work Contre la littérature politique (with Pierre Alferi, Nathalie Quintane, Leslie Kaplan, Tanguy Viel and Volodine, La Fabrique, 2024).

Lise Wajeman (1973, France) is Professor of Comparative Literature at the Université Paris Cité. She works on Renaissance literature and art, and has notably published L’Amour de l’art. Eroticism of artist and spectator in the 16th century (Droz, 2015). Since 2016, she has also been following contemporary literature as a critic: she has published numerous articles in Mediapart and is a regular contributor to the podcast L’Esprit critique.

Pierre Von-Ow (1992, France) is an art history researcher and curator, with degrees from Université Paris 1 Panthéon-Sorbonne and Columbia University. His work focuses on the intersections between art and science in the modern era. In 2024, he defended a thesis at Yale University on the history of perspective in Great Britain and the British Empire in the 17th and 18th centuries. In 2021, he curated the virtual exhibition William Hogarth’s Topographies for the Lewis Walpole Library. Among his publications, he recently co-edited an anthology of Jean-Claude Lebensztejn’s writings on cinema(Propos filmiques, Paris, Macula, 2021) and a special issue of the journal Écrans on William Hogarth and cinema (Paris, Garnier, 2024).

Ana Vaz (1986, Brazil) is an artist and filmmaker born in the Brazilian Midwest, inhabited by the ghosts buried by its modernist capital: Brasília. Her filmography provokes and questions cinema as an art of the (in)visible and an instrument capable of dehumanizing the human, expanding connections with other-than-human or spectral forms of life. As a consequence or expansion of his cinematography, his artistic activities are also embodied in writing, critical pedagogy, installations and collective walks.

Seynabou Sonko (1993, France) is a Paris-based artist from the Senegalese diaspora. A graduate of UQAM in Montreal, ENSAV La Cambre in Brussels and Université Paris 8, her first literary steps were marked by the publication of texts in magazines such as Sabir, Muscle and Sève. In 2023, she published her first novel, Djinns, with Editions Grasset, winning the Prix du Cheval Blanc and the Prix de la Porte Dorée. Seynabou Sonko is also a musician, screenwriter and singer. Her musical universe, like her writing, testifies to an overflowing creativity and an assertive desire to break boundaries.

Claudia Jane Scroccaro (1984, Italy) is an Italian composer based in Paris, where she teaches electronic music at Ircam. She seeks to achieve coherence between instrumental and electronic writing, structured through personal computer-assisted composition tools. Her music oscillates between two extreme temporalities, alternating between overflowing, compulsive rhythms and immersive, introspective explorations, interwoven with the expressiveness of the spoken voice.

Nicolas Sarzeaud (1992, France), is a graduate of the École du Louvre and holds a doctorate from the EHESS, and is an associate member of the Centre de Recherche Historique and FRS-FNRS research fellow at the Université catholique de Louvain. In 2021, he defended a thesis on the cult of the Shrouds of Christ between the 14th and 16th centuries, published by Cerf in 2024 under the title Les Suaires du Christ en Occident. He has taught at the Université Lumière Lyon II and the Université de Lorraine, and has published numerous articles on the cult of images in the late Middle Ages, and the way they were shown, viewed and disseminated thanks to an intense production of copies, which he places in a long history of facsimiles.

Clovis Maillet (1981, France) has published La parenté hagiographique (2014) and Les genres fluides (2020). He has edited several issues of scientific journals while conducting research into the uses of history in contemporary art (Witch TV, 2021; Un Moyen âge émancipateur, with Thomas Golsenne, 2021). Clovis Maillet and Louise Hervé have been working in performance, installation and film since the early 2000s. They have published Attraction Étrange, 2013, Spectacles sans objet, 2015 and L’Iguane, 2018. Clovis Maillet co-wrote the show Medieval Crack with the Foulles collective.

Pierre-Yves Macé (1980, France) is a composer. His work crosses electroacoustic and instrumental music with a method that borrows from musique concrète, taking recorded sound, document or archive as his primary source. He has released CDs on the Tzadik, Sub Rosa and Brocoli labels. He writes scores for the L’Instant donné, Les Cris de Paris and Ictus ensembles. He regularly collaborates with directors (Sylvain Creuzevault, Joris Lacoste), choreographers (Emmanuelle Hunh, Liz Santoro and Pierre Godard) and writers (Pierre Senges, Mathieu Larnaudie). His music was the subject of a Portrait for the 2023 edition of the Festival d’Automne à Paris.

Amalia Laurent (1992, France) is an artist and researcher who lives and works between Paris and Nîmes. Her work addresses topographical, geographical and cartographic themes that are both real and fantasized. Her obsession with alternative realities has given rise to a body of work – stainings, installations, performances, sculptures – that makes tangible the boundaries between real and/or parallel worlds. She is currently researching the links between architectural arrangements and processional practices at the EHESS, and is also a member of the Javanese music group Genthasari of the Pantcha Indra association.

Director of the History of Art Department (since 2025)
Fellow at the French Academy in Rome – Villa Medici (2024 – 2025)
Bio

Alessandro Gallicchio (1986, Italy) is a lecturer in contemporary art history at Sorbonne University, a member of the André-Chastel Centre, and an associate researcher at CETOBaC. He holds a PhD in art history from the universities of Florence, Paris-Sorbonne, and Bonn (2016), and he pursues his research through methodologies developed by the social and political history of art. His initial work focused on the influence of nationalism and antisemitism in the construction of artistic discourse. He later turned to examining how totalitarian regimes express propaganda not only through art criticism but also within the urban space. Starting from the material traces left by Italian fascism in the colonized Balkans, he conducted a study on the production and interpretation of “dissonant heritages.” This work led him to investigate processes of monumentalization and the visual strategies employed by colonialism, themes he explores through art geography and postcolonial perspectives. He is currently studying the emergence of a new generation of painters developing a sensitivity to representations of “urbanities” in the Mediterranean and the Balkans. In 2021, he was awarded the André Chastel fellowship at the Villa Medici. He is a fellow at the French Academy in Rome from September 2024 to April 2025.

Abdessamad El Montassir (1989, Morocco) is a visual artist. Collaborating with scientists, citizen-witnesses and activists, he develops an artistic practice at the crossroads of research and creation. His works are the fruit of a meticulous process in which the collection of immaterial testimonies and collective narratives revives oral memories that are often buried and silenced by official history.

Nicolas Daubanes (1983, France) is an artist living and working in Perpignan. For over 15 years, he has been working with the prison world (drawings, installations, videos), based on immersive residencies in prisons. Nicolas Daubanes won the Prix Mezzanine Sud les Abattoirs 2017, the Prix des Amis du Palais de Tokyo in 2018 and the Drawing Now prize in 2021. He presented a major installation at the Lyon Biennale in 2022. In 2025, he will present a solo exhibition at the Pantheon in Paris.

Jérôme Printemps Clément-Wilz (France) is a writer-director who works mainly with documentary material. His films have been selected at festivals in Rotterdam, Amsterdam and Toronto, and are included in the collections of the Cinémathèque Française. He has won the Grand Prix at Doxa, the Hong Kong Film Festival and a Star from LaSCAM. His work also extends from performance to photography and installation. With the collectives La Tendre Émeute, Epectase and Carmel Miracle, he has performed at the Zénith de Paris and the Musée TRAFO, and has been exhibited at Circulation(s) and Mécènes du Sud. He is also a founding member of Ateliers Wonder.

Bianca Bondi (1986, South Africa) is a visual artist based in Paris. Her practice involves the activation or elevation of mundane objects through the use of chemical reactions. The materials she works with are chosen for their transformative potential or intrinsic properties, emphasizing the interconnectedness of things in the world, their transience, and revealing the cycles of life and death. Her work has been exhibited at Lafayette Anticipations (2023), Fondation Louis Vuitton (2021), Casino Luxembourg (2020), and as part of the Biennales de Lyon 2019, Busan 2020, and Thaïlande 2021.

Haig Aivazian (1980, Lebanon) is a visual artist based in Beirut. His work traverses moving image, sculpture/installation, drawing and performance, and explores how power integrates, affects and displaces people, objects, animals, landscape and architecture. Between 2020 and 2022, he was artistic director of the Beirut Art Center, where he founded and directed the digital publication thederivative.org.