Gardens of the future

21 July 2022
WHAT TRADITIONS FOR TOMORROW'S STAGES?

There is the experience of an absence of tradition or of an impossible tradition; there is the experience of being suffocated by a monumental cultural heritage. How do these two seemingly paradoxical experiences intertwine? Is it possible to untie them? What artistic, political and formal possibilities do they presage? To ask the question of the traditions at work on tomorrow's stages is to ask the question of future communities and the utopias of which they will perhaps be the collective translation; it is to seek the junction between origin and horizon; it is to try to define the terms of an aesthetic of resistance.
 

22 July 2022
DOES REPRESENTATION HAVE A FUTURE?

I would like to put forward the hypothesis of a crisis in our system of representation. It is a crisis whose focal point is ideological, and which manifests itself in my opinion through two important phenomena: the loss of confidence of a large part of the population in the principles of representative democracy inherited from the French Revolution; the fight of political minorities against the
It is a crisis whose focal point is ideological, and which manifests itself, in my opinion, through two important phenomena: the loss of confidence of a large part of the population in the principles of representative democracy inherited from the French Revolution; the struggle of political minorities against a system of cultural representation denounced as partial, oppressive and unjust. The aim here is to discuss this hypothesis and to reflect on the promises and formal upheavals that this crisis could bring to the field of artistic representations, but also to question the very notion of representation when it no longer wears the mask of the universal.


23 July 2022
SHOULD WE FIGHT CULTURE?

"There is only the minor that is great and revolutionary".

This postulate of Gilles Deleuze and Felix Guattari (in their book Pour une littérature mineure, dedicated to the work of Kafka) will serve as a starting point for the discussion. The aim will be to open up the range of consequences that this position implies for the present and future practices of institutional scenes. For if it is true that minor art can be great and revolutionary, it is because it plays against administered culture and not for it. What is the place of political minorities within the official cultural system? And is it a matter of taking that place, negotiating it or refusing it?