www.manonrecordon.com

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	<title>www.manonrecordon.com</title>
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	<pubDate>Mon, 29 Sep 2025 18:34:45 +0000</pubDate>
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		<title>Running on Cargo</title>
				
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		<pubDate>Fri, 25 Oct 2019 17:45:12 +0000</pubDate>

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		<title>Front page</title>
				
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		<pubDate>Fri, 25 Oct 2019 17:45:11 +0000</pubDate>

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	MANON RECORDON &#38;nbsp;&#38;nbsp;Artist,&#38;nbsp;Filmmaker 
&#38;amp; Researcher  

︎&#38;nbsp;︎ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
︎ manonrecordon@gmail.com

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		<title>ABOUT ME</title>
				
		<link>https://manonrecordon.com/ABOUT-ME</link>

		<pubDate>Fri, 22 Mar 2019 09:32:59 +0000</pubDate>

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		<description>MANON RECORDONArtist, filmmaker &#38;amp; Researcher
Phd in artistic and creation - RADIAN
Research about Octavia E. Butler


(EN) 

At the intersection of photography, sculpture, video, and installation, my work explores the relationships between self and other. It weaves together myth and fiction with the immediacy of the present and the persistence of memory. I invite viewers to reconsider memory and the recurrence of forms within the crucible of multiple temporalities. The fluid and unpredictable nature of memory gives rise to networks and resonances, both poetic and affective.

To restore polyphony to history (A Grin Without a Cat, Chris Marker, 1978), I employ analog montage as a tool for reconstructing reality—open and plural—unfolding through associative propagation. Rather than adhering to linear storytelling, chronological progression, or geographical continuity, I favor random navigation and the rejection of rigid logic, allowing the viewer to decipher, within the images, a narrative to make their own, drawn from the fabric of histories.

We inhabit a world once lived in by others; we tread upon a ground shaped and structured by the sedimented layers of history. Between this past and our present, the landscape has formed, eroded, and been rebuilt... I am drawn to this point of friction, the moment when a wave carries its foam to the shore, only to be met by another, and another, in an unceasing cycle.


(FR) 
À la croisée de la photographie, de la sculpture, de la vidéo et de l’installation, mes productions interrogent les relations entre soi et l’autre. Elles articulent, au mythe et à la fiction, l’actualité du présent et celle du souvenir. J’invite les spectateur·ices à reconsidérer la mémoire et la récurrence des formes dans le creuset de temporalités multiples. Le caractère versatile et aléatoire de cette dite mémoire est à l’origine de réseaux et de jeux de correspondances sensibles et poétiques. Pour restituer à l’histoire sa polyphonie (Le fond de l’air est rouge, Chris Marker, 1978), j’use du montage analogique comme outil de recréation du réel, ouvert et pluriel, procédant par propagation associative. À la narration linéaire, à la succession chronologique ou géographique, je préfère la navigation aléatoire et le rejet de la logique afin de laisser le·a regardeur·euse déceler, dans les images, une histoire à faire sienne, dans la matière des histoires. Nous habitons un monde que d’autres ont habité auparavant ; nous foulons un sol dessiné, architecturé par les strates d’histoire qui le composent. Entre cette histoire et notre aujourd’hui, le paysage s’est composé, détruit, reconstruit... Je m’intéresse à ce point de friction, ce moment où la vague porte l’écume sur la rive, alors rejointe par une nouvelle, et ainsi de suite.


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		<title>Phd - OCTAVIA E. BUTLER (From 2022 to 2027)</title>
				
		<link>https://manonrecordon.com/Phd-OCTAVIA-E-BUTLER-From-2022-to-2027</link>

		<pubDate>Thu, 03 Oct 2019 13:48:48 +0000</pubDate>

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	Unseen Work and Hope as Keys to Understanding Octavia E. Butler's Writing


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; This long-term artistic and scholarly research project explores the life, work, and creative process of Octavia Estelle Butler (1947–2006). It examines the unseen work through which her writing took shape—drafts, routines, self-addressed notes, and practices of persistence—and approaches hope as an affective, political, and creative force running through her work. Butler was the first African American woman to gain widespread recognition as a science-fiction writer and the first science-fiction writer to receive a MacArthur Fellowship.

 
Situated at the intersection of literature and the visual arts, Europe and the United States, the project was initiated in 2021 with support from the Institut français—Sur Mesure +—and the Fondation des Artistes. In 2022, it became the basis of a practice-led Ph.D. within RADIAN, a doctoral program in artistic research and creation, with completion scheduled for 2027. My dissertation bears the same title: Unseen Work and Hope as Keys to Understanding Octavia E. Butler’s Writing.
My research unfolds in three simultaneous directions: her novels, her papers (housed at the Huntington Library in Los Angeles), and Butler’s legacy from Pasadena, where she spent most of her life, to Los Angeles County. This poetic and political investigation combines several typologies of printed and audiovisual documents (Images-memory : her archive, newspapers, Internet database / films and photographs : image’s documents from her life and novels / sound : daily records, radio, interviews / writings : her archives and novels, mine). They constitute a visual archive that is constantly expanding. These documentary resources will be shaped in the future realization of a film essai that retraces the experience of an encounter that did not take place physically, but through memories. A film conceived and built as an experience (inspired by Chris Marker) and a written biography.&#38;nbsp;
 
This page is intended to show some of the documents I work with and events related to my research. It is updated daily 
and will take on different forms over time. All rights reserved&#38;nbsp; © Manon Recordon The Huntington Library, Art&#38;nbsp;Collections, and Botanical Gardens © Estate of
Octavia E. Butler&#60;img width="729" height="775" width_o="729" height_o="775" data-src="https://freight.cargo.site/t/original/i/746a5cd577e36f61bb809056d76a79530efa73b6ae959995a5eb3594d4ebe733/tumblr_nasiojyeTm1tn7avwo1_1280.jpg" data-mid="212889896" border="0"  src="https://freight.cargo.site/w/729/i/746a5cd577e36f61bb809056d76a79530efa73b6ae959995a5eb3594d4ebe733/tumblr_nasiojyeTm1tn7avwo1_1280.jpg" /&#62;&#60;img width="900" height="720" width_o="900" height_o="720" data-src="https://freight.cargo.site/t/original/i/8fa15007cfe9969ef3ecf171711c86b5ccb5e555c43db1961ff72c40373b8015/bell-mountain.jpg" data-mid="212889887" border="0"  src="https://freight.cargo.site/w/900/i/8fa15007cfe9969ef3ecf171711c86b5ccb5e555c43db1961ff72c40373b8015/bell-mountain.jpg" /&#62;&#60;img width="1676" height="1020" width_o="1676" height_o="1020" data-src="https://freight.cargo.site/t/original/i/3d112cbae792dc0158499508245090ff443fce6be114f759b42241b75c0944b3/Mains.jpg" data-mid="212889886" border="0"  src="https://freight.cargo.site/w/1000/i/3d112cbae792dc0158499508245090ff443fce6be114f759b42241b75c0944b3/Mains.jpg" /&#62; &#60;img width="2818" height="3756" width_o="2818" height_o="3756" data-src="https://freight.cargo.site/t/original/i/67f6365ddb71a7e72b403aab0e3a452b2eac05397f14e3854e6fb2f6aea4c92c/1avril2023.jpg" data-mid="175045299" border="0"  src="https://freight.cargo.site/w/1000/i/67f6365ddb71a7e72b403aab0e3a452b2eac05397f14e3854e6fb2f6aea4c92c/1avril2023.jpg" /&#62;
	

Related events
PUBLICATION 
Revue Insert n5, rn13BIS 
Septembre 2026&#38;nbsp;
Octavia, Estelle, Estella, Stella - Stars&#38;nbsp;&#60;img width="2382" height="1531" width_o="2382" height_o="1531" data-src="https://freight.cargo.site/t/original/i/64958de4c8420df8952ae9ea0f0d4cd70496b3af96bb6898367ce4a24bbfc02a/Insert_manon_recordon_Page_1.jpg" data-mid="252766025" border="0"  src="https://freight.cargo.site/w/1000/i/64958de4c8420df8952ae9ea0f0d4cd70496b3af96bb6898367ce4a24bbfc02a/Insert_manon_recordon_Page_1.jpg" /&#62;&#60;img width="2382" height="1531" width_o="2382" height_o="1531" data-src="https://freight.cargo.site/t/original/i/388f9a614224aeb5025e195a9fdb5462255b9c3fd65c6c1c9117e2c1367805ac/Insert_manon_recordon_Page_2.jpg" data-mid="252766026" border="0"  src="https://freight.cargo.site/w/1000/i/388f9a614224aeb5025e195a9fdb5462255b9c3fd65c6c1c9117e2c1367805ac/Insert_manon_recordon_Page_2.jpg" /&#62;

&#60;img width="2382" height="1531" width_o="2382" height_o="1531" data-src="https://freight.cargo.site/t/original/i/f47498322082ad00516b8a67465aa024cc65da693aa304e22b7ececd8b235448/Insert_manon_recordon_Page_3.jpg" data-mid="252766027" border="0"  src="https://freight.cargo.site/w/1000/i/f47498322082ad00516b8a67465aa024cc65da693aa304e22b7ececd8b235448/Insert_manon_recordon_Page_3.jpg" /&#62;

&#60;img width="2382" height="1531" width_o="2382" height_o="1531" data-src="https://freight.cargo.site/t/original/i/cacb4e8c18ed5eb90b328dfabdd78b91590919d5414db363052411f96acf386a/Insert_manon_recordon_Page_4.jpg" data-mid="252766028" border="0"  src="https://freight.cargo.site/w/1000/i/cacb4e8c18ed5eb90b328dfabdd78b91590919d5414db363052411f96acf386a/Insert_manon_recordon_Page_4.jpg" /&#62;J’ai été invitée à écrire à propos d’Octavia E.Butler dans la revue Insert n5 portée par @rn13bis.artcontemporain.C’est un texte sur Octavia E. Butler, les étoiles et l’espérance - sur la manière dont un motif observé dans le désert pendant l’enfance devient, au fil d’une vie et d’une oeuvre, une façon de regarder au-delà du présent et d’imaginer ce qui peut encore advenir.Le numéro 5 de la revue Insert, publié en septembre 2026, questionne les liens entre fiction utopique et arts visuels, à travers une exploration du motif solaire et de la place des technologies dans diverses pratiques artistiques actuelles. Ce numéro s’est construit autour d’une curiosité pour le mouvement Solarpunk, branche utopique de la science-fiction née au début des années 2010 et développant une vision optimiste de sociétés écologiques, égalitaires et communautaires reposant principalement sur l’utilisation de l’énergie solaire.Sans se revendiquer du Solarpunk, les contributions d’artistes et d’auteur·ices réunies dans ces pages donnent à voir quelques aspects de ce mouvement artistique et littéraire résonnant avec la création artistique contemporaine, en Normandie comme ailleurs.Comité éditorial : Camille Azaïs, Diane Gaignoux, Nóra SárdiCoordination et suivi éditorial : Marion RoyRelecture : Nesma Merhoum

______________________

CONFERENCE November 7, 2025 Université de ToulonColloque RESCAM 
“Documentations et archives dans les thèses de recherche en création : enjeux et statuts des traces”

De la mémoire dormante à l’archive spéculative : expérience d’une activation documentaire


&#60;img width="860" height="604" width_o="860" height_o="604" data-src="https://freight.cargo.site/t/original/i/8570760eecf135b46f34c38384a20720cd9e97ee10cdcef756e4d6567fc98a70/Capture-decran-2025-11-04-a-13.51.03.png" data-mid="240234687" border="0"  src="https://freight.cargo.site/w/860/i/8570760eecf135b46f34c38384a20720cd9e97ee10cdcef756e4d6567fc98a70/Capture-decran-2025-11-04-a-13.51.03.png" /&#62;© Octavia E. Butler papers, The Huntington Library, San Marino.
______________________

CONFERENCE&#38;nbsp;January 29, 2025&#38;nbsp;
École Nationale Supérieure d'architecture de VersaillesInvited by Stéphane Sautour as part of the seminar : This is tomorrow. Art Sciences and fiction

Forget luck, Forget inspiration. Who are you Octavia E. Butler? A biographical and archival journey through the life and work of Octavia E. ButlerI


&#60;img width="369" height="570" width_o="369" height_o="570" data-src="https://freight.cargo.site/t/original/i/c90992544c92e906fa52ca6dccc3298722f424834db5ce812277f348f8b041d1/Forget-luck-versailles.png" data-mid="238815970" border="0" data-scale="39" src="https://freight.cargo.site/w/369/i/c90992544c92e906fa52ca6dccc3298722f424834db5ce812277f348f8b041d1/Forget-luck-versailles.png" /&#62;&#60;img width="1170" height="757" width_o="1170" height_o="757" data-src="https://freight.cargo.site/t/original/i/44d34f84b688e67cab45a62ee160617bd69bd1ff916648478e9ba36b2824f953/IMG_3951.PNG" data-mid="238815974" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/44d34f84b688e67cab45a62ee160617bd69bd1ff916648478e9ba36b2824f953/IMG_3951.PNG" /&#62;© Octavia E. Butler papers, The Huntington Library, San Marino.
 
______________________

SOLO SHOW&#38;nbsp;Novembre 7 - 29, 2024 
Ecole&#38;nbsp;supérieure d'arts et médias de Caen, Esam, grande Galerie
Roses snatched from concrete
(Link to exhibition
 page)

&#38;nbsp;The studio is a terrain of form-building, an intimate den where the creative process moves, slips, and evolves within the expanded time of research. The exhibition, by contrast, unfolds in counterpoint, like a snapshot of still images, offered up for viewing and reflection. Where could the in-between of these two tempos reside? How might they merge, intertwine? Exhibition conceived with Isabelle Prim. Part of this project was made possible thanks to the support of Institut Français and Fondation des artistes


&#60;img width="2850" height="4032" width_o="2850" height_o="4032" data-src="https://freight.cargo.site/t/original/i/255100a8190675cf3120546f26c524713da09af32889557a3f55616757849fd1/IMG_0155.jpg" data-mid="238815975" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/255100a8190675cf3120546f26c524713da09af32889557a3f55616757849fd1/IMG_0155.jpg" /&#62;


______________________
CONFERENCE
October, 19, 2023&#38;nbsp;
 Université de CaenStudy Days : Archives, Creation, History, organised by Valérie Vignaux IMEC (Institute for 	 Contemporary Publishing Archives) &#38;amp; University of Caen, france

The Archives of Octavia E. Butler


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______________________


RADIAN, PhD in artistic research
and creation 2022/2026

Thesis: The role of invisible work and hope as keys to the reading of Octavia E. Butler's creative process.
Thèse : Le rôle du travail invisible et l'espérance comme clef de lecture du processus de création d’Octavia E. Butler
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______________________

 Creation and research residency,&#38;nbsp; Los angeles/California 2021/2022 INSTITUT FRANCAIS SUR MESURE +&#38;nbsp; &#38;amp;&#38;nbsp; FONDATION DES ARTISTES

Take root among the stars
 

Octavia E. Butler was the first African American author to make science fiction her career. Feminist and visionary, she was born in 1947 and died in 2006. Her archives are held in the Huntington Library (San Marino, Los Angeles)&#60;img width="614" height="575" width_o="614" height_o="575" data-src="https://freight.cargo.site/t/original/i/0a4c138de270f2619c230922bb13b48ed4f4198864a477c862d372a30f6e595a/IMG_4538.JPG" data-mid="238815973" border="0" data-scale="47" src="https://freight.cargo.site/w/614/i/0a4c138de270f2619c230922bb13b48ed4f4198864a477c862d372a30f6e595a/IMG_4538.JPG" /&#62;&#38;nbsp; &#38;nbsp; &#60;img width="728" height="765" width_o="728" height_o="765" data-src="https://freight.cargo.site/t/original/i/65ca0c8aba9f7bb158be40e3bafce830c15663d6b4993244a785040b83ca68a4/IMG_4618-2.jpg" data-mid="238815969" border="0" data-scale="42" src="https://freight.cargo.site/w/728/i/65ca0c8aba9f7bb158be40e3bafce830c15663d6b4993244a785040b83ca68a4/IMG_4618-2.jpg" /&#62;
© Octavia E. Butler papers, The Huntington Library, San Marino. 

	
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</description>
		
	</item>
		
		
	<item>
		<title>2024 ROSES SNATCHED FROM CONCRETE</title>
				
		<link>https://manonrecordon.com/2024-ROSES-SNATCHED-FROM-CONCRETE</link>

		<pubDate>Mon, 29 Sep 2025 18:34:45 +0000</pubDate>

		<dc:creator>www.manonrecordon.com</dc:creator>

		<guid isPermaLink="true">https://manonrecordon.com/2024-ROSES-SNATCHED-FROM-CONCRETE</guid>

		<description>Roses snatched from concrete


Exposition proposée dans la cadre du Doctorat RADIAN

Grande galerie de l’ESAM – site de Caen

Exposition du 07 au 29.11.24

Pensée avec Isabelle Prim


Une partie de ce projet a pu être réalisée grâce aux soutiens de l’Institut français (sur mesure +) et de La Fondation des artistes.


L’atelier est un territoire de construction des formes, l’antre intime d’un processus de création qui se meut, glisse et progresse dans le temps dilaté de la recherche. L’exposition, quant à elle, se déploie à contretemps, tel un instantané aux images pétrifiées, proposées aux regards et aux appréciations. Où se situerait l’entre-temps de ces deux vitesses ? Comment peuvent-elles glisser l’une dans l’autre, s’embrasser ? Imaginons une table d’atelier — dissimulée sous des images — basculée et projetée dans l’espace d’exposition.


Le projet de thèse de Manon Recordon porte sur l’œuvre et les archives d’Octavia E. Butler, première autrice afro-américaine reconnue dans le domaine de la science-fiction aux États-Unis. Cette exposition est une première esquisse géographiée, une conversation par les images entre récits et archives, dans le cadre de son doctorat en recherche et création au sein du programme RADIAN.


11 impressions sur coton et voilage 

(dimensions variables : Haut 300cm max - Large 153cm max)

2 moniteurs 

3 plaques de plexiglass 

(85 x 65 x 0,3 cm)

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&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c171589744dbaf42f7b16893a13649f84c280c4bd02d5c0cd2586f324167135a/Roses-snatched-from-concrete_4.jpg" data-mid="238817537" border="0"  src="https://freight.cargo.site/w/1000/i/c171589744dbaf42f7b16893a13649f84c280c4bd02d5c0cd2586f324167135a/Roses-snatched-from-concrete_4.jpg" /&#62;&#60;img width="2964" height="4032" width_o="2964" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5e479f82321684b2d2068bced9f641ee8abf6cf1738e8212b846dd794be9287d/Roses-snatched-from-concrete_7.jpg" data-mid="238817540" border="0"  src="https://freight.cargo.site/w/1000/i/5e479f82321684b2d2068bced9f641ee8abf6cf1738e8212b846dd794be9287d/Roses-snatched-from-concrete_7.jpg" /&#62;&#60;img width="2973" height="4007" width_o="2973" height_o="4007" data-src="https://freight.cargo.site/t/original/i/b44b50b2c6fca57aacf8e02721e57e2baf98018d94d570536a9c5f7a7710c1d4/Roses-snatched-from-concrete_17.jpg" data-mid="238817542" border="0"  src="https://freight.cargo.site/w/1000/i/b44b50b2c6fca57aacf8e02721e57e2baf98018d94d570536a9c5f7a7710c1d4/Roses-snatched-from-concrete_17.jpg" /&#62;&#60;img width="2948" height="4032" width_o="2948" height_o="4032" data-src="https://freight.cargo.site/t/original/i/73f870ac67bf7cff139364d4296acaba8cdf3cc2d6eca173dc127697dd34184d/Roses-snatched-from-concrete_18.jpg" data-mid="238817543" border="0"  src="https://freight.cargo.site/w/1000/i/73f870ac67bf7cff139364d4296acaba8cdf3cc2d6eca173dc127697dd34184d/Roses-snatched-from-concrete_18.jpg" /&#62;&#60;img width="2945" height="4018" width_o="2945" height_o="4018" data-src="https://freight.cargo.site/t/original/i/3b7ae44a5d38c39d96dfe11d5200b00d6957fd4fb5792399d2a93e0608f4dc49/Roses-snatched-from-concrete_9.jpg" data-mid="238817555" border="0"  src="https://freight.cargo.site/w/1000/i/3b7ae44a5d38c39d96dfe11d5200b00d6957fd4fb5792399d2a93e0608f4dc49/Roses-snatched-from-concrete_9.jpg" /&#62;&#60;img width="2966" height="4009" width_o="2966" height_o="4009" data-src="https://freight.cargo.site/t/original/i/11ccce4839c71d5401b532598c4e590b88fdb435a824dee21c5e74d7ac4c9975/Roses-snatched-from-concrete_19.jpg" data-mid="238817558" border="0"  src="https://freight.cargo.site/w/1000/i/11ccce4839c71d5401b532598c4e590b88fdb435a824dee21c5e74d7ac4c9975/Roses-snatched-from-concrete_19.jpg" /&#62;&#60;img width="2941" height="4001" width_o="2941" height_o="4001" data-src="https://freight.cargo.site/t/original/i/23dd83d632b76568ba6dc45f75644da3d832488e7b1b328e0522bf28ff65d7ef/Roses-snatched-from-concrete_20.jpg" data-mid="238817607" border="0"  src="https://freight.cargo.site/w/1000/i/23dd83d632b76568ba6dc45f75644da3d832488e7b1b328e0522bf28ff65d7ef/Roses-snatched-from-concrete_20.jpg" /&#62;&#60;img width="2934" height="4000" width_o="2934" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c87fbed0f138f6e5eec4f5f1e3fa4570c61890346abd38d5b59e96464224854c/Roses-snatched-from-concrete_25.jpg" data-mid="238817617" border="0"  src="https://freight.cargo.site/w/1000/i/c87fbed0f138f6e5eec4f5f1e3fa4570c61890346abd38d5b59e96464224854c/Roses-snatched-from-concrete_25.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>2020 - À QUI VEUT</title>
				
		<link>https://manonrecordon.com/2020-A-QUI-VEUT</link>

		<pubDate>Mon, 01 Apr 2019 14:45:41 +0000</pubDate>

		<dc:creator>www.manonrecordon.com</dc:creator>

		<guid isPermaLink="true">https://manonrecordon.com/2020-A-QUI-VEUT</guid>

		<description>&#60;img width="1148" height="857" width_o="1148" height_o="857" data-src="https://freight.cargo.site/t/original/i/e9033c06caeac67c5cccf8625103a72338f1e7476a4d76031a891780d92e5993/voila.gif" data-mid="61410741" border="0" data-scale="13" src="https://freight.cargo.site/w/1000/i/e9033c06caeac67c5cccf8625103a72338f1e7476a4d76031a891780d92e5993/voila.gif" /&#62;&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;À qui veut
Solo show
Les limbes, St étienne
31-01-2020 &#38;gt; 29-02-2020 
 Curators : Marie Kaya &#38;amp; Manon Recordon

Pdf of the&#38;nbsp;interview&#38;nbsp;(fr)

	
Manon Recordon associe à sa pratique photographique l’exploration d’archives, personnelles ou extérieures, et le photomontage. Elle refuse la littéralité et intervient sur les techniques d’impression, le format, l’encadrement, l’agencement et le montage pour activer les rencontres entre des images d’origines disparates, éloignées, singulières. Sa méthode de combinaisons iconographiques, qui s’appuie sur le maniement et le détournement des images, est aux antipodes de tout protocole. Ses photographies évoluent parmi des images provenant de magazines, d’internet, d’illustrations, anciennes ou récentes, de romans photo, dans un mouvement d’ouverture et d’émancipation. À partir de ce matériau dissonant elle élabore des projets qui font écho à des événements marquants, historiques ou vécus. L’agencement des photographies renvoie ainsi aux engagements de l’artiste. Manon Recordon ne veut pas laisser les interprétations issues de classifications traditionnelles prendre le pas sur la pluralité des significations que recèlent ses compositions. Les rencontres, les confrontations et leur organisation dans l’espace d’exposition délimitent une sphère de sensibilité. Un message latent se dessine, qui n’est jamais ostensible. L’artiste abolit la hiérarchie entre la nature des traumatismes, qu’ils soient collectifs ou individuels, voire personnels. Elle traite de la question de la vulnérabilité de l’homme face à l’Histoire et les lois de la nature à partir de ses expériences. Au cœur de À qui veut prend place l’impressionnante éruption du Stromboli en juillet 2019, qui fait prendre conscience à Manon Recordon de notre fragilité manifeste. L'exposition, en devenant le lieu d'une lutte entre les oeuvres, témoigne de l’incertitude qui hante l’homme, incertain face à la nature, mais toujours combatif et déterminé à se livrer aux tourments d’un futur chimérique.

Marie Kaya
	
Manon Recordon combines her photographic practice with the exploration of archives, both personal and external, and photomontage. She refuses literality and intervenes on printing techniques, format, framing, arrangement and editing to activate encounters between images of disparate, distant and singular origins. Her method of iconographic combinations, based on the handling and diversion of images, is at the antipodes of any protocol. His photographs evolve among images from magazines, the internet, illustrations, old or recent, from photo novels, in a movement of openness and emancipation. From this dissonant material she elaborates projects that echo significant historical or lived events. The arrangement of the photographs thus refers to the artist's commitments. Manon Recordon does not want to let the interpretations resulting from traditional classifications take precedence over the plurality of meanings contained in her compositions. The encounters, the confrontations and their organization in the exhibition space delimit a sphere of sensitivity. A latent message emerges, which is never ostensible. The artist abolishes the hierarchy between the nature of traumas, whether collective or individual, or even personal. She deals with the question of man's vulnerability to History and the laws of nature on the basis of his experiences. At the heart of À qui veut prend place the impressive eruption of the Stromboli in July 2019, which makes Manon Recordon aware of our manifest fragility. By becoming the site of a struggle between the works, the exhibition bears witness to the uncertainty that haunts man, uncertain in the face of nature, but always combative and determined to indulge in the torments of a chimerical future.


Marie Kaya est doctorante en Arts Plastiques à l’Université Jules Verne d’Amiens. Son projet de thèse porte sur les pratiques photographiques contemporaines de composition des images dans les espaces de monstration


Terra ca nun senti 2019, vidéo, 8,05 min
(With the support of Drac Ile-de-France)
Voice over : Vincenzo Marasco
Song : Margaux Bricler &#38;amp; Vincenzo MarascoDirection, text, editing : Manon Recordon


On a volcanic island in the Mediterranean, a young man is dominated by hallucinations and successive visions of the desire of a woman who comes and goes in his memory, a real ghost that inhabits his imagination. This film is a short journey in the relationships between identity, history and memory.


	&#60;img width="3035" height="2106" width_o="3035" height_o="2106" data-src="https://freight.cargo.site/t/original/i/d9e96c2c53b301797c0813ff9cd1b998f9775d64e3e84aa86e48e709fe8c42ac/a-qui-veut_1.jpg" data-mid="61279659" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/d9e96c2c53b301797c0813ff9cd1b998f9775d64e3e84aa86e48e709fe8c42ac/a-qui-veut_1.jpg" /&#62;&#60;img width="1004" height="858" width_o="1004" height_o="858" data-src="https://freight.cargo.site/t/original/i/49f54a58ff2f7335879228e5ca728e8ea101981b9ad7ebd84bfc189650778c2f/a-qui-veut_14web.jpg" data-mid="61281650" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/49f54a58ff2f7335879228e5ca728e8ea101981b9ad7ebd84bfc189650778c2f/a-qui-veut_14web.jpg" /&#62;


Phylactery, «J’ai l’impression de m’être endormi. C’est drôle. Quelle heure est-il ?» / 
«I feel like I’ve fallen asleep. Funny. What time is it?», 2020, various dimensions
The first flight, 2013


&#60;img width="4985" height="3282" width_o="4985" height_o="3282" data-src="https://freight.cargo.site/t/original/i/4e3125b919103d4c89b814ab6fe8f07fbbee952924e01f7a263d9b3e4e0e1fbd/a-qui-veut_17.jpg" data-mid="61373203" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/4e3125b919103d4c89b814ab6fe8f07fbbee952924e01f7a263d9b3e4e0e1fbd/a-qui-veut_17.jpg" /&#62;&#60;img width="3425" height="2283" width_o="3425" height_o="2283" data-src="https://freight.cargo.site/t/original/i/1e7e412c88771ef730b4e2bc821a11e2ad63a0bebf3b2086d0b07de268a271eb/IMG_3257ALICE-1_OkPICTO.jpg" data-mid="61373469" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/1e7e412c88771ef730b4e2bc821a11e2ad63a0bebf3b2086d0b07de268a271eb/IMG_3257ALICE-1_OkPICTO.jpg" /&#62;
Alice, 2019, 60×80cm, lambda print, painted wood, dibond

&#60;img width="1004" height="661" width_o="1004" height_o="661" data-src="https://freight.cargo.site/t/original/i/e275dd3f2c83978a36bc977778815b63bbffabda7eada3c17edae069f9898268/a-qui-veut_3web.jpg" data-mid="61281088" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/e275dd3f2c83978a36bc977778815b63bbffabda7eada3c17edae069f9898268/a-qui-veut_3web.jpg" /&#62;
&#60;img width="1004" height="684" width_o="1004" height_o="684" data-src="https://freight.cargo.site/t/original/i/ab88f26144dd5affb893b3e58490584fabfa61611d67c9c7375e0880f8f063fe/a-qui-veut_2web.jpg" data-mid="61281072" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/ab88f26144dd5affb893b3e58490584fabfa61611d67c9c7375e0880f8f063fe/a-qui-veut_2web.jpg" /&#62;Wall installation: Iddu, sacred monster, 2020 
L’effondrement / The collapse, 2019, 230×350cm, blue back print 
Lellina &#38;amp; Lucas, 2019, 80×60cm, lambda print, painted wood, dibond

&#60;img width="340" height="527" width_o="340" height_o="527" data-src="https://freight.cargo.site/t/original/i/8cba4518ed4cdc6b958bf157817801f2c3a092a2db693db61ac03b21209e9808/carte-postale-printNP_1.jpg" data-mid="61471754" border="0" data-scale="100" src="https://freight.cargo.site/w/340/i/8cba4518ed4cdc6b958bf157817801f2c3a092a2db693db61ac03b21209e9808/carte-postale-printNP_1.jpg" /&#62;
God is a woman, 2019, 
103×73cm, lambda print, pvc, glass


&#60;img width="1004" height="717" width_o="1004" height_o="717" data-src="https://freight.cargo.site/t/original/i/3695c84bf0175addad4f269476b6899f45289d654eebd7ca5c42eb27f4424e5c/a-qui-veut_4web.jpg" data-mid="61281232" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/3695c84bf0175addad4f269476b6899f45289d654eebd7ca5c42eb27f4424e5c/a-qui-veut_4web.jpg" /&#62;&#60;img width="539" height="836" width_o="539" height_o="836" data-src="https://freight.cargo.site/t/original/i/ef3bc1f6d4142bd3c9cfd0ac09ff78b30d71c723aa5694a4e943461b7cb349b6/Toi...que-veux-tu-web1.jpg" data-mid="61472380" border="0" data-scale="100" src="https://freight.cargo.site/w/539/i/ef3bc1f6d4142bd3c9cfd0ac09ff78b30d71c723aa5694a4e943461b7cb349b6/Toi...que-veux-tu-web1.jpg" /&#62;Que veux-tu ?, 2019, 70×50×10cm, lambda print, painted wood


&#60;img width="1004" height="685" width_o="1004" height_o="685" data-src="https://freight.cargo.site/t/original/i/30862aff918b291bfe65398a9f313e65bfdeb8f97791ed13a5ac46101261f206/a-qui-veut_10web.jpg" data-mid="61281605" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/30862aff918b291bfe65398a9f313e65bfdeb8f97791ed13a5ac46101261f206/a-qui-veut_10web.jpg" /&#62;&#60;img width="1004" height="1492" width_o="1004" height_o="1492" data-src="https://freight.cargo.site/t/original/i/298d6184e1b3c9d30c196a86b18823cae5211191caaddd27181dcc8aa859961e/a-qui-veut_11web.jpg" data-mid="61281649" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/298d6184e1b3c9d30c196a86b18823cae5211191caaddd27181dcc8aa859961e/a-qui-veut_11web.jpg" /&#62;Europa, 2020, 70×50×10cm, lambda print, painted wood


&#60;img width="1455" height="1443" width_o="1455" height_o="1443" data-src="https://freight.cargo.site/t/original/i/840d54f0778d1fe04cbe02f1d983ad7caeb1c843ce117fc7160de816d8fed00f/leurs-souvenirs-sont-brusquement-interrompus.jpg" data-mid="52930173" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/840d54f0778d1fe04cbe02f1d983ad7caeb1c843ce117fc7160de816d8fed00f/leurs-souvenirs-sont-brusquement-interrompus.jpg" /&#62;
&#60;img width="1004" height="673" width_o="1004" height_o="673" data-src="https://freight.cargo.site/t/original/i/8a4ae0d1da4dd403a80a8a96ddf347f9f7961388c200049416c42a9d219b7220/a-qui-veut_8web.jpg" data-mid="61281309" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/8a4ae0d1da4dd403a80a8a96ddf347f9f7961388c200049416c42a9d219b7220/a-qui-veut_8web.jpg" /&#62;Vortex temporel / Temporal vortex, 2020, 180×230cm, print on cotton percale
I wish they were all like him, 2020, 100×70cm, lambda print, painted wood, dibond


&#60;img width="1004" height="669" width_o="1004" height_o="669" data-src="https://freight.cargo.site/t/original/i/31acb956e7fef39ae60714beb7a983ee386aeecedf5b982a460a501fa3c123be/a-qui-veut_7web.jpg" data-mid="61281248" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/31acb956e7fef39ae60714beb7a983ee386aeecedf5b982a460a501fa3c123be/a-qui-veut_7web.jpg" /&#62;&#60;img width="1004" height="808" width_o="1004" height_o="808" data-src="https://freight.cargo.site/t/original/i/007652da527f1b0f9f8131a47aeae9002eca513848de6c91353e6a850b4341d1/a-qui-veut_16web.jpg" data-mid="61281651" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/007652da527f1b0f9f8131a47aeae9002eca513848de6c91353e6a850b4341d1/a-qui-veut_16web.jpg" /&#62;Maledetta montagna / Damn mountain, 2020,
156×200cm, collage, blue back print


&#60;img width="1004" height="1582" width_o="1004" height_o="1582" data-src="https://freight.cargo.site/t/original/i/3bd47a2cf84a8427aa8b4107916987372a61938f2523f97156d67d67476a878e/a-qui-veut_18web.jpg" data-mid="61281652" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/3bd47a2cf84a8427aa8b4107916987372a61938f2523f97156d67d67476a878e/a-qui-veut_18web.jpg" /&#62;&#60;img width="2563" height="5184" width_o="2563" height_o="5184" data-src="https://freight.cargo.site/t/original/i/02fc517876fed4f975ae0e0b9380cb0ca1428f5328c75eef41c58de2fe28fa49/a-qui-veut_5.jpg" data-mid="61373191" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/02fc517876fed4f975ae0e0b9380cb0ca1428f5328c75eef41c58de2fe28fa49/a-qui-veut_5.jpg" /&#62;Bouffon fané / Wilted buffoon 2019
70×50×10cm, lambda print, painted wood


</description>
		
	</item>
		
		
	<item>
		<title>2019 - RELEVES II (FAVORINOS D’ARLES) /// STONE, GOD, ROSE, WOMEN</title>
				
		<link>https://manonrecordon.com/2019-RELEVES-II-FAVORINOS-D-ARLES-STONE-GOD-ROSE-WOMEN</link>

		<pubDate>Sun, 02 Jun 2019 08:47:41 +0000</pubDate>

		<dc:creator>www.manonrecordon.com</dc:creator>

		<guid isPermaLink="true">https://manonrecordon.com/2019-RELEVES-II-FAVORINOS-D-ARLES-STONE-GOD-ROSE-WOMEN</guid>

		<description>&#60;img width="1148" height="857" width_o="1148" height_o="857" data-src="https://freight.cargo.site/t/original/i/726b5b31f86b07e144bdf846439d3fe1c99edc7d807be56ad92879e514194cdb/voila.gif" data-mid="61414333" border="0" data-scale="13" src="https://freight.cargo.site/w/1000/i/726b5b31f86b07e144bdf846439d3fe1c99edc7d807be56ad92879e514194cdb/voila.gif" /&#62;
RELEVES II (Favorinos d’Arles)

Group showMusée départementale Arles Antique, Arles17-05-2019 &#38;gt; 29-05-2019Curators : Fabien Vallos, Laetitia Talbot &#38;amp; Théophile Calot
	La deuxième édition, Relevés II (Favorinos d’Arles) est un projet d’exposition qui réunit une quarantaine d’artistes, chercheurs et commissaires autour de la figure du philosophe Favorinos, né à Arles au premier siècle. Né Celte et intersexe vers 80, dans l’empire romain, et mort vers 150. Il est exilé vers 130 par l’empereur Hadrien sur l’île de Chios. L’ensemble du projet est une série d’œuvres et de commentaires divers autour de concepts devéloppés par Favorinos : le cosmopolitisme, l’exil, l’impérialisme, la mythologie, les conditions de la vivabilité.

	The second edition, Relevés II (Favorinos d'Arles) is an exhibition project that brings together some forty artists, researchers and curators around the figure of the philosopher Favorinos, born in Arles in the first century. Born Celtic and intersex around 80, in the Roman Empire, and died around 150, he was exiled around 130 by Emperor Hadrian on the island of Chios. The whole project is a series of diverse works and commentaries around concepts developed by Favorinos: cosmopolitanism, exile, imperialism, mythology, conditions of liveability.

	&#38;nbsp; &#38;nbsp;&#60;img width="2362" height="3670" width_o="2362" height_o="3670" data-src="https://freight.cargo.site/t/original/i/009fb7449dce94d440c823cbe7c7e8139793e318e73b8af787a1989d6ec293a7/carte-postale-1.jpg" data-mid="53117557" border="0" data-scale="86" src="https://freight.cargo.site/w/1000/i/009fb7449dce94d440c823cbe7c7e8139793e318e73b8af787a1989d6ec293a7/carte-postale-1.jpg" /&#62;
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Speriamo che nasca femmina, 2019(Let’s hope it’s a girl)

30x20 cm, c-print, wood&#38;nbsp;(Vitrine)

	Image-montage scannée du numéro de février 1976, La donna accusa la Chiesa, de la revue féministe italienne Effe, est aussi une toile de Raphael quelque peu ‘retouchée’, Le mariage de la vierge peinte en 1504 et conservée à la pinacothèque de Brera à Milan.
	
Scanned image of the February 1976 issue, 
“La donna accusa la Chiesa”, from the Italian feminist magazine Effe, is also a painting by Raphael that has been somewhat "altered", The Virgin's Wedding painted in 1504 and kept in the Brera art gallery in Milan.


&#60;img width="5000" height="2757" width_o="5000" height_o="2757" data-src="https://freight.cargo.site/t/original/i/47dd8d02a67da44c6d158c3a3123ad25e9effd9f8ce9a2d00438d24bf39542a5/Speriamo-I_o.jpg" data-mid="52930267" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/47dd8d02a67da44c6d158c3a3123ad25e9effd9f8ce9a2d00438d24bf39542a5/Speriamo-I_o.jpg" /&#62;&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/c9a991100a8eecb08afc8aefd0719a988778471e38fd3789a112feb4ab36de27/Speriamo-II_o.jpg" data-mid="52930268" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/c9a991100a8eecb08afc8aefd0719a988778471e38fd3789a112feb4ab36de27/Speriamo-II_o.jpg" /&#62;&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/7d13895b0ee0947a0a27cee31efb37f7c4810200835a0dc393bccff9a23fcd7e/Speriamo-III_o.jpg" data-mid="52930269" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/7d13895b0ee0947a0a27cee31efb37f7c4810200835a0dc393bccff9a23fcd7e/Speriamo-III_o.jpg" /&#62;&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/9443cd1543cb61c2400abc4fd0ae0a6745344f2253a272037dfb76d215435f9f/Speriamo-V_o.jpg" data-mid="52930271" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/9443cd1543cb61c2400abc4fd0ae0a6745344f2253a272037dfb76d215435f9f/Speriamo-V_o.jpg" /&#62;&#60;img width="5000" height="3182" width_o="5000" height_o="3182" data-src="https://freight.cargo.site/t/original/i/e4f765b70d98f7d127bfc1cb382a32832ddbda52b3423156363eb732091400d0/Speriamo-VI_o.jpg" data-mid="52930272" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/e4f765b70d98f7d127bfc1cb382a32832ddbda52b3423156363eb732091400d0/Speriamo-VI_o.jpg" /&#62;&#60;img width="5000" height="3497" width_o="5000" height_o="3497" data-src="https://freight.cargo.site/t/original/i/9571a2f3658ce2128e777f99dc17b9edf0b3c84f1e25e56e1635936ddd253bee/Speriamo-VII_o.jpg" data-mid="52930273" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/9571a2f3658ce2128e777f99dc17b9edf0b3c84f1e25e56e1635936ddd253bee/Speriamo-VII_o.jpg" /&#62;


&#38;nbsp;

STONE, GOD, ROSE, WOMEN
(in Relevés II (Favorinos d’Arles)Duo show (with Mathieu Gargam)
Moulin de la croix, St-étienne du grès
17-05-2019 &#38;gt; 29-05-2019
Curator :&#38;nbsp; Théophile Calot


GOD IS A WOMAN, 2019
500x300cm, print on pvc


	Photographie de rue réalisée le jour de "La journée de la femme", le 8 mars 2019 à Florence.

	Street photograph taken on the
 "Women's Day", March 8, 2019 in Florence.


&#60;img width="709" height="1063" width_o="709" height_o="1063" data-src="https://freight.cargo.site/t/original/i/0f4a04c4104baf0a3e622ba7d447057b9a8594265b8cca665c396c454b0070dd/God-is-a-woman-Iweb.jpg" data-mid="61392226" border="0" data-scale="100" src="https://freight.cargo.site/w/709/i/0f4a04c4104baf0a3e622ba7d447057b9a8594265b8cca665c396c454b0070dd/God-is-a-woman-Iweb.jpg" /&#62;</description>
		
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	<item>
		<title>2019 - HOMERE, LOUVRE LENS</title>
				
		<link>https://manonrecordon.com/2019-HOMERE-LOUVRE-LENS</link>

		<pubDate>Fri, 22 Mar 2019 11:05:23 +0000</pubDate>

		<dc:creator>www.manonrecordon.com</dc:creator>

		<guid isPermaLink="true">https://manonrecordon.com/2019-HOMERE-LOUVRE-LENS</guid>

		<description>&#38;nbsp;
&#60;img width="1148" height="857" width_o="1148" height_o="857" data-src="https://freight.cargo.site/t/original/i/ed922f30f71d555619357d4f9791cbd3ffab66f45a110c16bd8c5cde58807768/voila.gif" data-mid="61414369" border="0" data-scale="10" src="https://freight.cargo.site/w/1000/i/ed922f30f71d555619357d4f9791cbd3ffab66f45a110c16bd8c5cde58807768/voila.gif" /&#62;
HOMERE
Group show
Musée du Louvre Lens27-03-2019 &#38;gt; 22-07- 2019Curators : Alexandre Farnoux, directeur de l’École française d’Athènes, Vincent Pomarède, administrateur général adjoint du Louvre, Luc Piralla, directeur adjoint du musée du Louvre-Lens, et Alain Jaubert, écrivain et cinéaste, assistés d’Alexandre Estaquet-Legrand. Exposition organisée avec le soutien exceptionnel de la Bibliothèque nationale de France (BnF)

	L’une des expositions les plus ambitieuses jamais consacrée à Homère, l’auteur de l’Iliade et de l’Odyssée, ces deux célèbres épopées qui sont au fondement de toute la culture occidentale. Elle offre une plongée inédite dans la richesse du monde homérique, un univers aussi beau que mystérieux. Après un prélude consacré aux dieux de l’Olympe et à la Muse qu’invoque Homère, l’exposition part à la découverte du « prince des poètes », dont l’existence même est discutée. Elle explore aussi les phénomènes d’« homéromanie », qui ont marqué la science archéologique et inspiré des œuvres ou des comportements, suivant une imitation homérique d’une grande fécondité, jusque dans la vie quotidienne. L’exposition fait ensuite revivre les principaux héros et récits de l’Iliade et de l’Odyssée. Objets archéologiques et œuvres modernes évoquent ainsi la manière dont ces épopées ont été mises en images, avec une rare constance mais avec des variations selon les époques, qui relèvent d’une histoire du goût.


	One of the most ambitious exhibitions ever devoted to Homer, the author of the Iliad and the Odyssey, the two famous epics that are at the foundation of all Western culture. It offers an unprecedented dive into the richness of the Homeric world, a universe as beautiful as it is mysterious. After a prelude devoted to the gods of Olympus and the Muse invoked by Homer, the exhibition goes on to discover the "prince of poets", whose very existence is discussed. It also explores the phenomena of "homeromania", which have left their mark on archaeological science and inspired works or behaviour, following a highly fruitful Homeric imitation, even in everyday life. The exhibition then brings to life the main heroes and stories of the Iliad and the Odyssey. Archaeological objects and modern works thus evoke the way in which these epics were put into images, with a rare constancy but with variations according to the period, which are part of a history of taste.


&#60;img width="2126" height="1417" width_o="2126" height_o="1417" data-src="https://freight.cargo.site/t/original/i/41064c9c25497b5881fc3345b90fe9e27f3399072d362f65a39899b31f1d1c20/vue-1L.jpg" data-mid="52930266" border="0"  src="https://freight.cargo.site/w/1000/i/41064c9c25497b5881fc3345b90fe9e27f3399072d362f65a39899b31f1d1c20/vue-1L.jpg" /&#62;

Il canto di Ulisse, 2016, vidéo, 3,24 minVoix off : Margaux BriclerPrise son : Stéphane Rives
Lors du chant XXVI (Enfer), Dante raconte l’embarcation d’Ulysse, une entreprise d’exploration du monde qui court à sa perte, confrontée à un monde de moins en moins hospitalier. Dans, Il canto di Ulisse, le récit dantesque des péripéties d’Ulysse se confond dans le drame des traversées contemporaines de migrants livrés aux profondeurs de la Méditerranée. Il s’agit d’une restitution multiple et critique : ce qui peut rejaillir du fond des eaux, dont les profondeurs sporadique et ineffables de la mémoire, ne peut se produire que par évanescence. Cette œuvre, écrite il y a sept-cent ans, résonne par ricochet et caractérise notre criante actualité. La mer Méditerranée, cette brutale mer qui enfante, accompagne et tue. Cette mer qui charrie, balaye et disperse, ce cimetière. Styx sans loi, sans état d’âme. La mer assassina, l’homme assassina et cela nous pouvons le conjuguer au présent. (During the XXVI (Hell) song, Dante tells the story of Ulysses' boat, a company exploring the world that is running to its end, confronted with a world that is less and less hospitable. In Il canto di Ulisse, the Dantean account of Ulysses' adventures merges with the drama of the contemporary crossings of migrants delivered to the depths of the Mediterranean. It is a multiple and critical restitution: what can flow from the bottom of the water, whose sporadic and ineffable depths of memory, can only occur by evanescence. This work, written seven hundred years ago, resonates by " rebound " and characterizes our crying topicality. The Mediterranean Sea, this brutal sea that gives birth, accompanies and kills. This sea that carries, sweeps and scatters, this cemetery. Styx without law, without a state of mind. The sea murdered, the man murdered and that we can combine with the present.)
	
	
&#60;img width="1890" height="1181" width_o="1890" height_o="1181" data-src="https://freight.cargo.site/t/original/i/0ca76ec0bf7e11deb4fb3d3f5da2961fae9b9034bdf965c07cf35cf690916f4f/canto0.jpg" data-mid="52930259" border="0"  src="https://freight.cargo.site/w/1000/i/0ca76ec0bf7e11deb4fb3d3f5da2961fae9b9034bdf965c07cf35cf690916f4f/canto0.jpg" /&#62;
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&#60;img width="1890" height="1181" width_o="1890" height_o="1181" data-src="https://freight.cargo.site/t/original/i/fabd7610eae9dc0d83f117192bc82fba18333fbbdc8161183d3407bd66e8855f/canto5.jpg" data-mid="52930262" border="0"  src="https://freight.cargo.site/w/1000/i/fabd7610eae9dc0d83f117192bc82fba18333fbbdc8161183d3407bd66e8855f/canto5.jpg" /&#62;
&#60;img width="1890" height="1181" width_o="1890" height_o="1181" data-src="https://freight.cargo.site/t/original/i/733ea632740c3eff31e3db4060f126ef03bd6018aaf30d12c7e40fd3c9cebdfa/canto7.jpg" data-mid="52930264" border="0"  src="https://freight.cargo.site/w/1000/i/733ea632740c3eff31e3db4060f126ef03bd6018aaf30d12c7e40fd3c9cebdfa/canto7.jpg" /&#62;
&#60;img width="1890" height="1181" width_o="1890" height_o="1181" data-src="https://freight.cargo.site/t/original/i/630fa88355b0403c9502a5136bd6f43aab2fa9aa5cf29f8aaeaaad3e8284615f/canto4.jpg" data-mid="52930261" border="0"  src="https://freight.cargo.site/w/1000/i/630fa88355b0403c9502a5136bd6f43aab2fa9aa5cf29f8aaeaaad3e8284615f/canto4.jpg" /&#62;
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 </description>
		
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		<title>2020 1 % - Collaboration with Olivier Vadrot</title>
				
		<link>https://manonrecordon.com/2020-1-Collaboration-with-Olivier-Vadrot</link>

		<pubDate>Thu, 03 Oct 2019 06:53:08 +0000</pubDate>

		<dc:creator>www.manonrecordon.com</dc:creator>

		<guid isPermaLink="true">https://manonrecordon.com/2020-1-Collaboration-with-Olivier-Vadrot</guid>

		<description>
2020
Eau Eua Aue Aeu Uea UaeTriptyque vidéo, trois mosaïquesCollaboration avec Olivier Vadrot

Conception, réalisation et installation d'une œuvre contemporaine dans le champ de la création numérique et des arts visuels au titre du 1% artistique sur le site du centre aquatique de Dax.&#38;nbsp;


L’œuvre présentée ici au titre du 1% artistique pour le centre aquatique communautaire de Dax prend la forme d’un double triptyque, trois images vidéos présentées côté à côte dans le hall, puis 3 images fixes de grand format, réalisées en mosaïque traditionnelle par l’entreprise Bisazza, dispersées dans les espaces intérieurs et exterieurs du bâtiment. Nous avons été soucieux de construire une proposition artistique en adéquation avec le projet de l’architecte, mais aussi en lien étroit avec les récits qu’un tel lieu est susceptible d’inspirer à ses visiteurs. Notre proposition est fragmentée, constellée et immergée dans Aquae, nous avons souhaité épouser l’architecture du lieu, et former un parcours qui évolue dans l’espace et dans le temps, accompagnant le public au fur et à mesure de ses déplacements. Ce cheminement au fil duquel nous découvrons divers films et mosaïques est composé de trois registres d’images qui se sont naturellement imposés à nous : minéral, végétal et aquatique s’entrelacent — dans les vidéos — par un jeu de montage, de glissements et de superpositions. Les thermes Romains de Caracalla croisent les décors de la Villa Livia, le patrimoine Daxois se mêlent aux vestiges Italiens. Les mosaïques, quant à elles, sont composées exclusivement d’images aquatiques réalisées à Stromboli. Elles réactivent, de manière contemporaine, à partir d’outils numériques, les images qui étaient présentes autrefois dans ce type d’édifices de bains.


2020Eua Aue Aeu Uea UaeVideo triptych, three mosaics


Collaboration with Olivier Vadrot

Design, production and installation of a contemporary work in the field of digital creation and visual arts as part of the 1% artistic on the Dax Aquae aquatic center.

The work presented here as part of the 1% Artistic for the Dax Community Aquatic Center takes the form of a double triptych, three video images presented side by side in the hall, then three large-format still images, made in traditional mosaic by the company Bisazza, scattered throughout the interior and exterior spaces of the building. We were anxious to build an artistic proposal in adequacy with the architect's project, but also in close connection with the stories that such a place is likely to inspire its visitors. Our proposal is fragmented, constellated and immersed in Aquae, we wished to marry the architecture of the place, and form a path that evolves in space and time, accompanying the public as it travels. This path, along which we discover various films and mosaics, is composed of three registers of images that have naturally imposed themselves on us: mineral, vegetal and aquatic intertwine - in the videos - through a game of editing, sliding and superimposition. The Roman baths of Caracalla meet the decorations of the Villa Livia, the Daxois heritage mixes with the Italian vestiges. As for the mosaics, they are composed exclusively of aquatic images. They reactivate, in a contemporary way, from digital tools, the images that were once present in this type of bathing buildings.


images (c) Agnès Clotis

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	&#60;img width="1181" height="1772" width_o="1181" height_o="1772" data-src="https://freight.cargo.site/t/original/i/7bef1bc63ea5f5d8f2e219e6d98dd1451df996a5d0ff505a5aa6ca2da62c3a03/DAX_005.jpg" data-mid="91537352" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/7bef1bc63ea5f5d8f2e219e6d98dd1451df996a5d0ff505a5aa6ca2da62c3a03/DAX_005.jpg" /&#62;&#60;img width="1181" height="1772" width_o="1181" height_o="1772" data-src="https://freight.cargo.site/t/original/i/5f20caaecd71f4286c14632e3b90b9e2c42397bab1cfa010b708e1ff51108d16/DAX_019.jpg" data-mid="91537360" border="0"  src="https://freight.cargo.site/w/1000/i/5f20caaecd71f4286c14632e3b90b9e2c42397bab1cfa010b708e1ff51108d16/DAX_019.jpg" /&#62;&#60;img width="1181" height="1772" width_o="1181" height_o="1772" data-src="https://freight.cargo.site/t/original/i/82163d5b2afb27035e70a5e5e62e9f196f33d55d59bb7f7566e40c5e151df9a5/DAX_012.jpg" data-mid="91537353" border="0"  src="https://freight.cargo.site/w/1000/i/82163d5b2afb27035e70a5e5e62e9f196f33d55d59bb7f7566e40c5e151df9a5/DAX_012.jpg" /&#62;

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		<title>2017 - LES VIES DE CAGLIOSTRO</title>
				
		<link>https://manonrecordon.com/2017-LES-VIES-DE-CAGLIOSTRO</link>

		<pubDate>Fri, 29 Mar 2019 13:46:07 +0000</pubDate>

		<dc:creator>www.manonrecordon.com</dc:creator>

		<guid isPermaLink="true">https://manonrecordon.com/2017-LES-VIES-DE-CAGLIOSTRO</guid>

		<description>&#60;img width="1148" height="857" width_o="1148" height_o="857" data-src="https://freight.cargo.site/t/original/i/942472293c379505a62793312227000b9e69017f001f59d21aac7ad4239bc9b0/voila.gif" data-mid="61414865" border="0" data-scale="12" src="https://freight.cargo.site/w/1000/i/942472293c379505a62793312227000b9e69017f001f59d21aac7ad4239bc9b0/voila.gif" /&#62;Les vies de Cagliostro

Group showGalerie 22,48 m², Paris9-03-2017 &#38;gt; 1-04-2017
Curator : Marianne Derrien


With Bianca Bondi, Jean-Baptiste Caron, Éléonore False, Alexandra Guillot, Jean Hubert, Anna Tomaszewski, Thomas Tronel-Gauthier


Révéler et réveiller les forces invisibles à travers la figure de Cagliostro, étrange personnage oscillant entre réalité et fiction, alchimie et science, ayant vécu au XVIIIème siècle.&#38;nbsp; « Les vies de Cagliostro » est une exposition collective autour de l'histoire mystique et politique des multiples vies de Joseph Balsamo, dit comte de Cagliostro, pourvu d’une imagination débordante qui compris très vite les besoins mystiques de son époque. Afin de cartographier les tenants et les aboutissants artistiques, culturels et socio-politiques des forces visibles et invisibles, cette exposition invite à entrer dans les systèmes de représentation en faisant appel aux champs cognitifs de la science, de l’anthropologie et de l’histoire. Les artistes invité(e)s évoluent à la croisée de ces mondes et convoquent les rapports entre institution/non institution, autorité/résistance, possession/réappropriation. L'exposition trouve son point d'ancrage dans les changements de visions du monde, celles qui interrogent les narrations officielles et les mythologies collectives. En période de mutations sociales, les luttes et révoltes tiennent lieu de systèmes de valeurs alternatifs sur le plan politique. Souhaitant recréer une communauté d'esprit et d'action, cette exposition tente de dénouer le nœud de l'héritage des nouvelles pensées critiques à l'épreuve de visions plus “inavouées” telles que l'occulte, la magie et l'alchimie.
	

Revealing and awaking invisible forces through the figure of Cagliostro, a strange character oscillating between reality and fiction, alchemy and science who lived during the 18th century. « Les vies de Cagliostro » is a group show based on the mystical and political story of Joseph Balsamo’s, (known as comte de Cagliostro), multiple lives, who was gifted with soaring imagination and who soon understood the mystical needs of his times. In order to map the artistic, cultural and socio-political whys and wherefores of visible and invisible forces, this exhibition invites us to explore systems of representations using cognitive fields such as science, anthropology and history. Artists invited all stand at the crossroads of these worlds and explore the relationship between institution/non-institution, authority/resistance, possession/reappropriation. The exhibition relies on the different perspectives that change the world, the ones that shape official stories and collective mythologies. In times of social change, struggles and revolts operate as alternative value systems on a political level. Aiming at recreating a meeting of minds and actions, this exhibition tries to untie the knot of a legacy left by new critical thoughts that stand the test of more « unavowed » visions such as occult, magic and alchemy. Marianne Derrien


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Atelier, de Bruce Conner à L’Apocalypse d’Angers, 2016
acier, tirages lambda et tirages jet d’encre, 200 x 130 x 100 cm


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