Winter issue « Un coup de dés

Un coup de dés

The experiment of the margins

In the outskirts of Paris where urban and rural zones overlap, the CPIF is developing experimentation projects that overflow the essentialist approach of the photographic medium. Through theorist and artist invitations, the CPIF approaches photography not as an isolated, autonomous practice, but from one of those expanded fields that contemporary art represents. This is shown by the filmed interview between Joana Neves and Jesus Alberto Benitez, for whom photography is a drawing tool, as well as Chantal Pontbriand’s text on three works by Stephen Willats, who explores the photography-margins relationship by opening a space, the “photozone”.


An interview between Joana Neves and Jesus Alberto Benitez



Three projects by Stephen Willats
Slide show

Click on the image to launch the slide show

The Lurky Place, 1978.
Each panel 25.5 x 20.5 cm
Courtesy the artist and Victoria Miro Gallery, London.
Copyright: Stephen Willats.

Down At The End, 1998/2000.
Ten panels from twelve panel work, with 8mm film.
Panels one and panels twelve 22cm wide x 72cm high, Panels two through to eleven each 22cm wide x 30cm high.
Photographic prints, photographic dye, acrylic paint, Letraset text on card. Standard 8mm black and white film, apron 3 minutes.
Courtesy the artist and Victoria Miro Gallery, London.
Copyright: Stephen Willats.

The Night People, 1982.
Each postcard 10 x 15 cm.
Courtesy the artist and Victoria Miro Gallery, London.
Copyright: Stephen Willats.



Photography and the Margins
On three projects by Stephen Willats

by Chantal Pontbriand

Since the 1960s Stephen Willats has been exploring a unique and novel approach to art and photography. His work aims to develop new modes of behaviour and cognition.
These give rise to a creative œuvre in the social field within the framework of a “dispositif” put in place by the artist. He has been particularly interested in situations on the margins of urban life, where photography, in addition to texts and drawings, plays an important role. His conceptual although materialist devices aim to put in place systems or interactive analysis linked to cybernetics and theories of learning.

Stephen Willats’s work appears to me to belong to the concept of photozone, a term I use to qualify the type of interface between space and the photographic apparatus. Photozone outlines what is specific to photographic space: either the zone in its globality or designated by photography. The zone in question can either be a real space or a mental space and it explores the many registers which qualify one or the other. What is meant by real space, is a tangible space which lends itself to an observation, an action or an intervention. Mental space does not just represent tangible space; it is invaded, permeated or even transmuted by it. Hence our preference for the word tangible rather than physical. Being tangible refers to touch, tactility and contact. Mental space’s tactility communicates with real space and conversely real space reveals itself through what is tactile. A world view which would be solely physical refers to an objectivity which withdraws part of its value and its interest. The concept of zone allows us therefore to qualify continuity, indeed the reciprocity and connectivity which exists between the real and the mental.

Tangible comes from the latin tangibilis, which means « can be touched, palpable ». It refers to the potential of existence rather than a fixed reality, immutable such as the physical world would have one believe. The intangible, on the other hand, indicates what is immutable and is supposed to remain intact. However, the world is far from being immutable. Rather it is in perpetual flux and in that sense it resembles the world of the imagination which ceaselessly transforms itself. A photozone designates both the tendencies and anchorage, particularly of these real and mental spaces as well as their reciprocal tactility. In relation to the concept of photozone, the photographic apparatus itself is the tool which allows one to capture this zone of tangibility, the capacity to be recognised due to the fact it is palpable. Throughout the centuries this mechanism has changed and the full scale of this spectrum can be grasped just by mentally listing the diverse forms it has adopted from the camera obscura to digital photography.

Simply in broaching the topic of this first and last embodiment, one notes the strong indications of tactility in those two examples, which are situated at either end of the history of the technique and the medium. The tangibility of the camera obscura resides in the fact that it is situated in the space of the image itself. Its mechanical apparatus is located within real space at the point where the photographed space and the « machine » which creates the image are only a few metres apart. In this instance the camera even comprises its own apparatus to reveal the real image that it seeks to produce. The same applies to digital photography which includes in its mechanical apparatus the immediate transmission of the photographed image. In both cases the continuity which constitutes the choice of a real space, the setting up of an apparatus to capture it and then the result as an image in their very instantaneousness, their co-existence in time and space denotes a heightened indication of tactility due to reciprocal tangibility.

However, beyond this effect which can be qualified here as primary and, which alongside the development of technology and artistic approaches and practices, became a lot more complex, photography gives rise to many sensitive zones which increase the knowledge we can acquire about the interface between mental and real space. Real spaces are «exposed » and appear in a different light whereas photography frames and reframes, adjusts the brightness, the texture, the colours and the produced image extracts the reality from the real and in doing so roots out new, sensitive and often unsuspected realities. The daily or mundane experience of a place, even of a situation is confronted by the image, the site of cognition and new knowledge.

The question of photography as an apparatus of inquiry looms. Photography is linked to the tangible and in this sense can be considered to be a proof of reality. However, the current usage of the medium greatly exceeds this quality in so far as we can catch a glimpse of it and in so far as it is used in different so-called legal and scientific procedures. Art deals with the domain of reality in photography but not so much to yield proof of the tangible, of tangible reality or some kind of inquiry but to test what is real. In this sense the photozone, the zone which belongs to photography, increasingly proceeds from quest to inquiry and its aims are not so much deterministic as inventive. The inquiry seeks within an observable situation, the quest would seek rather to supersede it, to move beyond the expected and even the visible in its relative immediacy. Concerned with research rather than by the verification of established parameters, the photozone is a free zone of observation and contact which produces uncommon results. Here our concern is not with producing tangible proof of facts but to create a new fact, an event which adds to knowledge. At the very least one which arouses desire and interest. Thus, a greater and wider vision of the world is created.

The three projects by Stephen Willats accompanying this text are in this sense photozones. Each of these projects explores different directions adopted in Willats’s work, based on several books, such as The Artist As An Instigator of Changes in Social Cognition and Behaviour 1, which dates from 1973. In the latter he explains how the artist can instigate change in the social sphere. His approach aims from the outset to reconsider the artistic process itself in order to develop new approaches, no longer centred on the object, which are informed by cybernetics, theories of learning and about advertising. He has been interested in systems comprising autonomous modes of organisation and in philosophical ideas arising from these modes, such as fluidity, the transitory, relativity and complexity as well as in the notion of the interactive interface. He insists that a work of art is a product of society – and that the artist plays the role of instigator in it.

In particular, his work consists in modifying perceptions, knowledge of oneself and one’s environment. The audience (we should note that Willats considers that those interested in his work are different to spectators or visitors. They are rather an  «actively listening audience ».) is part of the sphere of action which arises from parameters, games, rules that are applied universally and are accepted in advance by interested parties. This sphere of action unites the social and the artistic in a visual interface stemming from research procedures based on investigation. Willats has carried out different projects in various areas of London, permitting him to elaborate and refine his research. Although photography may have played an important role in the elaboration and establishment of procedures which form the basis of different projects, here we will focus rather on the works contained in the portfolio of images which are available on the following pages of this website.

In 1978 the artist published a book with the Lisson Gallery, The Lurky Place Book, comprised of a certain number of photographic plates, diptychs which portray a general view of a place and a close-up  which shows in detail an object found in this place. The Lurky Place is located at the edge of the city in an industrial estate. At the time it was in fact a wasteland. The inhabitants in the surrounding area were fond of this place. The objects found there are a testimony to particular practices in this place, nevertheless not designed or organised as a public space and  difficult to access. These objects are evidence, revealing a social and economic environment. A closer look allows us to obtain a more complex vision than just a wasteland. The view that  comes first to mind appears to be one just like any other wasteland but through the close-ups of the objects, it becomes a socially inhabited place, a place where the  communal occurs and which indicates in the last resort life forms about which the economic environment is hardly concerned. Behaviour and habits are highlighted and give an unusual meaning to this place. All the diptychs produced by Willats are linked by a black stroke which connects the found object to its environment.

Thus comments Stephen Willats on the visual procedures he establishes in the series:

The value it has for residents of surrounding housing estates is as a symbol of a consciousness which is counter to that of the predominant social stereotypes. The way peoples’ destinies are largely determined by the dulling routines of their daily lives is contrasted with the freedom of pursuits and interests carried out within The Lurky Place. Elements of this freedom are transported from the constraints of our dominant culture and discarded in The Lurky Place, in the course of engaging in these various pursuits. Through these residual items, it is possible to structure connections between the consciousness vested in The Lurky Place and the restrictive society in which they originated 2.

The series Down At The End (2001) grows on those principles. Graphically, this series appears to be less of a documentary than the previous one and has an effect on the consciousness, which is doubtlessly more dream-like. The black strokes which link the elements in each of the colour diptychs are emphasised and play with the pictoral tradition, reminiscent of suprematism, which has been revived in the history of advertising and in whose language Willats has been deeply interested. The visual consciousness is vested with the graphic quality of images which communicate their content on a sensorial level and renders to the image something of the tactile substance of the environment from whence those photographs have been « extracted ». Thus the images convey a heightened sense of reality.

The Night People is an unpublished postcard project from 1982 originally conceived for the Westkunst exhibition. Willats photographed people at night and was interested in the unusual nature of their dressing habits, make-up and behaviour in a nocturnal context. These peculiar portraits are reminiscent of Giorgio Agamben’s book, La Communauté qui vient 3, where he attempts to define what is « the whatever being».  Here, in these photographs the peculiar, specific detail is what is sought. The night people exists and acts outside the norms, the rules and conformity of daytime. Here, Willats appears to be telling us through these amazing images that the people exists.
Willats is interested in the margins of existence and the micro-tales that develop there (in contrast to the meta-tales which create the great narratives and their political, economic institutions).  He activates cognitive devices and change in the consciousness of the viewer which nowadays seem more necessary than ever and he achieves this by decentering the look and the relations. The inventive and imaginary potential, located in the margins, confirm this « decentering » as a quality 4.


Further reading:
Centre Photographique d’Île-de-France
Jesus Alberto Benitez
Joana Neves
Stephen Willats
Chantal Pontbriand



  1. Stephen Willats, The Artist As An Instigator of Changes in Social Cognition and Behaviour, Occasional Papers, 2010.
  2. Stephen Willats, The Lurky Place Book,
  3. Giorgio Agamben, The Coming Community (Theory Out of Bounds), University of Minnesota Press, 1993.
  4. See the following publications from authors who have recently researched ideas similar to Willat’s: Franco Bifo Berardi, The Uprising, On Poetry and Finance, Semiotext(e), 2012, and Bruno Latour, Enquête sur les modes d’existence, une anthropologie des modernes, La Découverte, 2012.



The invitation to rearrange the contents of this web-based collection, reminds me of the passing down of a great Naga necklace. As if each slideshow, web-performance, video, text, or audio work, were loosened from a cotton thread, and laid out on a taut cloth, like carved white conch shells, brass bells, red carnelian, bone, and blue-green glass beads, waiting to be newly strung. As I read and listened through the contents, I began to dream of jewelry setters. And so here I tell, if you wish, a decentralizing story; not decentralized, but one whose claim has the capacity to make the centre, come to seem estranged.

After crossing an arc, at the eastern edge of India, is a hill region bordering Bangladesh, China, Southern Tibet, and Myanmar. Among the states of this area, is exquisite and troubled Nagaland, with its innumerable cultures, united under the word ‘Naga’ and yet with communities, each with differing and exceedingly democratic models of government, and different material culture. Its worldviews that have the potential to open new ways of thinking about art are preserved in fragments of remaining material culture after the onslaught of proselytism and modernization. Among them is the philosophical linking of ornament with society and individual ethics. In ancient times, and still practiced by the conceptual works of the artist Veswuzo Phesao, is the right to decorate one’s bodies, clothing, or one’s home, based on a system of being able to calibrate individual merit as value: which was always somehow, value earned within a community, through codified rituals of generosity. Status came from having always individually earned it. A warrior, or one who fed his surplus crops to the village, these were the terms under which one was given permission to decorate one’s home. After passing on, one’s children could not inherit the ornamentation; they again would have to individually earn the right from society.

Over 2007 and 2008, I spent time in this region, writing about its contemporary art, and have been going back ever since. Hekali Zhimomi, the then director of a government-run art centre, the North East Zone Cultural Centre, told me of her own research into jewelry and value. In Ao Naga culture, she explained that when a work of jewelry is passed down, or purchased, before buying it, the new wearer must hear all the stories and merits of its first maker and past owners. It is through their personality and deeds that the work of jewelry could accumulate value. The work of jewelry has ethical provenance. And the character of its past wearers, is a strong determiner of its value, translatable into a shop price, but in reality a contemporary oral tradition of storytelling in continuance – where a graduate degree may be a new determiner of social achievement. For the Naga communities, jewelry – like all aesthetic and ritual – has been over time coded, eroded and re-coded.

It is a lens and a trope through which to perhaps read the particular form of value, in the efforts of such a website – to hold together the fifty centres d’art contemporain across France in one light website: whose entries are arranged by center, by author, or by the materiality of response. The series, and resetting of the series, gives the impression that there are also infinite subjective arrangements possible. The invitation to four editors from far-flung parts of the world, to restructure the contents of the website, with a new editorial over the course of four seasons, implies a seriality ricocheting within the content, like a musician within the set notes of a raag.

But our carnelians and glass beads here, as the first stringers would tell us, are the many turns of the die, an encounter with an idea and its potential. In this sense, what has accrued, are the ideas. The rituals of handing down jewelry, something always a little intimate and formal together – have the weight of history; at least of those small histories of people in the air. As if all those souls were summoned to the jewelry box. Conch shells, carnelian and glass beads remind me of ways of approaching biography and the lives of artists, of pedagogy and the ways we have of passing through and accruing knowledge, and the many ways of approaching value. But in focusing on biography, there is a ringing sense of missing colours and beads. I cannot speak out here for all that is absent, yet perhaps we could leave space in the necklace for all those ideas that come from biographies of differance, still to be strung in the centres d’art. With this thought, I pass this necklace on to my colleague, and friend, across the Nagaland border…

* * *


1. Inheriting ideas

Presented by the Centre d’art contemporain de Brétigny, Matthieu Saladin writes a text to accompany an exceptional sound score made in 1968, ‘LIKE A CLOUD HANGING IN THE SKY?’ by the group AMM. The group in turn had made this work in response to a prose work, ‘Sextet: The Tiger’s Mind’, by one of its members, Cornelius Cardew. What is key to my own arrangement, is the way Saladin’s text approaches artistic inheritance. In Saladin’s own writerly and artistic engagement with a double inheritance of the two works, he emphasises how ‘Like a Cloud’ was not a performance of ‘The Tiger’s Mind’, but an engagement with it, through new experimentation.

Emmanuelle Pagano’s ‘NIGHT-LIGHT’, at Espace de l’art concret is a writing experiment. It is a novelist’s selection of works from the Albers-Honegger Collection that performs a similar function in re-stringing works, by new criteria. These objects handed down to us – works of glass, a globe of light – are given emotional life, through the biographic form of storytelling, by which he links the defiance of gravity by an astronaut, with that of the glass blower.

“I am a glass blower, like my father, like my grandfather, my great grandfather. I love working with glass, it becomes full of life under heat. From this magic material it’s possible to make so many things, endlessly fashion it, give it any shape. One only has to stop it from yielding to gravity, Earth’s crushing call. In our family we have been defying gravity for several generations…When younger I wanted to be completely free from it, from gravity, I wanted to become an astronaut.”


2. Glass beads and the oral tradition
‘Glass does not forget anything.’

It is Thomas Golsenne who writes in his text about the relationship between the artist and the technician, called ‘THE HEART AND SOUL OF GLASSWORKING’ written for CIRVA – Centre international de recherche sur le verre et les arts plastiques:

“However, in music, the difference is that, if the musician plays a wrong note, he can always make up for it with the following note, whereas, in glass-blowing, it is impossible to make up for mistakes: everything has to be perfect from the moment when the glass is gathered in a furnace to the time when it is placed in another, less hot furnace, to allow it to cool. Glass does not forget anything.”

Nicolas Floc’h writes with beauty in ‘DEEP IN THE HEART OF THE SUBJECT’ for Centre d’art Le Pavé dans la Mare. In his writing, the glass becomes the material of philosophy. In a passage he compares glass with wine-making, referring to the passing down of technique, of knowledge, and ideas. “The secret of the process probably owes… also to a human chain of know-how and knowledge involved from grape-harvesting to the wine-making process.”

The oral tradition is in continuance, within contemporary art. In this case he also talks about the technicians being the ones to carry down the knowledge they have of glass, to the next artist entering the studio. To the triangles made between artist, audience and curator or institution, is the welcome addition by Golsenne of the role of the technician:

The artist “discovers the enormous furnaces, which give off air so hot that it makes the lamps swing, hanging from the ceiling several metres above. He discovers the material and its different states: small white beads (pellets) at the beginning, then a soft red-hot mass when it is gathered in the furnace and handled with the blow tube, and finally a solid, transparent volume when it has cooled down. He especially discovers these characters, these masters of the art of glassmaking, who have given everything for their passion, who hold all the secrets of the technique, and who are nevertheless there, simple and modest, listening to his words, wishing to please him, ready to go with him on a journey to the unknown in this future project.”


3. Questioning the biographic voice

Aymeric Ebrard, uses an alacrity of visual and aural description, in an autobiographical narrative, to capture being split: in this case, between two different residencies, in Lithuania and Morocco, intercut with each other in close succession. The text is a double view, titled with the cinematic ‘The Kuletchov effect’, suggesting something else arises from the combined meaning of two vivid and dissimilar images. What it captures, is for me, a form of writing in whose own poetry is wrapped a deeply clear, political voice. Take this sentence on Saïdia, at the Moroccan-Algerian border: “On either side, the run-down buildings would prance their social housing pealing volumes next to the camp pavilions owned by the Minister of Youth Affairs and Sports.” Ebrard writes within ‘MODELS OF PRODUCTION’, at Centre d’art bastille. I am reminded, in my own insistence in listening for the first person, poetic voices, of Helene Cixous’ writing, and many others – that taut, crystal, political gleaning that accompanies each double-entendre.

‘I AM ALL WORDS’ is an extraordinary work by Adva Zakai, using the medium of a website, to convey her own métier, choreography. The curator of Le Quartier, Centre d’art contemporain de Quimper has written, “I’m now inviting you to pursue the project of ‘becoming an art centre’, but within the virtual space of Internet.” In an imaginatively intimate form of address, Zakai uses the first person, or the biographic approach, to tell the audience, the immediate precedents of where they are and what they are viewing, “opening is a solo where you stand on a table in a corner of the exhibition space. Your hands touch the walls, and very slowly you raise one leg. While you’re trying to keep a balance, you tell a story which could be your biography, the history of the space or the story of the director.”

In a series of letters, Guillaume Pinard and David Evrard discuss themselves, their own personalities, in ‘NOBODY CAN ESCAPE ART’ for Maison des Arts Georges Pompidou. From their lively writing, we hear a self-reflexive discussion of value and consumerism, gift-exchange, and collecting.

The director of La Galerie – Centre d’art contemporain de Noisy-le-Sec, Emilie Renard, corresponds with the art critic Sinziana Ravini in ‘DEAR SINZIANA V. DEAR EMILIE’.

These exchanges, seem to speak directly to the problematics posed by the necklace. Their exchanges question the biographic approach, the biography of the artist as a value within the reading of the work, and on gift-giving exchanges and translations between value systems. In candid writing, they analyse and reflect on the use of the first person as a fictional device, or as an autobiographical style, which they comment on as different to the “theoreticians from October”; a style that runs at odds perhaps with a scientific analysis of artworks. “Now I think the big issue of our time is the complete opposite of all that, the need to reclaim art discourse for the emotional domain, that mysterious theatre of the unconscious that’s there whether we like it or not. But to do that you have to be ready to expose yourself, lose your way, make mistakes and most of all, exaggerate.”

From this perspective, is also Aurélien Mole’s use of a futuristic, exaggerated, biographical voice in ‘HIATUS’ written for Parc Saint Léger.

“Based on the documents and oral sources that I collect from the area surrounding the Parc Saint Léger, I am virtually able to reconstitute what the art centre’s whole programme had been, both inside and outside of its walls. Other historians will use this information to extrapolate a sense of what cultural life was like in Europe between 2000 and 2075, and thus attempt to rewrite history from its margins.”

Jean-Pierre Cometti’s ‘BUT THE MAIN PROBLEM LIES ELSEWHERE…’ is a beautifully written work for  Centre national d’art contemporain de la Villa Arson. Cometti writes revealingly, of how art needs to be located within context – what he sums up productively as “when is art?”

“The difference with what we usually call “experimentation”, for example in science, is that this kind of approach is not directly geared towards producing knowledge; but this does not in any way signify that they don’t pertain to knowledge. One can easily be convinced of this. In science and in philosophy, we have what are called “thought experiments”. A thought experiment means introducing an unrealized (counterfactual) possibility in the reasoning process, and estimating its consequences were it to be realized. This type of approach makes it possible to open up the concept of knowledge and to enrich it by allowing for wider and more inclusive forms of understanding. This is the privilege of fiction, and also of art.”


4. Valuing the political voice

“Even if I think that art is all about context (does not exist outside a certain place, a certain time, a certain onlooker) and all about audience (it is in relation to the audience the artist determines what has to be done), I think art is also all about the intention of an individual, the artist” writes Dora Garcia in “I UNDERSTAND MY ACTIVITY AS A RESEARCH” for 3 bis F – centre d’art contemporain. She gives the example of “The Beggars Opera” 2007, which she defined as “theater play in real time and public space”- for Münster Sculpture Projects.

“In this work, I created a tool to dismantle the conventions of art in public space…The work consisted of a character, Charles Filch, a secondary character from the Bertolt Brecht play and novel The Three Penny Opera, which “came alive” in Münster and became a citizen of the streets of Münster during the three months of the exhibition. It had all the qualities one should ask of an artwork in public space (existed in public space, changed the perception of it), and at the same time it was obviously a person- personnage and to reduce it to the condition of a number on an outdoor sculpture map was absurd.”

The most art historical of all the texts, is possibly, that of Gilles Drouault, who recalls brilliantly in the video, ‘THE WITNESSES’ at Centre d’art contemporain d’Ivry – le Crédac, an exhibition of particular value to him, and he explains generously why. To him, this exhibition on industrialisation in the last century; was pertinent to its location in an once billowing industrial town of Ivry. Intrigued at how film and industry developed at the same time; he conjectures, that what has been most compelling about the 20th century, has been the development of the industrial world and the worker; premising that what was siginificant to the 20th century in particular was the worker as an individual with rights, worker’s strikes, as capable of forming trade unions. One of the achievements of the Western European system has indeed been the welfare of workers.


5. Necklace of strategies

The political subject matter in Alexandre and Florentine Lamarche-Ovize in ‘LAMARCHE-OVIZE, A COLLABORATION PROJECT’ for Micro-Onde, centre d’art de l’Onde, show a work dealing with women’s prisons. Antoine Marchand in ‘LET’S MEET IN TROYES, AUBE’ at Centre d’art contemporain / Passages, discusses being invited to devise ways to dispose of nuclear waste, and the ability of an artist to respond, or give value, to such a residency. Fabien Faure in ‘THE TIME OF SITE’ at CAIRN, centre d’art, writes of mining and its relationship to land art. Yet, there is also political strategy latent in the writings, for example, of Olivier BossCentre rhénan d’art contemporain, has a moment, where so as not to be surveilled, by the number of webcameras one takes in the subway, is suddenly a face, painted like the dazzle-pattern used in submarines during the First World War. It gives a moment to delve underwater and dip into art history, as something actively working as strategies in a politicized world – if one thinks of cinema, then terrifyingly and increasingly used today. In another discussion of cinematic effect, ‘EMPOWERMENT’, at Jeu de Paume, Antoine Thirion a critic, responds to an artist Claudio Zulian, who has been using cinema as a political tool, using historical re-enactments, and repetition as a strategy. I end this arrangement, with a performance: Emma Dusong makes the web-performnace ‘DOOR’ for Centre régional d’art contemporain Languedoc-Roussillon.


Zasha Colah
February, Bombay



Bolstered by its success and visibility, uncoupdedé is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts. Catalina Lozano (Colombia), Zasha Colah (India), Moe Satt (Myanmar) and Manuela Moscoso (Brazil): each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. uncoupdedé repeats the challenge from the poet Mallarmé, resurrected in the cinematographic art of Jean-Marie Straub and Danièle Huillet (Every Revolution is a Roll of the Dice, 1977). The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedé takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…


(Bombay, India)

Zasha Colah co-founded ‘blackrice’ in 2008 in Nagaland, and the Clark House Initiative in Bombay in 2010, after studying art history at Oxford University and curatorial studies at the RCA, London. She was the curator of modern Indian art at the Jehangir Nicholson Art Foundation at the CSMVS museum (2008- 2011), and was head of Public Programs at the National Gallery of Modern Art (2004-2005) in Mumbai. In 2012 she co-edited ‘In Search of Vanished Blood’ a monograph on artist Nalini Malani for documenta 13, and she curated two exhibitions of Burmese art, ‘Yay-Zeq: Two Burmese Artists Meet Again’ at ISCP New York and ‘I C U JEST’ in Kochi.