Les Ateliers Jeanne Barret
DDA Contemporary Art
M2F Créations|Lab GAMERZ




From JUNE 22th TO 26th 2021

With : Alexandre Chanoine | Antoine Boute | Félix Blume | Jonathas de Andrade | Julie Rousse | Léna Hiriartborde | Luce Moreau | Maxime Berthou & Mark Požlep | Robertina Šebjanič | Špela Petrič | The WA & Olabo | Thomas Tilly | Voogt - Madely Schott & Phabrice Petitdemange | Wild Project éditions | Postcoïtum | Zar Electrik | La Sirocco

Preamble :
In this era of difficult health conditions and the stringent isolation of our relationships in/to the world (between humans as well as between species), ecological questions as a study of interactions of living beings/ creatures between themselves and with their environment, are clearly matters of the greatest concern. They give pride of place to the theoretical thinking and the plastic arts research of a widespread community of researchers and artists, both of whom start from the statement that our current contemporary society, constructed by human beings advancing under the illusion of progress, whilst becoming gradually alien to the rest of the living world.

Our curatorial proposal assembled under the title of Métaboles (changes, transitions), forms a selection of projects, unpublished for the most part, offering some thoughts in the domains of relationships between humans and their natural environment; the central theme here will be ideas of sustainability, resilience and the effects of the capitalocene on other living beings.

Curatorial Intentions :
The curatorial purpose of Métaboles is part of an approach to the problems that arise by the separation of our thinking on nature and society, which has a direct repercussion on the metabolic exchanges between Man and his environment; as a result, a more flourishing life and its cyclical movement come to what we might call an abrupt stop, creating a lack of balance of all living beings.

How have artists taken over this statement and what are their positions in the face of the urgent need to decolonize nature?
From a broader point of view, different forms of harmful/ pernicious insensitivities isolate Man from his ecosystem and upset his biological and spiritual relationship to nature as his environment, and even more essential, as a whole element surrounding it. The symbiotic development of Man with his technology through the recent centuries can appear to be an alienating factor in terms of sensitivity, in the same way as the development of concrete, petrochemicals or virtuality impose an alternative matrix environment. Animal unsuited to the new world he has converted for himself, increasing his tools as extensions of his instincts, the human, who may be an artist in some cases, resists the determinism of biotechnology: by questioning otherness, he is in fact looking for porosity and empathy right up to a kind of “metabolic delirium”, which makes him finally feel himself

Context :
A number of installations, videos and performances presented are original creations shown for the first time. They are supported by an ecosystem of committed production formed by our four associations: D.D.A Contemporary Art, 1979, M2F Créations | Lab Gamerz, and Otto-Prod in and around Marseille. Métaboles is hosted in the peripheral district of les Crottes, Bougainville, Marseille. It forms the first artistic program within the Ateliers Jeanne Barret. Formerly an oil mill then a warehouse, the building is part of a district whose industrial and working class history leads the members of Jeanne Barret towards ecological and social reflection. Métaboles fits naturally into the theme of the Living — a topic which will be celebrated this year by the IUCN World Conservation Congress (hosted by Marseille in 2021) along with all the city’s cultural actions that will surround this major event.

L’entrée est à prix libre et le public sera accueilli dans le respect des règles sanitaires en vigueur et avec une jauge limitée sur place.

télécharger le communiqué de presse


"The river is personified and she auscultates it, the river is a route that they take to collect the transgenic maize kernels of the Anthropocene era, with this tool it watches the men of the river reach the fish and hug it towards the sea. dead; it traces the underwater sound territories invaded by the noise of machines, it identifies the phenomenon of frogs in love and those gathered there with it, removing from the sea the plastic cloaks which they had put on to celebrate a god, perhaps this same chimerical monster whistling in the bamboos placed in the waves in order to speak to the children of the shore; who also listen one by one to the bees with a digital ear reconstructing the swarm, bees invited to inhabit a nest with natural shapes and a mechanical background that is installed there, in a hidden concrete corner; in the concrete where the hole is a well which she probes and the water, sick, speaks;
on the bottle is the address of the owner of Water who drives them to theft, and to drink the water, the sea and the desert are crossed and with their hands as they dig; he wonders: is water property, is it a cloud or is it that the mouth is open to the rain it contains and that it pours out? She tells us what the water told her: not too long a time ago, that man equipped will make peace in the woods and everything will be much better."



* 5.30 p.m.: event opening : opening of the installations and visit of the exhibition with the artists.
Installation Essaim by Félix Blume, installation Skotopoiesis by Špela Petrič, sculpture Brèches mécaniques by Luce Moreau, vidéo Sous réserve de by Léna Hiriartborde, sculptures by Alexandre Chanoine.
* 7.30 p.m.: Sound Performance and activation of sculptures by Alexandre Chanoine with Félix Blume
* 9.00 p.m.: Codex Amphibia (Phonotaxis) Concert of Thomas Tilly followed by a meeting with the artist. around Codex amphibia : composer sur un fil.

* 2.00 p.m.: Aquatocene Sound Performance by Robertina Šebjanič followed by a public discussion in the presence of scientists Christian Tamburini, Thierry Perez and Delphine Thibault.
* 3.30 p.m.: Une voix parcourt le Rhône Sound Performance by Julie Rousse followed by a meeting with the artist.
* 5.30 p.m.: Exhibition visit with the artists
* 8.00 p.m.: film projection of Paparuda and Southwind by Maxime Berthou and Mark Požlep
* 9.00 p.m.: Meeting with Maxime Berthou about his recent works
* tasting of moonshine from Southwind project + DJ set de La Sirocco

* 5.30 p.m.: Exhibition visit with the artists
* 7.00 p.m.: Rencontre/Conférence avec Félix Blume
* 9.00 p.m.: Reading / Performance of sound poetry Tutoriel Biohardcore by Antoine Boute
* 9.30 p.m.: PREMIÈRE Projection du film Méraki by Voogt

* 5.30 p.m.: Exhibition visit with the artists
* 6.30 p.m.: Meeting with Špela Petrič
* 8.30 p.m.: film projection of The Fountain by The Wa and Olabo
* 9.30 p.m.: Meeting avec The Wa
+ video programmation ‘The Wa, Olabo & Friends’

* 3.00 p.m.: Wild project éditions invitation
* 4.30 p.m.: film projection of The Fish by Jonathas de Andrade and Curupira by Félix Blume
* 6.00 p.m.: Exhibition visit with the artists
* 6.30 p.m.: Performance RDV à la source by Léna Hiriartborde
* 8.30 p.m.: // Concerts // Zar Electrik + Postcoïtum


Alexandre Chanoine


Sculptures, sound performance, 2021

Alexandre Chanoine makes objects with stones that are at the same time sculptures, toys and instruments. He manipulates them, jostles them, makes them ring by exploring the powers of primitive gestures — or the beginnings of erosion. Summoning temporalities that vastly exceed those of humans, where his gestures and works lie beyond any and all categorizations, Alexandre Chanoine digs a rut as sensitive as it is singular, where the infinitely old makes us hear the infinitely beautiful.

© Stephane De Groef, Antoine Boute, et Adrien Herda

Antoine Boute


Antoine Boute is a Belgian writer and sound poet born in Brussels in 1978. He currently lives in Tervuren (Belgium), almost in the forest. He explores the impacts between body, language and voice according to various media and means (paper, internet, stage) and enjoys collaborating with other authors and artists (Ariane Bart, Lucille Calmel, Mylène Lauzon, Charles Pennequin, Bertrand Laverdure, Sebastien Biset, Sebastien Lacomblez, Jean DL, Mauro Pawlowski, Agnès Palier…). He has participated in the Black Army since its beginnings in 2007. Its practice is fundamentally based on language, its limits and its diversions. His work is a constantly reformulated, absurd, disturbing and amusing game, to which he invites anyone who wishes to participate.
“Beneath its deceptively crazy airs, his work is in fact a fine part of cheerful knowledge, where the experimental, both magnified and mocked, experiences unexpected developments, where the mechanics of the zany duplicate another mechanism, which we dare qualify as schizo-analytical,” writes Christophe Claro.

Révolution Biohardcore

Performance of sound poetry, 2019

Reading of the Manuel de Civilité Biohardcore by Antoine Boute, Stéphane de Groef and Adrien Herda
Inventing an aesthetic-political arrangement that shatters literature with drums and that cuts text and image to the point of producing an economy of the sign that exceeds its own economic level, Manuel de Civilité Biohardcore releases an anti-pedagogy of the wildness that plants flowers and fields of nettles upon chaos. Co-edited by the publisher FRMK (whose fabulous editorial, inventive, poetic and incendiary line we salute once again) and by Tusitala, the incredible trans-graphic work concocted by Antoine Boute, Stéphane de Groef and Adrien Herda launches a war machine against a world slumped in the high tech apocalypse.


Félix Blume


Félix Blume (France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France. He uses sound as a basic material in sound pieces, videos, actions and installations. His work is focused on listening, it invites us to a different perception of our surroundings. His process is often collaborative, working with communities, using public space as the context within which he explores and presents his works. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words. His sound pieces have been broadcasted in radios from all over the world. He has been awarded with the “soundscape” prize for his video-piece Curupira, creature of the wood and the “Pierre Schaeffer” prize for his work Los Gritos de México at the Phonurgia Nova Awards. He has participated in international festivals and exhibitions as LOOP Barcelona (2015), CCCB Barcelona (2015), Tsonami Arte Sonoro Chile (2015, 2018), Fonoteca Nacional Mexico (2016), Ex Teresa Mexico (2016), CENTEX Chile (2017), CTM Berlin (2017), Belluard Festival (2018), Arts Santa Monica Barcelona (2018), Thailand Biennale (2018), Berlinale (2019) and Rotterdam IFF (2021) among others.


Sound installation produced on-site, 2021

The sound installation ESSAIM is composed of 250 small speakers reproducing each one the sound of a bee flying.
In suspension within the exhibition space, these sonic devices offer us several listening experiences as we travel from the group to the individual. The visitor is invited to approach these small beings and become part of the swarm in a complete soundimmersion amongst the bees.
It’s then possible to listen to their voices as many individual testimonies of these workers that tend to get unnoticed. We listen to their singing, their screaming or their chatting, in the way of an aerial choir. The bees have been recorded through a sound recording studio designed specifically for them. We’ve been able to record their flight while they foraged inside.

Curupira, bête des bois

Sound color video, 35min, 2019

In the heart of the Amazon, the inhabitants of Tauary invite us to listen to the sounds of their forest, with its birds and animals.


Jonathas de Andrade


Jonathas de Andrade was born in 1982 in Maceió, Brazil. He lives and works in the north-east of Brazil in Recife, a coastal city rich in contrasts, where old colonial buildings nestle amidst modern skyscrapers and where the failure of the tropical modernist utopia is a tangible reality. Anthropology, pedagogy, politics and morals are the lines of inquiry pursued by the artist to recount the paradoxes of modernist culture. De Andrade uses photography, installation and video to traverse collective memory and history, making use of strategies that shuffle fiction and reality. He collects and catalogues images, texts, life stories and material on architecture to recompose a personal narrative of the past. “I dive into this field of recollections”, says the artist. “This is a past I have no intimacy with, seen as if it were a territory, a place for re-enacting a kind of amnesia, an often-violent brush between today and yesterday. Not being touched by this is what allows me to rework the nature of these imagines. Art helps me to approach and respond to what provokes me. It also helps me to experience more wholeness along the way.” [1]

[1] https://www.galleriacontinua.com/artists/jonathas-de-andrade-20/biography

O peixe [The fish]

16mm film transferred to 2k video, sound 5.1, color; 38 min, 2016

De Andrade’s video, O peixe [The Fish] (2016), borrows the style of ethnographic films made by anthropologists to record the cultures and traditions they study. In a series of vignettes shot on 16mm film, we witness what appears to be an intimate ritual among fishermen in a coastal village in northeastern Brazil. De Andrade’s camera follows individual fishermen as they catch their prey and then hold them to their chest. Alternating expressions of dominance and empathy, the fishermen forcefully but tenderly kiss each fish until it stops breathing. The gesture that appears here as a ritual is, however, the one that the artist invented, as if to push a deliberately exotic portrait to the limits of plausibility. While the conspicuous subjects of O peixe are the fish and fishermen depicted, the absence of language and text in the film generates a poignant ambiguity and invites a range of interpretations: one might feel empathy and grief by witnessing death, or feel encouraged by the expression of solidarity with the natural world, or even captivated by the particular sensuality of this animist rite. Beneath these responses, however, lies an understanding that this gesture disguises violence as benevolence and suggests a symmetry between the power humans wield over other life forms and the power they wield over each other.

© Florent Kolandjian

Julie Rousse


Her work is diverse and expressed through several different experimental music projects based on improvisation : live performances, sound installations, electroacoustic compositions, music scores for dance, performance, films, visual artists and documentaries.
Passionate phonographer and noise lover, she’s always looking for new sonic sources in her worldwide travels, exploring the possibilities of sound capturing in specifically chosen contexts, working with traditional recording devices as well as experimental captors.
In her free improvisation practice, she uses her sonic collection in a real-time sound treatment software, lo-fi machines such as reel-tapes cassettes, effect pedals and various players. Real time is an essential element of her spontaneous and chaotic approach : she digs in the sound, intruding in the detail, exploring in search of new textures of raw sounds.
As sound artist and composer, she explores the relation between the Listener, Space, Dream and Ritual. She creates swarming universes with in-situ recordings to be unfolded for site and project-specific events.
With EXO, she invited the audience to turn towards the sky and contemplate while listening to her multiphonics spatialized compositions for 101 stellar objects. Her last projects Une voix parcourt le Rhône (A voice runs along the Rhone), is in search of the sonic elements that constitute the voice of the river Rhône – from its source in the Swiss Alps to the Camargue Delta – in its animal, natural and anthropic multitude : the river is a lively entity which song is complexe and many. Her work is supported by the CNCM of Marseille (GMEM) and Lyon (GRAME). In 2020 she was Laureate of the Camargo Foundation special program for sousnd artists and in 2015 she was laureate of the Hors les Murs program (Institut Français) for a 3 months research stay in an autochtone community in the south of Chile, studying relation between nature and sound in the ritual culture of the Mapuches. Since 2018 she is living in Marseille. In 2020 she integrates the Collective Les Ateliers Jeanne Barret as associated artist.
Since 2001, she has been playing in national and international festivals, events and venues worldwide : Festival Les Musiques (Marseille ; 2018) ; Nuit Blanche (Paris ; 2005, 2011, 2015, 2018) ; Centre Pompidou (Paris ; 2017) ; Musée de l’Homme (Paris ; 2017) ; Festival REEVOX (Marseille ; 2016) ; Festival PiedNu (Le Havre ; 2015) ; Festival de Arte Sonoro Tsonami (Valparaiso, Chili ; 2013, 2015) ; Le Fest (Tunis, Tunisie ; 2011) ; Send and Receive (Winnipeg, Canada ; 2011) ; Suoni per il Popolo (Montréal, Canada ; 2002,2004) in solo or in collaboration with emerging as well as renowned improvisers from the experimental noise music scene. Her pieces have been edited on the labels Sub Rosa, TsukuBoshi, Zeromoon, NoType et diffusées sur les ondes d’Arte radio, France Culture et Radio Libertaire.

Une VOIX parcourt le Rhône

Sound performance, 2021

Une Voix Parcourt le Rhône is a sound fresco of this massive river: hybrid and sculptural, having the desire to immerse listeners into the river, it proposes to establish a transversal conversation between the Rhône and its different actors.
The river, considered as a « living entity, » is present in the form of an entangled multitude that is both complex and organic – forming a « body, » literally. During this audiovisual performance, the different strata of the sounds recorded on the Rhône overlap, intertwine and respond, like a fresco where field recordings, specialized recordings and speeches, filmed images and found objects intersect … The sounds broadcast are stored in a sound library that classifies the sounds according to their nature, their geographical location, the seasonal cycles, the recording schedule (precise day and time) and the weather conditions in place.


Léna Hiriartborde


« Léna Hiriartborde graduated from the Haute École des Arts du Rhin in Strasbourg in 2015, in the Arts Hors Formats research group focused on performance and digital art. During her studies she built exchanges with the independent circuit of Valparaiso (Chile), where she exhibited in different galleries (Umbral, Casa Nekoe, 2013; Control Remoto, Worm Gallery, 2016…).
Curious about the relationships that people of animist traditions maintain with their environment, she traveled to India, then to the Colombian Amazon. She currently resides between Marseille, where she is involved in the self-managed artistic center of La Déviation (Potlatch, 2018), and the hinterland of Grasse, where she participates in the activity of a medicinal plant farm. There she lives her passions for the knowledge of the more than human kingdoms which nourish her practice.
After having developed all kinds of tactics so as to invite a greater consideration to spaces and their subtleties, Hiriartborde began orienting her practice since 2017 towards questions of interdependence and inter-species collaboration.
Her works are presented in hybrid forms, mixing performance, photography, writing, installation, sound pieces and videos, from which a touch of humor and self-mockery often slip between. » [1}

[1] https://www.ateliersmedicis.fr/le-reseau/acteur/lena-hiriartborde-17658 (trans. from original french)

Sous Réserve De

Video, 6min, 2018

Bajo Putumayo, Colombia

Subject to seeing where the confetti goes. Provided they accept my donation to their company. Subject to taking the size of underground galleries. Captivated by the relentless occupation of leaf-cutting ants, I seek to participate. Between scientific prospects and childish curiosity, I place new materials cut to the appropriate dimensions near their tracks. That they get them on board immediately, ready to integrate this new substrate into their precise ecology. What are they going to do with it? Are there laboratory ants inside? What a funny picture these spots of bright colors that emerge little by little from the multiple openings in the anthill.
Vivi says ants don’t have vacations. They get up at 4 a.m. and stop working at 7 p.m. Bernardo says that they build walls inside the anthill with the pieces of leaves that they cut out of those big trees that you see over there, the ones with the lacy leaves. On the internet, leaf-cutting ants store this material, which they eat and whose excrement they then obtain to feed the fungus they love.

RDV à la source

Performance, produced on-site, 2021

The well has, despite being singular, a signficant S. Perhaps he is thus suggesting that there is only one entry into the multiple branches of an underground network and an especially porous planet?
I am exploring the presence of water in the ateliers Jeanne Barret. This reflection around its underground journey, its arrival today and now, leads me to question the arrival of life on earth, and the hazardous conjunctions of its initiation. Besides, does life really exist? Oops, the stone has fallen into the well. This well is our fountain today.


Luce Moreau


Luce Moreau is a photographer, visual artist and lives in Marseille. She is the co-founder of the collective / association OTTO-Prod and has been working since 2006 on curatorial projects and artist residencies, while developing her artistic research.
Different periods of residencies in exceptional situations (Observatoire de Haute Provence – CNRS, Iles du Frioul, with beekeepers in Slovenia or MIND – a nanotechnology company at the Swiss border) gave rise to distinct achievements that allowed the artist to deepen her plastic questions on a daily basis through both empiricism and reflection.
Her latest artistic concerns, however, move away from the field of light so as to begin a long-term project alongside living things; dwelling on the sensitive observation of natural phenomena, as well as the experimental aspect of her approach.

Brèches mécaniques

Installation, cire d’abeilles, 2020

The installation Brèches Mécaniques proposes a fictional medium around the notions of resilience and ecological anticipation. It aims to deal with a species’ ability to recover normal functioning after having undergone a disturbance: here, it’s the disappearance of the bee’s natural habitats and its surculture by humans in the grip of both a disorientation and a progressive abandonment of its utopic communities.


Maxime Berthou (Monsieur Moo)

Maxime Berthou, French born in 1981, graduated from the Aix-en-Provence Higher Art School before joining the post-diploma of Fresnoy Studio National des Arts Contemporain in Tourcoing then following a pre-doctoral training at the Ecole des Arts Décoratifs in Paris.
His artistic practice consists of making cinematographic essays based on the experience of performative gestures. His work is part of a practice-based research context overlaying an artistic framework on a scientific framework.


Vidéo, 12 min., 2011

Paparuda is a video installation by Monsieur Moo featuring a public performance in which the artists unleash an artificial rain. Taking place above a boreal forest on the border of Canada and the United States – this artistic gesture makes reference to a geopolitical dispute between the two countries over the ownership of clouds.
Paparuda, act two of the Climate triptych, is the title of a public performance consisting in artificially triggering rain at the border between the United States and Canada. The purpose of this performance was to echo a geopolitical accident that occurred in 1949 not far from where the US had sowed clouds moving towards Canada. During a time of drought, history had already raised the issue on the ownership of the cloud and the water it contained. Canada complained at the time that the rain had been expropriated by its American neighbors. At the end of this event, Canada, under UN mandate, ratified the R.Q.c.P-43.r1 treaty legislating the artificial provocation of rains in North America. For ten years the artist Mr. Moo tried to obtain accreditation from the Canadian Ministry of the Environment to be able to carry out his performance. Since this law has never been exercised in the span of 51 years, no jurist or federal lawyer was able to apply it within the context of an artistic gesture. These legal, administrative and political overflows enrich the artist’s point of view, who here tries to create a game of scale in the disproportion between the needs of the project and the familiarity of its subject: rain.


Maxime Berthou & Mark Požlep


Mark Požlep was born in 1981 in Celje, Slovenia. In 2006, he completed his BA at the Academy of Fine Arts and Design in Ljubljana where he also received his MA from the Department of Video in 2009. Pozlep then pursued his Advanced Master’s degree at the Sint-Lukas School in Brussels where he researched trans-media. In 2019 he graduated from HISK – the Higher Institute of Fine Arts – in Ghent, Belgium, where he currently lives and works.
Požlep’s works in the field of visual art, performance, spatial installations and video. His artistic practice often involves large voyages, which function both as long-durational performance/endurance art and as an art piece in itself. It’s an intense procedural exploration, aiming to reveal the tension between politics and poetics, individual action and personal impotence. The journey is not an illustration or a metaphor; it is an experience; it is the crossing of real places.


His production, ranging from painting, video, performance and installation, was included in the 5th and 7th Triennial of Contemporary Slovenian Art, presented in the ESSL Museum Vienna and in numerous solo and collective exhibitions across Europe.

Rencontre autour des projets : Hogshead, Southwind, Uisuki Et Pudgy

Conférence / rencontre avec les artistes

Mark Požlep met Maxime Berthou in Slovenia. This rich friendship led to four years of collaboration as a duo and later to an art residency program that fostered exchanges between Slovenia and France lasting more than ten years, hosted by the organization Otto Prod. The partnership between both artists often takes the form of long-term performances that center around observation and experience, a form of understanding, and role-playing within the social environment that they have both chosen as their point of interest. They see the personality of a piece to be as important as the event or actual subject of the piece. Through personal experiences and emotions, they use contemporary storytelling as a way to share knowledge and awareness.
In 2018, they developed their latest trans-media cultural project in the form of a practice-based research journey along the Mississippi River, which they chose because of its symbol as a kind of “body of the nation, » an entity representing a case study of the present-day US, owing to its colonial history and to the fact that the river is the most important commercial waterway in the country, spanning 3,730 kilometers and crossing ten different states: Minnesota, Louisiana, Wisconsin, Illinois, Kentucky, Tennessee, Mississippi, Iowa, Missouri and Arkansas.
Their objective was to distill the famously pirated corn whisky known as Moonshine, a liquor that only recently became legalized in the United States in 2012 following its ban during the Prohibition Era. In 2019, the two adventurers embarked on this new challenge: Southwind, traveling in the footsteps of Mark Twain aboard a traditional steamboat they had refurbished themselves with the goal of collecting around 42 varieties of corn from local farmers along the route to New Orleans.
The trip began on September 2nd, a mere month after a six-month period of flooding, which – according to the locals – was the most extensive and longest since 1993. Many of the cities along the upper Mississippi had been washed away ; the marinas having been devastated and destroyed and the infrastructure along the river abandoned. The locals had to grapple with the intense poverty caused by the floods and the current economic situation, as well as health problems caused by toxic industrial pollution. Racial inequality is a part of their everyday life, notably in smaller towns and places with less educated households.
They shot footage of their encounters and documented knowledge and techniques in a database in order to disseminate their journey in the form of films and cine-concerts. According to Berthou, their journey was punctuated by unforgettable encounters (like Cowboy Jim) and legendary music: Jazz, Blues, Rock’n’Roll, Country, Cajun and Prince. Reaching out to others, going from village to village, the adventurers collected raw data on the history of colonization, slavery and a racism that is unfortunately still very present. They also learned about the problems related to modern farming in the U.S. (crisis situations in some states) and the surprising digital deserts in certain areas where information is lacking. Southwind is a project that not only follows the natural flow of time, composing with the elements and proposing an investigation into personal experience, transcription, disproportion and the production mechanisms of such an artistic endeavor, but also functions as a research on and experience of contemporary U.S. society along the mythical river.
With respect to the circular economy and waste reduction, once the seafarers arrived in New Orleans after their 50 day journey, they converted their boat, with the help from a local coppersmith they hired along the way, into a small distillery that could produce Moonshine. It took them 15 days to distill two tons of collected corn. They filled 2,000 bottles.
More than just a whisky, Berthou and Požlep’s Moonshine is not only blended with the legendary savors of the Mississippi, but it’s “the genie in the bottle”, says Berthou. More than just bottled alcohol, it’s the successful alchemy of an extraordinary human experience.
Such an ambitious project left no room for improvisation: two years of planning and fully funded support before departure—in exchange for a complete documentary film, several exhibitions with partners, and the presale of bottles to French and U.S. distributors of spirits. Their trans-media project was recently presented at Centre Pompidou and the American Center for Art & Culture in Paris, conquering liquor lovers.


Robertina Šebjanič


Robertina Šebjanič, based in Ljubljana, is an internationally awarded artist, whose work revolves around the biological, chemical, political and cultural realities of aquatic environments and explores humankind’s impact on other species and on the rights of non-human entities, while calling for strategies emphatic towards other species to be adopted. In her analysis of the theoretical framework of the Anthropocene, the artist uses the term ‘aquatocene’ and ‘aquaforming’ to refer to humans’ impact on aquatic environments.
Her art – research focus is since several years oriented towards the project developed in the field of Living systems (bio-art), AV performances, noise/sound art, installations and interactive ambiental responsive immersive environments. The context for her ideas and concepts is often realized in collaboration with other authors (artists, scientists, humanists, makers, hackers…), and through interdisciplinary and informal integration embodied in her work.
She studied at the Academy of Fine Arts and Design in Ljubljana (SI),Famul Stuart School of Applied Arts in Ljubljana (SI) as well as at the Valand School of Fine Arts in Gothenburg (SE).

Aquatocene - Subaquatic quest for serenity

Audiovisual performance, since 2016

Aquatocene / Subaquatic Quest for Serenity investigates the phenomenon of underwater noise pollution created by humankind in the seas and oceans. The sound compositions are a re-mix between the bioacoustics of marine life (shrimps, fish, sea urchins etc.), the aquatic acoustics and the presence of human generated noise in the world’s oceans and seas.
Over the last few years, Robertina has made a number of recordings using hydrophones in different locations around the globe. Underwater noise affects a great number of marine life forms which depend on the sub-aquatic sonic environment to survive.
The audio compositions of the underwater soundscape encourage us to reflect on the impact of anthropogenic sound on the habitat of underwater and marine life, and to enlighten our consciousness and emphasize the importance of maintaining safe sound environments for living animals in the oceans, seas, lakes and rivers of the world.


Scientific researchers Delphine Thibault, Thierry Perez and Christian Tamburini are invited for a public discussion following the performance of Robertina Šebjanič.

Delphine Thibault, MCF AMU, I am an oceanographer biologist, specialized in zooplankton and especially gelatinous organisms. I am interested in the biodiversity and the spatial and temporal distribution of zooplankton in different regions of the world. Another part of my research focuses on invasive species and their role in the functioning of coastal ecosystems. The physiology of crustacean and gelatinous zooplankton is also an important axis of research to better understand the dynamics of their population and their position in pelagic trophic networks.

Christian Tamburini DR CNRS. A microbial oceanographer, I am interested in the interaction of micro-organisms / organic matter by seeking to group measurements of in-situ activities, diversity, and biogeochemistry to better understand the biological pump of carbon, in particular in meso- and bathypelagic zones. The development of hyperbaric instrumentation allows us to take samples and measurements in in-situ conditions. In recent years, we have also sought to establish a link between bioluminescence and the carbon cycle. Concerning the component of bioluminescence, an application component is currently being developed in connection with architecture, art, and scientific mediation.

Thierry Perez. As a marine ecologist, my research is fundamentally naturalistic and interdisciplinary. A specialist in sponges, I regularly describe new taxa to science, carry out biodiverse inventories, by exploring underwater caves in particular, and study all facets of the sponge's biology and ecology. My interdisciplinarity is plural, having started my career with environmental chemistry, before moving on to the chemistry of natural products and metabolomics to deal today with questions of marine chemical ecology, or even with environmental history, in order to measure the long-term effects of global change on marine biodiversity.

Program realized to the invaluable help of Thierry Botti - Observatory of Sciences of the Universe Institut Pythéas (CNRS - IRD - Aix-Marseille University).


Špela Petrič


Špela Petrič is a Slovenian new media artist and former scientific researcher currently based between Ljubljana, SI, and Amsterdam, NL. She received a PhD in Biomedicine at the University of Ljubljana, Slovenia, and an Advanced Master in Arts from LUCA, Brussels, Belgium. Her practice is a multi-species endeavor, a composite of natural sciences, wet media and performance. She envisions artistic experiments that enact strange relationalities to reveal the ontological and epistemological underpinnings of our (bio)technological societies and challenge the scope of the adjacent possible. Much of her recent work has focused on plant life. Her work has been shown at many festivals, exhibitions and educational events around the world (Centre Pompidou (Paris, FR), Abandon Normal Devices (Grisedale Forrest, UK), Gamerz (Aix en Provence, FR), Touch Me Festival (Zagreb, CRO), Playaround (Taipei, TW), Electronica (Linz, AT)). For her work she also received several awards including the White Aphroid for outstanding artistic achievement, the Bioart and Design Award and an Award of Distinction at Prix Ars Electronica.

Confronting Vegetal Otherness: skotopoiesis

Video installation documenting the performance, 22 h, 2015

Skotopoiesis (meaning shaped by darkness) is the first performance from the series attempting plant-human intercognition. In this durational piece the artist and the germinating cress face each, illuminated by a light projection. The biosemiotic process occurs through the obstruction of the light – the artist throws a shadow onto the cress for 12 hours a day, which results in the etiolation (blanching, whitening) of the plants. The effect is mediated by phytochromes, one of the plants’ non-photosynthetic light sensors. The diminished light intensity stimulates the production of auxin, a plant hormone that acidifies the cell wall, facilitating its elongation. The stems of the cress become long and pale; the leaves are sparser, all in an effort by the plant to grow from the shadow.
As the cress elongates, the vegetalized artist shrinks – standing still for a prolonged amount of time decreases the artist's body height due to fluid loss from the intervertebral disks. Thus the evidence of intercognition is observed through the physical changes of the plant and the human partner.


The WA & Olabo


The Wa
« The WA’s work is rooted in graffiti but quickly moves towards action and urban intervention. His gesture is linked to his multiple travels in the world and especially to Europe: he disorients and has fun with myths, he disturbs the collective order, rigs conventional values, simulates reality, disconnects logic, challenges the institution, in short, he plays and suggests his doubts. He re-appropriates technique and takes pleasure in playing with the extreme possibilities of art. The WA is defined and understood perfectly as an actor in the permanent movement of urban space. He camouflages himself within and circulates through it. His work is thus imbued with a cynical gaze, parody of thought, and caustic humor focused on the provocative organization of an uncertain world. » [1]

« Olabo’s work is also rooted in graffiti culture but much more deeply in the elegance of wood. Trained as a carpenter, Olabo finds his artistic skill in his qualities as a constructor, a builder. He then comes to demonstrate that all the power of art arises above all from technical know-how supported by a particular perspective. Olabo is also inspired by his various travels across Europe and two other major influencers: Ecuador and Burma. Olabo offers a visual dynamic for the purpose of a visual awareness to the contexts in the world that question him. Also as an actor in public space, Olabo will make himself known — sensitive and fierce, he rams into society; one which has not finished playing its precarious and therefore elusive spectacle. » [2]

The WA & Olabo
« Naturally, of course, it’s between a barrier jump and two wire cutters that the WA and Olabo meet … One is from art and the other from wood. One did fine arts and the other was a carpenter. Today, The WA and Olabo are tinkering with a common itinerary around generous artistic knowledge: to act, to do one’s part. Far from the waiting room of the contemporary art market, their street credibility unconfirmed, these two baroques are no longer waiting. They can no longer handle standing in line, they have decided to deflect the wait: they bypass patience, deepen the urgency and surprise you in anonymity. They both operate between two bases of vertigo: poetic risk and fleeting engagement. The WA and Olabo are neither punk nor anarchists, they are poets and hackers, artists and useless, charming and suspicious, they are there … invisible and benevolent … and by the time you understand this definition, they rob you in your certainties. »[3]

[1] Manu Berk, « Olabo et The Wa à Nouakchott » [2] Ibid [3] Ibid

The Fountain

Vidéo, 37 min., 2014 / 2015

Fountain shows in a hybrid form the making and filmed performance of a several month journey featuring the two artists. Starting from the simple observation that water is a common good privatized by the giants of capitalism, we follow them from the « taking » of metal bars supporting the protective fences of the Nestlé factory to their hijacking as a drilling tool in a desert region of Morocco.

« Thomas Tilly is a musician who uses the microphone and the loudspeaker as his main instruments of creation. Centered on the study of the sound environment and its confrontation with the space in which it exists, Tilly’s work borrows as much from experimental music as from scientific research.
It is not only a question of capturing the sound, but of placing the microphone at the same level as the musical instrument and of considering the location of this instrument in space as a method of composition; it’s a question of diverting its role as a communication tool to apprehend the sound wave differently – to tackle the intangible intersecting all that constitutes and conditions the material, to focus on speaking and using noise as something precious and unique, and to confront this noise with what we call music. » [1]

[1] https://www.lafayetteanticipations.com/fr/artiste/thomas-tilly

Codex Amphibia

Codex Amphibia is a project resulting from a collaboration between the musician Thomas Tilly and the herpetologist researcher Antoine Fouquet, during a field study in Guyana in 2016. On the Mountain of Kaw, December 2016, thousands of frogs gather in a few tens of square meters for a unique night of sexual frenzy. Out of the intimacy of this reproductive explosion, Thomas Tilly created Codex Amphibia, a dialogue between the sound fragments captured from the field and the electronic elements subsequently added in the studio, sometimes presented alone and sometimes mixed together. Thus, across the sound pieces, a back and forth is established between the natural acoustic lines and their artificial interpretations.


Voogt - Madely Schott & Phabrice Petitdemange


VOOGT was born in 2016 in Brussels and was created by Madely Schott and Phabrice Petitdemange.They are now based in Marseille and members of the Ateliers Jeanne Barret. Madely Schott is a performer and visual artist. Phabrice Petitdemange is an author, music composer, performer and visual artist. The duo presented their first exhibition at art-cade, Galerie des Grands Bains Douches de la Plaine, Marseille, in October 2019. They have notably appeared at Festival Actoral, Montevidéo (Marseille, 2019), BLAUBLAU Festival (Zurich, 2018), Festival Les Arbories (Les Arbories, 2018), La Déviation (Marseille, 2018), DAF Festival (Geneva, 2018), Volapück (Tours, 2017), MIMI Festival, L'embobineuse (Marseille, 2019), La machine à coudre (Marseille, 2017), Festival des arts éphémères, Parc de la Maison Blanche (Marseille, 2017). Nora Neko collaborates with VOOGT as a digital arts developer and musician/noise artist on performances and concerts. They are in a six month research residency at the 3bisF contemporary art center (Aix-en- Provence) developing a new project named NEO_RESET. The first productions linked to this project, an immersive olfactory installation named dopamine flower, will be shown in May and June 2021 for the festival des arts éphémères (Marseille 9/10), in collaboration with Hélène Bellenger, and at PAC, an exhibition outside its walls in 2021 (3bisF , Aix-en-provence), with a second immersive installation named the seed is in the fruit and the fruit is in the seed. Their first film Meraki, will be projected during the festival Metaboles, a four day event curated by Constance Juliette Meffre and Luce Moreau at Jeanne Barret. VOOGT offers installations/performances with variable geometries, imagining new personal and collective mythologies. VOOGT is a singular and multifaceted writing guided by the spirit of gleaning, DIY and hybridization. VOOGT is deployed at the crossroads of plastic arts, video, performance and music to bring out a dreamlike reality. VOOGT makes its projects evolve in line with the surrounding context.



Between September and November 2018, Voogt, the duo made up of Madely Schott and Phabrice Petitdemange, took over an abandoned campsite adjacent to a beach littered with plastic remains layered with the ebb and flow of the Mediterranean Sea. This playground, deserted for twenty years, was initially called Camp Gournia Moon. Equipped with a solar panel to ensure a minimum of autonomy, they set out to clean up, slowly but surely, the beach.
Immersed in this post-apocalyptic setting isolated from the synergy of everyday life, they decided to film this quest on the basis of the following premise: “The human has conquered himself. Two survivors face the vestiges of a world of which they have only vague memories.”


Wild Project éditions


How do we reorganize human societies in terms of their relationships with living things and put an end to the ongoing extinction of life on Earth?
This is the task to which Wildproject wants to contribute, an independent publishing house which has worked to import and acclimatize ecological thinking into French within the past decade 2010–2020.
Wildproject invites us to go beyond the project of modern civilization, with founding works of ecological thought (“Domaine Sauvage” collection), essays on political ecology (“The World that Comes” collection), situated stories (“Tête nue”), and a pocket collection (“Small popular ecology library”).
Based in Marseille, a city that blurs the borders between the North and South, between nature and culture, the Wildproject editions gave birth to the Metropolitan Paths: itineraries that explore the relations between city-nature and center-periphery, in order to invent the ecological city of tomorrow.
From philosophical revolutions to political struggles, the evolution of the house bears witness to a decade of editorial effervescence and hybridization of issues. Having been at the forefront of ecological thinking, Wildproject now intends to contribute to the implementation of their works.

© Luce Moreau



Bertrand Wolff: laptop, synthesizer /// Damien Ravnich: drums, pad

Postcoïtum is the project of Damien Ravnich and Bertrand Wolff, built around the marriage of instrumental and electronic music, calling out to the hybrid influences of idm textures, indie rock rhythms or industrial sounds. The duo traps us with a set of curious sounds before swallowing us up whole with the hypnotic force of a narrative melodic-rhythmic system. The suggested universe then leaves room for possibilities by taking us towards the transcendent, the tragic and the incongruous with a vast and eclectic soundscape.

When we talk about Zar Electrik, we are talking about music without codes and without borders.
It is the meeting of two friends in Marseille: Anass Zine, his bewitching voice with Maghrebian influences as well as his many traditional instruments (gumbri, oud ...) and Arthur Péneau, with his deep voice, who introduces hybrid African influences through his kora which he mystifies with electric effects. Then the connection with Miosine (Didier Simione) sublimates the whole, the last element of the trio. He brings his knowledge and mastery of machines, synths and codes of electronic music. The synthesis is explosive. Together, they create rich and generous music, crossing between Maghreb, Sub-Saharan Africa and the West which takes us on a transcendent journey. With their electronic groove, it's a pure energy inviting us to dance. Their complementarity is not only heard, it is felt and seen. Punctuated by smiles, Zar's music brings the troops together for a moment of celebration and conviviality.

© Jean Forest

La Sirocco


As a multidirectional DJ, the Sirocco blows a torrid wind on all the dance floors she shakes up, from Brussels to El Jadida, from Firenze to Istanbul, from Doomkerke to the island of Tinos… and Marseille.
A gemini ascendant scorpion, it's double loops stuck onto the roller rink of your musical desires. Globe-trotter of the beat, she juggles between afro-disco, hip-hop & bass music, Congolese rumba, chaâbi and many other musical gems.


Infos pratiques

Ateliers Jeanne barret
5 boulevard sévigné
13015 Marseille


Métro : Bougainville

Mandatory membership to Ateliers Jeanne Barret
Snacks and bar provided on site (Les Cuistotes) from 7.00 p.m. to 9.00 p.m.br/>
Doors open to the public 30 minutes before the time indicated on the program, in compliance with current health standards

DOORS CLOSES AT 10:45 p.m.

As part of the health situation related to COVID 19, masks are mandatory for adults and group visits to events of the exhibition are limited.
Masks and gel are available to the public.
Please respect the safety distances and barrier gestures.
Doors close at 10:45 p.m.



1979 - MCMLXXIX.free.fr
The 1979 association is an association of artists by artists for artists. It was founded in 2017 by Sylvain Huguet. Its aim is to promote the research, creation and dissemination of artistic works and cultural projects using technology as a medium. In order to foster exchanges and to establish bridges between institutions, populations and cultural actors, it provides for the organization of artistic events, the development of exhibitions and the production of printed and/or online publications and editions, to help audiences discover these new artistic forms. It presents artists who question our relationship to technology through exhibitions, conferences and performances, linking technical innovations and current reflections. These initiatives are based on the desire of the association and its artists to democratize the practice of new technologies and promote the realization of projects that use multimedia as a tool for creating development and research the use of current technologies in artistic fields.

D.D.A. Contemporary Art - www.diffusingdigitalart.org
Founded in 2012 by Constance Juliette Meffre, D.D.A Contemporary Art | Diffusing Digital Art is a curatorial platform supporting contemporary creation, the dissemination and production of artworks in France and abroad.
Our structure supports artists as well as curators, researchers and other creators at the crossroads of disciplines. Our activities mainly consist in the organization of residences and events (exhibitions, screenings, concerts, conferences, workshop visits), assistance in the production of works and support for writing and publishing articles.
Based between the Galerie des grands bains douches de la Plaine and the Ateliers Jeanne Barret in Marseille, D.D.A Contemporary Art also operates in various environments – both within institutional (galleries, museums, art centers) and non-dedicated (natural, public, alternative) spaces. Specific active research is carried out around international scenes, in East Asia (Japan, Hong Kong, Vietnam, China) and in other regions of the world (Quebec, Morocco, Colombia, USA, Romania, Turkey, etc.).
Our commitment leads us to pay particular attention to the contexts in which we operate. In France and internationally, we work « as an ecosystem, » that is to say by associating ourselves with other structures and local actors through collaborations and partnerships. We promote experimental work that offers alternatives to dominant discourses and have a particular sensitivity to issues relating to the environment, minorities (sex / gender, class, race) as well as new media.

Les Ateliers Jeanne Barret- www.jeannebarret.com
As a subversive, inventive, and methodical explorer and botanist, she is the first woman to have traveled the entire world by the seas...The free and progressive figure of Jeanne Barret embraces our need for new spaces, our desire to gather and our horizontal approach to work projects.

Alongside her character, we locate ourselves in the Crottes and Bougainville district, which was named in reference to the navigator Louis-Antoine de Bougainville who she accompanied during his expedition, bringing back a flowery shrub variety sharing the same name (bougainvillea). We illustrate her interdisciplinarity and the mix of genres that allowed her to go on this adventure. Just like her, we take part in a long-term collective work approach with many unknowns.

The desire for experimentation and research brought us together to a shared place. We foresee many areas for experimentation and research: artistic practice and a questioning of the ways in which to exhibit; the ecologies of materials and relationships; encounter with the neighborhood and its residents and relational developments through art, sound and gardening; social life and promotion of the Commons; exchange and projection between generations, individuals, and their specificities; circulation and pooling of knowledge.

The place:
- a majority of artists' studios, places of work and production.
- a convergence of activities towards the neighborhood’s residents of all generations.
- a crossing of practices between different trades.
- a support for the professionalization of young artists in the region.

M2F Créations | Lab GAMERZ - www.lab-gamerz.com
M2F Créations | Lab GAMERZ is an association founded in 2003 with digital arts development and promotion as main activities. Gamerz organizes cultural exchange between different European structures and international artists.
Based in Aix-en-Provence (« Patio du Bois de l’Aune » as main venue since 2009), Gamerz develops workshop, artist residency and production activities in the new media arts lab. It also aims at technical knowledge and know-how exchange in new media and digital creation via « horizontal » transmission.
The GAMERZ Festival proposes a wide range of new media art exhibitions, performances and conferences at the crossoroads of ICT and digital arts, questioning interactivity and game-play. With support of the European Commission since 2007 (Culture 2007/2013 programme), Gamerz develops its digital art workshops, artist residencies, exhibitions and educational activities in cooperation with lots of European partners in Turkey, Slovenia, Slovakia, Czech Republic, Portugal, Germany …

OTTO-Prod - www.ottoprod.com
OTTO-Prod is an association based in Marseille since 2006.

Founded by artists, its activity is dedicated to contemporary creation combining production and exhibition programs. For about fifteen years, the association has supported emerging and professionals artists through the production of art works and invites the public to discover different forms of creation, contemporary practices and cultural events.

The association involves the artistic creation as a place of reflection, sharing of sensitive experiences and transmission of knowledge promoting the development of commons. OTTO-Prod supports the mission of art as a vector of individual and collective reflection allowing new and original perspectives on our history, our environment and its transformations.

OTTO-Prod develops different kinds of curatorial proposals in the form of group or monographic exhibitions in Marseille, in France and abroad. In cooperation with various institutions, museums, galleries and festivals, these projects participate in the circulation of practices and ideas, while actively supporting the mobility and promotion of artists. These exhibitions regularly highlight original productions resulting from residency programs. The association has developed solid partnerships with Slovenian and French structures such as that Pekarna MM (Maribor), the gallery SKUC (Ljubljana), Kibla (Maribor), the Museum of Modern Art UGM (Maribor), the French Institute Charles Nodier (Ljubljana), La Friche Belle-de-Mai (Marseille), Mécènes du Sud (Marseille), FRAC PACA (Marseille), the Mac Marseille, GAMERZ Festival (Aix-en-Provence), 22.48m2 (Paris), MAGCP (Cajarc), among others.



Artistic direction
Constance Meffre and Luce Moreau

Paul Destieu
Sylvain Huguet
Constance Meffre
Luce Moreau

Aurélie Berthaut
Claire Guerin

general management
Madely Schott

sound management
Nicolas Dick

video management
Félix Neumann


Delia Morris

Faustine Ballin

Rope access technician
Hugo Paraponaris

graphic design


Nolwenn Bour
Pauline Lavigne du Cadet
Gwenaëlle Le Gal
Luisa Metz

Cléo Verstrepen
Yoav Yaron

video capture
Ludivine Porot

Les cuistotes

Thanks :
Jeanne Barret members (Sylvain Berard, Rémi Bragard, Guillaume Calas, Pierre Laurent cassiere, Nour Cheddade, Antonin Dedet, Gilles Desplanques, Tom Dunbar, Diane Guyot de Saint Michel, Marine Leflour, Charlotte Morabin, Olivier Nattes, Julien Oppenheim, Phabrice Petitdemange, Fred Pradeau, Damien Ravnich)


Pierre Emmanuel Reviron

Delia Morris



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