© Persona Curada
Montparnasse – Bienvenüe metro station, Exit 2, Lines 4, 6, 12 and 13
Villa Vassilieff is accessible to visitors using wheeled devices or who have mobility difficulties thanks to special facilities (access ramp, adapted toilets, and a lift).
In addition, several reserved parking spaces are available close to the Villa Vassilieff:
• in front of 4 rue d’Alençon, 75015 Paris
• in front of 7 rue Antoine Bourdelle, 75015 Paris
• in front of 23 rue de l’Arrivée, 75015 Paris
Consult the map of adapted parking spaces in Paris here.
Persona Curada, in collaboration with AWARE, presents its first Manglares Session – a dynamic dialogue with a round table discussion around Feminisms & Afro-feminisms in Latin America & the Caribbean, in relation to the invited artists’ practices and personal research. Additionally, four videos will be screened exclusively for Manglares Session at the Villa Vassilieff: Anne-Sophie Nanki’s Ici s’achève tout / Here Ends the World We’ve Known, Las Nietas de Nono’s FOODTOPIA: Después de todo territorio, Joiri Minaya’s Siboney, and Melissa Llamo’s Vaiven.
Manglares (formerly Mangrovite) is Persona Curada’s editorial section co-founded by Chris Cyrille and Noelia Portela as a fluid platform to foster and nurture dialogues between Latin America and the French-, Spanish- and English-speaking Caribbean territories.
As a region shaped by the transhistorical forces of enslavement, colonialism, resource extraction and industrialisation, the Caribbean (the continental Caribbean and archipelago) allows us to theorise about larger patterns of global modernities and the various forms they take. A list of authors and resources were selected by the artists and will be accessible to the public at AWARE’s research centre to facilitate participatory exchange and discussion.
This event is part of a series of events that will give life to Persona Curada’s brand new editorial section Manglares.
Join us at the Villa Vassilieff for a round table discussion, a film screening, and drinks with the artists.
November 18th, from 4:00 to 8:00 pm
Madeline Jiménez Santil was born in Santo Domingo and lives and works in the Dominican Republic and Mexico City. In 2016, she developed the pedagogical and artistic project, Semillero Caribe, with Minia Biabiany and Ulrik López, an experimental seminar based on exercises involving the body and engaging with concepts of Caribbean thinkers. Her research focuses on the possible relations between the body, matter, and geometry, rethinking the conditions of the exotic, the uncanny, and migration. She addresses these concepts from an understanding of her own body and in permanent dialogue with the surrounding space. Madeline Jiménez Santil was part of the SOMA Academic Program and is one of the artists invited to the XIV edition of the FEMSA Biennial. She studied Fine Arts at the Altos de Chavón School, an affiliate of Parsons’ The New School of Design in New York City. She moved to Mexico City to finish her studies at the National School of Fine Arts.
Valérie John (Vigon) was born in Fort-de-France, Martinique. From 1981 to 1983, she studied scenography, visual arts and semiology in Paris (The “pagne” cloth was her research subject). She participated in the Laboratoire Agit’art (Dakar, 1974) and travelled to Senegal, Mali and Mauritania between 1983 and 1987. In 1987, she returned to Martinique where she worked the director of the visual arts department of the Campus Caraïbéen des Arts (Fort-de-France) from 2011 to 2015. She was made a knight of the Order of Arts and Letters in 2015. Her work has been exhibited in Africa, the United States, Canada, and the Caribbean.
Sofía Salazar Rosales lives and works between Paris and Quito. She is currently pursuing a master’s degree at the Ecole des Beaux-Arts de Paris (ENSBA Paris) with Tatiana Trouvé, Petrit Halilaj and Álvaro Urbano. She obtained her Bachelor of Fine Arts degree with distinction from ENSBA Lyon. Salazar’s work develops from a sentence she wrote: “Hay cuerpos cansados por el viaje que buscan enraizarse” [There are bodies tired from the journey that seek to take root]. Her work focuses on the potential of objects to reveal social, political, and economic contexts, specifically linked to human and object displacements. She conceives her pieces as spaces of reconcilement of different contexts, a negotiation between the material, the object, and their history. Reconciling is also a constructive and affective gesture, a vector of the object’s transformation and resulting hybridity. As the artist says: “We are contextual, but also sentimental”
Louisa Marajo, born in Martinique in 1987, is a multidisciplinary artist who graduated from the Ecole Supérieure d’Art et Design in Saint-Etienne and from the University of Paris 1 – Pantheon Sorbonne. She lives and works between Martinique and the Paris region. Through an accumulation of drawings, photographs, sculptures, and poems, Marajo invents seemingly chaotic installations that tell her diasporic story. Visually and physically fragmented, her work functions much like the reconstruction that comes after a hurricane; it is composed of multiple layers that reflect the state of a world within the constant mutations of our collective memory. Since 2018, she has been interested in ecological disaster as represented by the proliferation of brown algae in the Caribbean Sea, which she links to phenomena such as migratory waves. These reflections bring about many questions: How can one create with the detritus of human entropic activity? How does one live with this state of chaos? Marajo’s work has been included in several group exhibitions, including at the Perez Art Museum in Miami (2019) and at the Biennale de Dakar (2022). She has also been selected for the Bamako Encounters 2022.
