After studying painting at the Faculté of Art and Architecture in Teheran Centre, Samira Ahmadi Ghotbi (born in 1985), obtained her DNSEP at the Ecole Supérieure d'art of Clermont-Métropole, where she is pursuing her studies in the context of the research Cooperative. With care on details of the past and present, her research takes on different forms : drawing, painting, video and writing. These forms are often triggered by flaws or impossibility, and emerge from a souvenir, a relic or fragment. Her work oscillates between two destinations, Iran where she was born and France where she lives. It is rooted between these two stories, two cultures, two languages. She mixes and crosses these dualities for a new narrative which intersect with those of the personal and global, countries and people, intimate and family experiences. From February to July 2018, she is in residence at the Cité des Arts in Paris where she is working on a research project called the History of the snail about a XVth century Persian miniature partially eaten by a snail.
Julien Berberat, born in 1988 is a Swiss artist graduated from the Haute Ecole of Art and Design in Geneva, (speciality Art and Action) and from the ECAL in Lausanne in Master European Art Ensemble. From his collaborations with institutions in which he trained, invitations to participate in festivals (Bâtard Festival in Bruxelles, Belluard Bollwerk in Friburg), he developed a taste for a diversity of projects (installations, engraving, readings, performance). This diversity of engagements allows for changes in his practice which forever put into question specific obedience to such and such a medium. Interested in the seizure of the statute of the museum object and its historicity, he explores the strategies of re-writing of the historical narrative via the transformation of canonic forms such as the archive or the historical photograph. From his participation in the framework of his PhD studies on a research project around the artist Charles Blanc Gatti (leader of the musicalist painting mouvement, much linked to the alpine environment), he developped an interest in the way the human being relates to mountains. This research was made in the course of a long residency at L'L in Bruxelles from February 2016 to July 2017, and is now being pursued with a project for publication.
Marcelline Delbecq is an artist and writer, born in France in 1977. After studying photography in Chicago (Columbia College), then in New York (ICP) from 1995 to 1997, she obtained her DNSEP at the Beaux Arts (Caen, 1997-2002) then a DESS «Arts de l'exposition» at the University Paris X-Nanterre (2002-2003), followed by a residency at the Pavillon (Palais de Tokyo, 2004-2005). She is now undertaking a SACRe PhD at the Ecole Normale Supérieure under the direction of Antoine de Baecque, where she is beginning a research on mouvement in the static image.
Her use of the narrative and the voice contributes to elaborate a recital of words and sounds which convoke mental images oscillating between documentary and fiction, past and present. In her sound installations, publications and public readings, words bring into play the question of the gaze which then become visions. Recent publications : Beyond Sound, entretien avec Pascale Cassagnau (Daviet-Thery editor, 2018), Oublier, voir (Manuella editions/Cartier Foundation, 2015), Camera (Manicius, 2015) and Silence trompeur (Manuella editions, 2015).
Few exhibition places and readings: Palais de Tokyo, Fondation Ricard, Fondation Cartier, Musée de l’Oragangerie, Kadist Art Foundation, Galerie Xippas, Centre Pompidou, Musée du Louvre – Paris ; Centre Pompidou – Metz ; CCS Bard, Dispatch, Art in General, e-flux, School of Visual Arts – New York ; Johan Koenig Gallery, Chert Gallery – Berlin; Malmö Konstmuseum – Malmö ; Fri Art – Fribourg; Mudam – Luxemburg ; Beirut Art Center – Beyrouth.
Sébastien Roux, born in 1977, is a composer. He composes experimental music for records, listening sessions, installations, sound experiences or radiophonic work. He works around questions of hearing , sound space and composition stemming from formal constraints. Since 2011, he has developed an approach based on the principle of sound translation, which consists in using a pre-existing work (visual, musical or literary) as a partition for a new sound piece. This procedure gave rise to Quatuor, an electro-acoustic score after the 10th Quatuor by Beethoven and Nouvelle, a radiophonic piece based on the Legend of Saint Julien l'Hospitalier by Flaubert. The most recent development in this process of translation is Inevitable Music, the undertaking of which aims to use the rules and techniques of the walldrawings by Sol Lewitt to obtain sound.
Sébastien Roux regularly collaborates with artists from different disciplines. He works with the author Célia Houdart and the scenographer Olivier Vadrot on transdisciplinary projects and on the in situ. He has also made sound environments for many choreographic pieces by DD Dorvillier, Rémy Héritier and Sylvain Prunenec.
He has won commissions and residencies from EMPAC (USA), from Deutschlandradio Kultur, the WDR (Westdeutscher Rundfunk), from ZKM (Zentrim für Kunst und Medientechnologie), from RSR (Radio Suisse Romande), from the GRM (Groupe of Musical Research), from the Scène Nationale de Montbelliard, from the Muse en Circuit – Centre National de Création Musicale, from CESARE – CNCM, from the GMEM (Groupe de Misique Expérimental de Marseille) – CNCM and the GMEA – CNCM Albi. He was laureat of the Villa Medicis hors-les-murs (USA, 2012) and of the art radiophonic competition of La Muse en Circuit. He was resident at the Villa Médicis in Rome in 2015-2016.
La Tierce is an association of choreographic artists, Sonia Garcia, Séverine Lefèvre and Charles Pietri. In Bordeaux, since 2014, La Tierce develops work questioning the writing of mouvement, envisaged as a support for the deployment of new sensitive spaces. While all the while attempting to render in-between spaces, La Tierce is concerned by the gesture danced along side emptiness, also the intimate and bodies' cavities, hailing a poetry of simplicity. In 2013, they started a triptych developing a corporal script involving moving objects (wood and stone): the performance Extraction (2014) and the piece En Creux (2014) are worked by precise action restraints in which appear notions of absence and narratives with multiple strata. Inaugural, the last piece of the triptych (2016) summoned a body at the same time figure and landscape and tried to explore the circulation of the gaze between sign and fiction. Questioning the role of the spectator and its possible « emancipation » by the gaze and sensitive experience, La Tierce created ECRITURES in September 2015, a performance for a public space which attempted to render the spectator as co-author.
A company associated with La Manufacture Atlantique (Bordeaux) since 2015, La Tierce proposes PRAXIS, experimental evenings dedicated to research, the incomplete, attempts and dialogues with the public. During its last projects, La Tierce received the support of the Ministère de la Culture et de la Communication – DRAC Nouvelle Aquitaine, of the Fonds d'Aide à la création of Bordeaux from the Office Artistique de la Région Aquitaine, from the Région Nouvelle Aquitaine, and from the Institut Départemental de Développement Artistique et Culturel de la Gironde. In 2017, la Tierce started a three year companionship with Le Cuviern CDC Nouvelle Aquitaine.