Performances programming The Sowers

As part of the group exhibition The Sowers, the Foundation welcomes you with a unique performances programming activated by Julie Monot, Léna Babinet and Elise Peroi every first Saturday of the month. This program includes a guided tour of the exhibition by Nathalie Guiot, founder and co-curator.

Access is free with online reservation: here

**Upcoming date: Saturday 2 October from 5pm to 7pm

Julie MONOT

A graduate of the HEAD in Geneva and the ECAL in Lausanne, Julie Monot is interested in the ritualistic potential of sculpture and its relationship with performance and theater. In her practice, she approaches the physical being as the place where social constructions are played out, where the tensions between a lived identity and that perceived by others are exercised. It is for this reason that she constantly tests the notion of the figure – the versatile envelope of this identity – and that she tests its limits, both physical and metaphorical. The result is objects that flourish in the voluntary indeterminacy between artwork, clothing and accessory with performative potential.
The work See Double presented in this exhibition is a tufted carpet that has migrated from the ground to the vertical. The motif evokes a ceremonial mask, like an apotropaic object whose function is to ward off the evil eye. The eyes, precisely, suggested here by two holes at the height of the public’s face: an empty gaze that can be filled by two bodies, whose heads would simultaneously slip through the orbits – two identities united for a few moments by the same ornament.

Elise PEROI 

Coming from the field of art crafts, Elise Peroi is nourished by the importance of the gesture that accompanies the making of a work, and allows a shifting boundary between finished/infinite to emerge in the process of creation. To some of her works, Élise Peroi associates thin, geometric steel structures that seem to project the contours of the weavings into space and act as an interweaving of lines of force.

The relationship to space and habitat is paramount in his work, which draws on Michel Foucault’s reflections on “heterotopias”: “The garden is a carpet where the whole world comes to accomplish its symbolic perfection, and the carpet is a garden that moves through space.”
Since the beginning of time, gardens have operated as sacred spaces. The spirituality of Persian gardens merges with the beauty and simplicity of Japanese Zen gardens, which in a miniature way tried to reproduce natureʼs essence and grandeur. Between installation and performance, the space takes on the appearance of a visual construction that evolves and refers to different languages of the image.

Léna BABINET

Léna Babinet is a young French ceramic artist. After studying animation cinema, she joined the ceramics department at the school of La Cambre in Belgium (Master 2). She completes this curriculum with a training in jewelry, in Sweden. She links technical and technological dimensions to her sensitive and poetic work to question the imprint, the trace, the memory, the inheritance, the transmission.
“To find a trace is sometimes to rub up against a dead memory. I can perceive now that memory, memory, imprint, that “what remains” is the thing that preoccupies me, questions me and guides my projects. To search the inherited history. To gather the pieces, to sew them together. To remember what it takes and forget what it will take.”

After Resonance is a performance that explores the relationship between the old and the future, the very archaic and the digital imaginary. It began with an encounter with acoustic pots: clay vessels sealed into the ceilings of medieval churches, supposedly used to enhance or alter the voice of the preacher or singers during rituals. Where ceramics hold the ability to hold stories, the acoustic pots carry within them the echo of voices from the past. In this performance, the objects are used as resonant bodies, tools to transform and amplify the voice.