Skip to Content
Centre national des arts plastiques

Projects

2018

Share Share Share Share Share

Laureates of the 2017 Cnap curatorial research grants

In 2017 the Cnap launched a third call for projects for the attribution of curatorial scholarships that aim to engage research around the links that exist between the artworks in the collection of the Cnap. The diversity of nationalities and places of work of each of the applicants attests to the international dimension of this selection that challenges the collection of the Cnap with crucial questions of contemporary historiography and criticism.
This innovative system, still in the experimental stage, testifies to the Cnap’s intention to provide a better understanding of its collection, turning it into a resource and an object of knowledge for professionals, while at the same time supporting the research of independent curators.   

Four projects have been selected
:
Theatre of Operations, Phase III: Fine Arts Division by Bénédicte le Pimpec and Émile Ouroumov, in collaboration with Céline Bertin,
La collection du Cnap à l’aune du queer (Queer tracings through the Cnap collection) by Antony Hudek,
Algérie : creux de mémoire, traces d'archives (Algeria: memory lapses, archival traces) by Natasha Marie Llorens,
Hors-sol : formes en exil dans la Collection du Cnap (Off ground: forms in exile in the Cnap collection) by Estelle Nabeyrat and Pedro de Llano.

_

THEATRE OF OPERATIONS, PHASE III: FINE ARTS DIVISION BY BÉNÉDICTE LE PIMPEC AND ÉMILE OUROUMOV, IN COLLABORATION WITH CÉLINE BERTIN
“The project is part of the “Theatre of Operations” curatorial platform which analyzes the zones of exchange and confrontation that exist between various practical and theoretical models.
Empirical, applied and situated, this research considers the sociopolitical content and curatorial issues of a specific body of artworks from the collection of the Cnap since its origins in 1791, notably in terms of their functions and use values. Focused on works on long-term loan in various political, administrative or educational French institutions, the research analyzes the context, the conditions of public access, how the artworks are perceived, as well as the modalities of their in situ exhibition.”

Within the “Théâtre des opérations” programme, curators Bénédicte le Pimpec (*1986, FR) and Émile Ouroumov (*1979, BG) have created the projects “Phase I: Reconnaissance” (Théâtre de l’Usine, Geneva, 2015), that tests the theatrical space with a series of artistic interventions and “Phase II: Manœuvres” (Place de la République, Paris, 2017), that challenges behaviors induced by the notion of “public space”. They are also co-authors of  “Principe Galápagos” (Palais de Tokyo, Paris, 2013), that deals with the particularities of the “biotope of art”. For this research, they will be accompanied by Céline Bertin (*1985, FR), artistic co-ordinator at the Ferme du Buisson Center for Art, who has also initiated, in parallel, a consideration of the political and social adequacy of artistic forms.

http://www.emileouroumov.tk/
http://benedictelepimpec.com/
_

LA COLLECTION DU CNAP À L’AUNE DU QUEER (QUEER TRACINGS THROUGH THE CNAP COLLECTION) BY ANTONY HUDEK
“This project is concerned with tracing queer affective and historical networks between artworks from the 1960s to today in the Cnap’s collection. ‘Queer’ in the context of this research qualifies any position skewed with respect to sexual, social and political heteronormativity. Some of the selected artworks focus on the representation of bodies that play with aesthetic conventions which favor the heterosexual subject. Others introduce a queer sensitivity and performative potential that deviate from generic binary codes (man/woman, parent/child, but also subject/object and human/non-human).”

Antony Hudek is an art historian and independent curator based in Gand, where he heads the Curatorial Studies programme at the KASK – School of Arts. He also co-directs the publishing house, Occasional Papers.
_

ALGÉRIE : CREUX DE MEMOIRE, TRACES D'ARCHIVES (ALGERIA: MEMORY LAPSES, ARCHIVAL TRACES) BY NATASHA MARIE LLORENS
The project is focused on artists in the Cnap collection who identify as Algerian, because they were born and lived in Algeria their whole lives or went into exile late in their careers. A second question concerns the pieds-noir artists in the collection. What kind of pictures do they make? Are these pictures of Algeria, and if not, what are they? The proposed research reads the Cnap collection towards an answer to this question: what does the French national collection render visible about the post-colonial relationship between France and Algeria?

Natasha Marie Llorens is an independent curator who works between Marseille and New York. She is also a doctoral student at the University of Columbia. Her research deals with Algerian National cinema between 1965 and 1979.

http://nmllorens.website/
_

HORS-SOL : FORMES EN EXIL DANS LA COLLECTION DU CNAP (OFF GROUND: FORMS IN EXILE IN THE CNAP COLLECTION) BY ESTELLE NABEYRAT AND PEDRO DE LLANO
“The starting point for this research is the attention shown by the institution for foreign artists. Noting that the Cnap’s inventory of artworks has given rise to a significant number of artists with multiple nationalities (whether resident in France or elsewhere) including those who are stateless and or migrant, we endeavored to take a closer look at the experiences of those artists who find themselves in exile”.

Pedro de Llano is an art historian and independent curator. He is a Post doctoral researcher at the Université Saint-Jacques-de-Compostelle. He recently published a book on Maria Thereza Alves (CAAC Sevilla/Sternberg Press, 2017) and is currently preparing a monograph on Bas Jan Ader.
Estelle Nabeyrat is an independent curator and art critic, having graduated in Art History and Social Sciences. She has organized a number of exhibitions in France and abroad such as the recent exhibition in the Neuer Aachner Kunstverein. While simultaneously acquiring 7 years of experience in pedagogical coordination, in places such as the École du Magasin, she also worked as a production manager and translator for various institutions (Performa NYC) and artists.

Dernière mise à jour le 27 Mar 2018

Additional content(s)