{"id":9651,"date":"2022-02-21T11:45:32","date_gmt":"2022-02-21T10:45:32","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=9651"},"modified":"2022-03-10T09:47:57","modified_gmt":"2022-03-10T08:47:57","slug":"les-voyageurs","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/les-voyageurs\/","title":{"rendered":"Les voyageurs"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"is-style-edge wp-block-heading\">Les voyageurs<\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><meta charset=\"utf-8\">C\u00e9dric Le Borgne<\/h2>\n\n\n\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Installation in public space<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p class=\"is-style-default wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"391\" height=\"697\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16.png\" alt=\"\" class=\"wp-image-9650\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16.png 391w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16-168x300.png 168w\" sizes=\"auto, (max-width: 391px) 100vw, 391px\" \/><figcaption><meta charset=\"utf-8\"><em>Les voyageurs<\/em>, C\u00e9dric le Borgne, Biennale of Digital Imagination 2018 \u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default wp-block-paragraph\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/les-voyageurs\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/les-voyageurs\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Les+voyageurs&amp;url=https:\/\/chroniques-biennale.org\/en\/les-voyageurs\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>Mawena Yehouessi <sup>(FR)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/mawenayehouessi.fr\/\" target=\"_blank\">mawenayehouessi.fr<\/a><\/div><div class=\"artisteContent\"><p><span style=\"font-weight: 300;\">Mawena Yehouessi (n\u00e9e en 1990) est une curatrice, chercheuse et artiste dont la pratique s\u2019ancre dans le collage, \u00e0 la fois comme \u00e9thique et m\u00e9thodologie d\u2019\u00e9mancipation collective.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 300;\">Apr\u00e8s des \u00e9tudes en litt\u00e9rature, philosophie, gestion de projet et danse contemporaine, elle fonde en 2015 le collectif Black(s) to the Future, amor\u00e7ant un travail \u00e0 l\u2019intersection de l\u2019art, de la recherche et de l\u2019activisme. Se d\u00e9crivant comme une \u00ab collisionniste \u00bb, elle explore les frictions et les connivences entre disciplines, formats et r\u00e9cits. En 2024, elle soutient la premi\u00e8re th\u00e8se de recherche-cr\u00e9ation en Arts \u00e0 la Villa Arson et \u00e0 l\u2019Universit\u00e9 C\u00f4te d\u2019Azur, intitul\u00e9e <\/span><i><span style=\"font-weight: 300;\">Po\u00ef\u00e9thiques afrofuturistes : Trimer trames \u00e0 l\u2019intersection du collage et de la curation<\/span><\/i><span style=\"font-weight: 300;\">. Depuis 2025, elle enseigne \u00e0 l\u2019\u00c9cole nationale sup\u00e9rieure des Beaux-Arts de Lyon.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 300;\">En Europe et \u00e0 l\u2019\u00e9tranger, elle a con\u00e7u des expositions et programmes publics (B\u00e9tonsalon, La Box, Villa Arson, Fondation Ricard, Berghain\/LAS&#8230;), tout en menant des activit\u00e9s p\u00e9dagogiques, notamment \u00e0 la HEAD\u2013Gen\u00e8ve et \u00e0 l\u2019ENSA Paris-Malaquais. Ses deux premiers films collectifs, <\/span><i><span style=\"font-weight: 300;\">Sol in the Dark<\/span><\/i><span style=\"font-weight: 300;\"> et<\/span><i><span style=\"font-weight: 300;\"> Joy Boy<\/span><\/i><span style=\"font-weight: 300;\">, sont pr\u00e9sent\u00e9s en avant-premi\u00e8re \u00e0 la 72\u1d49 (2022) puis \u00e0 la 76\u1d49 Berlinale (2026), tandis que son travail visuel a \u00e9t\u00e9 expos\u00e9, entre autres, au Beursschouwburg, \u00e0 la Triennale de Dunkerque, Tanzhaus Z\u00fcrich, deSingel et \u00e0 l\u2019IAC\u2014Villeurbanne\/Rh\u00f4ne-Alpes. Elle a \u00e9galement contribu\u00e9 \u00e0 la traduction de plusieurs textes de Fred Moten en fran\u00e7ais, et ses propres \u00e9crits ont \u00e9t\u00e9 publi\u00e9s dans e-flux Architecture, A*Desk, Klima et The Funambulist et divers catalogues d\u2019exposition.<\/span><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\"><\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom wp-block-paragraph\"><\/p>\n<\/div>\n<\/div>\n","protected":false},"featured_media":9650,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"class_list":["post-9651","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/9651","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/9650"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=9651"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=9651"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}