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The Mythic Being Adrian Piper 1973, 3 minutes https://www.youtube.com/watch?v=XHOmBV4js_Ehttps://www.youtube.com/watch?v=XHOmBV4js_Ehttps://www.youtube.com/watch?v=XHOmBV4js_EIn one of her early works, The Mythic Being, performed from 1972 to 1981, she was filmed walking the streets of New York and Cambridge, dressed as a light-skinned black man in sunglasses, a mustache, and an afro; she recited phrases from her personal journals and challenged other pedestrians to guess her gender, class, and ethnicity. Piper’s artwork is collected in museums around the world, among them the Museum of Modern Art and the Metropolitan Museum of Art in New York, Centre Pompidou in Paris, Generali Foundation in Vienna, the Museum of Contemporary Art Los Angeles, and Museum Ludwig in Cologne, Germany. Adrian Piper has won numerous awards and fellowships, including from the National Endowment for the Humanities, the National Endowment for the Arts, the Guggenh her personal journals and eim Foundation, the Mellon Foundation, the Internationales Forschungszentrum Kulturwissenschaften in Vienna, and the Wissenschaftskolleg zu Berlin Institute for Advanced Study. Piper has taught philosophy at Harvard; the University of Michigan; Stanford; the University of California, San Diego; and Georgetown University, where in 1987 she became the first female African American tenured professor in the field. Her essays in art and art theory, collected in the two-volume Out of Order, Out of Sight: Selected Essays in Meta-Art and Art Criticism, have remained continuously in print since 1996. “As an artist, philosopher, teacher, memoirist and engaged citizen, Piper embodies the power of broad and deep inquiry bound by a life of clear integrity,” said Matt Saunders, professor of art, film, and visual studies, in a news release. “Piper’s early conceptual and performance work cracked open the art world, making space for essential and uncomfortable conversations that resonate to this day.” Lydialyle Gibson Harvard Magazine ( excerpts )

Video ergo sum Peter Campus https://www.youtube.com/watch?v=XHOmBV4js_Ehttps://www.youtube.com/watch?v=XHOmBV4js_Ehttps://www.youtube.com/watch?v=XHOmBV4js_EWidely regarded as a pioneer of video art, peter campus creates complex installations that engage and amuse, while leading the viewer in a journey of discovery and self-awareness. From the early closed-circuit video installations he began making in 1971 to the more recent work, campus’ entire oeuvre deals with processes of perception and vision, exploiting the specific characteristics of both the electronic and the digital image. His work provides a unique experience for the visitor, who activates the work while exploring their own image. campus’ seminal interactive installations from the 1970s used live camera that reflected the image back to the viewer. campus’ work provides a constant source of mystery and strangeness for the viewer by making the relationship to one’s own image problematic. Indeed, without participation those artworks would not exist. In 1978, campus devoted his time entirely to outdoors photography, working with nature as his subject. When he returned to video in 1996 after an extended hiatus, the medium had become digital and the equipment much lighter. His video productions from this period are intimate and poetic, yet still as experimental as the earlier work. In 2007, he began creating videographs of landscapes around his familiar environment of Long Island composed of static, unedited shots. campus’ treatment of the images, at the level of the pixel, creates a certain degree of abstraction, engaging the viewer in new exercises in perception and interpretation. His intense connection to site and his attention to light, color and framing may best be seen in his most recent work. Filmed in a natural setting in 4K, ultra-high-definition, the visitor’s gaze intersects with the sensibility and emotion of the artist’s vision.American artist Peter Campus (born in 1937 in New York) is one of the most influential pioneers of video art, along with artists like Bruce Nauman, Nam June Paik, Joan Jonas, Vito Acconci and Bill Viola. The latter helped Campus install his first major exhibition at the Everson Museum of Art, Syracuse (NY) in 1974. Throughout his career, Peter Campus has produced videos, installations, and a large body of photographic work. In his recent video work, he makes use of digital techniques to work on the image, pixel by pixel, rather like a painter. Using an extremely high-definition digital camera, Peter Campus pursues his current work. A large number of his works are featured in some of the world’s greatest contemporary art museums. The exhibition “video ergo sum”—the artist’s first solo exhibition in France— retraces the artist’s career, starting with the experimental video art from the 1970s to his more recent video production. Following studies in experimental psychology and film, in 1971 Peter Campus began to create videos and closed-circuit installations. Their conceptual and technical skill, combined with their psychological and cognitive dimension, resulted in a great deal of attention by art critics and specialists. Campus’s works have become an important reference and have been discussed in numerous publications examining the video as an art form.The exhibition at the Jeu de Paume begins with works taken from this seminal early phase of his career. In the videos and installations produced up until 1977, Campus explores issues of spatial awareness, and our perception of the body in the construction of identity through the use of unusual perspectives and multiple timeframes. Thanks to the live transmission of the electronic image, he embarks the visitor on a strange and unsettling experience: the confrontation with his double, separated from him in time and space, thereby challenging notions of the self. From one installation to the next, there is a progressive sense of constriction as the visitor’s actions are increasingly confined. He is no longer surprised by images of himself but is instead confronted with an unknown face: an enlarged projected image of a man’s face staring directly at the visitor. The result is a kind of blockage, an impasse of sorts, an exhaustion of possibilities… The spectator is once again relegated to his activity as observer. The artist’s current video production explores the possibilities of high definition digital video and allow Campus to create a pictorial work that involves another form of perception and spatial memory. A new piece, convergence d’images vers le port, was especially created for this exhibition. Jeu de Paume, Paris

ABJ Emeka Ogboh ABJ Emeka Ogboh Attractive Abidjan Lucie-Amélie Blocquaux An Immersive Multichannel Installation Exploring the Culture, Economy, and Personal Stories of Migration in the City Abidjan, the economic hub and de facto capital of Ivory Coast, is a city shaped by the diverse backgrounds of its residents. This bustling metropolis has seen an influx of migrants from various places, especially North and West Africa, profoundly impacting its urban culture, cuisine, and music. These migrants, bringing with them a unique blend of traditional and modern influences, have turned Abidjan into a vibrant and dynamic melting pot of cultures. The city’s culinary scene reflects this diversity, offering a mix of African, Middle Eastern, and French flavours. Similarly, the music scene in Abidjan blends traditional West African rhythms with contemporary styles, creating a lively and varied soundscape. Moreover, the city’s fashion scene is a vivid combination of styles, where traditional African textiles and patterns meet modern designs, showcasing the creativity and multicultural influences of its residents. The project ABJ, named after the International Air Transport Association (IATA) code for Abidjan, delves deep into the rich culture and daily life of Abidjan’s residents, with focus on migration. It explores bustling markets, where people from all over Ivory Coast and West Africa converge, offering a unique view of the city’s social and economic dynamics. These markets are not just trading spaces but melting pots where cultures, languages, and traditions intertwine. In documenting the vibrant atmosphere of these markets, ABJ employs sound and film to capture the multiplicity of languages, the sounds of vendors, the haggling of customers, and the overall bustling ambience. This project particularly emphasizes personal interviews with both migrants and local citizens, exploring their stories and experiences in the context of Abidjan’s evolving cultural landscape. These interviews aim to provide a deeper understanding of the human aspect behind the city’s diversity. The immersive, multichannel installation of ‘ABJ’ promises a transportive experience, bringing visitors right into the bustling heart of Abidjan’s markets, where the vibrant sounds of commerce and interaction create a lively atmosphere. To deepen this experience, the installation includes in-depth interviews that provide rich insights into the lives of both immigrants and residents, revealing the intricate web of experiences that shape the city. Expanding its scope, ‘ABJ’ also features interviews with notable figures from various facets of Abidjan’s cultural scene. This includes fashion designers who artfully combine traditional African designs with modern fashion trends, chefs and restaurateurs who are at the forefront of the city’s unique culinary fusion of African, Middle Eastern, and French flavours, and street food sellers who embody the essence of the city’s diverse food culture. Additionally, the project spotlights musicians and music producers who blend traditional West African rhythms with contemporary genres, creating a distinctive soundscape that is emblematic of Abidjan’s dynamic culture. Influencers who play a key role in shaping the city’s cultural trends also contribute their perspectives, adding depth to the understanding of Abidjan’s vibrant community. A special focus of ABJ is on the national dish, Garba, a testament to the city’s cultural synthesis. Originally created by Nigerian construction workers in Abidjan, garba has been wholeheartedly adopted by Ivorians as one of their national dishes. This culinary phenomenon symbolizes the fusion of cultures and the acceptance of new influences in Ivorian cuisine. The project explores Garba’s journey and its significance in Abidjan’s culinary landscape through interviews with local food sellers, chefs, and enthusiasts who share their stories and connections with this beloved dish. ABJ offers a view of Abidjan, a city pulsating with the energy of diversity. The influx of migrants has not only enriched its urban culture, food, and music but has also fostered a dynamic, multicultural urban environment. This project aims to capture and convey the essence of this cultural melting pot, emphasizing the personal stories, artistic expressions, and the unique blend of traditions that define it. Through this immersive installation, visitors will gain a deeper appreciation of the rich cultural fabric of Abidjan, understanding how migration, adaptation, and diversity have been integral in shaping its identity.Une installation immersive multicanal explorant la culture, l’économie et les histoires personnelles de la migration dans la ville. Abidjan, centre économique et capitale de facto de la Côte d’Ivoire, est une ville façonnée par les origines diverses de ses habitants. Cette métropole animée a vu affluer des migrants venus de divers endroits, en particulier d’Afrique du Nord et de l’Ouest, ce qui a eu un impact profond sur sa culture urbaine, sa cuisine et sa musique. Ces migrants, apportant avec eux un mélange unique d’influences traditionnelles et modernes, ont fait d’Abidjan un creuset de cultures vibrant et dynamique. La scène culinaire de la ville reflète cette diversité, offrant un mélange de saveurs africaines, moyen-orientales et françaises. De même, la scène musicale d’Abidjan mêle les rythmes traditionnels d’Afrique de l’Ouest aux styles contemporains, créant ainsi un paysage sonore vivant et varié. En outre, la scène de la mode de la ville est une combinaison vivante de styles, où les textiles et les motifs africains traditionnels rencontrent des conceptions modernes, mettant en évidence la créativité et les influences multiculturelles de ses résidents. Le projet ABJ, nommé d’après le code de l’Association internationale du transport aérien (IATA) pour Abidjan, plonge dans la riche culture et la vie quotidienne des habitants d’Abidjan, en mettant l’accent sur la migration. Il explore les marchés animés, où convergent des personnes venues de toute la Côte d’Ivoire et de l’Afrique de l’Ouest, offrant une vue unique de la dynamique sociale et économique de la ville. Ces marchés ne sont pas seulement des espaces commerciaux, mais des creusets où les cultures, les langues et les traditions s’entremêlent. En documentant l’atmosphère vibrante de ces marchés, ABJ utilise le son et le film pour capturer la multiplicité des langues, les bruits des vendeurs, le marchandage des clients et l’ambiance générale. Ce projet met particulièrement l’accent sur les entretiens personnels avec les migrants et les citoyens locaux, explorant leurs histoires et leurs expériences dans le contexte de l’évolution