Conversations

  • Conversations

    FIAC presents a three day conference programme from October 20th to October 22nd,
    in the “Conversation Room” inside the fair, a dedicated space upon the Escalier d’Honneur of the Grand Palais.
  • The 2017 programme will be available shortly

  • FRIDAY, OCTOBER 21ST | ART AND ARCHITECTURE

    In collaboration with FIAC, SOLO GALERIE (Christian Bourdais and Eva Albarran) presents conversations about the relationships between art and architecture, mediated by Moritz Küng, independent curator and publisher based in Barcelona.
    The three round tables aim to reveal the relationship between art and architecture, how these disciplines often overlap and how architects relate to artists and vice versa. The conditions for the production of architecture and the presentation of art will be central to these debates, which will discuss present and future museum typologies, hybrid constructions and external influences, and the overall climate.


    Cycle mediated by Moritz Küng

  • 2pm | Changing typologies – the museum in flux
    With the inauguration of the Centre Pompidou in 1977 a novel architecture has been introduced, the museum as a machine, that provoked over the decades a whole boom of new museum buildings. From Mönchengladbach (Hollein, 1975) to Bregenz (Zumthor, 1990), from Bilbao (Gehry, 1997) to Kanazawa (Sanaa, 2004), from London (H&deM,1995) to New York (Rogers, 2015) different typologies have been introduced: pavilion and Schaulager, passages and ensembles. If in 2005 the V&A in London was promoted with the slogan “An ace caff, with quite a nice museum attached.” how do think architects today about the museum and its architecture?
    Conversation in English

    With the participation of:
    Simona Malvezzi (architect, Berlin)
    Emanuel Christ (architect, Basel)

    3.30pm | Out of function – the construction as a manifesto
    The pavilion is somehow a particular building: small in scale, often temporary, a hybrid without any clear function unless to accommodate something, a potential Manifesto. The pavilion often expresses a synthesis, be it as shelter (think of the Mies pavilion in Barcelona from 1929 or the Blur-building by Diller Scofidio for the Swiss Expo in 2002), be it as sculpture (Dan Graham, Thomas Hirschhorn, Jorge Pardo). What makes this structure so attractive and what’s its final purpose?
    Conversation in English

    With the participation of:
    Maurizio Pezo & Sofia Von Ellrichshausen (architects, Concepcion, Chile)
    Kersten Geers (architect, Bruxelles)

    5pm | New order – architecture as art form
    In recent years the number of exhibitions that presented the work of architects increased rapidly. Next to common exhibits as sketches, plans, models, mock-ups or computer animations they often realize installations, environments or even theatrical sceneries. But, if one considers, that architecture as a discipline tends above all to be built and not only to be exhibited, what’s the idea, benefit or purpose behind this particular form of expression?
    Conversation in French

    With the participation of:
    Philippe Rahm (architect, Paris)
    Laurent P.Berger(architect, Paris)
  • SATURDAY, OCTOBER 22nd | Art AND science

    Art’s Time, the World’s Time

    For the fourth consecutive year, FIAC presents, in collaboration with COAL (association for art and sustainable development) discussions between an artist, a scientist and a theorist.

    While the frenetic pace of our ultra-connected, ultra-productive, and ultra-consumerist age leads us from novelty to novelty, within a subjective temporality of the instantaneous, of urgency and speed; reality, on the other hand, cannot be accelerated. Seasons remain seasons, years remain years, worldly time is permanent and we are breaking away from it in a dangerous diachrony. For instance, Overshoot Day – a date in the year in which, theoretically, the renewable resources produced by the planet for an entire year have been consumed – occurred in 2015 as early as August 13th and has fallen earlier each year for decades now, showing that humanity is living on credit.

    As though in opposition to our frenzy, and despite the seasonality of the contemporary art scene, art remains a domain that escapes time. With the vocation of presenting and devising the possibility for universal experience, art helps us to escape human temporality. It is designed to construct and contribute to heritage and thus escape time. Yet art remains the witness of its era, and ours is that of acceleration to the point of collapse. So how do contemporary artists reconcile worldly time with that of our age and that of art?



  • 2pm | Are art and the world timeless?
    We strive to preserve art just as we preserve the world, from museums to conservation areas, we want to preserve all that exists, and yet the world continues on its path, as does art history.

    Are we not at risk of destroying both the world and art by freezing them in an idealised state? Are we not at risk of losing of our heritage and a sense of the present by failing to preserve the past?
    Conversation in French

    With the participation of:
    Jane Lecomte (ecologist)
    Dominique Bourg (philosopher)
    Melik Ohanian (artist)

    3.30pm | Does art present worldly time to us ?
    The world’s time may escape our perception, limited as it is to our physical and temporal scale. Yet artistic concepts no longer use humankind as the yardstick of all things, and from the most fleeting moments to the vastness of eons, they may allow us to put our finger on what is beyond us.
    Conversation in English

    With the participation of:
    Bergit Arends (curator)
    Claire Morgan (artist) Jan Zalasiewicz(paleobiologist)

    5pm | Is accelerated time only limited by art and the world?
    Our perception of the acceleration of time in our age that concerns both art and our lives and ecosystem is now reaching its limits. If art follows the rhythm of the seasons, it becomes a trend and no longer forms a corpus constructed over time. If the world accelerates beyond the ecosystem’s functional capacity, it collapses. And if our lives accelerate any more, we could no longer respond to the speed or quantity of the stimuli assailing us. Can art teach us to recover a calmer temporality, on a human scale?
    Conversation in French

    With the participation of:
    Luce Abbadie (ecologist)
    Philippe Huneman (philosopher)
    Lara Almarcegui (artist)
  • Sunday, October 23rd | Art and diplomacy

    La FIAC et Council (Gregory Castéra et Sandra Terdjman), réunissent plusieurs projets artistiques autour d’une question : Comment l’art peut-il avoir des effets diplomatiques ? Qu’ils agissent directement au sein d’institutions politiques internationales, qu’ils inventent des situations pour réunir des acteurs aux perspectives divergentes, qu’ils conçoivent des formats pour la production et la circulation d’idées, ou qu’ils examinent l’éthique de l’influence et des négociations, les projets invités utilisent la diplomatie comme un champ d’action.
    In collaboration with FIAC, Council (Gregory Castéra and Sandra Terdjman) brings together a number of art projects around a single question: how can art influence diplomacy? Whether they act directly within international political institutions, whether they invent situations to bring together stakeholders with divergent perspectives, whether they devise formats for the production and circulation of ideas, or whether they theorize the ethics of influence and negotiations, the projects presented use diplomacy as a field of action.

    Based on the stories of their experiences and their opinions, the role and political usefulness of art will be discussed, together with the consequences of these approaches on the experience of artworks, on art institutions and on political cultures. Created in 2013 by Grégory Castéra and Sandra Terdjman, Council is a curatorial platform dedicated to societal issues analyzed by civilians. Projects engage collaborations between artists, scientists and other people concerned by the problem.
    With the support of the French Institute

  • 2pm | The invention of international justice
    The invention of international justice Franck Leibovici and Julien Seroussi have begun a collaboration in the form of a book (bogoro) and a series of exhibitions (law intensity conflicts). By using the materials transcripts and exhibits – from the first trial at the International Criminal Court (2007-2014) relating to crimes committed in Ituri in the east of the Democratic Republic of the Congo, they seek to associate the tools of art and poetry with those of the social sciences and law, in order to take stock of the contemporary invention of international justice, for which the ICC (created in 1998) is now the primary laboratory.
    Conversation in English

    With the participation of:
    Franck Leibovici (poet and artist)
    Julien Seroussi (jurist)

    3.30pm | Giving a voice
    Faced with the power of borders, how can we represent those who have no space for political representation? How do we give a voice to those who go unheard? Let’s travel a few thousand kilometres away to observe different demands that are formulated and the role that the artistic institution may play.
    Conversation in English
    Special thanks to Rivka Saker

    With the participation of:
    Jonas Staal (artist, New World Summit)
    Dana Yahalomi (artist, Public Movement)

    5pm | Staging negotation
    Even if the aim is to obtain an agreement, negotiation is a situation that brings together people with opposing views, sometimes radically so, and passions play a role that is as important as rational solutions. A negotiation can be undertaken if it is not a meeting of enemies, but rather adversaries that manage to recognise the legitimacy of their respective affirmations.
    How can these differences be anticipated and managed?
    Conversation in English

    With the participation of:
    Valeria Graziano (cultural theorist)
    Christophe Meierhans (artist)

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