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Mondialité : Opening

Conférences, interviews, lectures et performances Mondialité à la Fondation Boghossian - Villa Empain Avec Luc Tuymans, Sylvie Glissant et Genevieve Gallego, Dominique Gonzalez-Foerster, Martin Guinard, Daniel Boyd, Raqs Media Collective et Otolith Group, Valerio Adami et Antonio Segui, Anjalika Sagar, Manthia Diawara, Paul Dujardin, Jacques Coursil, Justin Kennedy, Mârten Spângberg

18 avril 2017

Remarque : les annotations d

incompréhensibles.

Introduction

Asad Raza :

The English are looking into the idea of global dialogue which is at the heart [39:41] so in :39-39 :50] with the concept of Mondialité, which is very much at the beginning of the show and very much hugely, you know, this is like over opting concept although we also explained or tried to look into several other former concepts from Glissant which are kind of the five organising concepts of the show. The others are Créolisation, Pensée du tremblement, Opacité and the Musée du Tout- Monde - which was an unrealised project of Glissant himself. So, we tried to give introductions to all of those things together. Anyway, we both included artists who are currently working and inspired by Glissant pensée du tremblement and we also created this book which includes the work of many painters who are interested and in dialogue with these ideas. So, it was an amazing project to do. I feel very proud that Hans-Ulrich agreed to work on the project. We had collaborated many times before but this was one of the most fun and we extended certain things. We also worked together with a [drama 41:08], Ranjana Leyendecker who helped us design a kind of new way to experience these ideas in the space through kind of sound installation and so it was an adventure like Glissant says, Mondialité is an adventure also making the show Mondialité was a kind of adventure.

Hans-Ulrich Obrist :

-être on va peut-être faire ça bilingue donc je vais parler un peu langues, lire des poèmes sans traduction. Juste écouter la langue, comme écouter par exemple,

célébration du multilinguisme, donc par rapport à ça il faut que cette conférence de presse

soit au moins bilingue. Oui donc Asad a tout dit sur la genèse du projet. Et je tiens aussi à remercier évidemment Asad pour ce dialogue formidable et la Fondation Boghossian pour ce dialogue formidable. des maisons, -42.41 Ce dialogue et qu Mondialité » comme issant. Ça aucoup de voyages ensemble. comme Utopia Station et, à travers ces années on a multiplié évidemment les interviews, a pris plusieurs années dans le "making ». pourquoi ? Et je pense que de manière très prémonitoire, première fois que le monde expérimente une globalisation. Il y a eu une globalisation avec s de la globalisation. Mais -être aussi le plus violent de la globalisation et comme Glissant a dit : " Ceci nous amène à des forces homogénéisantes qui risquent de nous mener vers une extinction. » Une extin beaucoup de langues qui disparaissent, 45.13 a fait un film formidable sur ça, sur la main est menacée donc toutes ces sortes de phénomènes

tôt vu, par rapport à son concept de " mondialité » que la contre réaction, contre ces forces

homogénéisan

extinction. Mais Glissant a très tôt prévu que la contre réaction contre ces forces

homogénéi dans

et qui connaissait bien Glissant. Il disait : " le monde a besoin de Togetherness », de

pas orte de troisième chemin Mondialité ». La » Mondialité » étant donc un dialogue global, un togetherness ». Il va vers un futur commun mais tout en prenant en conscience, en prenant note des différe librairies. Il ument donc appliqué pour faire cette exposition. -on présenter une archive sans que de cette raison que la dramaturgie est très importante, et nous

ici à Bruxelles avec nous. Ranjana a développé une chorégraphie, vous allez voir la voix de

Glissant et cert

fait de Glissant comme introduction A part ça, cette chorégraphie des archives de Glissant nous avons évidemment voulu rendre hommage ici au concept principal de Glissant mais surtout aussi à son grand projet non

réalisé qui était son musée pour Martinique. Il avait ce rêve de faire un Musée du Tout-

Monde, puis

littéraire et théorique mais aussi il était toujours intéressé à produire de la réalité. Par

exemple il était membre de la Résistance et politiquement très actif. Il était dès le début en

banni de la France pendant plusieurs années. Il était un très proche ami de Frantz Fanon. ole qui a influencé comme beaucoup de gens nous ont dit, une époque entière. Ça a eu une influence sur des

exemple comme Glissant voulait produire de la réalité. Troisième cas de figure son musée.

dans une conversation, voulait mettre ensemble une encyclopédie historique et comparative des arts des comme un archipel, non pas comm

cela ne serait pas une synthèse comme souvent les musées prétendent être une synthèse qui

entre différentes traditions et perspectives, donc créer une sorte de multi perspectivisme peut-être. précédemment mais fonctionnerait comme un laboratoire actif. Encore une citation ici de

Glissant de mes interviews. "

ne connaissons pas encore. » Et ceci est évidemment un projet qui est resté non réalisé. Le

restent ses idées, restent ses dialogues. Pour le citer encore, " suffisamment présent, de ce musée que Glissant voula dans le monde. Et que nous pouvons apprendre de cet archipel. Comme il dit Haïti, Cuba, Martinique 52.55

" créolisation », ça veut dire le " mix » de cultures, était accomplie de manière la plus

brillante. Il dit que les continents refusent le " mix rejettent plutôt, non ? Les continents rejettent le " mixing pensée qui ne pourrait pas être de plus grande actualité. Quand il dit que la pensée archipel rend sont fixes, ils ne sont pas fixes. Ils ne sont jamais établis. Il dit : " avec vous sans perdre ou diluer mon sens de moi-même. e à travers les Sylvie Glissant, en parlant avec différents artistes, Etel Adnan, Valerio Adami, aussi en fait à Miquel Barceló, à 54.32 Tous des personnes avec qui Glissant avait discuté de son musée, Simone Fattal, Geneviève Gallego, Wifredo Lam et évidemment Roberto Matta Le dragon galerie à Paris dans les années 50/60, la Gale connecter au monde des arts. On a pour cette raison au travers de nombreuses interviews essayé de reconstituer ce m donc les légendaires artistes Antonio Segui et aussi Valerio Adami, vraiment compagnons de route de Glissant pendant toute sa préparation de son musée, qui vont venir ici à

Bruxelles pour

aussi, le principe du musée de Glissant. Price qui est né en 1989, qui vit à New York. Pour Walter Price, un jeune artiste à New important, à part les témoignages vous voye monde.

On vous invite peut--être Asad de

dire quelques remarques. Or we should take questions now maybe, or we might lose each other ?

Question :

Hans you spoke of language. ?

Hans-Ulrich Obrist :

Beaucoup de langues. Suzanne 56.54 a fait un film qui est vraiment sur la disparition de langues. Tous les jours des langues meurent, dans le monde. Moi je suis Suisse. La langue de " mass extinction of languages » dont Suzanne 57.24 a fait un magnifique film qui montre ça.

Other questions ?

Question :

Pourquoi maintenant »?

Hans-Ulrich Obrist :

Yeah, I think I tried to ad

on to that.

Asad Raza :

But I think also in a way although we started working on this show more than a year ago become more global dialogue but we try to create a global dialogue that does not erase differences or that does not homogenise and lead to extinction. That seems to me to be like ever more crucial be someone who can help us look into that so on that level I hope for it to really connect to the reason that Jean I think created this place which is again to use art as something that can really link people and can create a common language that in the midst of this global dialogue retains its own specificity, retains its own meaning even as its able to exchange core misson, I think, are linked in a strong sense and that mission seems to be more urgent changing in my mind as I see how the world is changing, the status of these ideas have become more interested in Glissant, have become more interested to kind of think with him and so in some kind of way although you experience all these works of different artists and you experience this pensée du tremblement of Glissant, kind of brought to life in part of Ranjana Leyendecker came in because that really presents in a very... Ranjana Leyendecker directed us basically to try to explain our common sensical or our own spontaneous understanding of these main concepts of Glissant and then included part of that in the show. You will find that as we walk through, in a normal tour we would give you all of the tour, here we will be accoste of Glissant. Another one which is, you know he has this idea of pensée du tremblement, the trembling thinking of the world, that the world is full of all these voices that are creating music, to those without worrying about which one is from where. For Glissant I think in some kind of way what Ranjana did with the show is create these voices that are echoing all over the place in many different rooms.

Question :

Why is it the art of Americas that he wanted to preserve the work and second what happened to his museum? It is still only a dream or it is reality?

Hans-Ulrich Obrist :

I mean the idea of making the [1:01:08 Americas head of cost], you know the fact that it was supposed to happen in Martinique so the idea was that he had to have a necessity and he wanted to basically celebrate this archipelago conditions in Martinique. What makes it interesting today for the world is that we can actually look at his archipelago idea and apply it to what is so relevant across continents, not only reject mixings but continents and in this sense also homogenising and I think this idea of an archipelago logic is very powerful. I think the other thing which is interesting is that the museum has to do with utopia also. ons. He thought also remain unrealised. [1:02:23] would want to do this in London with inter-disciplinary art centre but I mean we could use these archives today when we think about the museum of the 21st century. There are so many discussions now, you know, about where art ost frequently besides all the interviews we did was utopia station to Molly Nesbit and we invited him to Venice and [1:02:56] Station, Utopia Station and Glissant was very critical of utopia of our theme because he sort of criticised the utopias of Plato, says that basically we need new alternative forms of utopia consisting of a continuous dialogue. So, for him utopia was a quivering or a trembling utopia because it would transcend, established systems of thought and such as itself to the unknown so to quote him here it must be said from the start that trembling is not uncertainety and it is not fear. Trembling thought and in my opinion every utopia passed through this kind of thought is first of all instinctive feeling that we must reject all categories of fixed thought and of imperial H world trembles physically, trembles geologically, trembles mentally, trembles spiritually because the whole world is looking for the point not the station but the utopian point where disbursing or loosing themselves and that I think is utopia. Utopia is a reality, we want to meet with the other without loosing himself. So, it goes back to that idea what he also said about the archipelago, that idea that we can basically meet with the other without loosing ourselves. If we find that point it solves one of the biggest problems the world has right now.

Question :

What difference do you make between globalisation and modernisation and the forces that are interacting with them because if you see for quite a few years already, you ago on the radio all they wanted was [1:05:23 5Gs] and all these phenomenon that

Asad Raza :

ed I would put under the word globalisation. Right? Like the projection of cheap consumer goods around the world in a way that creates a homogenous world culture in which the same brands are in the same place in every city in the world and the same companies are making money from that process, that range of expanding over the entire world has enriched them enormously and given them much more power. in the last 30-50 years but what Glissant, I think, is trying to say is that the flip side of that go to each place and announce what the global dialogue is but it means that people in one place can be without losing their own identity in contact with people from another place and that they can also travel from place to place in a way like I think Hans Hans-Ulrich Obrist would be a good example of a kind of agent of this Mondialité especially in his early years when before everyone had the intranet or email he was travelling from city to city around the world constantly and bringing news of what was happening in the art scene of one place or alliteration of another place to another although that might be making a kind of embarrassing comparison but that, for instance, is not so much about the same information being propounded in many different places but about the possibility to be connected and to be connected through art.

So Mondialité

Hans-Ulrich Obrist :

Well to make this thought more accessible is really a mission. I believe in his idea that you know the world needs Glissant and of course an exhibition, and of course this is only the beginning because we will tour this exhibition and of course it will go to many different and making it more known. Then another kind of idea we had a couple of years ago was in Paris there is a thing called [1:07:57] Blanche and one a year the entire city becomes an exhibition and many, many shows happen so my friend [1:08:06] it is [1:08:06] Blancher because she asked me to do an exhibition so I suggested that we print 100,000 booklets just with quotes from Edouard Glissant and spread them to all the participants of the [1:08:18] Blanche so that was another hts then you know with Agnus [1:08:24] which is the magazine we are doing and we give carte blanche to an artist always and we gave Glissant, of course when he was still alive, we gave him the issue and that was printed 100,000 copies as well and distributed so you know all of these are initiatives and I think in a way what is so interesting also about Edouard is that there is this connection to the art world because of course you know we are routed in the art world that is our home base, that is going to b that connection and the exhibition does that in many, many different ways. For example, it does it to artists from Dominique Gonzalez Foerster to Walter Price who carried the thought of Glissant into a younger generation but he also does it through the multiple artists who actually worked with Glissant during his lifetime. So, for example, with [1:09:21] you would see that between he did artists books with Glissant or Michael [1:09:26] who participated here with a mask, he did almost like a deathquotesdbs_dbs30.pdfusesText_36

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