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Vs Authority Arguments // What if Aristotle had never existed ? This is the provocative hypothesis put forward by Chinese academic Jim Cairong. He tackles a philosophical figure who came from ancient democracy, but who has been revived at regular intervals by European and then Western nations. This hypothesis stems from a programmatic and imperialist agenda, not from an act of resistance. It may be adding another layer of instability to the theories based in Europe, but it is also undoubtedly necessary to ask ourselves about these figures who frame our discourse and capacity for action in terms of conservative and traditional practices. Especially given the rise of authoritarian and fascist regimes across the continent. This programme of videos “against authority arguments” highlights the work that has to be done to counter these traditional epistemological and political figures. By confronting Heidegger with the implications of the link between his writings and the acts of violence he supported. By choosing humour to explain the long duration of the impregnation of signs in globalised imaginations. The theoretical discussions around a feminist figure who renders unstable the pre-historical presuppositions of the gendered dynamics of power relations. Where to look - critically - at the performative and visual deployment of nationalist lies in order to go to war on a massive scale. This initial proposal is intended to be a moment to begin to explore ways of profoundly reversing our theoretical and visual capacities to get rid of these authoritarian - mythical - figures. And to enable other forms of (political and aesthetic) fiction to emerge."; 03/2024 - Neuvitec - on going ONU procotols & linguistics & dismantling ? / Part 2 - which Aristotle and vs Sun Tzu ?

The painter was a Gestapo agent who, after having done a few years in prison in France, went back to Germany and continue his life as a painter, mainly for bourgeois clients. Some of his painting are in German museum, he had an art education in Dresden and spoke French. This story, is a continuity of the exploration on white poetic which had-have a tendency to go into a fascist poetic, mythopoetic. Research in France, into military archives, to access the record of his trial en 1951 after his involvement in the Gestapo, with the act of torture, violence and killing. And also the investigation made by the secret french force and another investigation by a judge. To recollect and somehow show the violence he has been part.

In the margins of my research, and focusing on the question of how to show disturbing images. Images of dead people. Dead from a violent act. To show directly or not. Do the sensibilities of a person should be taken into consideration. Is being cautious is a good thing? When we started talking, I was on this question. Using silk paper to hide what appears to be violent images. But which one is the most violent? The one of a dead person ? Or the painting made by the same person who order the killing ? At first, if we are looking at the images as western trained art historian will do, the dead person is a violent image. I have become custom of these images, they have become related to me. And with the necessary research around them, the portrait of the young girl is violent to me. But in the path, I had the use of a protection material. papier de soie. Black one and white one. The image was visible but to a certain level. not distinctive. I decide to not use it. At all. So now, it is a work of left over. Call Flowery wars. Barcelona - 04/2024

This is an essay film about research into the specific subject of French atomic testing in the Algerian Sahara desert. This film is a reaction to the invisibilisation of this event in France’s imperialist and colonial history. It attempts to show how the French reacted to the tests, turning them into a half-cosmic, half-transcendental spectacle. How the French state supported and glorified this episode, re-enacting the end of the Second World War with France in the lead role after the humiliation of 1940. At the same time, the voices of former soldiers suffering from illnesses as a result of their proximity to nuclear power are heard. And overlaying these archive voices, a reading by Albert Memmi of the colonised-coloniser relationship to put into perspective the socio-historical context in which the French nuclear tests took place.

Text by Julie Martin, exhibition curator, critic, teacher and researcher

Research into white and fascist french mytho-poeia and counter-history of the Second World War period of the second world war in south-west france. With documentation of the writings and the creation of a 3d animation. “Ça va” “I am fine” is the title of a poem written by Tristan Tzara during the Second World War when he was a member of the Resistance and a refugee in south-west France. At the same time, in November 1940, the poetic academy of the jeux floraux welcomed and honoured Philippe Pétain, making the poems awarded by the academy of fascist poeia. Here, in the animated video, the flowers symbolising their prizes are transformed into brambles bearing fruit while listening to the poetry of Tristan Tzara.

Facsimiles of books published by the Académie des jeux-floraux from 1940 to 1945.

The idea that runs through her research and visual research is the question of how to make cosmologies. a new one. Which tools are needed, what *sacrificial* rituals are put in place. And for which cosmologies. And the negative space within the word. She sees the artist and researcher as the producer of thought, logos and images. With a changing degree of opacity. With each time a different materiality. Which is why, recently, she has been asking herself how to navigate through the different consistencies of reality. And how to catch up with reality through research and art, to face what is left behind. Her journey stems from the dispossession of the spoken word. And the individual ignorance produced by the nation. She has turned them into images. She returns to the spoken word. She is concerned with images.