• THE TRUMPSONIAN. A Fake Museum of Real Truth

    An immersive theatre experience that blends live performance, shareable spectacle, and political activation.

    https://trumpsonian.us

    –-

    Trump’s name is off the #Kennedy_Center, but it is prominently displayed at The Donald J. Trump and Jeffrey Epstein Memorial Reading Room, open now in D.C.. Courtesy of the Institute for Primary Facts, the Trump-Epstein Reading Room displays all the currently available, partially redacted, #Epstein_files, bound into 3,437 volumes. You can confront the extent of the information our “justice” system has refused to act on, share thoughts on a response wall, call the DOJ directly, and see the Trump-Epstein timeline.

    https://hcommons.social/@christinkallama/116744564724835839

    #musée #Trump #Epstein #USA #Etats-Unis #Donald_Trump #exposition #art

  • « Frontière » : una exposición en la confluencia de los enfoques geográficos y artísticos
    https://migreurop.org/article3592.html

    La exposición «Frontière» se inauguró el 14 de abril de 2026 en la Cité des Sciences et de l’Industrie (París, Porte de La Villette). La exposición pone de relieve el impacto de este concepto creado por el hombre en el mundo real y en nuestras sociedades, a partir de ejemplos concretos de diferentes lugares del mundo. Como zonas de selección y control, de recursos o de desigualdades, lugares de cooperación e intercambio, de conflicto o de refugio, las fronteras transforman la realidad y dan (…) #Expositions

    https://www.cite-sciences.fr/fr/au-programme/expos-temporaires/frontiere

  • Beni confiscati. L’intuizione di Fondazione Trame: le opere d’arte sequestrate ai criminali in mostra per la collettività

    Nel 2024 una mostra con le opere di grandi artisti italiani provenienti da due confische ha ottenuto un grande successo di pubblico. Due anni dopo, le stesse opere continuano a incantare grazie al virtuale

    https://lavialibera.it/it-schede-2651-beni_confiscati_l_intuizione_di_fondazione_trame_le_opere
    #biens_confisqués #mafia #oeuvres_d'art #art #exposition #Lamezia_Terme #Calabre

    • Visioni Civiche. L’Arte Restituita

      Dalle opere confiscate alle mafie al bene comune


      Visioni Civiche. L’Arte Restituita è un progetto culturale e civile della Fondazione Trame ETS, nato per restituire alla collettività un patrimonio artistico confiscato alla criminalità organizzata.
      La mostra, inaugurata nel 2024 al Museo Archeologico Lametino, espone per la prima volta opere d’arte sequestrate a figure di rilievo della criminalità economica e mafiosa, trasformandole in simboli di rinascita e bene comune.
      Nel 2025 il progetto si rinnova con una versione digitale e immersiva: un percorso in realtà virtuale accessibile attraverso visori VR, che consente di esplorare le opere e approfondirne la storia, i significati e il valore civile.

      Missione

      Visioni Civiche rappresenta l’impegno concreto per la valorizzazione e la restituzione alla collettività dei beni culturali confiscati alle mafie.
      Il progetto nasce con l’obiettivo di promuovere la conoscenza e la consapevolezza del patrimonio artistico come bene pubblico, offrendo al tempo stesso una riflessione sul rapporto tra arte, legalità e responsabilità sociale.
      Attraverso la collaborazione tra istituzioni, enti culturali e realtà educative, la Fondazione Trame mira a costruire un linguaggio condiviso che riconosca nella bellezza e nella memoria un presidio di democrazia e giustizia.
      Il percorso di Visioni Civiche si inserisce nel più ampio impegno della Fondazione per la diffusione di pratiche culturali capaci di contrastare la criminalità organizzata e rafforzare la coesione civica del territorio.

      La mostra 2024
      L’arte restituita alla collettività

      La prima edizione di Visioni Civiche. L’Arte Restituita è stata allestita dal 18 giugno al 28 luglio 2024 presso il Museo Archeologico Lametino, in occasione della tredicesima edizione di Trame.Festival dei libri sulle mafie.
      Curata dal professor Lorenzo Canova e promossa dalla Fondazione Trame ETS in collaborazione con Associazione MetaMorfosi, la mostra è realizzata con il patrocinio del Ministero dell’Interno e il sostegno della Fondazione Cassa Depositi e Prestiti.

      L’esposizione ha presentato 44 opere d’arte confiscate alla criminalità organizzata, provenienti dalle collezioni di Gioacchino Campolo e Gennaro Mokbel, oggi custodite dall’Agenzia Nazionale per i Beni Sequestrati e Confiscati e dalla Città Metropolitana di Reggio Calabria.
      Tra le opere esposte figurano lavori di Giorgio De Chirico, Antonio Ligabue, Pietro Annigoni, Michele Cascella, Marco Lodola, Cesare Berlingeri, Bruno Caruso e altri maestri del Novecento.

      La mostra ha offerto una riflessione sul valore dell’arte come strumento di riscatto collettivo e sulla capacità dello Stato di trasformare beni provenienti dall’illegalità in risorse culturali accessibili a tutti.
      Con oltre 1.700 visitatori, l’esposizione ha rappresentato un momento di grande attenzione nazionale sul tema della restituzione dei patrimoni mafiosi come atto di giustizia e civiltà.

      https://www.tramefestival.it/progetto-visioni-civiche

  • Il racconto delle stragi nei quadri di #Gaetano_Porcasi

    In #via_d'Amelio la prima mostra di un progetto che può essere itinerante

    Sessantuno opere. Sessantuno opere per raccontare un pezzo di storia d’Italia, quello delle stragi che hanno segnato il Paese, condizionato democrazie e segnato profondamente le vite di tante famiglie. La pittura è quella di Gaetano Porcasi, da sempre impegnato in questo percorso artistico informativo nel mondo dell’antimafia.

    In occasione del trentatreesimo anniversario della strage di via d’Amelio ha risposto positivamente alla proposta di Salvatore Borsellino di realizzare quello che è stato un vero e proprio percorso visivo che va oltre la fotografia e che è stato esposto in via d’Amelio dal 17 al 20 luglio.
    «Per controbattere ai depistaggi istituzionali della Commissione parlamentare antimafia e di questo governo, che vorrebbe riscrivere la storia, ho voluto mettere insieme tutte le stragi che hanno insanguinato il Paese - ha detto nei giorni scorsi Salvatore Borsellino - Stragi che fanno parte di un unico percorso eversivo che ha attraversato la storia fino ad arrivare all’attuale sistema di potere che ci governa. Da Portella della Ginestra in poi, ognuna viene rappresentata attraverso un quadro con i nomi e l’eta delle vittime».

    Porcasi, con uno stile inconfondibile, ha da sempre realizzato dipinti di impegno civile.

    Borsellino lo descrive come «il pittore della memoria e della resistenza civile».

    Ed ha ragione. In questi giorni i tanti che si sono recati in via d’Amelio non hanno potuto non attraversare la mostra.

    Un pannello dopo l’altro non si può essere indifferenti di fronte a quanto avvenuto nel corso della nostra storia e la spinta non è solo ad interrogarsi, ma a divenire parte attiva verso una nuova coscienza.

    Ora che la prima mostra è stata ultimata l’obiettivo è quello di farla divenire itinerante e magari diffonderla nelle scuole, accompagnata dalla nuova pubblicazione «#Paolo_Borsellino e l’Agenda Rossa - La scia di sangue delle stragi in Italia. Mafia, eversione nera, servizi deviati e poteri infedeli», curata da Salvatore Borsellino e che ha anche la postfazione di Saverio Lodato.

    Parlando del pittore Porcasi, Borsellino scrive: «La sua arte non è solo bellezza: è denuncia, è memoria viva, è un atto d’amore verso chi ha sacrificato la propria vita per la giustizia e la verità. Con ogni tela Porcasi racconta la nostra storia più dolorosa: stragi, depistaggi, silenzi. Ma lo fa con dignità e coraggio, restituendo volto e voce a chi non c’è più. Le sue opere non decorano: parlano. Educano. Resistono. Grazie, Gaetano, per questa preziosa testimonianza».

    https://www.antimafiaduemila.com/home/mafie-news/254-focus/105783-il-racconto-delle-stragi-nei-quadri-di-gaetano-porcasi.html
    #art #mafia #anti-mafia #peinture #exposition #mémoire #histoire

  • J’expose mes croquis modèles vivants à Orsay en avril
    https://delphine-atelier.com/actualites/j-expose-mes-croquis-modeles-vivants-a-orsay-en-avril

    Dans le cadre de l’exposition de l’atelier #modèle_vivant de Mosaïque, je vais exposer des petits et des grands formats à la Maison Jacques Tati à Orsay (91). Il y aura mes travaux personnels et ceux des autres membres de l’atelier, tout comme quelques travaux collaboratifs. Le vernissage est le jeudi 02 avril, à partir […]

    #exposition #Orsay_91_

  • J’expose mes croquis modèles vivants à Orsay en avril
    https://delphine-atelier.com/actualites/jexpose-mes-croquis-modeles-vivants-a-orsay-en-avril

    Dans le cadre de l’exposition de l’atelier #modèle_vivant de Mosaïque, je vais exposer des petits et des grands formats à la Maison Jacques Tati à Orsay (91). Il y aura mes travaux personnels et ceux des autres membres de l’atelier, tout comme quelques travaux collaboratifs. Le vernissage est le jeudi 02 avril, à partir […]

    #exposition #Orsay_91_

  • Vernissage - Colonialisme. Une Suisse impliquée

    Dès le 16e siècle, des citoyens et citoyennes et des entreprises helvétiques entretiennent des liens étroits avec le système colonial. Certaines firmes suisses ainsi que des individus prennent part à la #traite transatlantique, exploitent des personnes réduites en #esclavage et font fortune grâce au commerce de produits coloniaux. Des Suisses et des Suissesses partent comme missionnaires à travers le monde. D’autres, mus par la pauvreté ou la soif d’aventure, s’engagent comme #mercenaires dans les armées européennes, lesquelles enchaînent les conquêtes territoriales et écrasent la résistance de peuples autochtones. Des experts suisses mettent leur savoir au service des puissances coloniales. Les Universités de Zurich et de Genève enseignent et diffusent des thèses racistes qui connaissent une résonance internationale et servent à légitimer le système colonial.

    Basée sur les tout derniers résultats de la recherche, l’exposition offre, pour la première fois en Romandie, une vue d‘ensemble de l’histoire des liens coloniaux de la Suisse et s’appuie sur de nombreux objets, documents d’archives, photographies et œuvres d’art.

    https://www.chateaudeprangins.ch/fr/evenement/vernissage-colonialisme-une-suisse-impliquee-44912
    #Suisse #colonialisme #Suisse_coloniale #colonialisme_suisse #exposition #racisme #université #musée

    –-

    ajouté à la métaliste sur la Suisse coloniale :
    https://seenthis.net/messages/868109

  • Il MUSEO DEL PATRIARCATO

    Immagina di camminare in un museo del futuro, in un tempo in cui il patriarcato è ormai solo una pagina di storia. È da qui che nasce il MUPA: un’esposizione che, come un archivio speculativo, mette in scena il presente come se fosse un’epoca lontana. Attraverso opere, reperti e testimonianze, la mostra ci invita a osservare con sguardo critico i comportamenti, le abitudini e le narrazioni che ancora oggi alimentano la violenza maschile sulle donne e sulle soggettività marginalizzate per la propria identità di genere.

    Il MUPA ci spinge a interrogarci sul ruolo che giochiamo nel mantenere, trasformare o sfidare le strutture di potere che ci circondano. Guardare il presente come se fosse già passato diventa così un gesto politico e poetico insieme: un modo per immaginare un futuro in cui la violenza di genere e il patriarcato siano davvero solo un ricordo del passato.

    https://www.actionaid.it/mupa
    #musée #exposition #patriarcat #Milan #MUPA #violence_masculiniste #VSS #violence_de_genre

  • « Quel état-État vivons-nous ? »
    https://www.obsarm.info/spip.php?article730

    Naturellement, nous serions portés à protéger notre espace de vie, la société ; éviter les conflits, les guerres et construire humainement, ensemble. Mais, quotidiennement confrontés aux flux d’images, informations et témoignages venant de partout dans le monde, nous nous interrogeons : sommes nous en conflit, où se trouve la guerre, que veulent dire paix et tension ? Quels signes et aspects séparent ou lient un état de conflit d’un état de paix : une distance, une durée, une valeur (…) #Expositions

    / #Vie_associative, #Événements

  • L’art immersif, porte d’entrée vers la culture ou pur gadget mercantile ?
    https://www.telerama.fr/arts-expositions/l-art-immersif-porte-d-entree-vers-la-culture-ou-pur-gadget-mercantile-7028

    Dans le sillage des “Ateliers des lumières”, les “expériences immersives” essaiment un peu partout. Charline Callet, chercheuse en sciences de l’information et de la communication, a travaillé sur l’impact sur le public de ce modèle ambigu. Entretien.

    L’exposition « De Vermeer à Van Gogh, les maîtres hollandais », en 2024 aux Bassins des Lumières, à Bordeaux. Vincent Pinson/Culturespaces
    Par Youness Bousenna
    Réservé aux abonnés
    Publié le 05 novembre 2025 à 16h30
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    La chercheuse Charline Callet travaille depuis trois ans à une thèse autour de la façon dont l’art immersif permet une « réappropriation sensible et sensorielle » du patrimoine culturel. Rattachée au laboratoire SIC.Lab Méditerranée (Laboratoire de recherches en sciences de l’information et de la communication) de l’université Côte d’Azur, à Nice, la doctorante éclaire l’origine et l’essor de ce concept dont Culturespaces a fait le cœur de son modèle.

    Aujourd’hui, l’art immersif semble partout. Mais que désigne-t-il concrètement ?
    L’art immersif peut être défini comme un langage esthétique et médiatique voué à effacer les frontières conventionnelles entre le spectateur et l’œuvre, en activant simultanément plusieurs canaux sensoriels (visuel, auditif, olfactif…), afin de produire une expérience incarnée. Mais sa généalogie s’étend bien avant l’avènement du numérique ! Elle remonte au XVIIIᵉ siècle, avec l’apparition des panoramas, ces vastes fresques circulaires peintes à 360 degrés. Cette logique se poursuit avec l’invention du stéréoscope en 1838, un dispositif optique permettant de percevoir une image en trois dimensions — on y voit souvent un précurseur des casques de réalité virtuelle contemporains. Le XXᵉ siècle marque une nouvelle étape avec le cinéma, notamment à travers les expérimentations de Georges Méliès, pionnier des trucages et effets spéciaux. En 1957, l’inventeur Morton Heilig conçoit le Sensorama, un simulateur multisensoriel intégrant image, son, vibrations et odeurs — un des ancêtres de la réalité virtuelle. À partir des années 1990, la généralisation du numérique bouleverse le paysage immersif, et permet sa diffusion au grand public.

    À lire aussi :
    Derrière le succès des Ateliers des Lumières, le très rentable filon de l’art immersif du français Culturespaces
    Représente-t-il un certain futur pour le secteur culturel ?
    Depuis les années 2010, et plus encore à la suite du confinement de 2020, les dispositifs immersifs se sont imposés comme une réponse stratégique à la crise d’attractivité que traversent de nombreuses institutions patrimoniales. Face à la désaffection des jeunes pour les musées, au désengagement progressif de l’État et à la transformation des attentes du public, les institutions cherchent à renouveler leurs formats de médiation, à rafraîchir leur image et à attirer de nouveaux publics, notamment les plus jeunes et connectés. Ce mouvement traduit un déplacement de la mission même des institutions culturelles vers une logique de captation et de séduction, où prévaut l’expérience sensorielle, scénarisée et technologisée. Cette tendance reflète à la fois une tentative de réinvention du modèle culturel institutionnel et une hybridation croissante entre art, technologie et marché.

    #Immersion #Expositions #Culture

  • Derrière le succès des Ateliers des Lumières, le très rentable filon de l’art immersif du français Culturespaces
    https://www.telerama.fr/arts-expositions/derriere-le-succes-des-ateliers-des-lumieres-le-tres-rentable-filon-de-l-ar

    L’opérateur culturel connaît un impressionnant développement en misant sur l’“expérience” du visiteur un peu partout, de Paris à Séoul. Un modèle qui tient plus du concept commercial qu’artistique, et dont la gestion ne va pas sans critiques.

    #Immersion #Expositions #Magouilles

  • #Désescalade_numérique

    « Depuis 20 ans, à rebours de toutes les promesses qui accompagnent la #numérisation, le recours massif à internet, au smartphone et aux réseaux sociaux accélère l’effondrement du lien social et la fascisation de la société. Porté par des multinationales hégémoniques, le numérique a servi à démanteler et privatiser les services publics, à accélérer les flux de marchandises et à disqualifier bon nombre de savoir-faire. Nous assistons à une captation des cerveaux et des liens communautaires au bénéfice de ces entreprises. Les soirs d’élections, nous en sommes réduits à croiser les doigts pour que les capacités de surveillance orwelliennes développées ces deux dernières décennies ne tombent pas, prêtes à l’emploi, entre les mains d’un gouvernement d’extrême droite.

    Au niveau de ses chaînes d’approvisionnement et de ses impacts écologiques, l’industrie numérique planétaire, avec sa croissance exponentielle, est une bombe climatique et toxique. Des mines aux data centers en passant par la production de semi-conducteurs, elle asservit une main-d’œuvre précaire, siphonne des quantités colossales d’eau et d’énergie, accumule des montagnes de déchets. En démultipliant et en accélérant toutes ces tendances, le déploiement de l’intelligence artificielle (IA) promet des lendemains plus sombres encore. En deux mots : la société numérique d’aujourd’hui est insoutenable, celle qui vient s’annonce cauchemardesque.N’attendons plus : il devient urgent de freiner.

    Des #propositions : Pourquoi ? Pour qui ?

    Les menaces que fait peser l’#industrie_numérique sur le vivant, l’emploi ou les libertés fondamentales peuvent sidérer en donnant le sentiment de phénomènes planétaires insaisissables. Pourtant, agir à l’échelle locale, à partir des communautés dans lesquelles nous vivons, est non seulement possible, mais décisif. C’est l’échelle plus efficace pour sortir de l’impuissance et recréer des liens fragilisés par le déferlement technologique. Pour se donner les moyens, progressivement, de reprendre la main sur les objets qui nous entourent et sur nos besoins fondamentaux. C’est dans cette perspective qu’est rédigée cette #boîte_à_outils pour une désescalade numérique. Elle vise à nourrir la réflexion des élu.es et des candidat.es qui élaborent leur programme en vue des prochaines élections municipales. Ce travail inédit est le fruit d’une réflexion collective menée depuis un an par une trentaine d’associations et collectifs spécialisés dans l’analyse des impacts de ces technologies. Nous espérons que ces propositions inspireront votre équipe, que vous y puiserez librement pour composer votre programme, tout en respectant l’esprit d’urgence écologique et de justice sociale qui les anime.

    Des propositions concrètes

    Nous avons cherché des mesures immédiates et applicables qui puissent emporter l’adhésion du plus grand nombre. Certaines d’entre elles visent simplement à limiter la dépendance à l’informatique pour rétablir une sécurité élémentaire face au risque de cyberattaques et de pannes des réseaux (d’électricité, de télécommunication...).D’autres visent à garantir l’accès aux droits sociaux et aux services publics sans numérique. D’autres encore servent à valoriser l’humain et à construire des emplois pérennes à l’échelle des communes. D’autres, enfin, veulent contribuer à limiter les dégâts écologiques et sanitaires du numérique.Certains points de ce programme permettent de réaliser des économies parfois substantielles, d’autres propositions appellent des investissements. Elles nécessitent, de toute façon, d’être adaptées à la taille et aux spécificités de votre commune. »

    https://www.desescaladenumerique.org
    #municipales_2026 #service_public #emplois #travail #vidéo-surveillance #sécurité #écrans_publicitaires #publicité #école #airbnb #data_centers #centres_de_données #exposition_électromagnétique #antennes-relais #sobriété #gafam #dégafamisation

    ping @karine4

  • HAUNTED WATERS. THE CHEMICAL COCKTAIL BAR

    A growing collection of contaminated waters from around the world, submitted by activists, scientists, swimmers, citizens, and friends. Each water is haunted by a multitude of ‘spirits’ telling stories that speak of the past, of decisions made by those in power, of struggles, accidents, wars, greed, and action.

    Pollution, contamination, forever chemicals… What have we done?! OMG! I need a glass...

    Welcome to the Haunted Waters Bar—a growing collection of contaminated waters. Here, you’ll find a menu featuring a variety of water samples from around the world, submitted by activists, scientists, swimmers, citizens, and friends. Some samples come from lakes, rivers, and the sea, while others are filled from the tap. While they may all look similar, each water is haunted by a multitude of ‘spirits’ telling different stories—stories that speak of the past, of decisions made by those in power, of struggles, accidents, wars, greed, and action.

    Chemicals in water are not unlike ghosts – they haunt and alter beings and places, are often invisible to the naked eye, relate to historic injustice, and are trapped in places they were not meant to be. The complexity of chemical cocktails hinders research on their negative impact on health and environment. The destruction of ecosystems and disruption of communities conjures these eerie beings into existence; the spirits have awakened!

    Scientists at the JRC Water Quality Lab are on a mission to analyse the “haunted” waters through mass spectrometry & chromatography and identify specific substances and their concentrations. While the Lab focuses on analysis, the Bar offers a space for symbolism, synthesis and stories. Here, many different spirits are brought together to echo hydro-social relations taking place over space and time. Relations that are symptomatic of the post-natural era we live in. Like any bar, it’s also a space for sharing stories, socialising, and, of course, drinking. Some waters (think: spirits & chemical cocktails) are safe to consume, with concentrations of chemical substances within governmental safety limits. However, others are so contaminated that they pose serious health hazards and are forbidden to order. These waters remain trapped on the shelf for years to come.

    The contaminating substances in themselves are neither only good nor only bad. Pharmaceuticals can be life-saving, PFAS might offer unique technical possibilities and pesticides allow us to sustain our (industrialised) agricultural practices. These chemicals were never intended to end up in our water, yet a lot of them do and will continue doing that. The moment they enter the aquatic environment is when they turn into ‘contaminants’ and ‘spirits’.

    They haunt our planetary waters - seas, lakes, rivers, groundwater, and even our own bodies, as evidenced by the presence of PFAS in top EU officials’ blood (European Environmental Bureau, 2024).[i] The pollutants defy borders, hitchhiking the hydrological cycle that connects all living beings.

    These spirits have diverse origins: agriculture, industrial production, pharmaceutical industry, consumer products, mining, oil spills, and war. Their pervasive presence is a major global environmental problem because it can lead to the degradation of aquatic ecosystems, posing serious health risks to both humans and nonhumans and increasing the likelihood of diseases, including cancer, infertility and neurological impacts (Bondy & Campbell, 2018, p. 4). They are chemicals and poisons; the product of neglect, of industrialised capitalism, but they are also messengers and a feral force.

    Literary theorist Sladja Blazan (2021) notes that the sighting of a ghost exposes the entanglements of horror and history, and “the way the past makes cultural demands on us we have difficulty fulfilling.”

    They are here, and not leaving any time soon. They have come to demand attention and action.

    How do we live with haunted waters?
    Concept

    What happens when technologies and their unintended consequences become so ubiquitous that it is difficult to define what is ‘natural’ or not?
    — Nicolas Nova & Disnovation.org (2022)

    Life in our times entails an apparent dissolution of the strict separation of things; the natural is tied to the unnatural, the human to the nonhuman. As ecological processes become increasingly shaped by human activity and its deposits, the ‘natural’ emerges as an inaccurate concept to describe the world around us.[ii] At the same time, an uncanny eeriness emerges; sunbathing reminds us of global warming, breathing city air of pollution, drinking water of contamination.

    Clean water is fundamental for life on Earth. Yet every year, the chemical, physical and biological contamination of our waters continues. These unseen anthropogenic substances are haunting our experience by altering and estranging homes and bodies, creating an eerie unfamiliarity. The classical image of the unseen, uncanny haunter are the ghosts, spirits, and spectres.

    Horror is becoming the environmental norm.
    — Sara L. Crosby (2014, p. 514)

    To explore water quality, its material, cultural, political and spiritual occurrence links to an interpretation of water beyond the hydrologic cycle, in which water flows are merely objects of study and technical manipulation. For Linton et al. (2022) the approach we have towards water should rather be guided by the hydrosocial cycle “a socio- natural process by which water and society make and remake each other over space and time”. By making and remaking each other water and society are hybrids, in which the relationship is constituting rather than connecting.

    The contaminants emerge within this interplay as boundary teasing feral entities, hitchhiking the hydrosocial cycle and remaking it from within. The chemicals were made by humans, for humans, yet the moment they enter the water, ownership and control over them is lost. They turn into spirits, not passive but with an agency of their own, often at cross purposes with human ones. They turn into an obscurity between categories - less an object than an event, less a term than a relation, less an individual than a multitude.

    It is easy to demonise such spirits, especially if they cause health issues that might lead to suffering and death. And yet, they carry important lessons born of our time of looming socio-ecological catastrophes.

    The writer Avery F. Gordon (2008) examines how ghosts and haunting can be understood as expressions of unresolved social tensions, traumas, and injustices. “But haunting, unlike trauma, is distinctive for producing a something-to-be-done”(p.XVI). Drawing on the concept of haunting from Gordon, seeing the contaminants as spirits becomes a way to prompt us to look beyond chemistry and turn to history - what underlying traumas and hardships might be carried by these entities? What cycles of harm and injustice are being perpetuated by these spirits? What are their demands?

    Water contamination is not just a technical or scientific issue but a manifestation of broader social and economic inequalities embedded within our systems. The haunting presence of pollutants is a legacy of industrialisation, colonisation, and exploitation that continue to shape our contemporary world.

    There are numerous examples: the tourism industry and large-scale agriculture around the Mar Menor Lagoon in Spain led to an ecosystem collapse in 2016, when several species were pushed to the brink of extinction. In 2014, governmental officials of Flint, Michigan, decided to change the water supply from Detroit water to the Flint River to save money during a financial crisis. The dangerous levels of lead in the river though rather led to a public health crisis, killing at least 12 people. In the Central Andes of Peru, the mercury used in the illegal gold mining has serious effects on plant and animal life, causing oxidative stress in fish and retard growth in plants.

    Capitalism runs and thrives on the production of such spirits, its profit-driven motives often take precedence over environmental and human health concerns. These spectral contaminants are revealing unresolved and ongoing societal and ecological violence, which is also disproportionately affecting marginalised communities. From this perspective, addressing water contamination requires more than just technical solutions or regulatory measures; it necessitates a fundamental transformation of our socio-economic systems.

    The haunted water flows not just through rivers and oceans, but through the very veins of our interconnected world, permeating and connecting all bodies of water, linking human and non-human bodies in a web of relationality. We take a sip; it flows through us and onwards into the world - things that before felt distant and remote suddenly are close and intimate. By acknowledging how water binds us to the world and each other, we can begin to cultivate a deeper sense of responsibility and reverence for the Earth and all its inhabitants. This kind of awareness emerges when we meet the spirits. They carry a lesson of interdependence that could potentially catalyse a shift in our relationship with the waters. Through this lesson, the terrifying entities reveal their benevolent nature and their power to inspire awe.

    The ‘myth-of-the-end-of-myth’ managed to become the foundational myth of modernity.
    — Dorin Budușan (2023, p. 49)

    Numerous critiques of modernity identify the rise of science, secularisation, industrialisation, and capitalism as factors responsible for the disenchantment of the world, since these are processes that prioritise rationality, efficiency, and material gain over spiritual or mystical experiences. Yet have modern Western societies really been disenchanted by the rise of science and rationalism? These spirits, born out of modernity, are ‘un-puring’ nature/culture, while at the same time re-enchanting the world in an obscure and horrific way.

    Might the break-down of the human-nonhuman divide, which destabilises the distinction
    between humans and nature and the distinction between humans and technology, not also
    destabilise the distinction between the material and the spiritual, the natural and the supernatural,
    the sceptical and the superstitious?
    — Nils Bubandt (2018, p. 7-8)

    Could modern spirits challenge the ‘profit-driven, disenchanting & dividing’ way of thinking that gave rise to them? Could they help us (re)spiritualise science, and connect to a deeper, interconnected worldview? The world is vibrant, teeming with countless forces, each shaping and echoing the other in mysterious ways. It is full of spirits!
    Context

    Through “The gems of water” project at the JRC, the scientific project officer Caterina Cacciatori and her colleagues are sending out water monitoring tools to local citizens around the world to monitor and collect information on chemical contamination present in water.

    The starting point of our art-science collaboration with Caterina was to compare these water monitoring tools to ghost hunting tools, and the local citizens & scientists to ghost hunters. By drawing parallels between pollutants trapped in bodies of water to ghosts/spirits, we invited the hunters to reflect on what it means to live on a haunted planet. The analogy proved to be a good opening also in conversation with other scientists and policymakers during our residency at the JRC.

    Throughout the last year we were learning about chemical contamination and “The Gems of Water”. Caterina and her colleague Giulio Mariani invited us on a few occasions into the Lab, introducing us to their work and demonstrating how they use incredibly precise and weird looking liquid/gas chromatography machines and mass spectrometry tools to find out the chemical composition of water samples. We also met up virtually with the first “The gems of water” pilot partners activists from Coral Conservation in Costa Rica, who are investigating the rivers Sixaola, Estella and Carbón for content and concentrations of pesticides from surrounding banana monocultures. The activists were worried that the pesticide run-off would eventually threaten corals in the ocean and were frustrated with the banana Industry, which has been infamous for its labour conditions, violent history and chemical use. The industry has a considerable environmental impact and the used pesticides used cause health issues including sterility and cancer to the ones exposed.

    The samples collected by the activists will eventually be analysed at the JRC for around 250 compounds. Yet they contain much more than that. These samples carry with them also emotions, traumas, fear and anger which can’t be analysed scientifically. We got interested in sharing the stories behind the pollution, telling of their origin, effects, as well as, how people are coping with them.

    Therefore, together with Caterina, we came up with the idea of creating a “ghost hunting probe kit” to gather stories about contaminated bodies of water from people involved in “The Gems of Water” project. We constructed a prototype and brought it to Ispra, where feedback from Mateusz Tokarski, who coordinates projects on citizen engagement, from Adriaan Eeckels, head of JRC’s SciArt project, and Caterina gave us insights on how to revise the toolkit. Then on, the toolkit idea transformed and took two tracks - a web submission & workshop.

    Water and story collection

    Inspired by the engagement of citizens and willing to make story sharing more accessible, we created a web submission form through which anyone could (and still can!) share their ‘ghost story’ and is invited to send a water sample to us. The bottles of water and the stories form the content of the Haunted Waters Bar.

    Haunted Waters, the workshop

    In 2023, we were invited by curator Johanna Janßen to hold a workshop at Galerie Im Turm in Berlin, for the exhibition “Pole der Unzugänglichkeit” – conceptions of (extra)terrestrial worlds between reality and fiction”. We took the opportunity to develop methods of personifying (or “ghostifying”) the spectral contaminants, which was an idea originally conceived during our residency and meant to be done via the tool kit. It turned into a ‘Haunted Waters Workshop’ for exploring different contaminants through creative writing and drawing.

    In the workshop, participants were equipped with printed articles and paper excerpts detailing various chemicals found (in very low concentrations) in Berlin’s tap water, including PFAS, lead, nitrates, microplastics and pharmaceutical residues. Following this informational session and a sip of water from the tap, we underwent a hypnotic visualisation exercise. We ventured into the network of our blood vessels to encounter the spirits associated with these chemicals. We followed these ethereal entities through time, exploring both the recent past and a distant future. The hypnotic session prompted participants to imagine details of each spirit, contemplating their origins, desires, fears, and envisioning their appearances. The participants then drew the contaminants, shared their stories and reflected on what they can teach us about our own existence.

    The workshop closed with a discussion, during which the curious observation was made that a few of the stories of contaminants were actually inner self-portraits. The participants were projecting their own feelings; fears, confusions and hopes of living on a damaged planet into the spirits, giving the exercise an introspective twist.

    The event marked an inspirational turn for us, we felt drawn to the act of letting the spirits flow through our bodies and be met as mirrors of our anxieties, leading up to the idea of creating a Haunted Waters Bar. The drawings made during the workshop were later on used as a reference to create animated spirit portraits for the bar.
    Scientific Background

    The Gems of Water:

    The scientific background of the artwork is based on “The Gems of Water” activity carried out in the framework of the Blue Health project (Cacciatori et al., 2023). “The Gems of Water” supports the engagement work of the UN-World Water Quality Alliance. The activity involves citizens through a co-creative approach in the definition of a local water quality concern, design of a monitoring strategy and sample collection and extraction. Samples collected and extracted by citizen groups are processed at the JRC Water Quality Lab facility and data are shared with participants. The water quality monitoring kits use a technology (the Stir Bar Sorptive Extraction) which allows for wide-screening of around 250 compounds, which include pesticides, pharmaceuticals and industrial compounds. The method provides quantitative and qualitative information about the chemicals in bodies of water around the world, which can be used to further investigate water quality. The activity has been successfully piloted in Costa Rica, while the exercise is on-going in Kenya and Romania.

    New chemicals, cocktails and the need for stronger regulations:

    The environmental impact of chemicals is a rapidly growing concern, with approximately 10 million new compounds produced yearly (1,000 p/h) (Daley, 2017). Unfortunately, research on their impacts on human and ecosystem health lags due to underfunding, leading to the approval of chemicals for commercial use, with unknown environmental consequences.

    The “cocktail effect” occurs when seemingly harmless concentrations of single substances combine, posing health risks. A European Environment Agency report ‘Chemicals in European waters’ (EEA, 2018, p. 56) notes that the detection of several hundred chemicals at low concentrations in a single freshwater sample is common and the level of risk that that might present is insufficiently understood. Current safety assessments focus on individual substances, leaving a significant protection gap in regulations.

    As global chemical production grows (Persson et al., 2022, p. 1512) and the number of chemicals in use around the world multiplies (Wang et al., 2020, p. 2575), urgent action is needed to implement robust chemical regulations to safeguard us and the wider environment. The challenge extends to addressing the biodiversity crisis (Schneider, 2020), emphasising the critical role of more “ghost hunters”—those monitoring, modelling, and reporting—to render the world of contaminants visible. Only then can policies and regulations be appropriately targeted, ensuring a healthier and safer future for all the living.

    REFERENCES

    European Environmental Bureau & ChemSec (2024, Jan 13). High-level European Politicians Polluted by PFAS. European Environmental Bureau (accessed: 2024, May 28) https://eeb.org/high-level-european-politicians-polluted-by-pfas

    Bondy, Stephen C. & Campbell, Arezoo (2018). Water Quality and Brain Function. International Journal of Environmental Research and Public Health, 15(1) doi:10.3390/ijerph15010002

    Blazan, Sladja (ed.) (2021). Haunted Nature: Entanglements of the Human and the Nonhuman. Palgrave MacMillan.

    Nova, Nicolas & disnovation.org (2022). A Bestiary of the Anthropocene: Hybrid Plants, Animals, Minerals, Fungi, and Other Specimens. Set Margins.

    Linton, Jamie & Budds, Jessica (2014). The hydrosocial cycle: Defining and mobilizing a relational-dialectical approach to water. Geoforum, volume 57, 170-180. doi:10.1016/j.geoforum.2013.10.008

    Crosby, Sara L. (2014). Beyond Ecophilia: Edgar Allan Poe and the American Tradition of Ecohorror. ISLE: Interdisciplinary Studies in Literature and Environment, 21(3). doi:10.1093/isle/isu080

    Gordon, Avery (2008). Ghostly Matters: Haunting and the Sociological Imagination. University of Minnesota Press. New edition, Introduction to the New Edition, XV-XX.

    Budușan, Dorin (2023). It Fell From The Stars: Alternative Cosmogonies from the Second World. Amsterdam.

    Bubandt, Nils (ed.) (2018). A Non-secular Anthropocene: Spirits, Specters and Other Nonhumans in a Time of Environmental Change. More-than-Human. AURA Working Papers, Volume 3, 2-18.

    Barad, Karen (2006). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Duke University Press. doi:10.1215/9780822388128

    Viveiros de Castro, Eduardo (2007). The Crystal Forest : Notes on the Ontology of Amazonian Spirits. Inner Asia, 9(2), 153-172. doi:10.1163/146481707793646575

    European Commission, Joint Research Centre, Cacciatori, C., Mariani, G., Carollo, A. (2023). The gems of water : how to become a gem of water? : an illustrated guide for citizen engagement under the UNEP GEMS/Water programme. Publications Office of the European Union. doi:10.2760/334925

    Daley, Jason (2017, February 3). Science Is Falling Wouefully Behind in Testing New Chemicals. Smithsonian Magazine. (accessed: 2024, May 28) https://www.smithsonianmag.com/smart-news/science-falling-woefully-behind-testing-new-chemicals-180962027

    European Environment Agency (EEA) (2018). Chemicals in European waters: Knowledge developments. Publications Office of the European Union, 56. doi:10.2800/265080

    Persson, L.; Carney Almroth, B. M.; Collins, C. D.; Cornell, S.; de Wit, C. A.; Diamond, M. L.; Fantke, P.; Hassellöv, M.; MacLeod, M.; Ryberg, M. W.; Søgaard J. P.; Villarrubia-Gómez, P.; Wang, Z.; Hauschild, M. Z. (2022). Outside the Safe Operating Space of the Planetary Boundary for Novel Entities. Environmental Science & Technology, 56(3), 1510-1521. doi:10.1021/acs.est.1c04158

    Wang, Z.; Walker, G. W.; Muir, D. C. G.; Kakuko, N. (2020). Toward a Global Understanding of Chemical Pollution: A First Comprehensive Analysis of National and Regional Chemical Inventories. Environmental Science & Technology, 54(5), 2575-2584. doi:10.1021/acs.est.9b06379

    Schneider, Julie (2020, January 23). Chemical pollution, a key driver of the biodiversity crisis. Chemtrust. (accessed: 2024, May 28) https://chemtrust.org/biodiversity_strategy

    Bennet, Jane (2010). Vibrant Matter: A Political Ecology of Things. Duke University Press. doi:10.2307/j.ctv111jh6w

    [i] The European Environmental Bureau and ChemSec have identified toxic substances in the blood of top Brussels politicians — part of a campaign to push for an EU-wide ban on the chemicals despite heavy industry pushback.

    [ii] As Timothy Morton, N. Katherine Hayles and many with them have argued. Cf. Morton, Timothy (2007). Ecology without Nature: rethinking environmental aesthetics. Harvard University Press. doi:10.2307/j.ctv1n3x1c9; Hayles, N. Katherine (2023, July 10). The End of Being Human: Evolution in the age of Machines. IAI News. (accessed: 2024, May 28) https://iai.tv/articles/the-end-of-being-human-auid-2536

    https://nonhuman-nonsense.com/hauntedwatersproject
    #eau #contamination #eaux_hantées #esprits #pouvoir #luttes #guerres #accidents #chimie #récit #histoires #photographie #technologie #environnement #modernité #mythe #non-humain #nature #chimie
    #beau
    via @reka

  • Paul McCartney Photographs 1963–64
    https://fristartmuseum.org/exhibition/paul-mccartney-photographs-1963-1964-eyes-of-the-storm

    Une personne célèbre pourtant humble disait que les prix pour l’oeuvre d’une vie sont comme les hémorroïdes, tôt ou tard chacun y a droit. C’est pareil avec les activités proto-artistiques des célébrités. Allez donc en jouir à Nashville où dans une autre ville où les musées n’ont que ça à proposer.

    Frist Art Museum Presents Paul McCartney Photographs
    https://fristartmuseum.org/article/paul-mccartney-press-release

    Paul McCartney Photographs 1963–64: Eyes of the Storm
    November 6, 2025–January 26, 2026
    Black and white self portrait of Paul McCartney
    Paul McCartney. Self-portrait. London, 1963. © 1963-1964 Paul McCartney under exclusive license to MPL Archive LLP

    NASHVILLE, Tenn. (August 13, 2025)—The Frist Art Museum presents Paul McCartney Photographs 1963–64: Eyes of the Storm, an unprecedented look at the extraordinary archive of recently discovered photographs made by Paul McCartney at the start of Beatlemania. Organized by the National Portrait Gallery, London, the exhibition will be on view in the Frist’s Upper-Level Galleries from noon on November 6, 2025 through January 26, 2026. In addition to regular operating hours during these dates, the Frist will also be open on Wednesdays from 10 a.m. to 5:30 p.m. Advance timed tickets are required and will be available to Frist members starting on Tuesday, October 7 at 10 a.m. and for general admission on Wednesday, October 8 at 10 a.m.

    Eyes of the Storm is an intimate and historic opportunity to see nearly 300 photographs made by Paul McCartney between December 1963 and February 1964, along with a selection of ephemera providing context for the story told by the photographs. Over the course of these three short months, The Beatles—Paul McCartney, John Lennon, George Harrison, and Ringo Starr—were propelled beyond being the most popular band in Britain to an international cultural phenomenon.

    The photographs in this exhibition, taken by McCartney with his own camera, provide a uniquely personal perspective on what it was like to be a Beatle—from gigs in Liverpool and London to performing on The Ed Sullivan show in New York for a then unparalleled television audience of 73 million.

    Drawn from McCartney’s personal archive, the majority of these images have never been seen before this exhibition tour. They allow us to experience The Beatles’ extraordinarily rapid rise from a successful regional band to global stardom through McCartney’s eyes. At a time when so many camera lenses were on them, this perspective—from the inside—brings fresh insight to the band, their experiences, the fans, and the early 1960s. Frist Art Museum Chief Curator Mark Scala notes, “There is something wonderfully revealing about these behind-the-scenes glimpses of musicians we thought we knew so well. What stands out is not just the sweetness and immediacy of the images, but McCartney’s intuitive understanding of how to make a compelling picture.”

    In 2020, a trove of nearly one thousand photographs taken by McCartney on a Pentax 35 mm film camera he acquired in fall 1963 was rediscovered in his archive. McCartney says that “It was a crazy whirlwind that we were living through, touring and working pretty much every day and seeing loads of people who wanted to photograph us. There were loads of eyes, and cameras, at the center of this storm.”

    The photographs reveal the intensity of touring and of long days spent in rehearsal, in hotels, and on the road, being followed by the media at every stage. “They evoke an affectionate family album, picturing his fellow band members—John Lennon, George Harrison, and Ringo Starr—at a time when their lives were changing irrevocably,” writes Rosie Broadley, head of collection displays and senior curator of 20th-century collections at London’s National Portrait Gallery. “Where McCartney appears in the photographs, he had handed his camera to a member of The Beatles’ team, enabling us to capture glimpses of him performing onstage or posing for pictures.”

    The earliest photographs in this exhibition were made during a tour that began at the Odeon cinema in Cheltenham, Gloucestershire, in southwest England, on November 1, 1963, and depict the band’s opening acts. The next section documents their arrival in Paris on January 14, 1964, and their intense schedule—photo shoots and recording sessions planned around an 18-day run at Paris’s Olympia Theatre, which sometimes included three sets per day.

    Photographs in the following section show the band as they traveled from London to New York, where they arrived on February 7, 1964. McCartney’s first images of Manhattan were made through the window of the band’s chauffeur-driven car while fans pursued them down West 58th Street. The Beatles were booked to stay at the luxurious Plaza Hotel on Fifth Avenue, and McCartney photographed the horse-mounted police controlling the crowds from the car as they approached the hotel. In New York, The Beatles were scheduled to appear on the popular Ed Sullivan Show, where the first of three televised performances aired on February 9, 1964.

    Traveling in February 1964, McCartney directed his lens toward fans, workers, police, and press photographers who responded to his attention with surprise and delight. “In these photographs, McCartney connects with the everyday people he sees, capturing their humanity with empathy. He has said that he has always been drawn to representing the lives of ordinary people in his creative work due to his background. He was raised in a working-class family in Liverpool, where his father worked as a cotton merchant, one of the city’s major trade industries,” notes Broadley.

    When The Beatles arrived in Miami to perform again on The Ed Sullivan Show, this time from the Deauville Beach Resort in Miami Beach on February 16, McCartney switched from black-and-white to color film to capture the vivid colors of their new surroundings, a sharp contrast to the blizzards in Washington, DC, just a few days before. He says, “The color pictures start when we get to Miami . . . it’s like we were living in a black and white world on the rest of the tour and suddenly we’re in wonderland, Florida, the sun, the swimming pools.”

    Paul McCartney. George Harrison. Miami Beach, February, 1964. © 1964 Paul McCartney under exclusive license to MPL Archive LLP

    In Miami Beach, the band was finally able to take a few days off work, and McCartney photographed his friends relaxing by the pool, taking a boat trip, swimming, and even attempting to water ski. “Imbued with the spirit of holiday snaps, McCartney’s Miami photographs reflect the fun and novelty of their time there. The band relaxed their usual sartorial standards, swapping suits for ‘Beatles’-branded caps and toweling shirts, provided by the Deauville,” writes Broadley.

    After their extraordinary three-month journey, The Beatles returned in August 1964 for their first full North American tour, performing 32 shows across 25 cities in the United States and Canada. McCartney was no longer photographing the band’s experiences with the same intensity as during their first visit, but a small number of photographs taken during this tour record some of the musicians who traveled with The Beatles as opening acts.

    On the exhibition’s audio tour, guests can listen to McCartney’s personal reflections about selected works. While the exhibition is on view in Nashville, public programs will include panel discussions, photography ARTlabs, musical performances, and film screenings.

    Program

    Opening Conversation: Paul McCartney Photographs 1963–64
    Presented by Rosie Broadley and Mark Scala
    Friday, November 7, 6:30 p.m.
    Auditorium
    Free for members; $20 gallery admission required for not-yet-members;
    advance registration required*

    Join Rosie Broadley for a conversation with Chief Curator Mark Scala about Paul McCartney Photographs 1963–64: Eyes of the Storm to learn more about this extraordinary archive of recently discovered photographs and how they offer a uniquely personal perspective on The Beatles’ rise to global stardom.

    About Rosie Broadley

    Rosie Broadley is the head of curatorial (Victorian to contemporary) and senior curator of 20th-century collections at the National Portrait Gallery, London (NPG). In addition to Paul McCartney Photographs 1963–64, Broadley has curated other major exhibitions originating at the National Portrait Gallery, most recently Francis Bacon: Human Presence (2024), a ground-breaking presentation about the great 20th-century painter. She looks after the 20th-century collection at the NPG, which includes portraits of the royal family and other key figures in British history such as writers, artists, scientists, and pop stars in media ranging from imposing oil paintings to tiny daguerreotype photographs and by artists including Vanessa Bell, Lucian Freud, and David Hockney. She studied English literature and art history at Kings College London and Bristol University.

    *Registration for this program will open for Frist members on Tuesday, October 7 at 10 a.m. and for general admission on Wednesday, October 8 at 10 a.m.

    Want to get early access to tickets? Become a member today! Contact us at 615.744.4947 or Membership@FristArtMuseum.org.

    The museum will be open until 9:00 p.m. to allow guests time to visit the galleries after the conversation.

    Exhibition Credit

    Paul McCartney Photographs 1963–64: Eyes of the Storm has been organized by the National Portrait Gallery, London, England, in collaboration with Sir Paul McCartney. It is curated by Sir Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery.

    Supporter Acknowledgment

    Supported in part by Sandra Schatten Foundation

    The Frist Art Museum is supported in part by The Frist Foundation, the Tennessee Arts Commission, Metro Arts, andthe National Endowment for the Arts.

    Connect with us @FristArtMuseum #TheFrist
    FOR ADDITIONAL INFORMATION
    Buddy Kite: 615.744.3351, bkite@FristArtMuseum.org
    Ellen Jones Pryor: 615.243.1311, epryor@FristArtMuseum.org

    About the Frist Art Museum
    Accredited by the American Alliance of Museums, the Frist Art Museum is a 501(c)(3) nonprofit art exhibition center dedicated to presenting and originating high-quality exhibitions with related educational programs and community outreach activities. Located at 919 Broadway in downtown Nashville, Tenn., the Frist Art Museum offers the finest visual art from local, regional, national, and international sources in exhibitions that inspire people through art to look at their world in new ways. Information on accessibility can be found at FristArtMuseum.org/accessibility. Gallery admission is free for guests ages 18 and younger and for members, and $20 for adults. For current hours and additional information, visit FristArtMuseum.org or call 615.244.3340.

    #USA #Nahville #photographie #exposition #wtf

  • Schengen : a Europe without borders ?

    The Schengen area, consisting of 29 countries in Europe, is the world’s largest travel area without internal border controls. Covering over 4 million km² and populated by almost 420 million people, it has radically changed the functioning and perception of borders in Europe, as well as the free movement of people within it. Explore how the Schengen Agreement was reached, how it operates now, the impact it has had, and the challenges it faces today.

    This exhibition was curated and edited by Prof. Dr Simone Paoli (Università di Pisa) and Dr Isabel Hilpert (Leibniz Institute for Regional Geography), with the support of Dr Anastasia Remes (Historical Archives of the European Union).

    https://www.europeana.eu/de/exhibitions/schengen-a-europe-without-borders
    via @reka
    #Schengen #espace_Schengen #histoire #frontières #migrations #Europe #UE #EU #union_européenne #exposition #liberté_de_circulation

  • Oltre la linea. Storie di confine tra separazione e incontro
    https://www.balcanicaucaso.org/aree/Slovenia/Oltre-la-linea.-Storie-di-confine-tra-separazione-e-incontro-238576

    A Nova Gorica, nel sottopassaggio che attraversa i binari della linea ferroviaria Transalpina, è stata recentemente inaugurata una mostra «Never Mind the Borders» che racconta le pratiche transfrontaliere sul confine alto-adriatico negli anni della Guerra fredda. Una recensione

  • #Glyphosate : une nouvelle étude confirme le risque de #cancer

    Une étude scientifique menée sous l’égide de l’institut Ramazzini à Bologne, en Italie, et publiée jeudi dans la revue « Environmental Health », apporte de nouvelles preuves du caractère cancérogène de l’#herbicide le plus utilisé au monde (https://ehjournal.biomedcentral.com/articles/10.1186/s12940-025-01187-2).

    En novembre 2023, il était réautorisé dans l’Union européenne pour dix ans. Le glyphosate, herbicide le plus utilisé au monde, n’était pas considéré comme cancérogène par l’Efsa, l’Autorité européenne de sécurité des aliments, et le gouvernement français ne s’était pas opposé à son maintien sur le marché.

    Une nouvelle étude, publiée jeudi 12 juin dans la revue scientifique Environmental Health, vient cependant d’apporter des preuves supplémentaires du caractère cancérogène de la molécule. Menée par l’institut Ramazzini à Bologne en Italie, en collaboration avec d’autres centres de recherche, notamment britannique et états-unien, elle montre un risque démultiplié de leucémie, mais aussi d’autres types de cancers, sur des rats exposés à différentes doses de glyphosate considérées jusqu’ici comme sans effet sur la #santé humaine ou celle des rongeurs.

    Considérée par l’ONG de lutte contre les pesticides PAN Europe comme « l’étude indépendante la plus complète jamais conduite sur le glyphosate à partir d’animaux de laboratoire », la publication vient compléter de nombreuses recherches scientifiques déjà effectuées sur le sujet.

    Car le glyphosate est reconnu comme « cancérogène probable » depuis 2015 par le Centre international de recherche sur le cancer (CIRC). Pointé dans une expertise de l’Inserm, en 2021, qui faisait le lien entre exposition des agriculteurs et agricultrices et apparition du lymphome non hodgkinien – un cancer du sang –, il était aussi au centre, en 2019, d’une méta-analyse qui établissait, pour la population agricole exposée au glyphosate, un risque augmenté de 40 % de développer cette maladie.

    Le biologiste Daniele Mandrioli travaille depuis des années sur les #causes_environnementales des cancers. C’est lui qui a dirigé cette nouvelle recherche. Entretien.

    Mediapart : Comment avez-vous travaillé pour cette étude ?

    Daniele Mandrioli : C’est la plus large étude jamais réalisée en toxicologie sur le glyphosate. Les expériences ont été menées dans notre laboratoire à Bologne sur plus de 5 000 animaux, et nous avons travaillé en collaboration avec une dizaine d’instituts scientifiques dans le monde. Nous avons commencé en 2019 et avons donc mis six ans pour aboutir à ces résultats reconnus par les pairs pour le volet #cancérogénicité.

    Pourquoi avoir choisi d’étudier les effets du glyphosate ?

    Notre laboratoire est le plus grand laboratoire de toxicologie en Europe, et le deuxième au monde, en termes de nombre de produits étudiés pour leur cancérogénicité – plus de deux cents. Nous avons donc travaillé sur de nombreuses substances, et nous savions que concernant le glyphosate, il y avait un manque de connaissance à combler sur son possible caractère cancérogène, mais aussi neurotoxique, ou encore sur ses effets sur le microbiote intestinal.

    Nous pensions aussi qu’il fallait davantage étudier l’exposition prénatale à la molécule. C’est souvent ce qui s’avère le plus déterminant. Dans le cas du chlorure de vinyle, par exemple, une molécule utilisée pour produire le PVC, on s’est ainsi aperçu au cours des années 1970 et 1980 qu’une exposition pendant la #grossesse pouvait être extrêmement toxique pour le fœtus, alors qu’une exposition aux mêmes doses à l’âge adulte n’avait pas du tout les mêmes effets [il est classé cancérogène certain par le CIRC depuis 1987 – ndlr].

    À quels résultats avez-vous abouti ?

    Nous avons exposé les rats à différentes doses de glyphosate, et cette expérience a montré que près de la moitié d’entre eux – 40 % pour être précis – ont été atteints de #leucémie et en sont morts, et ce, avant d’avoir atteint l’âge de 1 an – ce qui correspond à l’âge de 35-40 ans chez les humains.

    Cependant, aucun cas de leucémie n’a été détecté au cours de la première année de vie chez les animaux témoins qui n’ont pas été exposés au glyphosate dans le cadre de notre expérience. De même, aucun cas de leucémie n’a été observé au cours de la première année de vie chez plus de 1 600 animaux de contrôle dans le cadre des études de cancérogénicité menées par notre institut et le Programme fédéral de toxicologie états-unien.

    C’est donc un résultat inquiétant et révélateur sur la mortalité précoce de ce cancer.

    Autre résultat remarquable de notre étude : la variété des organes touchés par cette exposition au glyphosate. La leucémie n’est pas la seule maladie que l’on a observée. Le foie, la peau, les reins, la vessie, l’utérus, la rate, les glandes mammaires… Le spectre des organes affectés est très large.

    Nos résultats viennent donc confirmer l’évaluation du CIRC publiée il y a dix ans, à savoir qu’il existe des « preuves suffisantes » que le glyphosate est cancérogène pour les animaux de laboratoire et qu’il est un cancérogène probable pour les humains, mais aussi d’autres études scientifiques qui avaient déjà démontré la cancérogénicité de la molécule.

    Qu’apporte votre étude de nouveau par rapport aux précédentes ?

    Ce qui est nouveau, au-delà d’avoir testé l’exposition in utero, c’est le niveau de l’exposition : nous avons donné aux rats des doses plus faibles que nos prédécesseurs, et qui sont considérées comme sans danger pour les humains. Et nous ne les avons pas seulement exposés au glyphosate pur, mais aussi aux produits commercialisés qui le contiennent : le #Roundup_Bioflow [utilisé dans l’Union européenne – ndlr] et le #Ranger_Pro [utilisé aux États-Unis – ndlr].

    Le caractère dévastateur de l’#exposition_prénatale et le large spectre des organes touchés auxquels nous avons abouti n’avaient pas été démontrés dans les études précédentes.

    Vous avez travaillé sur les rats. Que cela signifie-t-il pour les humains ?

    La #toxicologie repose depuis une cinquantaine d’années sur le principe que les expérimentations sur les rats sont ce qu’il y a de plus prédictible pour les humains. Il faut savoir que la leucémie est une maladie avec une latence d’au moins dix ans et les tumeurs solides ont des latences encore plus longues. Les études épidémiologiques menées sur les cohortes humaines sont donc très longues à réaliser, et cela demande de suivre énormément de gens avant de pouvoir tirer des conclusions. Les études toxicologiques nous permettent d’avoir d’autres types de résultats, et de façon plus rapide.

    Pas assez rapide, cependant, pour pouvoir interdire le glyphosate sur le sol européen, réautorisé fin 2023 pour dix ans…

    Nous espérons que nos résultats éclaireront les décideurs, pas seulement en Europe, mais dans le monde entier. Notre étude apporte des #preuves, mais ce n’est pas à nous de prendre les décisions, ce n’est pas notre rôle. Nous sommes des scientifiques indépendants.

    https://www.mediapart.fr/journal/ecologie/130625/glyphosate-une-nouvelle-etude-confirme-le-risque-de-cancer
    #agriculture #industrie_agro-alimentaire

  • #Revenir. Expériences du #retour en #Méditerranée

    Algérie, Arménie, Grèce, Palestine, Liban, Macédoine du Nord, Syrie… Quels types de #liens gardons-nous avec la terre d’origine après l’avoir quittée ? Le retour est-il « le #désir et le #rêve de tous les immigrés », comme l’a écrit le sociologue Abdelmalek Sayad ? Il y a ceux qui ont la chance de pouvoir revenir chaque année, le temps d’un été, voire de se réinstaller définitivement chez soi après une vie d’exil. Mais que faire lorsque les frontières, la politique ou la guerre rendent le #retour_impossible ?

    Comment revenir, quand le chez-soi n’existe plus ?

    Cette exposition s’intéresse à la question des #migrations en Méditerranée sous l’angle peu connu du « retour ». À travers des objets, des œuvres d’#art et des parcours de vie, elle souhaite approcher la complexité des expériences du « revenir », prises entre #déracinements et #enracinements, pratiques et #imaginaires, gouvernances nationales et aspirations individuelles. Il s’agit de questionner ces réalités plurielles, circulatoires, non linéaires, parfois empêchées, parfois détournées, qui engagent le chez-soi, sa reconnaissance et sa transposition, sans omettre les mémoires et les rêves qui y sont intimement liés.

    L’exposition rend compte de ces possibles dans un parcours où s’entremêlent des œuvres conservées en collections publiques, des objets intimes et documents familiaux, ainsi que des créations d’artistes contemporains dont la pratique fait écho à leur expérience personnelle de l’exil et du retour.

    Véritable colonne vertébrale du projet, l’enquête-collecte « Retours migratoires en Méditerranée » a permis à cinq équipes de chercheurs de travailler sur des terrains en France, en Italie, en Macédoine du Nord, en Grèce, en Galilée et en Cisjordanie, pour réunir objets, documents, films, photographies et témoignages. Dans l’exposition, ces corpus sont éclairés par des restitutions cartographiques sensibles réalisées par Philippe Rekacewicz (@reka), et mettant en évidence les itinéraires biographiques individuels et collectifs observés au fil des enquêtes.


    Tout au long du parcours, nous verrons que le retour prend des formes différentes selon les trajectoires migratoires, les générations, les rapports entretenus avec l’espace natal ou ancestral et les politiques étatiques. Dès lors, le revenir est l’expression d’un devenir – un projet ou un mouvement – qui esquisse la géographie de l’#appartenance dans ses expériences (im)possibles.

    https://www.mucem.org/programme/exposition-et-temps-forts/revenir
    #exposition

  • mode d’emploi - Musées de Strasbourg

    https://www.musees.strasbourg.eu/mode-d-emploi

    Clin d’œil au chef d’œuvre de Georges Perec, La Vie, mode d’emploi, dont le récit principal adopte le mode de la description comme point de départ de la narration, ce projet d’exposition s’intéresse aux œuvres dites « à protocoles » qui parcourent la création contemporaine depuis les années 1960 à nos jours. Remettant en cause les notions d’auteur, d’originalité ou encore de pérennité, les œuvres à protocoles incarnent une pensée radicalement nouvelle de l’œuvre d’art que cette exposition invite à découvrir et expérimenter.

    Une œuvre à protocole se manifeste à partir d’un énoncé formulé par l’artiste, sorte de mode d’emploi qui décrit les conditions de son apparition. À partir d’instructions données (écrites, orales, dessinées), l’œuvre peut être matérialisée le temps de son exposition. Ce modèle de création, dont l’origine est attribuée à Marcel Duchamp et László Moholy-Nagy, se développe à partir des années 1960. Il marque l’affirmation d’une nouvelle conception de l’œuvre d’art qui d’autographe (de la main de) devient allographe, c’est-à-dire que l’œuvre est activée par une autre personne que l’artiste. Des œuvres de Alice Aycock, George Brecht, Martin Creed, Larva Labs, Louise Lawler, Sol Lewitt, Vera Molnár, Claude Rutault, Lawrence Weiner et Erwin Wurm, entre autres, se déploient dans l’espace de l’exposition aux côtés de documents et d’archives retraçant une histoire de la création protocolaire dans le domaine des arts plastiques mais aussi de la musique ou du design.

    Imaginée dans une démarche écoresponsable, mode d’emploi est une exposition sans transport d’œuvres et s’inscrit dans une scénographie recyclée. Conçue comme un projet collaboratif et vivant, elle sollicite la participation des publics et de nombreux partenaires et complices à l’instar du Musée national d’art moderne - Centre Pompidou, du 49 Nord 6 Est - Frac Lorraine ou encore du Festival Musica.

    #art #exposition

  • Banlieues populaires, « banlieues chéries » : imaginaires, révolutions et réalités sociales du XIXe siècle à nos jours
    https://metropolitiques.eu/Banlieues-populaires-banlieues-cheries-imaginaires-revolutions-et-re

    À l’occasion de l’ouverture de l’exposition « Banlieues chéries » du Musée de l’histoire de l’immigration, Métropolitiques publie un extrait de son catalogue, où Emmanuel Bellanger met en lumière l’histoire sociale et politique des représentations des banlieues populaires. Vertes, bleues, noires et rouges, les banlieues sont une déclinaison de couleurs, de teintes et de nuances. Au commencement, prédominaient dans les environs de la #capitale les « banlieues vertes », rurales, paysannes et maraîchères, dont #Essais

    / capitale, #histoire, #métropole, #banlieue, #quartiers, #quartiers_populaires, #exposition

    https://metropolitiques.eu/IMG/pdf/met-bellanger_banlieues_cheries.pdf