affiche2013--370x523If you love art and video check this great event out:

Version française

Communiqué n°3


Ayant choisi comme sous-titre pour la célébration du cinquantenaire (1963 / 2013) des arts vidéo, « L’art vidéo fut inventé par les enfants de 2e guerre mondiale, c’est aujourd’hui un art contemporain… des révolutions méditerranéennes et de la tragédie grecque », nous avons reçu le soutien du poète Alfred de Musset : « Alors s’assit sur un monde en ruine une jeunesse soucieuse » (Confession d’un enfant du siècle,1836) Du 7 au 11 novembre, à la Friche la Belle de Mai (Marseille) seront accueillis des artistes et des acteurs culturels du Maghreb, du Moyen-Orient, d’Asie, d’Amériques, d’Europe… Nous inscrivons notre démarche dans une tradition d’hospitalité qui remonte aux calendes grecques. Dans l’Iliade et l’Odyssée, Homère insiste sur le fait que quand un étranger débarque dans la cité, la règle est de lui offrir le gîte et le couvert avant de s’inquiéter de son identité et des motivations de sa venue. Ce n’est pas pour rien que Xenos signifie à la fois l’étranger et l’hôte. En déclarant que pendant une semaine Marseille sera « capitale mondiale des arts vidéo », nous voulons affirmer notre engagement pour une politique d’hospitalité radicale. Nous exigeons de l’Europe qu’elle accueille toutes les misères du monde, les milliers de Syriens qui fuient l’horreur de la guerre, les milliers d’Africains qui risquent leur vie au large de tous les Lampedusa méditerranéens, les Roms, les jeunes filles kosovares de 15 ans raflées à la sortie des écoles de la République… Hospitalité, notre beau souci ! Les Instants Vidéo

English version

News release n°3


Having chosen as subtitle for the celebration of 50 years of video arts (1963 / 2013) “Video art was invented by the children of the 2nd World War and it is the contemporary art of Mediterranean revolutions and the Greek tragedy” we received the support of the poet Alfred de Musset. “Then came upon a world in ruins an anxious youth.” (The Confession of a Child of the Century, 1836) Between November 7th to 11th, will be welcomed artists and cultural actors from Maghreb, Middle East, Asia, Americas, Europe… We inscribe our approach in a tradition of hospitality that finds its roots in the the mists of time. In Iliad and the Odyssey, Homer insists on the fact that when a stranger lands in a city, the rule is to give him bed and board before asking about his identity and the reasons of his visit. For sure, there is a reason why the word Xenos means at once the stranger and the host. We declared that for one week Marseilles will be the “world capital of video arts” to confirm our determination for a policy of total hospitality. We demand that Europe welcomes all the miseries of the world, the thousands of Syrians who are running away from the horrors of war, the thousands of Africans who are risking their life off the coasts of all the Mediterranean Lampedusas, the ROMs, the young Kosovan fifteen years old girls grabbed when leaving the Republic schools. Hospitality, our sweet concern ! The Instants Vidéo



Once again I feel very honoured to be part of the Cologne OFF video festival

In Greece with ‘Sweep and Weep…..

Cologne Art & Moving Images Awards
is happy to announce

CologneOFF 2013 Greece IV
9th Cologne International Videoart Festival
@ Ionian International Film Festival
9-12 October 2013

featuring the selections
“Objectives of Memory”
curated by Wilfried Agricola de Cologne, &
“Art & Nature” –
2# of Global Art & Moving Images Awards
coordinated by Wilfried Agricola de Cologne

more info on

And in Vilnius with ‘Funeral to a plastic bag’

‘BEYOND ALL’ in Vilnius LIthuania

23 Sept – 29 Oct – CologneOFF 2013 Lithuania

Chack it all out on the Cologne OFF blog:



The United Arab Emirates will celebrate its 42nd National Day this December, and as part of the festivities Xpoze is launching a project called Sandbox (which you were introduced to in the previous email).

The project aims to allocate areas dubbed as “cities” around the Emirates of Abu Dhabi (the capital of the UAE) and Dubai, in which art and design installations will be placed for the public to enjoy and interact with. We would like to invite you to come to the UAE and produce your work here for this event specifically. Flights and accommodations will be included. The date we were aiming to have you here in is around the 25th of November, but as we are still going through the initial stages the exact date is yet to be confirmed.

CHECK IT OUT: Xpoze Idea Factory



THE MAP IS NOT THE TERRITORY show continues and is getting amazing reviews!

Checking it out:


THE WASHINGTON POST – 05 October 2013 The Map is Not the Territory A complex look at tangled situations, “The Map is Not the Territory” expands beyond the Jerusalem Fund Gallery Al-Quds’s usual focus on Palestinian issues to include Ireland’s historic divisions and the United States’ and Canada’s treatment of their indigenous population. Made by 39 artists and mostly on paper, the nearly 70 pieces are grouped into such subcategories as “Occupation/Wall” and “Home/Diaspora.” Their approach ranges from symbolic to specific and from playful to polemical. ome artworks combine elements from the three rather different conflicts. Mona El-Bayoumi’s “Lucky Can’t Find a Piece of Land to Sit and Eat His Falafel Peacefully” collages stereotypical images from commercial food packaging, including Lucky Charms’ leprechaun and Land O’Lakes butter’s Indian maid. Fatin Al-Tamimi and Lisa-Marie Johnson photographed Palestinian-flag-waving marchers on Dublin’s once-contested streets. Helen Zughaib’s “Woven in Exile” shows a veiled woman in front of a colorful Navajo quilt. Rawan Arar’s shot of a West Bank camp shows a spray-painted welcome, “You Are Now Entering Free Dheisheh,” inspired by an oft-photographed sign in Derry, Northern Ireland. Among the motifs are maps, walls and passports. Rajie Cook’s “Epitaph for a Roadmap” depicts an unfolded blank sheet, lacking any path to the future, while Manal Deeb adds symbolic images to her grandfather’s actual Palestinian passport. Malaquias Montoya’s “Undocumented” depicts a faceless person snared on barbed wire, and John Halaka’s “Forgotten Survivors” superimposes an old map — with Jerusalem designated in Arabic as “Al Quds” — atop photos of refugees. There is, inevitably, an abundance of text. The simplest example is Zughaib’s “Beit/Salaam,” whose spiraling calligraphy repeats the words for “home” and “peace.” It’s a gentle mantra for a show that’s more often bristling. territory-reminiscences-and-current-musings/2013/10/03/8bc180fc-29f9-11e3-b141- 298f46539716_story.html

Washington_Report_on_Middle_East_Affairs_OctNov_2013-1 Washington_Report_on_Middle_East_Affairs_OctNov_2013