Date
Title
September 2024
Write as the Beasts Cry at Night by Thu-Van Tran
Curated by
Artists
Thu-Van Tran, Marguerite Duras, Yann Chateigné Tytelman
Press Release
Download
Review
Related
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⊗
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Introduction, September 2024
I met Thu-Van Tran more than fifteen years ago. At the time, she was one of the artists who occupied a former shoe factory in the Belleville district in Paris. It was a communal project named La Générale. I was an early visitor of this temporary place, and soon became informally a member of this community. By affinity, we saw ourselves curating a group exhibition together. I was 28. Since 4 or 5 years I started a writing and curating practice. I had day job then and between the end of 2005 and the Spring of 2006, we spent many nights talking, convening, installing… Our project became something really special to me, perhaps the first real contemporary art exhibition that I curated, which was also a deep, radical and collective experience of a place, of self-co-organization. We thought of the exhibition as a mental collection, that composed a sort of invisible mandala that you could only visualise in totality in the (self-) published guide of the show. I remember that for Thu-Van, it was very important that the exhibition was documented with an analog camera, and not a digital one.
Date
September 2024
Title
Write as the Beasts Cry at Night by Thu-Van Tran
Curated by
Artists
Thu-Van Tran, Marguerite Duras, Yann Chateigné Tytelman
Press Release
⊕
⊕
Download
⊗
Review
⊗
Related
⊕
⊗
Introduction, September 2024
I met Thu-Van Tran more than fifteen years ago. At the time, she was one of the artists who occupied a former shoe factory in the Belleville district in Paris. It was a communal project named La Générale. I was an early visitor of this temporary place, and soon became informally a member of this community. By affinity, we saw ourselves curating a group exhibition together. I was 28. Since 4 or 5 years I started a writing and curating practice. I had day job then and between the end of 2005 and the Spring of 2006, we spent many nights talking, convening, installing… Our project became something really special to me, perhaps the first real contemporary art exhibition that I curated, which was also a deep, radical and collective experience of a place, of self-co-organization. We thought of the exhibition as a mental collection, that composed a sort of invisible mandala that you could only visualise in totality in the (self-) published guide of the show. I remember that for Thu-Van, it was very important that the exhibition was documented with an analog camera, and not a digital one.