2025
It was for April, for December, for July. Tour Orion will soon close its doors. Like many artist studios, its occupation was always temporary. There will be no fourth summer here.Changing locations regularly means giving yourself rhythms, deep dives and breathing room, beginnings and endings in the work — trying out solitude or proximity, reinventing our collective structures each time. But for some, it is an exhausting race, the same as that of countless open calls; yet another set of economic mechanisms leaving us breathless.
One might also argue that instability is a form of life inherent to contemporary art — that the demands of novelty, of creation, and the quiet ideal of revolution call for exactly this kind of framework. Whatever the case, and definitively, it is a pharmakon: both remedy and poison. And even accepting that instability is the very reality to be embraced, that you never step into the same river twice, even telling yourself that everything changes, always — something must still change, and remain. There must be a substrate that holds this movement.
From our artistic existences passed through a sieve — like a concentrate, a reduction, an essence — at least three elements remain. There are aesthetics in the making, steeped in impermanence, perishable and in equilibrium: works born of process and mutation. There is the recognition that our spaces are not merely measurable and quantifiable, let alone profitable, but affective — spaces that unfold the artistic gesture. And finally, there is the collective: being and above all living together, producing norms, even temporary ones, to sustain the dynamism of our organizations.
So may it last — may it keep lasting, may it never stop lasting.
This exhibition offers an intuition of that perpetual motion. The artists are those who occupy temporary spaces across the Île-de-France; the works are symptoms of their relationship to these places, or of the ephemeral artistic motif. The hang continuously unravels, until it reaches the exit.
Curatorial text in french here
Curation, production, and programming for the exhibition at Tour Orion with Milieu Studio, from May 29 to June 8, 2025
Group show with Kevin-Ademola Sangosanya, Margot Anquez-Bariseau, Margot Bernard, Lisa Bravi, Thomas Buswell, Naomi Feigelson, Charlotte Janis / Spora, Thomas Julliot-Decker, Emilia Shine, Joshua Merchan Rodriguez, Delphine Miquel, Hélène Paris, Théo Soulover-Verhelst, Simon Termignon with Jennifer Chambaret, Dune Delhomme, Anna Mancuso, Théodore Parizet, Hugo Servanin, Hugo Vessiller-Fonfreide, Kyvèli Zoï ⸱ Programmed the series of talks and performances, addressing artist precarity and working conditions, including a lecture by Aurélien Catin on income continuity legislation, a roundtable with Kevin-Ademola Sangosanya, Charlotte Janis, Mathilde Badie, Francisca Brielle, Claire Froes, and Julia Piccolo, moderated by Camille Bardin, and a concluding performance by Naomi Feigelson
Les courant•es is a short documentary produced for the exhibition Pourvu que ça dure (May it last), in which we explore the relationships that four artists develop with their ephemeral studios, the emotional investment they place in them, and the ways in which movement shapes their practices. This video complements the exhibition and sheds light on what unfolds between the act of creation and the act of display, within the intimacy of these fluid spaces.
The documentary features Naomi Feigelson, at home and in the Bois de Vincennes, Kevin-Ademola Sangosanya, at Préavis and Carbone17, Delphine Miquel, at the Sculpture-Paris-Montreuil studios, Théo Soulover Verhelst, at Mosaic.
Directed by Milieu Studio (Ismahane Poussin, Juliana Hübner Rabello, Jade Giacometti) ⸱ Editing and sound mixing by Félix Provost ⸱ Cinematography and graphic design by Ismahane Poussin ⸱ Intro and outro music: Moby (Flute) ⸱ With the support of Non-Étoile and the Fondation de France