It’s 20 years of the biennial

So it has a certain history

A certain inscription, too

I was evidently very sensitive

To the question of being in the museum

I think you don’t work the same

If you do a biennial in different or temporary places

Or places that you would occupy the time of the biennial

Or if you’re in a place which has a construction of

Being a museum with a collection

With a program of exhibition, with different program

The time of the exhibition, which is 5 months

And how is this 5-month can be a receptacle

Of a different trans-artistic proposition

A receptacle which offers space for experimentation

And which is activated all along the 5 months

With program of performances

With a symposium, which is cut in three parts

September, November, and January

Series of conference every month

And a program of screenings

It’s really an aspect of thinking

How the museum position itself

In relation to biennial, to production

The question of reception, of diffusion, of collection

And how the biennial can participate to all these aspects

So this context had to be sold, for me, too, it’s very important

You have different modes of existence of archives

You can have archive what we call dead

Not activated anymore

Or in a state of invisibility, or in a state of non-accessibility

The exhibition is very much emphasizing, I think

This notion of not thinking the archive

As something belonging only to the past

But an archive, from the moment it’s activated is immediately…

…element, which construct a possibility

To construct different on the narrative of the present

In the anticipation of how the future is

I think it’s very important to emphasize that

There is a question of who decides that certain things

Should be kept or not? And where, and how?

And this question of who decide of archive being

Considered as meaningful for historical construction

Or political construction, social construction

It’s a question of where is all the power

And that’s evidently a very important point in the exhibition

Through these processes, there is an emancipatory aspect to it

So this alternative narrative is being constructed by artistic gesture

It has strongly to do is an emancipatory act

This is being shared and it’s an activation

Of the way of thinking our present