{"id":63819,"date":"2025-05-02T20:20:34","date_gmt":"2025-05-02T18:20:34","guid":{"rendered":"https:\/\/new.villa-arson.fr\/actualites\/2025\/05\/launch-of-the-la-surface-demange-collection\/"},"modified":"2025-05-02T20:20:59","modified_gmt":"2025-05-02T18:20:59","slug":"launch-of-the-la-surface-demange-collection","status":"publish","type":"post","link":"https:\/\/new.villa-arson.fr\/en\/actualites\/2025\/05\/launch-of-the-la-surface-demange-collection\/","title":{"rendered":"Launch of the La surface d\u00e9mange collection"},"content":{"rendered":"\n
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Apr\u00e8s la cr\u00e9ation d\u2019une\u00a0plateforme en ligne\u00a0d\u00e9di\u00e9e aux approches critiques de la p\u00e9dagogie artistique<\/a>, la Villa Arson est heureuse d’annoncer le lancement\u00a0de\u00a0la collection \u00ab La surface d\u00e9mange \u00bb avec la publication de deux ouvrages:\u00a0Espaces p\u00e9dagogiques alternatifs : de l\u2019utopie \u00e0 l\u2019institutionnalisation<\/a><\/em>\u00a0d\u2019Anna Colin et\u00a0F\u00e9minisme et p\u00e9dagogie au c\u0153ur des formations artistiques : 40 ans d\u2019exp\u00e9rience<\/a><\/em>\u00a0de Griselda Pollock. Ces deux ouvrages sont \u00e9galement publi\u00e9s en version anglaise en partenariat avec Sternberg Press \u2013 The MIT Press.<\/p>\n\n

Initiated by C\u00e9line Chazalviel and Sophie Orlando, the “La surface d\u00e9mange” collection is directed by Alice Dusapin (publishing director) and Sophie Orlando (scientific director) and designed by In the shade of a tree. <\/em> <\/p>\n\n

Alternative educational spaces: from utopia to institutionalization<\/em> – Anna Colin<\/h3>\n\n

Based on empirical research, Espaces p\u00e9dagogiques alternatifs: de l’utopie \u00e0 l’institutionnalisation<\/em> investigates how alternative pedagogical spaces are created, developed and transformed. <\/p>\n\n

Co-founder of the independent art school and community space Open School East, initiated in London in 2013, Anna Colin was its director between 2013 and 2021. In this book, she explores the factors that enable structures to be established, their life cycles, and the possible mismatch between the practices and values that bring them into existence. The survey analyzes the characteristics and prerequisites of what Colin calls “multi-public educational establishments”. It also looks at the thorny situations that threaten resolutely alternative projects: the habituation process, the temptation or necessity to expand, fund-raising that undermines the work ethic, longevity, or the simple desire to achieve viability and stability. <\/p>\n\n

Espaces p\u00e9dagogiques alternatifs<\/em> sets out to reconceptualize notions of waiting, slowness and longevity, and attempts to define what might benefit cultural practices and the creation of future institutions (or the redesign of existing ones). Rather than equating success with longevity, the author explores institutional models that resist chrononormativity, drawing on social movements, psychotherapy, biology and permaculture. <\/p>\n\n

Afterword: interview with Catherine Queloz Graphic design: in the shade of a tree<\/p>\n\n

French edition published by Villa Arson10.5 x 15.5 cm (paperback) \/ 132 pages \/ \u20ac12<\/p>\n\n

\u00c9dition anglaise publi\u00e9e par la Villa Arson et Sternberg Press<\/a>10,5 x 15,5 cm (broch\u00e9) \/ 116 pages \/ 12 \u20acDisponible sur la boutique en ligne des \u00e9ditions de la Villa Arson <\/a>et le site des Presses du r\u00e9el\u00a0<\/a><\/p>\n\n

Feminism and pedagogy at the heart of artistic training: 40 years of experience<\/em> – Griselda Pollock <\/h3>\n\n

Feminism and pedagogy at the heart of art education: 40 years of experience<\/em> brings together two conferences held in 1985 and 2022 by Griselda Pollock. <\/p>\n\n

In her 1985 lecture, Griselda Pollock formulates a critique of the gender politics present in twentieth-century<\/sup> art education, which, she argues, reinforce the individualistic, masculinist ideology of art’s capitalist conditions of production. She associates the cult of the author with a lack of recognition of women artists, despite their flagrant participation in modern art. She explores the impact of post-modern criticism and the commitment to feminist art on theories of meaning, subjectivity and the image, as she breaks away from the “studio” model. Finally, she argues for “a feminist intervention in art history” that can challenge the model centered exclusively on the male artist-hero or the hegemony of formalism in art theory. <\/p>\n\n

Nearly forty years later, in 2022, Griselda Pollock revisits the impact of 1968 and the theoretical revolution provoked by this historic moment, resituating the geopolitical and ideological turning points of 1989, 2001, and more particularly 2007 (release of the iPhone, linked to the Internet and social networks). She identifies a problematic post-2010 trend that she calls (via Derrida) “instagrammatology”, and defends a critical analysis of the grammar of social networks, which in her view reduce the spectrum of nuanced thought and perforate the surveillance of ideas. <\/p>\n\n

Afterword: Sophie OrlandoGraphics: in the shade of a tree<\/p>\n\n

French edition published by Villa Arson10.5 x 15.5 cm (paperback) \/ 138 pages \/ \u20ac12<\/p>\n\n

\u00c9dition anglaise publi\u00e9e par la Villa Arson et Sternberg Press<\/a>10,5 x 15,5 cm (broch\u00e9) \/ 120 pages \/ 12 \u20acDisponible sur la boutique en ligne des \u00e9ditions de la Villa Arson<\/a> et le site des Presses du r\u00e9el<\/a><\/p>\n\n

itchy surface<\/h2>\n\n

An online platform<\/h3>\n\n

La surface d\u00e9mange is a line of research into critical approaches to art education, directed by Sophie Orlando. <\/p>\n\n

From 2020 to 2024, it took the form of a working group on emancipatory pedagogies in art at the national art college, Villa Arson, bringing together Christelle Alin, Flo*Souad Benaddi, C\u00e9line Chazalviel, Gil Lekh and Hani Yikyung.<\/p>\n\n

En mars 2024, la Villa Arson lance la plateforme en ligne La surface d\u00e9mange<\/em><\/a>.<\/em> Cette plateforme accueille des contributions sur les formes p\u00e9dagogiques \u00e9mancipatrices issues de diff\u00e9rents milieux dont l’enseignement sup\u00e9rieur d\u2019art et de design, les centre d\u2019art et les milieux militants artistiques sous la forme d\u2019entretiens, de m\u00e9moires de 4e<\/sup> ann\u00e9e, de textes de commandes ou encore de cours collectifs.<\/p>\n\n

A paper collection<\/h3>\n\n

In January 2025, the Villa Arson, in conjunction with Sternberg Press – The MIT Press, launched a paper collection entitled “La surface d\u00e9mange” (The surface itches), with the publication of two books: Espaces p\u00e9dagogiques alternatifs: de l’utopie \u00e0 l’institutionnalisation (Alternative educational spaces: from utopia to institutionalization<\/em> ) by Anna Colin, and F\u00e9minisme et p\u00e9dagogie au c\u0153ur des formations artistiques: 40 ans d’exp\u00e9rience (Feminism and pedagogy at the heart of art training: 40 years of experience<\/em> ) by Griselda Pollock.<\/p>\n\n

This collection features reflective narratives from pedagogues in art schools, university departments of creative writing and visual arts, art centers and museums – institutions often considered progressive. <\/p>\n\n

It highlights the transformative possibilities and constraints encountered by emancipatory art pedagogies in visual art, performance, literature, art history, academic research and art criticism, all developed in contexts steeped in coloniality. Taken from a poem by Audre Lorde, the title evokes our desire to question the norms, biases and unthinking of pedagogical forms, but also to bear witness to what they arouse in us. <\/p>\n\n

Initiated by C\u00e9line Chazalviel and Sophie Orlando, the “La surface d\u00e9mange” collection is directed by Alice Dusapin (publishing director) and Sophie Orlando (scientific director) and designed by In the shade of a tree. <\/em> <\/p>\n

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