14. Fourteenth resident, for 1 week, from the 22nd until the 29th of December 2012: Marie Christine Questerbert
Marie Christine Questerbert, who contributed to the Cahiers du Cinema as a critic, is a film... writer and maker.
Lead actress in Luc Moullet's films: Une Aventure de Billy le kid, Anatomie d un rapport, and lately Chef d' oeuvre,
she wrote and directed short films (works of fiction in the Southern Alps and documentaries as Cremonini, images reflets for the National Center for the Visual Arts).
Her first full-length feature film, La chambre obscure, was selected for the Quinzaine des Réalisateurs at Cannes in 2000 et nominated for the Caméra d or Award.
In 2003, she makes a medium-length film at the Villa Arson, Le Jeu de la Simulation starring Eric Duyckaerts, Audrey Bonnet et Renaud Beccard.
This week at HĂ–FN will be for Marie-Christine, who is working on a new project (for a full-length feature film),
just enough time for a break, some thought and walking about in Marseilles, camera in hand.
Le 10 janvier 2013, Marie Christine Questerbert nous transmet son empreinte, un -double- signe de son passage Ă HĂ–FN, et Marseille:
une image, datée du 23 décembre 2012, puis une autre image, datée du 26 décembre 2012...
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13. Thirteenth resident at HĂ–FN, for 3 weeks, from the 26 of August 2012 until the 16th of September 2012: Imke Plinta
Imke Plinta is German,( speaking fluently French); she is a graphic designer.
For 12 years, in Stuttgart, Paris, Milan, Munich, Imke will be exploring as many fields as possible,
at first, chiefly confronting graphic creation and space: -signage and scenography -
then, during the last two years (in Munich), project manager for big companies, leading a graphic designers' team;
indeed a very instructive experience for her, but focusing mainly on the financial strategies and inner working of big companies...
After two years, Imke feels the need for a return to the roots of graphic design.
It is time for her to immerse in research, to question necessity and creativity,
to delve into a theoretical, philosophical, political and cultural approach...
At the Art school of Zurich, in the lnstitute Design2context, she will have as a teacher Ruedi Baur
whom she has already worked with in the passed.
She leaves Munich, moves to Zurich, and carries out at the Institute an academic work (Master of Design Culture), wich will lead her quite naturally to teaching...
and playing an active part in the creation of the Association Civic City.
Among many other Civic City projects, a meeting occures between the Association and the cooperative HĂ´tel Du Nord.
This will be for Imke the opportunity to "meet" Marseilles, and mostly its North Districts (Quartiers Nord, in French)... She "fell in love" with them (so she says!);
For 3 weeks, Imke, along with Ruedi Baur, organised a workshop at the Cité des Arts de la Rue with the FAI AR,
(a workshop as part of the résidence of Ruedi Baur and Civic City for the quartiers créatifs de Marseille-Provence 2013).
Thirteen women and men (a geograph, anthropologists, graphic designers, an architect, an urbanist, an electrician, a constructor, an actor....), from Switzerland and France, attended this workshop, titled:
Trois gares pour une utopie de proximité (Three railway stations for a closeness utopy)
For 3 weeks, they all tried and studied the way the local residents and users relate to those 3 stations: (Saint Antoine, Saint Joseph Le Castellas, Saint Louis Les Aygalades),
and presented prototypes in each of those stations during the European heritage days (the 15th and 16th of September 2012),
in order to open paths for utopies, and vivid discussions about the future of those stations....
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12. Twelfth resident, not a newcomer at HĂ–FN, since she lived and worked there for 2 months in Otober and November 2011 (see below 10. Tenth resident):
Margrét Elisabet Ólafsdottir.
"Magga" comes back for 3 months this time, from April to June 2012 , working harder as ever on her thesis, and sends us finally, from Iceland, the 24th of September 2012...
A SOUND.... directly echoing the text ( first-ever HÖFN residents'"trail"), which the artist Caroline Duchâtelet wrote in 2009 (see 1. First resident, at the bottom of this "page"...)
Grenouilles:
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11. Eleventh resident, from the 1st of January 2012 until the 21st; a bit later on, from the 13th of February until the 5th of March 2012,
Arianna Cecconi
Arianna Cecconi, Italian, from Milan, is an anthropologist.
Her ethnographic inquiries about fear, in Tuscany, then with the Peruviant community in Paris,
will finally lead her to Peru.
In 2004, Arianna Cecconi gets a PHD scholarship in anthropology (from « the « Fondo Nangerono ») at the Úniversity of Milan
in joint supervision with the « Ecole des Hautes Etudés en Sciences Sociales » (EHESS) in Paris.
Her research, its thematic, as she travels, meets people, listens, learns from experience... evolves...
In 2005 and 2006, Arianna Cecconi will live mainly with a family, in a tiny village at 3000 meters of altitude in Central Andes of Peru: Contay,
but will take an interest in another village as well : Chihua.
A new line of research emerges, both more precise AND vast :
a study about the Andean religion, about dreaming – a fondamental topic between people, about memory,
and about the process of reconciliation after a violent conflict, whithin two rural communities.
Through investigations more and more focused on the place of dreams in various geographic and cultural areas,
a desire for free exploration, not only an academic or purely ethnographic one, is born …
a desire which, at the moment, has taken two different forms :
- the creation of a project : «THE DREAM CATCHERS »,
an experimental research on stories, memories, feelings, situations and perceptions revealed by dreams,
meetings and creative workshops about, around, based on dreams,
that Arianna Cecconi and the performer and videast Tuia Cherici conduct together.(To see Dream Catchers' blog: link)
- a need for a different book – a novel (?), which would be connected to Arianna Cecconi' s knowledge and learning,
her professional and own experience, probably, most certainly, women and men she has met,
but which would allow fiction, imagination, and above all a free, opened, -to be discovered form of writing, untied from academic formating..
The 5th of March, as she is leaving, Arianna Cecconi conveyed her trail, her stamp, her own mark to us, a - double- sign of her stay at HĂ–FN: a text, a sound...
L'Ă©criture est un bruit qu'on peut lire.
Dans l'appartement où j'habitais à Milan, le chauffe-eau était un enfant qui criait à intervalles réguliers de 35 minutes sa mélancolie minuscule.
Il venait de naitre et il était déjà désespéré par sa vie dans les toilettes. Un jour que j'écrivais de l'anthropologie, le bruit du petit enfant s'est mis à coté de la théorie structuraliste et il s'est enfin endormi.
Tous les déplacements de son mobilier par mon voisin du dessus écrasaient ma main droite chaque fois que je cherchais à écrire sur les paradoxes de la révolution maoiste de Sentier Lumineux.
Après, j'ai lu qu'entendre son voisin déplacer les placards dans la nuit est une illusion, considérée comme pathologique.
Quand j'ai déménagé à Paris, les bruits du ravalement de la facade étaient l'excuse parfaite pour ne pas écrire.
Le première année où j'ai habité en Toscane, il y avait un oiseau qui avait appris à imiter le bruit de mon réveil-matin.
Il avait aussi appris le sens de l'humour ou du cynisme et sonnait tous les matins une heure Ă l'avance. Mais je n'ai jamais Ă©crit sur lui.
J'ai vécu dans les Andes Péruviennes, dans un maison en terre, où les bruits se transformaient chaque nuit en fantômes qui peuplaient mes rêves.
Mes rĂŞves ne font jamais trop de bruit, mais la terre est plus sonore que le silencieux ciment.
L'écriture de l'histoire de Teresa à été accompagnée par la vie acoustique naturelle de HOFN à laquelle j'ai ajouté le bruit d'un PC Asus 2006 duquel je ne me suis pas séparée, pour des raisons banalement fétichistes et trivialement financières.
Arianna
... and the translation of Arianna's text (by Dominique Poulain)...
Writing is a sound which is possible to read.
In the flat where I lived in Milan, the water-heater was a child who cried out every 35 minutes his minute melancoly.
He was just born, and already grieving over his life in the water-closet. One day, as I was writing some anthropoligical stuff, the little child's noise set down by the structuralist theory, and fell, at last, asleep.
All my upstairs neighbour's furniture slidings squashed flat my right hand each time I made an attempt at writing about the paradoxes within the Shining Path maoist revolution.
Later on , I read that hearing your neighbour moving around his cupboards all night long is pure illusion, regarded as a pathology.
When I moved to Paris, the front refurbishment noise was a perfect alibi not to write.
The first year I lived in Tuscany, there was a bird who had learned imitating my alarm clock sound.
He had learned as well the sense of humor, or cynism, and rang an hour ahead. But I never wrote about it.
I lived in the Peruvian Andes, in a clay house, where the sounds, every single night, changed into ghosts filling up my dreams.
My dreams are never that noisy, but clay is louder than silent cement.
The Teresa's story I was writing has been accompanied by HĂ–FN natural acoustic life, in addition with the sound of a PC Asus 2006, which I could never throw away, for tritely fetishistic and trivially financial reasons.
Arianna
... and... HĂ–FN natural acoustic life... .: