Soutenir Nigra Iuventa – Campagne annuelle / Support Nigra Iuventa – Annual Campaign

Souscrire pour être informé des nouveaux événements !

Nigra Iuventa

LXCL:<h1 class="lxcl-h1" dir="ltr" style="text-align: center;">Pour l'art contemporain africain et afrodescendant. </h1><h2 class="lxcl-h2" dir="ltr" style="text-align: center;">Nous appuyons le développement et la reconnaissance des artistes africain·e·s et afrodescendant·e·s en art contemporain en soutenant la création, la diffusion et la préservation de leurs œuvres. Organisme à but non lucratif fondé en 2021 à Tiohtià:ke/Montréal.</h2>

Dans le cadre de la deuxi&egrave;me &eacute;dition du Symposium RAN: R&eacute;seaux de l&rsquo;Atlantique noir, Nigra Iuventa pr&eacute;sente un programme de deux films qui interrogent nos mani&egrave;res d&rsquo;habiter le monde et les relations que nous entretenons avec nos milieux de vie. Omi Nobu, l&rsquo;homme nouveau de Carlos Yuri Ceuninck Cap-Vert / Belgique, 2023 &middot; 64 min &middot; Cr&eacute;ole du Cap-Vert, sous-titres anglais&Agrave; 76 ans, Quirino est le dernier habitant d&rsquo;un village nich&eacute; au c&oelig;ur d&rsquo;une vall&eacute;e du Cap-Vert, o&ugrave; les vagues se heurtent aux montagnes volcaniques. Une vieille radio constitue son seul lien avec le monde ext&eacute;rieur. Confront&eacute; &agrave; la vieillesse et &agrave; la perte de son autonomie, il doit quitter le seul lieu qu&rsquo;il ait jamais connu. &Agrave; travers des images et une bande sonore envo&ucirc;tantes, Omi Nobu, l&rsquo;homme nouveau rend hommage &agrave; la force de la nature, au rythme du quotidien insulaire et aux souvenirs qui persistent. Le Monde est &agrave; elles de Nadia Louis-DesmarchaisCanada (Qu&eacute;bec), 2023 &middot; 21 min &middot; Fran&ccedil;ais, sous-titres anglaisSix adolescentes montr&eacute;alaises quittent, pour la premi&egrave;re fois, leur milieu urbain pour participer &agrave; une exp&eacute;dition de canot-camping. &Agrave; travers leurs difficult&eacute;s et leurs petites victoires, le film accueille leur vuln&eacute;rabilit&eacute; avec po&eacute;sie et met en lumi&egrave;re la force de la sororit&eacute; et de l&rsquo;intervention th&eacute;rapeutique par la nature. Les films seront pr&eacute;sent&eacute;s dans cet ordre. La s&eacute;ance sera suivie d&rsquo;une conversation avec Nadia Louis-Desmarchais, autour de son film, de sa d&eacute;marche cin&eacute;matographique et des r&eacute;cits qu&rsquo;elle choisit de porter &agrave; l&rsquo;&eacute;cran. Pr&eacute;sent&eacute;e au Cin&eacute;ma Public, cette s&eacute;ance s&rsquo;inscrit dans le symposium organis&eacute; par Nigra Iuventa &agrave; Montr&eacute;al, du 23 au 29 octobre 2026, sous le th&egrave;me des &eacute;cologies relationnelles. La programmation de films est d&eacute;velopp&eacute;e en partenariat avec les RIDM.&nbsp;

Séance spéciale RAN : Omi Nobu & Le monde est à elles

As part of the second edition of the Black Atlantic Networks Symposium, Nigra Iuventa presents a programme of two films that explore how we inhabit the world and relate to the environments in which we live. Omi Nobu, l&rsquo;homme nouveau &mdash; Carlos Yuri Ceuninck Cape Verde / Belgium, 2023 &middot; 64 min &middot; Cape Verdean Creole with English subtitles Le Monde est &agrave; elles &mdash; Nadia Louis-Desmarchais Cap-Vert / Belgique, 2023 &middot; 64 min &middot; French sous-titres &nbsp;with English subtitles The screening will be followed by a conversation with Nadia Louis-Desmarchais about the film, her approach to filmmaking and the stories she chooses to bring to the screen. Presented at Cin&eacute;ma Public, this screening is part of the symposium organized by Nigra Iuventa in Montr&eacute;al from October 23 to 29, 2026, under the theme of Relational Ecologies. The film programme is developed in partnership with the FIFA and RIDM.

RAN Special Screening: Omi Nobu & Le Monde est à elles

Architect and co-curator of the Democratic Republic of the Congo Pavilion, Johnny Leya reflects on the conception and spatial design of the exhibition &ldquo;Simba Moto! Seize the Fire! Saisis le feu!&rdquo;, which brings together nine artists from the DRC and its diaspora. This presentation, followed by a short discussion, will trace his trajectory from Traumnovelle to the first DRC Pavilion at the Venice Art Biennale. It will explore architecture as a cultural and political practice through the spaces, narratives, and imaginaries that shape this project. Presented at the Canadian Centre for Architecture (CCA), in partnership with the team behind the Democratic Republic of the Congo Pavilion, this event is part of the second edition of the RAN Symposium: Black Atlantic Networks, under the theme of Relational Ecologies. About Johnny LeyaJohnny Leya (1990, Kinshasa) is an architect and researcher whose work explores the intersections of architecture, fiction, and social dynamics. Through built projects, exhibitions, and speculative narratives, he investigates forms of collective life and the spaces, rituals, and imaginaries they produce. He is the founder of Traumnovelle, an operative and critical architecture practice that uses architecture as both a material and narrative medium to question established spatial, social, and political structures. In 2018, he co-curated and designed the Belgian Pavilion at the Venice Architecture Biennale. Extending this engagement with architecture as a cultural and political practice, he is co-curator and architect of the Democratic Republic of the Congo Pavilion at the 2026 Venice Art Biennale.

Designing the DRC’s First Pavilion at the Venice Biennale — A Lecture by Johnny Leya

Architecte et co-commissaire du Pavillon de la R&eacute;publique d&eacute;mocratique du Congo, Johnny Leya revient sur la conception et la mise en espace de l&rsquo;exposition &laquo; Simba Moto ! Seize the Fire ! Saisis le feu ! &raquo;, qui r&eacute;unit neuf artistes de la RDC et de sa diaspora. Cette pr&eacute;sentation, suivie d&rsquo;une courte discussion, retracera son parcours, de Traumnovelle au premier Pavillon de la RDC &agrave; la Biennale d&rsquo;art de Venise. Elle abordera l&rsquo;architecture comme pratique culturelle et politique, &agrave; travers les espaces, les r&eacute;cits et les imaginaires qui donnent forme &agrave; ce projet. Pr&eacute;sent&eacute;e au Centre Canadien d&rsquo;Architecture (CCA), en partenariat avec l&rsquo;&eacute;quipe du Pavillon de la R&eacute;publique d&eacute;mocratique du Congo, cette rencontre s&rsquo;inscrit dans la deuxi&egrave;me &eacute;dition du Symposium RAN : R&eacute;seaux de l&rsquo;Atlantique noir, sous le th&egrave;me des &eacute;cologies relationnelles. &Agrave; propos de Johnny Leya Johnny Leya (n&eacute; en 1990 &agrave; Kinshasa) est un architecte et chercheur dont le travail explore les intersections entre l&rsquo;architecture, la fiction et les dynamiques sociales. &Agrave; travers des projets construits, des expositions et des r&eacute;cits sp&eacute;culatifs, il explore les formes de vie collective ainsi que les espaces, les rituels et les imaginaires qu&rsquo;elles engendrent.&nbsp;Il est le fondateur de <a fr-original-style="" href="https://traumnovelle.eu/" style="text-decoration-color: currentcolor; user-select: auto; box-sizing: inherit;" target="_blank">Traumnovelle</a>, un cabinet d&rsquo;architecture &agrave; la fois op&eacute;rationnel et critique qui utilise l&rsquo;architecture comme un support &agrave; la fois mat&eacute;riel et narratif pour remettre en question les structures spatiales, sociales et politiques &eacute;tablies. En 2018, il a co-organis&eacute; et con&ccedil;u le pavillon belge &agrave; la Biennale d&rsquo;architecture de Venise. Poursuivant cet engagement en faveur de l&rsquo;architecture en tant que pratique culturelle et politique, il est co-commissaire et architecte du pavillon de la R&eacute;publique d&eacute;mocratique du Congo &agrave; la Biennale d&rsquo;art de Venise de 2026.

Scénographier la première présence de la RDC à la Biennale de Venise — Conférence de Johnny Leya

How can you document your artistic or curatorial practice? Which documents should you keep, how do you open a file, and what does depositing documents at Artexte make possible? How do these steps contribute to a collective memory of the arts? Following a workshop at the first edition of the RAN Symposium, Artexte returns with a clinic addressing these practical questions. Discover the role of its documentary collection and the steps involved in depositing documents to make your work accessible for discovery, research, and preservation. You will have the opportunity to speak directly with members of the collection team, ask questions, and explore ways to document and archive your practice. Through documents donated by artists, curators, and cultural organizations, the session will also explore how the traces of individual practices help build a collective memory. RAN clinics take place in small groups, allowing time for discussion and individual questions. Practical information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Date: Saturday, October 24, 2026</li><li fr-original-style="" style="box-sizing: inherit;">Time: 5 pm</li><li fr-original-style="" style="box-sizing: inherit;">Venue: Canadian Centre for Architecture (CCA)</li><li fr-original-style="" style="box-sizing: inherit;">Language: Bilingual</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 50 min</li><li fr-original-style="" style="box-sizing: inherit;">Accessibility: The CCA has an elevator, and wheelchairs are available upon request at the reception desk.</li></ul>About Artexte Artexte is a library, research centre and exhibition space for contemporary art. Our unique print and digital document collection holds over 30 000 documents covering the visual arts from 1965 to the present, with an emphasis on the art of Canada and Qu&eacute;bec. Over 80% of the acquisitions stem from donations from the visual arts community.

Artexte

Comment documenter sa pratique artistique ou curatoriale ? Quels documents conserver, comment ouvrir un dossier et &agrave; quoi sert le d&eacute;p&ocirc;t de documents chez Artexte ? Comment ces gestes contribuent-ils &agrave; une m&eacute;moire collective des arts ? Apr&egrave;s un premier atelier pr&eacute;sent&eacute; lors de la premi&egrave;re &eacute;dition du Symposium RAN, Artexte revient pour une clinique consacr&eacute;e &agrave; ces questions concr&egrave;tes. D&eacute;couvrez le r&ocirc;le de sa collection documentaire et les &eacute;tapes pour y d&eacute;poser des documents afin de rendre votre travail accessible &agrave; des fins de d&eacute;couvrabilit&eacute;, de recherche et de conservation. Vous aurez l&rsquo;occasion d&rsquo;&eacute;changer directement avec les membres de l&rsquo;&eacute;quipe de la collection, de poser vos questions et de r&eacute;fl&eacute;chir aux fa&ccedil;ons de documenter et d&rsquo;archiver votre pratique. &Agrave; travers les dons de documents faits par les artistes, commissaires et organismes culturels, cette rencontre permettra aussi d&rsquo;explorer comment les traces de chaque pratique participent &agrave; la construction d&rsquo;une m&eacute;moire collective.Les cliniques RAN se d&eacute;roulent en petit comit&eacute; pour laisser le temps &agrave; la discussion et aux questions de chacun&middot;e. Informations pratiques<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Date : samedi 24 octobre 2026</li><li fr-original-style="" style="box-sizing: inherit;">Horaire : 17h00 &agrave; 17h50</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Centre Canadien d&rsquo;Architecture (CCA)</li><li fr-original-style="" style="box-sizing: inherit;">Langue : bilingue</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : &nbsp;50 min&nbsp;</li><li fr-original-style="" style="box-sizing: inherit;">Accessibilit&eacute; : le CCA dispose d&rsquo;un ascenseur et pr&ecirc;te des fauteuils roulants sur demande &agrave; l&rsquo;accueil.</li></ul>&Agrave; propos d&#39;Artexte:&nbsp;Artexte est une biblioth&egrave;que et un centre d&rsquo;exposition en art contemporain, avec une collection unique de plus de 30 000 publications couvrant divers aspects des arts visuels. Plus de 80% des acquisitions proviennent de dons de la communaut&eacute; artistique.

Documenter sa pratique, en collaboration avec Artexte

Dans le cadre de la deuxi&egrave;me &eacute;dition du Symposium RAN, Nigra Iuventa r&eacute;unit trois &oelig;uvres qui interrogent, depuis des perspectives diff&eacute;rentes, le corps, la m&eacute;moire, les r&eacute;cits et les relations qui nous constituent.&nbsp; PNEUMOTHERAPY (II) &mdash; Miles Greenberg Deuxi&egrave;me volet d&rsquo;un cycle de performances immersives et de longue dur&eacute;e d&eacute;velopp&eacute; par Miles Greenberg lors de sa r&eacute;sidence au Palais de Tokyo, PNEUMOTHERAPY (II) envisage le corps comme un espace de transformation. &Agrave; la crois&eacute;e de r&eacute;f&eacute;rences scientifiques, spirituelles et psychologiques, l&rsquo;artiste mobilise performance, architecture et installation pour explorer les dimensions physiques et symboliques de notre organicit&eacute;. &rarr; Big Bang Henda de Fernanda Polacow Renverser des statues et des symboles, construire de nouveaux souvenirs, encadrer le paysage modifi&eacute;, &eacute;crire des lettres pour le futur et inverser les dynamiques de pouvoir : Big Bang Henda est un documentaire-po&egrave;me-manifeste sur l&rsquo;&oelig;uvre de l&rsquo;artiste angolais Kiluanji Kia Henda. &rarr; Memory of Princess Mumbi de Damien HauserEn 2093, le cin&eacute;aste Kuve se rend &agrave; Umata pour documenter les cons&eacute;quences d&rsquo;une guerre qui a faitrena&icirc;tre d&rsquo;anciens royaumes. L&agrave;-bas, il rencontre Mumbi, qui le met au d&eacute;fi de r&eacute;aliser son film sans recourir&agrave; l&rsquo;intelligence artificielle.Alors que Kuve cherche &agrave; trouver sa propre voix, il commence &agrave; r&eacute;aliser que, m&ecirc;me dans un monde bris&eacute;, labeaut&eacute; peut se trouver dans les petits moments humains que nous n&eacute;gligeons souvent Pr&eacute;sent&eacute;e au CCA, cette s&eacute;ance s&rsquo;inscrit dans la deuxi&egrave;me &eacute;dition du Symposium RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique Noir, qui se tiendra &agrave; Montr&eacute;al du 23 au 25 octobre 2026 sous le th&egrave;me Les &eacute;cologies relationnelles. La programmation cin&eacute;matographique est d&eacute;velopp&eacute;e en partenariat avec le FIFA.&nbsp;

Séance spéciale RAN : PNEUMOTHERAPY (II), Big Bang Henda & Memory of Princess Mumbi

As part of the second edition of the RAN Symposium, Nigra Iuventa brings together three works that question, from different perspectives, the body, memory, narratives, and the relationships that constitute us.&nbsp; PNEUMOTHERAPY (II) &mdash; Miles Greenberg PNEUMOTHERAPY (II) is the second part of a cycle of immersive, long-duration performances developed by Miles Greenberg during his residency at the Palais de Tokyo, envisioning the body as a space of transformation. At the crossroads of scientific, spiritual, and psychological references, the artist mobilizes performance, architecture, and installation to explore the physical and symbolic dimensions of our organicity. &rarr; Big Bang Henda by Fernanda Polacow To overturn statues and symbols, construct new memories, frame the altered landscape, write letters for the future, and reverse power dynamics: Big Bang Henda is a documentary-poem-manifesto about the work of Angolan artist Kiluanji Kia Henda. &rarr; Memory of Princess Mumbi by Damien HauserThe Great War of the 2070s, which erased modern technologies and revived ancient kingdoms. He meets Mumbi, who challenges him to make his film without artificial intelligence. He then begins to understand that even the smallest moments can hold profound beauty. Presented at the CCA, this session is part of the second edition of the RAN Symposium &ndash; Networks of the Black Atlantic, which will take place in Montreal from October 23 to 25, 2026, under the theme Relational Ecologies. The film programming is developed in partnership with FIFA and RIDM.

Projections RAN: PNEUMOTHERAPY (II), Big Bang Henda & Memory of Princess Mumbi

<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">Thinking Through Exhibition Space with Farida Abu-Bakare<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">An exhibition is shaped not only by its artworks, but also by the space that holds them. How can we design a space that brings artworks, audiences, and the stories we wish to tell into dialogue? How can exhibition design become a curatorial gesture in its own right?<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">Whether you are an artist considering how to present your work in space or a curator planning an exhibition&rsquo;s layout, this clinic offers an opportunity to explore your ideas through conversation: a short presentation followed by your questions. Drawing on concrete projects, you will reflect together on the design of exhibition spaces.<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;"> <span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">&rarr;&nbsp;Led by: Farida Abu-Bakare, architect and curator &rarr;&nbsp;Duration: 50 minutes &rarr;&nbsp;Format: small-group workshop &rarr; Language: English<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;"> <span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">About Farida Abu-Bakare<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">Farida Abu-Bakare is an architect and curator, Principal and Director of Global Practice at WXY architecture + urban design. With more than fifteen years of experience across North America, Africa, and the Middle East, she has worked with firms including Adjaye Associates. Her curatorial work, presented at venues including the Museum of Contemporary Art Toronto, explores the intersections of architecture, art, and cultural narratives. A co-founder of the Black Architects + Interior Designers Association (BAIDA) in Canada, she teaches and advocates for a more equitable and socially engaged architecture.<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;"> <span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;">Photo credit: William Pew

Thinking Through Exhibition Space with  Farida Abu-Bakare

Penser l&rsquo;espace d&rsquo;exposition avec Farida Abu-Bakare Une exposition ne se pense pas seulement par les &oelig;uvres mais aussi par l&rsquo;espace qui les accueille. Comment concevoir un lieu qui fait dialoguer les &oelig;uvres, le public et le r&eacute;cit que l&rsquo;on souhaite porter ? Comment la sc&eacute;nographie devient-elle un geste curatorial &agrave; part enti&egrave;re ?Que vous soyez artiste r&eacute;fl&eacute;chissant &agrave; la mise en espace de votre travail ou commissaire concevant le parcours d&rsquo;une exposition, cette clinique est un espace d&rsquo;&eacute;change pour vous accompagner dans vos r&eacute;flexions. uUne courte pr&eacute;sentation, puis vos questions! &Agrave; partir de projets concrets, vous pourrez r&eacute;fl&eacute;chir ensemble &agrave; la conception d&rsquo;un lieu d&rsquo;exposition. &rarr;&nbsp;Animation : Farida Abu-Bakare, architecte et commissaire &rarr;&nbsp;Dur&eacute;e : 50 minutes &rarr;&nbsp;Format : atelier en petit comit&eacute;, places limit&eacute;es. &rarr; Langue : anglais &Agrave; propos de Farida Abu-BakareFarida Abu-Bakare est architecte et commissaire, principale et directrice de la pratique mondiale chez WXY architecture + urban design. Forte de plus de quinze ans d&rsquo;exp&eacute;rience en Am&eacute;rique du Nord, en Afrique et au Moyen-Orient, elle a notamment collabor&eacute; avec Adjaye Associates. Son travail curatorial, pr&eacute;sent&eacute; entre autres au Mus&eacute;e d&rsquo;art contemporain de Toronto, explore les croisements entre architecture, art et r&eacute;cits culturels. Cofondatrice de la Black Architects + Interior Designers Association (BAIDA) au Canada, elle enseigne et milite pour une architecture plus &eacute;quitable et socialement engag&eacute;e. Cr&eacute;dit photo : William Pew

Approaching a gallery can feel intimidating. Who makes the first move? How do you find representation, build a relationship, and sustain it over time? Whether you are an artist seeking a gallery or a collector looking to find your place in these circles, this clinic sheds light on the often unspoken codes of the art market. A brief presentation led by Anie Deslauriers, Executive Director of the <a fr-original-style="" href="https://www.agac.ca/" style="text-decoration-color: currentcolor; user-select: auto; box-sizing: inherit;" target="_blank">Contemporary Art Galleries Association (AGAC)</a>, will be followed by an open discussion, offering a chance to ask the questions you might usually keep to yourself and become more familiar with these spaces.<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;"> Practical information&rarr;&nbsp;Facilitator: Anie Deslauriers, Executive Director of AGAC &rarr;&nbsp;Time: 3:30&ndash;4:20 p.m. &rarr;&nbsp;Duration: 50 minutes &rarr;&nbsp;Format: Small-group workshop; limited spaces &rarr; Language:&nbsp;in French &rarr; Venue: Canadian Centre for Architecture (CCA)<span fr-original-style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0);" style="font-size: 14px; font-family: Arial, Helvetica, sans-serif; color: rgb(0, 0, 0); box-sizing: inherit;"> The Contemporary Art Galleries Association (AGAC) is a non-profit organization whose primary mandate is to further develop the recognition and prosperity of the contemporary art market in Canada. Today, AGAC regroups galleries in Montreal, Quebec, Ottawa, Toronto, Calgary and Vancouver. The association actively contributes to the dissemination and promotion of Canadian artists via exhibitions and other major events organized in Qu&eacute;bec, Canada and internationally. Beyond defending the moral and economical interests of its members through a rigorous code of ethics, the association also fosters the public&rsquo;s interest in visual arts and encourages the emergence of new contemporary art collectors.

Building a Relationship with a Gallery, in collaboration with AGAC

Aborder une galerie peut intimider. Qui fait le premier pas ? Comment se faire repr&eacute;senter, &eacute;tablir une relation et l&#39;inscrire dans la dur&eacute;e ? Que vous soyez artiste en qu&ecirc;te d&#39;une galerie ou collectionneur&middot;euse souhaitant trouver votre place dans ces milieux, cette clinique &eacute;claire les codes, souvent implicites, du march&eacute; de l&#39;art. Une br&egrave;ve pr&eacute;sentation, anim&eacute;e par Anie Deslauriers, directrice g&eacute;n&eacute;rale de <a fr-original-style="" href="https://www.agac.ca/" style="text-decoration-color: currentcolor; user-select: auto; box-sizing: inherit;" target="_blank">L&rsquo;Association des galeries d&rsquo;art contemporain (AGAC)</a>, suivie d&#39;un &eacute;change, pour poser les questions que l&#39;on garde habituellement pour soi et vous familiariser avec ces espaces. Informations pratiques&rarr;&nbsp;Animation : Directrice g&eacute;n&eacute;rale, directrice g&eacute;n&eacute;rale de l&rsquo;AGAC&nbsp; &rarr;&nbsp;Horaire : de 15h30 &agrave; 16h20 &rarr;&nbsp;Dur&eacute;e : 50 minutes &rarr;&nbsp;Format : atelier en petit comit&eacute;, places limit&eacute;es. &rarr;&nbsp;Langue : bilingue (fran&ccedil;ais/anglais) &rarr; Lieu : Centre Canadien d&rsquo;Architecture (CCA) Cette clinique, pr&eacute;sent&eacute;e en collaboration avec l&rsquo;AGAC, s&rsquo;inscrit dans la programmation de la deuxi&egrave;me &eacute;dition du Symposium RAN : R&eacute;seaux de l&rsquo;Atlantique noir, organis&eacute; par Nigra Iuventa sous le th&egrave;me des &eacute;cologies relationnelles.&nbsp; &Agrave; propos de l&#39;AGACL&rsquo;Association des galeries d&rsquo;art contemporain (AGAC) est un organisme sans but lucratif dont la mission principale est d&rsquo;assurer la reconnaissance et la prosp&eacute;rit&eacute; du march&eacute; de l&rsquo;art contemporain au Canada. L&rsquo;AGAC regroupe aujourd&rsquo;hui des galeries &agrave; Montr&eacute;al, Qu&eacute;bec, Ottawa, Toronto, Calgary et Vancouver. L&rsquo;Association contribue &agrave; la diffusion et &agrave; la promotion de la cr&eacute;ation artistique nationale par le biais d&rsquo;expositions et autres &eacute;v&egrave;nements majeurs

Entrer en relation avec une galerie, en collaboration avec l'AGAC

As part of the second edition of the RAN Symposium: Black Atlantic Networks, organized by Nigra Iuventa around the theme of Relational Ecologies, Bonaventure Soh Bejeng Ndikung leads a listening session lasting two hours.&nbsp; While historians are still cutting their teeth to find out the details and facts on the Tirailleurs and fill the gaps in institutional archives and historiography, &ldquo;memorarians,&rdquo; those bearers and transmitters of memories within spaces outside institutions, especially the populace, have been cultivating and disseminating the stories, experiences, and knowledges of the Tirailleurs from generation to generation.Musicians, one can say, are some of the most important &ldquo;memorarians,&rdquo; and music is one of the most important tools through which knowledges are encoded into patterns and rhythms, stories, idioms, and gestures. We will listen to songs of and on the Tirailleurs, from Tirailleurs battalions in the First and Second World Wars to music by the likes of Zao or Bob Dylan that directly or tangentially thematize the stories and destinies of people from across the globe taken by force or otherwise to fight wars that were not theirs. The session will include songs that bring to the fore the history of the 1944 massacre of Thiaroye and songs about the millions of &ldquo;unknown soldiers&rdquo; buried in nameless graves across the globe, as well as songs that celebrate the greatness of the women and men who contributed to the liberation of the world.

Sounding the Tirailleurs: A Space of Attunement and Atonement

Dans le cadre de la deuxi&egrave;me &eacute;dition du Symposium RAN : R&eacute;seaux de l&rsquo;Atlantique noir, organis&eacute; par Nigra Iuventa autour du th&egrave;me des &eacute;cologies relationnelles, Bonaventure Soh Bejeng Ndikung anime une s&eacute;ance d&rsquo;&eacute;coute de deux heures. Alors que les historien&middot;ne&middot;s s&rsquo;efforcent encore d&rsquo;&eacute;tablir les d&eacute;tails et les faits concernant les Tirailleurs et de combler les lacunes des archives institutionnelles et de l&rsquo;historiographie, les &laquo; memorarians &raquo;, ces personnes qui portent et transmettent la m&eacute;moire dans des espaces ext&eacute;rieurs aux institutions, particuli&egrave;rement au sein de la population, cultivent et transmettent de g&eacute;n&eacute;ration en g&eacute;n&eacute;ration les r&eacute;cits, les exp&eacute;riences et les savoirs des Tirailleurs. On peut dire que les musiciens sont parmi les &laquo; memorarians &raquo; les plus importants et que la musique est l&rsquo;un des outils les plus importants pour encoder les savoirs sous forme de motifs et de rythmes, de r&eacute;cits, d&rsquo;expressions et de gestes.Nous &eacute;couterons des chansons des Tirailleurs et sur les Tirailleurs, depuis les bataillons de tirailleurs des Premi&egrave;re et Seconde Guerres mondiales jusqu&rsquo;aux &oelig;uvres d&rsquo;artistes comme Zao ou Bob Dylan, qui abordent directement ou indirectement les r&eacute;cits et les destins de personnes venues du monde entier, enr&ocirc;l&eacute;es de force ou autrement pour combattre dans des guerres qui n&rsquo;&eacute;taient pas les leurs. La s&eacute;ance fera entendre des chansons qui mettent en lumi&egrave;re l&rsquo;histoire du massacre de Thiaroye en 1944 et celles qui &eacute;voquent les millions de &laquo; soldats inconnus &raquo; enterr&eacute;s dans des tombes anonymes &agrave; travers le monde, ainsi que des chansons qui c&eacute;l&egrave;brent la grandeur des femmes et des hommes ayant contribu&eacute; &agrave; la lib&eacute;ration du monde.

Nigra Iuventa vous invite &agrave; d&eacute;couvrir, dans le cadre de la restitution de la R&eacute;sidence Acc&egrave;s Libre, les recherches et r&eacute;flexions curatoriales d&eacute;velopp&eacute;es par Ess&eacute; Dabla-Attikpo au cours de son s&eacute;jour &agrave; Montr&eacute;al. Durant son s&eacute;jour, la commissaire a poursuivi une recherche &agrave; la fois personnelle et approfondie allant &agrave; la rencontre d&#39;artistes montr&eacute;alais&middot;e&middot;s dans leurs contextes, du Montr&eacute;al noir francophone et de ses lieux afrodiasporiques facilit&eacute;s par Nigra Iuventa. Cette immersion menant &agrave; la cr&eacute;ation de nouvelles images et iconographies des populations africaines et afrodiasporiques, en abordant cette fois la notion d&rsquo;alt&eacute;rit&eacute; &agrave; partir de l&rsquo;exp&eacute;rience d&rsquo;artistes noir&middot;e&middot;s montr&eacute;alais&middot;e&middot;s accueilli&middot;e&middot;s en r&eacute;sidence &agrave; Accra.&nbsp; La rencontre aura lieu au studio d&#39;Ess&eacute; &agrave; la Fonderie Darling, situ&eacute; au 250 rue Queen, Montreal. Le lieu est accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite. Le programme de r&eacute;sidence Accra&ndash;Montr&eacute;alCette activit&eacute; s&rsquo;inscrit dans le cadre du programme de r&eacute;sidence Accra&ndash;Montr&eacute;al d&eacute;veloppant un espace de recherche, de rencontre et de circulation entre les sc&egrave;nes artistiques du Ghana et du Qu&eacute;bec. Pens&eacute; comme une plateforme de mise en r&eacute;seau entre artistes, commissaires, chercheur&middot;euse&middot;s et travailleur&middot;euse&middot;s culturel&middot;le&middot;s, il accompagne des pratiques engag&eacute;es dans les enjeux de m&eacute;moire, d&#39;archives, de transmission, de territoire et de diasporas africaines.&Agrave; travers des r&eacute;sidences, des rencontres professionnelles, des temps de recherche et des formes de restitution publique, le programme vise &agrave; construire des ponts durables entre Accra et Montr&eacute;al, tout en soutenant des d&eacute;marches artistiques et curatoriales ancr&eacute;es dans les r&eacute;alit&eacute;s contemporaines de l&#39;Atlantique Noir.Le projet s&#39;inscrit dans la volont&eacute; de Nigra Iuventa de favoriser des collaborations internationales fond&eacute;es sur la r&eacute;ciprocit&eacute;, l&#39;&eacute;coute et la circulation des savoirs.Ce programme b&eacute;n&eacute;ficie du soutien financier du Conseil des arts de Montr&eacute;al. Le volet montr&eacute;alais est pr&eacute;sent&eacute; en partenariat avec la Fonderie Darling.&nbsp; BiographieEss&eacute; &laquo; Essenam &raquo; Dabla-Attikpo est commissaire d&#39;exposition et consultante en art. En 2018, elle fonde This No Be Art, une agence de conseil en art bas&eacute;e &agrave; Accra. Depuis son installation au Ghana en 2013, sa pratique se construit &agrave; travers l&#39;Afrique de l&#39;Ouest et la diaspora : elle con&ccedil;oit des expositions, dirige des projets culturels et tisse des passerelles entre les &eacute;cosyst&egrave;mes artistiques francophones et anglophones. Avec Nigra Iuventa, chaque rencontre c&eacute;l&egrave;bre les artistes des communaut&eacute;s africaines, carib&eacute;ennes et diasporiques 🌍. En vous inscrivant, vous soutenez concr&egrave;tement notre mission de donner de la place &agrave; leurs voix, leurs histoires et leurs &oelig;uvres.----------Nigra Iuventa invites you to discover the curatorial research and reflections developed by Ess&eacute; Dabla-Attikpo during her stay in Montreal, as part of the Acc&egrave;s Libre Residency program. During her stay, the curator pursued a personal and in-depth research project, meeting with Montreal artists within their own contexts&mdash;specifically within Montreal&rsquo;s French-speaking Black community and its Afro-diasporic spaces&mdash;with support from Nigra Iuventa. This immersion led to the creation of new images and iconographies of African and Afro-diasporic communities, this time exploring the concept of otherness through the experiences of Black Montreal artists hosted in residence in Accra. The event will take place at the Ess&eacute; studio at the Fonderie Darling, located at 250 Queen Street, Montreal. The venue is accessible to people with limited mobility. The Accra&ndash;Montreal Residency Program This event is part of the Accra&ndash;Montreal Residency Program, which fosters a space for research, exchange, and collaboration between the art scenes of Ghana and Quebec. Conceived as a networking platform for artists, curators, researchers, and cultural workers, it supports practices engaged with issues of memory, archives, transmission, territory, and African diasporas. Through residencies, professional meetings, research periods, and public presentations, the program aims to build lasting bridges between Accra and Montreal, while supporting artistic and curatorial approaches rooted in the contemporary realities of the Black Atlantic. The project is part of Nigra Iuventa&rsquo;s commitment to fostering international collaborations based on reciprocity, active listening, and the exchange of knowledge.&nbsp;This program receives financial support from the Conseil des arts de Montr&eacute;al. The Montreal component is presented in partnership with the Fonderie Darling. Biography Ess&eacute; &ldquo;Essenam&rdquo; Dabla-Attikpo is an art curator and consultant. In 2018, she founded This No Be Art, an art consulting agency based in Accra. Since settling in Ghana in 2013, her practice has expanded across West Africa and the diaspora: she curates exhibitions, directs cultural projects, and builds bridges between Francophone and Anglophone artistic ecosystems. With Nigra Iuventa, every event celebrates artists from African, Caribbean, and diaspora communities 🌍. By registering, you&rsquo;re actively supporting our mission to amplify their voices, stories, and works.

Restitution de résidence Essé Dabla-Attikpo

La pratique de Zohra Opoku explore l&#39;identit&eacute;, l&#39;appartenance et la m&eacute;moire culturelle &agrave; travers la photographie, les textiles et les installations. N&eacute;e en Allemagne de l&#39;Est et &eacute;tablie &agrave; Accra, l&#39;artiste puise dans des r&eacute;cits personnels et ancestraux pour explorer les tensions entre h&eacute;ritage et exp&eacute;rience contemporaine. Par la s&eacute;rigraphie, la broderie et le collage, elle fait du tissu un espace de r&eacute;flexion sur le corps et les histoires qu&#39;il porte. Dans cet &eacute;change, Zohra Opoku entre en dialogue avec l&#39;artiste Mallory Lowe Mpoka autour de pr&eacute;occupations communes autour de la m&eacute;moire, la mat&eacute;rialit&eacute; et la transmission des histoires diasporiques. Cette activit&eacute; est pr&eacute;sent&eacute;e en partenariat avec le Goethe-Institut Montr&eacute;al, et s&#39;inscrit dans le cadre du symposium Black Atlantic Networks: Heritage, Knowledge and Solidarity, tenu &agrave; Montr&eacute;al du 17 au 22 novembre 2025 &mdash; un espace de dialogue transnational et de co-construction des savoirs. Informations pratiques- Mercredi 8 avril 2026, 18h- Espace Rodier, 914 R. Notre Dame O, Montr&eacute;al, QC H3C 1J9- Activit&eacute; en anglais- Bar payant sur place&nbsp; Biographies des intervenantes:&nbsp; La pratique multidisciplinaire de Zohra Opoku (n&eacute;e en 1976 &agrave; Altd&ouml;bern, ancienne RDA/Allemagne de l&rsquo;Est ; vit et travaille &agrave; Accra, Ghana) est ancr&eacute;e dans son histoire personnelle et son h&eacute;ritage culturel. N&eacute;e et &eacute;lev&eacute;e en Allemagne de l&rsquo;Est, elle s&rsquo;est ensuite install&eacute;e au Ghana afin de se reconnecter &agrave; ses racines ancestrales. Opoku explore les intersections complexes entre identit&eacute; et m&eacute;moire. Son &oelig;uvre &eacute;volue entre ces exp&eacute;riences, jetant des ponts entre les cultures, les g&eacute;ographies et les temporalit&eacute;s.&nbsp; La pratique d&rsquo;Opoku commence fr&eacute;quemment par la photographie et se d&eacute;veloppe &agrave; travers un processus tactile de d&eacute;construction et de reconstruction. Les images photographiques sont s&eacute;rigraphi&eacute;es sur des tissus naturels pr&eacute;alablement teints, puis transform&eacute;es par la broderie &agrave; la main et le collage. Ces techniques, ancr&eacute;es &agrave; la fois dans l&rsquo;artisanat traditionnel et la composition exp&eacute;rimentale, constituent la base d&#39;&oelig;uvres textiles richement superpos&eacute;es, d&rsquo;installations et de sculptures.&nbsp; L&rsquo;identit&eacute; personnelle et ses subtilit&eacute;s complexes occupent une place centrale dans son travail. S&rsquo;inspirant de sa propre vie et de son corps, Opoku r&eacute;fl&eacute;chit &agrave; des th&egrave;mes tels que le sentiment d&rsquo;appartenance, la m&eacute;moire et la repr&eacute;sentation. Elle int&egrave;gre fr&eacute;quemment des reliques familiales, des symboles personnels ainsi que des &eacute;l&eacute;ments issus de la culture visuelle ghan&eacute;enne, comme des r&eacute;f&eacute;rences aux traditions de la m&eacute;tallurgie en bronze d&rsquo;Afrique de l&rsquo;Ouest. Il en r&eacute;sulte un corpus d&rsquo;&oelig;uvres &agrave; la fois cathartique et r&eacute;sonnant, ancr&eacute; dans l&rsquo;exp&eacute;rience v&eacute;cue mais capable d&rsquo;interpeller des questions plus vastes, partag&eacute;es &agrave; travers la diaspora africaine et au-del&agrave;. &nbsp; Mallory Lowe Mpoka&nbsp;(n&eacute;e en 1996) est une artiste belgo-camerounaise bas&eacute;e &agrave; Montr&eacute;al dont la pratique multidisciplinaire explore le lieu, la m&eacute;moire et le colonialisme environnemental.&nbsp;Face aux fractures impos&eacute;es par la colonisation, elle relie r&eacute;cits r&eacute;els et fictifs en r&eacute;activant archives familiales et m&eacute;morabilia dans des contextes renouvel&eacute;s. Son &oelig;uvre exprime un &eacute;tat nomade d&rsquo; &laquo; entre-deux &raquo;, traversant l&rsquo;Afrique, l&rsquo;Europe et l&rsquo;Am&eacute;rique du Nord, et t&eacute;moignant des h&eacute;ritages de la migration. Par la photographie, le tissage, la sculpture, la teinture et l&rsquo;installation, elle &eacute;labore des formes o&ugrave; mati&egrave;re, image et r&eacute;cit circulent entre les lieux et les m&eacute;moires qui l&rsquo;habitent.&nbsp;L&rsquo;&oelig;uvre de Mpoka a &eacute;t&eacute; pr&eacute;sent&eacute;e &agrave; l&rsquo;international, notamment &agrave; la Villa Romana (Italie), au Mus&eacute;e des Beaux-Arts du Canada et au Savvy Contemporary (Allemagne). Elle a publi&eacute; son livre d&rsquo;artiste Architecture of the Self: What Lives Within Us &agrave; l&rsquo;hiver 2024. Nomin&eacute;e pour le prix Malick Sidib&eacute; (2022) et le New Generation Photography Award (2025), elle expose en solo &agrave; la Fonderie Darling lors de la Biennale Momenta 2025.&nbsp;Son prochain grand corpus d&rsquo;&oelig;uvres sera pr&eacute;sent&eacute; &agrave; l&rsquo;&eacute;t&eacute; et &agrave; l&rsquo;automne 2026 aux Rencontres d&#39;Arles.

En conversation: Zohra Opoku et Mallory Lowe Mpoka

Zohra Opoku&rsquo;s multidisciplinary practice is grounded in her personal history and cultural heritage. Born and raised in East Germany and later relocating to Ghana to reconnect with her ancestral roots, Opoku explores the complex intersections of identity and memory. Her work navigates the space between these experiences, bridging cultures, geographies, and time.In this exchange, Zohra Opoku enters into dialogue with artist Mallory Lowe Mpoka around shared concerns: memory, materiality, and the transmission of diasporic histories. This event is presented in partnership with the Goethe-Institut Montreal and is part of the symposium Black Atlantic Networks: Heritage, Knowledge and Solidarity, held in Montreal from November 17 to 22, 2025&mdash;a space for transnational dialogue and the co-construction of knowledge. Information- Wednesday, April 8, 2026, 6:00 p.m.- Espace Rodier, 914 Notre Dame Street West, Montreal, QC H3C 1J9- Activity in English About the speakers Zohra Opoku&rsquo;s multidisciplinary practice is grounded in her personal history and cultural heritage. Born and raised in East Germany and later relocating to Ghana to reconnect with her ancestral roots, Opoku explores the complex intersections of identity and memory. Her work navigates the space between these experiences, bridging cultures, geographies, and time.&nbsp;Opoku&rsquo;s practice often begins with photography and evolves through a tactile process of deconstruction and reconstruction. Photographic images are screen-printed onto pre-dyed natural fabrics, then transformed through hand embroidery and collage. These techniques, rooted in both traditional craftsmanship and experimental composition, form the basis of richly layered textile works, installations, and sculptures.&nbsp;Personal identity and its complex nuances are a central concern in her work. Drawing from her own life and body, Opoku reflects on themes of belonging, memory, and representation. She often integrates family heirlooms, personal symbols, and elements from Ghana&rsquo;s visual culture, such as references to West African brass-making traditions. The result is a body of work that is both cathartic and resonant, anchored in lived experience yet capable of speaking to broader questions shared across the African diaspora and beyond. &nbsp;&ldquo;The transition from being based in Germany to being in Ghana and bringing these two worlds together in a single conversation&mdash;whether through materials, craftsmanship, or memory&mdash;is important,&rdquo; she said. &ldquo;It allows others to identify with the work, particularly within the diaspora where people share similar experiences.&rdquo; Through this lens, Opoku&rsquo;spractice becomes a form of visual storytelling&mdash;a constantly evolving archive of identity, intimate, textured, and quietly powerful.&nbsp;The work of Zohra Opoku has been exhibited internationally, including in the 15th edition of Sharjah Biennale (United Arab Emirates, 2023); at the 14th edition of the Dak&rsquo;art Biennial (Senegal, 2022) and at 7th Athens Biennale (Greece, 2021).&nbsp;Institutionally, her work has been presented at the Louvre Abu Dhabi (UAE, 2024-2025), The Minneapolis Institute of Art (Minneapolis, 2025), the Brooklyn Museum (New York, 2024), The Cleveland Museum of Art (Cleveland, 2018), RAW Material Company (Dakar, 2024), High Museum of Art (Atlanta, 2024), Palais Populaire (Berlin, 2024), Wereld Museum (Rotterdam, 2024), Kunstmuseum Wolfsburg (Wolfsburg, 2022), SAVVY Contemporary (Berlin, 2022), TATE Modern (London, 2022), Southbank Centre / Hayward Gallery (London, 2020), Kunsthaus Hamburg (Hamburg, 2020), Archeological Museum of Mykonos (2019), National Museum (Nairobi, 2017), Guggenheim Museum (Bilbao, 2015), Mus&eacute;e de l&#39;Ethnographie (Bordeaux, 2013), CCA Lagos (2010), and Kunsthaus Hamburg (2010), among many others.&nbsp;Zohra Opoku&rsquo;s solo exhibition,*We Proceed in the Footsteps of the Sunlight*, will be on view starting in September 2025 at the Zeitz MOCAA in Cape Town for one year.&nbsp;&nbsp;Her work is collected by renowned public institutions and private collections such as the the Centre Pompidou (Paris), CCS Bard College Hessel Museum of Art (Annandale-on-Hudson), Los Angeles County Museum of Art (Los Angeles), Samuel P. Harn Museum of Art (Gainesville), The Faurschou Foundation (Copenhagen), The Royal Museum of Ontario (Toronto), Tate Modern (London), The Onassis Collection (Athens), Eskenazi Museum of Art, (Bloomington), The Cleveland Clinic Art Collection (Cleveland), and The Dean Collection (New York).&nbsp;The artist&rsquo;s next solo exhibition will open at the Fondation Cartier in Paris in October 2026. Mallory Lowe Mpoka&nbsp;(born 1996) is a Belgian-Cameroonian artist based in Montr&eacute;al whose multidisciplinary practice explores place, memory, and environmental colonialism.&nbsp;In response to the fractures imposed by colonization, she weaves together real and fictional narratives by reactivating family archives and memorabilia within renewed contexts. Her work expresses a nomadic state of in-betweenness, moving across Africa, Europe, and North America, and bearing witness to the legacies of migration. Through photography, weaving, sculpture, dyeing, and installation, she develops forms in which material, image, and narrative circulate among the places and memories that inhabit her.&nbsp;Mpoka&rsquo;s work has been presented internationally, notably at the Villa Romana (Italy), the National Gallery of Canada, and SAVVY Contemporary (Germany). She published her artist&rsquo;s book Architecture of the Self: What Lives Within Us in winter 2024. Nominated for the Malick Sidib&eacute; Prize (2022) and the New Generation Photography Award (2025), she presents a solo exhibition at Fonderie Darling as part of the 2025 MOMENTA Biennale. Her forthcoming major body of work will be presented starting summer 2026 at Les Rencontres d&#39;Arles.&nbsp;Her forthcoming major body of work will be presented starting summer 2026 at Les Rencontres d&#39;Arles.

Zohra Opoku en conversation avec Mallory Lowe Mpoka

In a world oversaturated with greenwashing, a filmmaker from the Amazon region picks up her camera to tell the rainforest&rsquo;s true story. This manifesto-film dismantles colonial narratives that have shaped the Amazon as a land of abundance, exposing the violence and prejudice tied to its exploitation. From Munich to Bel&eacute;m, it delves into how the concept of a &ldquo;demographic void&rdquo; and the portrayal of a primitive territory have fueled racism and inequality.Through this exploration, the film amplifies the voices of Amazonian peoples and interrogates pressing ecological challenges. With a bold narrative and striking cinematography, it stands as part of a new wave of postcolonial cinema&thinsp;&mdash;&thinsp;clear-eyed and essential. Winner of the 2024 Environmental Film Festival (FICA) in Brazil for Best Feature Film and the 2024 Bali International Film Festival (Balinale) for Best Documentary Film. This activity is part of the <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">RAN International Symposium - Black Atlantic Networks: Heritage, Knowledge, and Solidarities</a>, which will take place in Montreal from November 18 to 22, 2025, promoting a transnational dialogue and providing a space for knowledge co-construction. Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Duration: 1h05</li><li fr-original-style="" style="box-sizing: inherit;">Location: Cin&eacute;ma Public &ndash; 2:00 p.m.</li><li fr-original-style="" style="box-sizing: inherit;">Accessible to people with reduced mobility</li></ul>

No More History Without Us - projection

Dans un monde satur&eacute; de greenwashing, une r&eacute;alisatrice de la r&eacute;gion amazonienne prend la cam&eacute;ra pour raconter la v&eacute;ritable histoire de la for&ecirc;t tropicale. Ce film-manifeste d&eacute;construit les r&eacute;cits coloniaux qui ont fa&ccedil;onn&eacute; l&rsquo;image de l&rsquo;Amazonie comme une terre d&rsquo;abondance, en mettant en lumi&egrave;re les violences et les pr&eacute;jug&eacute;s li&eacute;s &agrave; son exploitation. De Munich &agrave; Bel&eacute;m, elle explore comment l&rsquo;id&eacute;e d&rsquo;un &laquo; vide d&eacute;mographique &raquo; et la vision d&rsquo;un territoire primitif ont nourri racisme et in&eacute;galit&eacute;s. &Agrave; travers cette r&eacute;flexion, le film restitue la voix des peuples de l&rsquo;Amazonie et interroge les enjeux &eacute;cologiques contemporains. Un documentaire &agrave; la narration affirm&eacute;e et &agrave; la photographie soign&eacute;e, inscrit dans une nouvelle vague de cin&eacute;ma postcolonial, lucide et n&eacute;cessaire. Gagnant du Festival du film d&rsquo;environnement (FICA 2024) au Br&eacute;sil dans la cat&eacute;gorie Meilleur long m&eacute;trage et du Festival international du film de Bali (Balinale 2024) comme Meilleur film documentaire.<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">R&eacute;alisation: Priscilla Brasil</li><li fr-original-style="" style="box-sizing: inherit;">Scenario: Priscilla Brasil, Raphael Uchoa</li><li fr-original-style="" style="box-sizing: inherit;">Montage: Priscilla Brasil</li><li fr-original-style="" style="box-sizing: inherit;">Mise en sc&egrave;ne: Priscilla Brasil</li><li fr-original-style="" style="box-sizing: inherit;">Direction musicale: Priscilla Brasil</li></ul>Pr&eacute;sent&eacute;e en partenariat avec <a fr-original-style="" href="https://lefifa.com/" rel="noopener noreferrer" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">le FIFA</a> et le Cin&eacute;ma Public &nbsp;cette activit&eacute; s&rsquo;inscrit dans le cadre du <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s,</a> projet de Nigra Iuventa, organis&eacute; en partenariat avec le Consulat g&eacute;n&eacute;ral de France &agrave; Qu&eacute;bec et le Goethe-Institut de Montr&eacute;al et qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025.&nbsp; Informations pratiques<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 1h05</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Cin&eacute;ma Public &ndash; 14h00</li><li fr-original-style="" style="box-sizing: inherit;">Accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite</li></ul> &Agrave; propos de la r&eacute;alisatricePriscilla Brasil, n&eacute;e &agrave; Bel&eacute;m, a consacr&eacute; deux d&eacute;cennies &agrave; la r&eacute;alisation de documentaires et de clips musicaux percutants. Actuellement doctorante en &eacute;tudes postcoloniales &agrave; l&rsquo;Universit&eacute; de Coimbra, elle concentre ses recherches sur l&rsquo;imp&eacute;rialisme et le d&eacute;veloppement. Elle est &eacute;galement coordinatrice de l&rsquo;ELA&thinsp;&mdash;&thinsp;Amazonian Film School.

To date, tens of thousands of human bones from former colonies remain stored in German museums. It is still unclear how they can be identified and returned. The Empty Grave follows two families on their arduous search for their ancestors. Directed by Agnes Lisa Wegner, Cece MlayWritten by Agnes Lisa Wegner, Cece Mlay This activity is part of the <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">RAN International Symposium - Black Atlantic Networks: Heritage, Knowledge, and Solidarities</a>, a project by Nigra Iuventa organized in partnership with the Consulate General of France in Qu&eacute;bec and the Goethe-Institut Montr&eacute;al. Taking place in Montr&eacute;al from November 18 to 22, 2025, the symposium fosters transnational dialogue and provides a space for the co-construction of knowledge. Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Duration: 97 min Location: Goethe-Institut Montr&eacute;al &ndash; 5:00 p.m. The venue is accessible to people with reduced mobility.</li></ul><span fr-original-style="font-size:11pt;font-family:Calibri,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" id="isPasted" style="font-size: 11pt; font-family: Calibri, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Photos:&nbsp;<span fr-original-style="font-size:10.5pt;font-family:Arial,sans-serif;color:#202122;background-color:#ffffff;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 10.5pt; font-family: Arial, sans-serif; color: rgb(32, 33, 34); background-color: rgb(255, 255, 255); font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">&copy; Salzgeber &nbsp;<img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1760902794/wysiwyg/ez3tdu6mfr03k4y6uwqt.jpg" style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center; position: relative; max-width: 100%; cursor: pointer; padding: 0px 1px; user-select: none; box-sizing: inherit;" fr-original-style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable">

The Empty Grave - projection

Deux familles tanzaniennes partent &agrave; la recherche de leurs anc&ecirc;tres vol&eacute;s. Leur qu&ecirc;te les conduit en Allemagne, o&ugrave; des dizaines de milliers de cr&acirc;nes et d&#39;os provenant des anciennes colonies allemandes sont entrepos&eacute;s dans des mus&eacute;es. R&eacute;alis&eacute; par Agnes Lisa Wegner, Cece Mlay&Eacute;crit par Agnes Lisa Wegner, Cece Mlay.&nbsp; Cette activit&eacute; s&rsquo;inscrit dans le cadre du<a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">&nbsp;Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s,</a> projet de Nigra Iuventa, organis&eacute; en partenariat avec le Consulat g&eacute;n&eacute;ral de France &agrave; Qu&eacute;bec et le Goethe-Institut de Montr&eacute;al, qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025 et qui favorise un dialogue transnational et offre un espace pour la coconstruction des savoirs. Informations pratiques<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 97 min&nbsp;</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Goethe-Institut Montr&eacute;al &ndash; 17h00</li><li fr-original-style="" style="box-sizing: inherit;">Le lieu est accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite</li></ul><span fr-original-style="font-size:11pt;font-family:Calibri,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" id="isPasted" style="font-size: 11pt; font-family: Calibri, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Photos:&nbsp;<span fr-original-style="font-size:10.5pt;font-family:Arial,sans-serif;color:#202122;background-color:#ffffff;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 10.5pt; font-family: Arial, sans-serif; color: rgb(32, 33, 34); background-color: rgb(255, 255, 255); font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">&copy; Salzgeber &nbsp;<img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1760901121/wysiwyg/jk7lth5oix9zctsoo7mn.jpg" style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center; position: relative; max-width: 100%; cursor: pointer; padding: 0px 1px; user-select: none; box-sizing: inherit;" fr-original-style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable">

Les pan&eacute;listes discuteront des joies inh&eacute;rentes &agrave; la curation selon leurs perspectives individuelles. Chacun s&#39;appuiera sur un projet curatorial particulier et sur la mani&egrave;re dont la joie et d&#39;autres sensibilit&eacute;s ont r&eacute;sonn&eacute; &agrave; travers et au sein de cette exposition ou de ce projet. Le panel abordera &eacute;galement la mani&egrave;re dont nous, en tant que travailleurs&middot;euses culturel&middot;le&middot;s, pouvons &ecirc;tre cr&eacute;atifs&middot;ves dans notre travail en &eacute;tant conscient&middot;e&middot;s de l&#39;importance du soin et de nos capacit&eacute;s individuelles. Biographies des intervenantes:&nbsp; Lori Beavis est directrice de daphne, le premier centre d&#39;artistes autochtones &agrave; Tiohti&agrave;:ke/Mooniyang/Montr&eacute;al. Elle est &eacute;galement commissaire ind&eacute;pendante. Son travail de commissaire articule le r&eacute;cit et la m&eacute;moire dans le contexte de l&#39;histoire et de l&#39;identit&eacute; familiales et culturelles, de l&#39;&eacute;ducation artistique et de l&#39;autorepr&eacute;sentation. S&#39;identifiant comme Michi Saagiig (Mississauga) Anishinaabe et colon irlandais-gallois, Beavis est citoyenne de la Premi&egrave;re Nation Hiawatha, &agrave; Rice Lake, en Ontario.&nbsp; Anique Jordan est une artiste, &eacute;crivaine et conservatrice qui cherche &agrave; r&eacute;pondre &agrave; la question de la possibilit&eacute; dans tout ce qu&#39;elle cr&eacute;e. En tant qu&#39;artiste, Jordan travaille dans les domaines de la photographie, de la sculpture et de la performance, utilisant souvent la th&eacute;orie de la hantologie pour remettre en question les r&eacute;cits historiques ou dominants et cr&eacute;er ce qu&#39;elle appelle des images impossibles.&nbsp;

Joy as Curatorial Practice with Anique Jordan and Lori Beavis

The panelists will be in conversation discussing the joys imbued in curation from their individual perspectives. Each will draw on a particular curatorial project and the ways that joy and other sensibilities resonated through and within that exhibition or project. The panel will also touch on the ways we as cultural workers can be generative in the work we do by being cognizant of care and our individual capacities. About the Speakers :&nbsp; Lori Beavis is the Director of daphne, the first Indigenous artist-run centre in Tiohti&agrave;:ke/ Mooniyang/ Montreal. She is also an independent curator. Her curatorial work articulates narrative and memory in the context of family and cultural history and identity, art education and self-representation. Identifying as Michi Saagiig (Mississauga) Anishinaabe and Irish-Welsh settler, Beavis is a citizen of Hiawatha First Nation, Rice Lake, Ontario.&nbsp; Anique Jordan is an artist, writer and curator who looks to answer the question of possibility in everything she creates. As an artist, Jordan works in photography, sculpture and performance often employing the theory of hauntology to challenge historical or dominant narratives and creating, what she calls, impossible images.&nbsp;

What would it mean for us to reimagine the Archives &ndash; not as mechanisms for whiteness and control, but as sanctuaries for liberation and as generators of continuity? What if Archives were nesting places for revolutionary Black joy? Building on her imagination practice, Archivist Melissa J. Nelson shares the development of a radical grassroots Black activist archive for Wildseed Centre for Art + Activism as grounds for possibilities. Melissa invites us to expand our imagination beyond the confines of colonial imaginaries to build reparative archives of multiplicity. Black archives have the potential to create sacred space for holding, re-witnessing, and remembering Black life. These spaces can open gateways for visioning Black futurities. This activity is part of the symposium <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank" title="">Black Atlantic Networks: Heritage, Knowledge and Solidarity</a>, taking place in Montr&eacute;al from November 18 to 22, 2025. The symposium fosters transnational dialogue and creates a space for the co-construction of knowledge. Information<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Presented by Melissa J. Nelson&nbsp;</li><li fr-original-style="" style="box-sizing: inherit;">Free activity in English, presented on Friday, November 21, from 5:00 to 6 p.m.</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location:Goethe-Institut Montreal, 1626 Boulevard Saint-Laurent</li></ul><h3 data-pm-slice="1 1 []" fr-original-style="white-space:pre-wrap;" id="isPasted" style="white-space: pre-wrap; width: 100%; box-sizing: inherit;">About the facilitator</h3>Melissa J. Nelson is an award-winning archivist and educator working in the field of Black archival practice. Her work centers Black being and belonging in the Archives to support collective healing and liberation movements. She is guided by critical and creative praxis to reimagine the Archives as sites of Black joy. Melissa is the Founder and Creative Director of the Black Memory Collective. She is also the Creator and Host of the podcast, Archives &amp; Things. Melissa holds a Master of Information Studies from McGill University. She received a Bachelor of Arts (Hons) in History, with a minor in Sociology, from Carleton University.

Archives as Sites of Black Joy

This activity will explore collective memory made possible by donations of documents from and by artists, curators and cultural organizations in our documentary collection the objectives of discoverability, research and conservation.&nbsp; During this event, discover the Artexte collection and take part in a workshop on Artexte&rsquo;s specific file opening and document donation processes in order to create strengthen new networks of solidarity and co-construction of knowledge.&nbsp; To conclude this workshop, attend a talk title The Ethics of Aesthetics &ndash; New Methods for Art Criticism by author and art critic Yaniya Lee..Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Free activity in English, presented on Friday, November 21, 10 am.</li><li fr-original-style="" style="box-sizing: inherit;">Duration: &nbsp;2 hours - a 60-minute workshop followed by a 60-minute lecture</li><li fr-original-style="" style="box-sizing: inherit;">Location: @ Artexte reading room, 2 St Catherine St E #301, Montreal, Quebec H2X 1K4</li><li fr-original-style="" style="box-sizing: inherit;">The venue is accessible to people with reduced mobility.</li></ul>About the speaker:&nbsp; Yaniya Lee is the author of Selected Writing on Black Canadian Art (2024). She has written about art for galleries, magazines and museums across Canada, and abroad.As a PhD student in the Gender Studies department at Queen&rsquo;s University, her research tracks Black creative practice and narratives of liberation across the nation, with the intention of building a critical archive that recognizes otherwise hidden Black Canadian art histories.She teaches art writing and frequently works with collaborators on symposiums, programs, and workshops. Most recently: What does the land know? (Videographe, 2024), what it feels like is good enough (Archive, 2023); The Scream and the Whisper (Asia Art Archive, 2023); Black History Navigational Toolkit (Toronto Biennial of Art, 2022); From her world (The Blackwood, 2022); WhAt She SaId: Promiscuous References &amp; Disobedient Care (Contingencies of Care, 2021); fractured horizon &ndash; a view from the body (Vtape, 2020); Bodies, Borders, Fields (Trinity Square Video, 2019); and Desire x Politics (Mercer Union, 2019).

Collective memory made possible by document donations in collaboration with Artexte | Workshop and talk

<p dir="ltr" fr-original-style="line-height: 1.38; text-align: left; margin-top: 0pt; margin-bottom: 0pt;" style="line-height: 1.38; text-align: left; margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">L&rsquo;activit&eacute; permettra d&rsquo;explorer la m&eacute;moire collective rendue possible gr&acirc;ce aux dons de documents faits pas les artistes, commissaires et organismes culturels dans notre collection documentaire &agrave; des fins de d&eacute;couvrabilit&eacute;, de recherche et de conservation.&nbsp;<span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Lors de cet &eacute;v&eacute;nement, d&eacute;couvrez la collection d&rsquo;Artexte et prenez part &agrave; un atelier portant sur les processus d&rsquo;ouverture de dossiers et de d&eacute;p&ocirc;t de documents sp&eacute;cifiques &agrave; Artexte afin de cr&eacute;er et renforcer de nouveaux r&eacute;seaux de solidarit&eacute; et de co-construction de savoirs. <p dir="ltr" fr-original-style="line-height: 1.38; text-align: left; margin-top: 0pt; margin-bottom: 0pt;" style="line-height: 1.38; text-align: left; margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Pour clore cet &rsquo;atelier, assistez &agrave; la conf&eacute;rence intitul&eacute;e&nbsp;<span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:italic;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: italic; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">The Ethics of Aesthetics &ndash; New Methods for Art Criticism<span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#000000;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(0, 0, 0); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">&nbsp;par l&rsquo;autrice et critique d&rsquo;art Yaniya Lee. Cette activit&eacute;, pr&eacute;sent&eacute;e en collaboration avec Artexte, s&rsquo;inscrit dans le cadre du Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s, projet de Nigra Iuventa, organis&eacute; en partenariat avec le Consulat g&eacute;n&eacute;ral de France &agrave; Qu&eacute;bec et le Goethe-Institut de Montr&eacute;al et qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025.&nbsp; Informations pratiques<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Activit&eacute; gratuite en anglais, pr&eacute;sent&eacute;e le vendredi 21 novembre 2025 &ndash; 10h00 &agrave; 12h00 &nbsp;</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 2 heures - un atelier de 60 min, suivi d&#39;une conf&eacute;rence de 60 min</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : salle de lecture d&rsquo;Artexte, 2 St Catherine St E #301, Montreal, Quebec H2X 1K4</li><li fr-original-style="" style="box-sizing: inherit;">Le lieu est accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite</li></ul>&Agrave; propos de la conf&eacute;renci&egrave;re :&nbsp; Yaniya Lee est l&rsquo;auteure de Selected Writing on Black Canadian Art (2024). Elle a par ailleurs &eacute;crit sur l&rsquo;art pour des magazines, des mus&eacute;es et des galeries au Canada et &agrave; l&rsquo;&eacute;tranger.En tant que doctorante au d&eacute;partement d&rsquo;&eacute;tudes sur le genre de l&rsquo;Universit&eacute; Queen&rsquo;s, Yaniya m&egrave;ne des recherches qui retracent la pratique cr&eacute;ative et les r&eacute;cits de lib&eacute;ration des personnes noires &agrave; travers le pays. Sa d&eacute;marche vise &agrave; constituer une archive critique qui reconna&icirc;t l&rsquo;histoire de l&rsquo;art des personnes noires canadiennes, sans quoi celle-ci est pass&eacute;e sous silence.Elle enseigne l&rsquo;&eacute;criture artistique et travaille fr&eacute;quemment avec des collaborateur&middot;trices dans le cadre de divers colloques, programmes et ateliers. Parmi ses &oelig;uvres r&eacute;cemment expos&eacute;es, on retrouve notamment What does the land know? (Videographe, 2024), what it feels like is good enough (Archive, 2023), The Scream and the Whisper (Asia Art Archive, 2023), Black History Navigational Toolkit (Biennal d&rsquo;art de Toronto, 2022), From her world (The Blackwood, 2022), WhAt She SaId: Promiscuous References &amp; Disobedient Care (Contingencies of Care, 2021), fractured horizon &ndash; a view from the body (Vtape, 2020), Bodies, Borders, Fields (Trinity Square Video, 2019) et Desire x Politics (Mercer Union, 2019).

La mémoire collective rendue possible grâce aux dons de documents en collaboration avec Artexte | Atelier et conférence

<h3 data-pm-slice="1 1 []" fr-original-style="white-space:pre-wrap;" id="isPasted" style="white-space: pre-wrap; width: 100%; box-sizing: inherit;">Curating the afrosonic</h3>With Satch Hoyt, Safia Siad, Mark V. Campbell and Edna Mart&iacute;nez.&nbsp;This discussion, held in English, is presented as part of&nbsp;<a fr-original-style="" href="/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Black Atlantic Networks: Heritage, Knowledge and Solidarity,</a>&nbsp;taking place in Montr&eacute;al from November 18 to 22, 2025.As members of the Afrosonic Innovation Lab and in their own independent practices, curators Mark V. Campbell and Safia Siad work along the blurred lines of Black sonic and visual culture. Along with curator and DJ Edna&nbsp;Mart&iacute;nez and artist and researcher Satch Hoyt, panelists will discuss their practices that center the Afrosonic.The discussion will be held in English. Seating is limited, and advance registration is required.<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);">About the Panelists<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);">Satch Hoyt is a spiritualist, a believer in ritual and retention. A visual artist and a musician, his diverse and multifaceted body of work - whether sculpture, sound installation, painting, musical performance, or musical recording - is united in its investigation of the &ldquo;Eternal Afro-Sonic Signifier&rdquo; and its movement across and amid the cultures, peoples, places, and times of the African Diaspora. Those four evocative words (a term coined by Hoyt) refer to the &ldquo;mnemonic network of sound&rdquo; that was enslaved Africans&rsquo; &ldquo;sole companion during the forced migration of the Middle Passage.&rdquo;1 &nbsp;lt was, and is, a hard-won somatic tool kit for remembering where you come from and who you are - and maybe, where you&rsquo;re going - against all the many odds.<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);">Safia Siad&nbsp;is a curator, scholar, and DJ with a practice centered in deep listening. As a founding member of the Afrosonic Innovation Lab, Siad operates at the intersections of the visual and audio poetics of the African diaspora. Her deep listening sessions have taken place in Montr&eacute;al, Florence, Toronto, and Banff, while her writing has appeared in C Magazine and in multiple exhibition catalogues. She recently completed her SSHRC funded Master of Arts (Art History) at Concordia University and is currently a curatorial fellow with Gallery TPW. Edna Martinez is a DJ and curator from the Colombian Caribbean based in Berlin. She works at the intersection of electronic music, sound experimentation, and diasporic memory, engaging with Caribbean, Latin American, and Arabic musical narratives. Since 2018, she has developed curatorial projects that combine live music, DJ sets, gastronomy, and documentary audiovisual works, creating immersive experiences that connect communities, preserve memories, and foster intercultural exchange. Mark V. Campbell&nbsp;[aka DJ Grumps], founder at Northside Hip Hop Archive, is a DJ, curator and scholar. He has performed on multiple continents and has curated exhibitions globally. Mark has published several books including Afrosonic Life, We Still Here: Hip Hop North of the 49th Parallel and Hip-Hop Archives: The Politics and Poetics of Knowledge Production. He is founder of the Afrosonic Innovation Lab.

Curating the afrosonic

<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" id="isPasted" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:700;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 700; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Curatrices : Pratiques curatoriales et circulations culturelles dans l&rsquo;Atlantique noir<p fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" id="isPasted" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;">Avec : N&rsquo;Gon&eacute; Fall, Dominique Fontaine, Nadine Hounkpatin<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">(Discussion pr&eacute;sent&eacute;e dans le cadre du Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs&nbsp;et solidarit&eacute;s)<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Ce panel en fran&ccedil;ais r&eacute;unit trois commissaires dont les parcours, approches et pratiques distinctes et compl&eacute;mentaires tissent des liens entre l&#39;Afrique, les Am&eacute;riques et l&#39;Europe. Il propose d&#39;interroger le commissariat d&#39;exposition non pas simplement comme une pratique de repr&eacute;sentation, mais comme un espace essentiel de pens&eacute;e, d&#39;action et de transmission au sein des multiples g&eacute;ographies de l&#39;Atlantique noir. Au-del&agrave; de la simple question de la repr&eacute;sentation, la discussion explorera la fa&ccedil;on dont leurs d&eacute;marches participent &agrave; l&#39;&eacute;laboration de r&eacute;cits critiques et &agrave; la construction de solidarit&eacute;s culturelles transatlantiques, offrant ainsi un regard unique sur la puissance de la m&eacute;thodologie curatoriale comme outil de liaison et de dialogue.<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Biographies des intervenantes:&nbsp;<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">N&#39;Gon&eacute; Fall est commissaire d&#39;exposition et sp&eacute;cialiste en ing&eacute;nierie culturelle. Elle a &eacute;t&eacute; directrice de la r&eacute;daction de Revue Noire (1994 &ndash; 2001). Elle a &eacute;t&eacute; Commissaire g&eacute;n&eacute;rale de la Saison Africa2020, plus de 1 500 &eacute;v&eacute;nements culturels, scientifiques et p&eacute;dagogiques dans 210 villes en France (2020 &ndash; 2021).<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Dominique Fontaine est commissaire d&rsquo;exposition, engag&eacute;e dans l&rsquo;exploration du r&ocirc;le social de l&rsquo;art dans un monde pluriel. Elle est titulaire d&rsquo;une ma&icirc;trise en mus&eacute;ologie de l&rsquo;Universit&eacute; de Montr&eacute;al, ainsi que de dipl&ocirc;mes en administration des arts et en arts visuels de l&rsquo;Universit&eacute; d&rsquo;Ottawa. Elle a &eacute;galement poursuivi des &eacute;tudes sup&eacute;rieures en conception et en organisation d&rsquo;expositions au centre d&rsquo;art De Appel &agrave; Amsterdam. En 2024, elle a &eacute;t&eacute; cocommissaire de la Biennale de Toronto. Elle est codirectrice et coautrice de l&rsquo;ouvrage collectif Making History: Visual Arts and Blackness in Canada (2023). Dominique Fontaine est laur&eacute;ate 2021 du Mois de l&rsquo;histoire des Noirs de la Ville de Montr&eacute;al.<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;"> <p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit;">Nadine Hounkpatin est productrice et commissaire d&#39;exposition ind&eacute;pendante. Sa pratique, ancr&eacute;e dans une perspective critique et transculturelle, interroge la mani&egrave;re dont les artistes r&eacute;inventent les h&eacute;ritages et ouvrent de nouveaux horizons. Co-fondatrice de la plateforme TheArtMomentum, elle oeuvre pour la visibilit&eacute; des cr&eacute;ativit&eacute;s africaines et diasporiques. Elle est commissaire associ&eacute;e de la prochaine &eacute;dition 2026 du Prix D&eacute;couverte des Rencontres d&rsquo;Arles.&nbsp;

Curatrices : Pratiques curatoriales et circulations culturelles dans l’Atlantique noir

Dans le cadre du <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" rel="noopener noreferrer" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir&nbsp;</a>(du 18 au 22 novembre 2025), Nigra Iuventa et PHI pr&eacute;sentent &Eacute;coute collective de balado: archives, futurit&eacute;s et d&eacute;colonialit&eacute; par La Couleur de l&rsquo;Art. &Agrave; partir d&rsquo;extraits des balados In/tension (Power Plant Gallery) et La Couleur de l&rsquo;Art, anim&eacute;e par M&eacute;lissa Andrianasolo, l&rsquo;activit&eacute; propose une r&eacute;flexion sur le temps, la m&eacute;moire et les h&eacute;ritages d&eacute;coloniaux. En dialogue avec l&rsquo;exposition Unit&eacute; dans la noirceur de Manuel Mathieu, cet &eacute;v&eacute;nement explore le pouvoir transformateur des archives et des r&eacute;cits collectifs. Informations pratiques<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Activit&eacute; gratuite en fran&ccedil;ais, pr&eacute;sent&eacute;e le mardi 19 novembre &agrave; 17h30</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Salon Phi, 407 Rue Saint-Pierre, Montr&eacute;al</li></ul>&Agrave; propos de la facilitatrice&nbsp;M&eacute;lissa Andrianasolo est doctorante en histoire de l&#39;art &agrave; l&#39;Universit&eacute; du Qu&eacute;bec &agrave; Montreal (UQAM). Ses recherches portent sur la praxis des artistes afrodecendant&middot;e&middot;s dans les espaces artistiques de la ville de Montr&eacute;al. Elle du balado La Couleur de l&rsquo;Art. Cette s&eacute;quence est pr&eacute;sent&eacute;e en collaboration avec PHI.&nbsp;

Écoute collective de balado : archives, futurités et décolonialité par La Couleur de l'Art

<p dir="ltr" fr-original-style="line-height:1.38;text-align: justify;background-color:#ffffff;margin-top:10pt;margin-bottom:0pt;padding:0pt 0pt 10pt 0pt;" id="isPasted" style="line-height: 1.38; text-align: justify; background-color: rgb(255, 255, 255); margin: 10pt 0px 0pt; padding: 0pt 0pt 10pt; width: 100%; box-sizing: inherit;">As part of the RAN International Symposium &ndash; Black Atlantic Networks: Heritage, Knowledge, and Solidarity (November 18&mdash;22, 2025), Nigra Iuventa and PHI present Collective Podcast Listening: Archives, Futures, and Decoloniality by La Couleur de l&rsquo;Art. Using excerpts from the podcasts In/tension (Power Plant Gallery) and La Couleur de l&rsquo;Art, hosted by M&eacute;lissa Andrianasolo, this activity invites reflection on time, memory, and decolonial legacies. In dialogue with Manuel Mathieu&rsquo;s exhibition Unity in Darkness, the event explores the transformative power of archives and collective storytelling. Practical Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Free activity in French, presented on Tuesday, November 19 at 5:30 pm</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location: Salon Phi, 407 Saint-Pierre Street, Montr&eacute;al</li></ul>About the facilitatorM&eacute;lissa Andrianasolo is a PhD candidate in Art History at the Universit&eacute; du Qu&eacute;bec &agrave; Montr&eacute;al (UQAM). Her research focuses on the practices of Afro-descendant artists within Montr&eacute;al&rsquo;s art spaces. She is also the host of the podcast La Couleur de l&rsquo;Art. This session is presented in collaboration with&nbsp;PHI.

This conversation brings together writers, editors, and cultural producers who challenge conventional modes of publishing to imagine new editorial and narrative possibilities within Black diasporic thought. Reflecting on their own practices, the speakers will explore how experimental writing, multilingual expression, and artist-led collaboration can nurture Black discourse. The discussion will examine how editors and authors sustain spaces for creative risk and experimentation across the Black Atlantic. This activity is part of the symposium <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank" title="">Black Atlantic Networks: Heritage, Knowledge and Solidarity</a>, taking place in Montr&eacute;al from November 18 to 22, 2025. The symposium fosters transnational dialogue and creates a space for the co-construction of knowledge.Speakers<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Afi Venessa Appiah</li><li fr-original-style="" style="box-sizing: inherit;">Ethel Tawe</li><li fr-original-style="" style="box-sizing: inherit;">James Oscar</li></ul>Information<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Free activity in English, presented in hybrid format at the Goethe-Institut on Wednesday, November 19, from 3:00 to 4:00 p.m.</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location: Goethe-Institut Montreal, 1626 Boulevard Saint-Laurent</li></ul>About the panelists Ethel-Ruth Tawe (b. Yaound&eacute;, Cameroon) is an antidisciplinary artist and creative researcher exploring memory in Africa and its diaspora. Image-making, storytelling, and time-travelling compose the framework of her inquiry. From photography, collage, and text, to moving image, installation and other time-based media, Tawe examines culture and technology often from a speculative lens. Her burgeoning curatorial practice took form in an inaugural exhibition titled &#39;African Ancient Futures&#39;, and continues to expand in a myriad of audiovisual experiments. She is currently Editor-in-Chief at the arts and culture platform Contemporary And (C&amp;) Magazine.<p dir="ltr" fr-original-style="line-height:1.38;background-color:#ffffff;margin-top:0pt;margin-bottom:0pt;" style="line-height: 1.38; background-color: rgb(255, 255, 255); margin: 0pt 0px; width: 100%; box-sizing: inherit; color: rgb(0, 0, 0);"> Afi Venessa Appiah (Afi/ Anteism Books/ NYU Tisch)I am a 29-year-old theorist who can remember being a 10-year old writer and who expects to someday be an 80-year old writer. I&rsquo;m also comfortably reclusive &ndash; a hermit butterfly in the middle of New York &ndash; a latent sojourner, a reluctant cynic when I&rsquo;m not careful, a questioning feminist, a Black African; an oil-and-water combination of zeal, lull, insecurity, certainty, and intensity.

Black Diasporic Publishing Practices

Cette conversation porte sur la pratique artistique de Zohra Opoku, dont le travail explore l&#39;identit&eacute;, l&#39;appartenance et la m&eacute;moire culturelle &agrave; travers la photographie, les textiles et les installations. N&eacute;e en Allemagne de l&#39;Est et d&eacute;sormais install&eacute;e &agrave; Accra, Opoku s&#39;appuie sur des r&eacute;cits personnels et ancestraux pour examiner les intersections entre l&#39;h&eacute;ritage et l&#39;exp&eacute;rience contemporaine. Son approche tactile, qui combine s&eacute;rigraphie, broderie et collage, transforme le tissu en un lieu de r&eacute;flexion sur le corps et son histoire. Dans un dialogue avec l&#39;artiste Mallory Lowe Mpoka, cet &eacute;change offre un aper&ccedil;u des pr&eacute;occupations communes autour de la m&eacute;moire, de la mat&eacute;rialit&eacute; et de la transmission des histoires diasporiques. Cette activit&eacute; s&rsquo;inscrit dans le cadre du Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s, projet de Nigra Iuventa, organis&eacute; en partenariat avec le Consulat g&eacute;n&eacute;ral de France &agrave; Qu&eacute;bec et le Goethe-Institut de Montr&eacute;al et qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025. Elle est pr&eacute;sent&eacute;e en partenariat avec le Mus&eacute;e des beaux-arts de Montr&eacute;al (MBAM). La rencontre aura lieu au Salon, situ&eacute; au deuxi&egrave;me &eacute;tage du pavillon Jean-No&euml;l Desmarais, au 1380, rue Sherbrooke Ouest. Le lieu est accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite. Biographies des intervenantes:&nbsp; ZOHRA OPOKU&nbsp; n&eacute;e en 1976 &agrave; Altdöbern (ancienne RDA/Allemagne de l&#39;Est) ; vit et travaille &agrave; Accra, au Ghana. La pratique multidisciplinaire de Zohra Opoku explore l&#39;identit&eacute;, la m&eacute;moire et l&#39;appartenance &agrave; travers la photographie, le textile et l&#39;installation. N&eacute;e en Allemagne de l&#39;Est et bas&eacute;e &agrave; Accra, elle fait le pont entre ses deux h&eacute;ritages en fusionnant l&#39;artisanat traditionnel et les processus exp&eacute;rimentaux. &Agrave; l&#39;aide d&#39;images s&eacute;rigraphi&eacute;es sur des tissus naturels, de broderies et de collages, elle construit des r&eacute;cits stratifi&eacute;s ancr&eacute;s dans l&#39;histoire personnelle et culturelle. Son travail refl&egrave;te les paysages &eacute;motionnels de la diaspora africaine, transformant des exp&eacute;riences intimes en r&eacute;flexions universelles. Expos&eacute;e &agrave; l&#39;&eacute;chelle internationale, l&#39;&oelig;uvre d&#39;Opoku a &eacute;t&eacute; pr&eacute;sent&eacute;e dans des institutions telles que la Tate Modern, le Zeitz MOCAA, le Louvre Abu Dhabi et le Brooklyn Museum, et fait partie des principales collections publiques du monde entier. Mallory Lowe Mpoka (n&eacute;e en 1996) est une artiste camerounaise-belge bas&eacute;e &agrave; Montr&eacute;al. Sa pratique photographique &eacute;largie explore la m&eacute;moire, le lieu et l&#39;identit&eacute; &agrave; travers le tissage, la c&eacute;ramique et la sculpture. S&#39;appuyant sur des archives personnelles et l&#39;h&eacute;ritage colonial, son travail fait le pont entre les continents et les histoires. Elle a expos&eacute; &agrave; l&#39;&eacute;chelle internationale et pr&eacute;sente actuellement une exposition solo &agrave; la Fonderie Darling dans le cadre de la Biennale Momenta en 2025.

This conversation focuses on the practice of Zohra Opoku, whose work explores identity, belonging, and cultural memory through photography, textiles, and installation. Born in East Germany and now based in Accra, Opoku draws on personal and ancestral narratives to examine how heritage and contemporary experience intersect. Her tactile approach, combining screen-printing, embroidery, and collage, transforms fabric into a site of reflection on the body and its histories. In dialogue with artist Mallory Lowe Mpoka, the exchange offers insights into shared concerns around memory, materiality, and the transmission of diasporic stories. This activity is part of the symposium Black Atlantic Networks: Heritage, Knowledge and Solidarity, taking place in Montr&eacute;al from November 18 to 22, 2025. The symposium fosters transnational dialogue and creates a space for the co-construction of knowledge. The event will be held in The Salon, located on the second floor of the Jean-No&euml;l Desmarais Pavilion. 1380 Sherbrooke Street West. The venue is accessible to people with reduced mobility. About the Speakers :&nbsp; ZOHRA OPOKU&nbsp; b. 1976, Altdöbern (former GDR/ East Germany); lives and works in Accra, Ghana. &nbsp; Zohra Opoku&rsquo;s multidisciplinary practice explores identity, memory, and belonging through photography, textiles, and installation. Born in East Germany and based in Accra, she bridges her dual heritage by merging traditional craftsmanship with experimental processes. Using screen-printed images on natural fabrics, embroidery, and collage, she constructs layered narratives rooted in personal and cultural history. Her work reflects the emotional landscapes of the African diaspora, transforming intimate experiences into universal reflections. Exhibited internationally, Opoku&rsquo;s art has been shown at institutions including Tate Modern, Zeitz MOCAA, Louvre Abu Dhabi, and the Brooklyn Museum, and is held in major public collections worldwide. Mallory Lowe Mpoka (b.1996) is a Cameroonian-Belgian artist based in Montreal. Her expanded photographic practice explores memory, place, and identity through weaving, ceramics, and sculpture. Engaging personal archives and colonial legacies, her work bridges continents and histories. She has exhibited internationally and is currently presenting a solo show at Fonderie Darling during Momenta Biennale in 2025.

Zohra Opoku in conversation with Mallory Lowe Mpoka

Cet &eacute;change r&eacute;unit les fondatrices et les directrices de deux initiatives, Transplantation Project et La MansA, &nbsp;qui &oelig;uvrent &agrave; cr&eacute;er des espaces culturels favorisant la rencontre, la circulation et la cr&eacute;ation autour des cultures africaines, carib&eacute;ennes et diasporiques. Ancr&eacute;es &agrave; Paris mais port&eacute;es par une vocation internationale, ces initiatives explorent de nouvelles mani&egrave;res de relier les territoires et de renforcer les r&eacute;seaux transatlantiques. Les participant&middot;e&middot;s partageront leurs d&eacute;marches, les d&eacute;fis rencontr&eacute;s et leurs strat&eacute;gies pour faire &eacute;merger des lieux durables et connect&eacute;s. La conversation sera mod&eacute;r&eacute;e par la fondatrice de Nigra Iuventa. Cette activit&eacute; s&rsquo;inscrit dans le cadre du Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s, projet de Nigra Iuventa, organis&eacute; en partenariat avec le Consulat g&eacute;n&eacute;ral de France &agrave; Qu&eacute;bec et le Goethe-Institut de Montr&eacute;al et qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025.&nbsp; Informations pratiques<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Activit&eacute; gratuite en fran&ccedil;ais, pr&eacute;sent&eacute;e le mardi 18 novembre &agrave; 18h</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : articule, 6282 Rue St-Hubert, Montr&eacute;al, QC H2S 2M2</li><li fr-original-style="" style="box-sizing: inherit;">Le lieu est accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite</li></ul>Pan&eacute;listes<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" id="isPasted" style="box-sizing: inherit;">Elisabeth &quot;Liz&quot; Gomis</li><li fr-original-style="" style="box-sizing: inherit;">Mariama Conteh&nbsp;</li><li fr-original-style="" style="box-sizing: inherit;">Diane Gistal</li></ul>&Agrave; propos des pan&eacute;listes Apr&egrave;s un parcours dans les m&eacute;dias, Elisabeth &quot;Liz&quot; Gomis dirige MansA &ndash; Maison des Mondes Africains depuis 2024. &quot;Femme de culture&quot; (2022) et Chevali&egrave;re des Arts et des Lettres (2023), elle a fond&eacute; la revue OFF TO et collabor&eacute; avec Chanel, Apple et d&rsquo;autres acteurs internationaux. Mariama Conteh est une artiste vivant et travaillant en Ile-de-France. Apr&egrave;s des &eacute;tudes &agrave; Sciences Po Paris, La Sorbonne Paris IV et Mount Holyoke College (Massachussetts), elle obtient son dipl&ocirc;me d&rsquo;expression plastique des Beaux-Arts de Cergy en 2025. Son travail a &eacute;t&eacute; expos&eacute; &agrave; Marseille, Paris, Saint-Denis, Miami et Ath&egrave;nes. Elle est membre fondatrice de l&rsquo;association Transplantation Project, et travaille &agrave; l&rsquo;&eacute;laboration de ce centre culturel afro-diasporique depuis ses d&eacute;buts en 2019. Elle travaille aux programmes artistiques et publics de ce lieu &eacute;tabli dans le nord-est de Paris. Depuis 2023, elle participe au projet de recherche et d&#39;humanit&eacute;s digitales &quot;L&#39;art noir: cartographies for an emerging field&quot; sous la direction d&#39;Abigail Celis &agrave; l&#39;Universit&eacute; de Montr&eacute;al. Diane Gistal est une curatrice ind&eacute;pendante fran&ccedil;aise d&rsquo;origine ha&iuml;tienne, bas&eacute;e au Canada. &Agrave; travers sa pratique, elle interroge les dynamiques de l&rsquo;Atlantique noir et les processus de construction de r&eacute;cits culturels, explorant les intersections entre les arts visuels, la litt&eacute;rature et les sciences humaines. Son &oelig;uvre se d&eacute;ploie &agrave; travers des expositions, des programmes de recherche et des initiatives curatoriales qui r&eacute;activent la m&eacute;moire, les archives et les pratiques de r&eacute;sistance artistique des diasporas africaines et afrodescendantes. Elle est la fondatrice et la directrice de Nigra Iuventa.

Établir des lieux culturels connectés dédiés aux créations et cultures africaines, caribéennes et diasporiques

This exchange brings together the founders and directors of two initiatives, Transplantation Project and La MansA, which work to create cultural spaces that promote encounters, circulation, and creation around African, Caribbean, and diasporic cultures. Based in Paris but driven by an international vocation, these initiatives explore new ways of connecting territories and strengthening transatlantic networks. Participants will share their approaches, the challenges they have encountered, and their strategies for creating sustainable and connected spaces. The conversation will be moderated by the founder of Nigra Iuventa. This activity is part of the International Symposium RAN &ndash; Black Atlantic Networks: Heritage, Knowledge, and Solidarity, a Nigra Iuventa project organized in partnership with the Consulate General of France in Quebec City and the Goethe-Institut in Montreal, which will be held in Montreal from November 18 to 22, 2025.&nbsp; Speakers<ul fr-original-style="" id="isPasted" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Elisabeth &quot;Liz&quot; Gomis</li><li fr-original-style="" style="box-sizing: inherit;">Mariama Conteh&nbsp;</li><li fr-original-style="" style="box-sizing: inherit;">Diane Gistal</li></ul>.Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Free activity in French, presented on Friday, November 18, 6 pm.</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location: articule, 6282 Rue St-Hubert, Montr&eacute;al, QC H2S 2M2</li><li fr-original-style="" style="box-sizing: inherit;">The venue is accessible to people with reduced mobility.</li></ul>

Comment repenser l&rsquo;art de critiquer depuis les Suds ? Et quels liens ce dernier entretient-il avec la tradition critique ? On peut distinguer trois acceptions du mot &laquo; critique &raquo; : la critique comme exercice du sujet, l&rsquo;art de critiquer comme technique, et la &laquo; critique &raquo; comme raccourci de &laquo; critique culturelle &raquo; ou &laquo; critique d&rsquo;art &raquo;. Ces trois dimensions sont li&eacute;es, et le rappeler, c&rsquo;est &agrave; la fois reconna&icirc;tre le caract&egrave;re flou et parfois confus du mot &laquo; critique &raquo;, tout en ne perdant pas de vue le fond commun qui relie ces diff&eacute;rentes acceptions et le sens partag&eacute; que ce terme conserve malgr&eacute; la diversit&eacute; de ses usages.C&rsquo;est peut-&ecirc;tre cela qu&rsquo;il faut constamment garder en m&eacute;moire, surtout aujourd&rsquo;hui : la port&eacute;e de ce terme au sein de nos paysages culturels, &agrave; partir des histoires qui nous concernent &mdash; la th&eacute;orie critique noire, la tradition radicale noire et la th&eacute;orie f&eacute;ministe noire.Cette activit&eacute; s&rsquo;inscrit dans le cadre du <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s,</a> qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025 et qui favorise un dialogue transnational et offre un espace pour la coconstruction des savoirs.Information<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Anim&eacute; par Chris Cyrille</li><li fr-original-style="" style="box-sizing: inherit;">Activit&eacute; gratuite en fran&ccedil;ais, pr&eacute;sent&eacute;e le mardi 18 novembre &agrave; 16h</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Goethe-Institut Montreal, 1626 Boulevard Saint-Laurent</li></ul><h3 data-pm-slice="1 1 []" fr-original-style="white-space:pre-wrap;" id="isPasted" style="white-space: pre-wrap; width: 100%; box-sizing: inherit;">&Agrave; propos du facilitateur</h3>Chris Cyrille est po&egrave;te, critique d&rsquo;art, performeur, curateur et philosophe. Il publie r&eacute;guli&egrave;rement dans des revues et catalogues. Laur&eacute;at du Prix Dauphine pour l&rsquo;art contemporain (2017), du prix AICA (2020), de la bourse curatoriale du Cnap et de la bourse ADIAF &Eacute;mergence (2022), il a con&ccedil;u de nombreuses expositions et &eacute;v&eacute;nements, parmi lesquels la r&eacute;activation du Second Congr&egrave;s des &Eacute;crivains et Artistes Noirs de 1959 lors d&rsquo;une r&eacute;sidence &agrave; la Villa Romana (2023), ou encore l&rsquo;exposition &mdash; Mais le monde est une mangrovit&eacute; (2021), qui a donn&eacute; lieu &agrave; un livre &eacute;ponyme co-&eacute;crit avec la chercheuse en esth&eacute;tique Sarah Matia Pasqualetti et publi&eacute; en 2023 chez Rotolux Press.Sa recherche, qui articule pratiques curatoriales et r&eacute;flexion philosophique, explore les philosophies afro-carib&eacute;ennes et plus pr&eacute;cis&eacute;ment la ph&eacute;nom&eacute;nologie carib&eacute;enne, &agrave; la crois&eacute;e de la po&eacute;sie, de l&rsquo;esth&eacute;tique et du politique.

Critique d’art : déconstruire, contextualiser, réinventer

Rejoignez Kimberley Demagny, award‑winning cultural strategist et fondatrice d&rsquo;arTech Education et de Caribeart, pour l&rsquo;atelier &laquo; L&rsquo;impact des technologies sur les pratiques des artistes carib&eacute;en&middot;ne&middot;s contemporain&middot;e&middot;s &raquo;. Forte de +10 ans d&rsquo;exp&eacute;rience et de projets culturels &agrave; succ&egrave;s dans la Cara&iuml;be, elle partagera son expertise sur les nouvelles possibilit&eacute;s offertes par les technologies et sur la mani&egrave;re dont artistes et professionnel&middot;le&middot;s de la culture peuvent les utiliser pour cr&eacute;er et raconter leurs propres r&eacute;cits. L&rsquo;atelier pr&eacute;sentera un &eacute;tat des lieux des cr&eacute;ations carib&eacute;ennes int&eacute;grant la technologie, puis explorera comment les artistes peuvent d&eacute;velopper leurs propres narratives, loin des mod&egrave;les occidentaux dominants, tout en r&eacute;fl&eacute;chissant aux enjeux li&eacute;s aux biais algorithmiques, &agrave; l&rsquo;inclusivit&eacute; et aux conditions de production artistique dans la r&eacute;gion. Cette activit&eacute; s&rsquo;inscrit dans le cadre du <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s,</a> qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025 et qui favorise un dialogue transnational et offre un espace pour la coconstruction des savoirs. Informations pratiques<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Activit&eacute; gratuite en fran&ccedil;ais, pr&eacute;sent&eacute;e le mardi 18 novembre &agrave; 16h</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Goethe-Institut Montreal, 1626 Boulevard Saint-Laurent</li></ul>&Agrave; propos de la facilitatrice&nbsp;Kimberley Demagny, originaire de Guadeloupe, est consultante, chercheuse et entrepreneuse. Elle a fond&eacute; arTech Education, le premier centre de formation du Sud sur l&#39;art et la technologie, Caribeart, qui cartographie les cr&eacute;atifs des Cara&iuml;bes, et a cofond&eacute; Synapse.Zone. Elle aide les cr&eacute;atifs r&eacute;gionaux et internationaux &agrave; adopter l&#39;innovation et &agrave; fa&ccedil;onner l&#39;avenir num&eacute;rique.

L'impact des technologies sur les pratiques des artistes caribéen·ne·s contemporain·e·s

<p dir="ltr" fr-original-style="line-height:1.38;text-align: justify;background-color:#ffffff;margin-top:10pt;margin-bottom:0pt;padding:0pt 0pt 10pt 0pt;" id="isPasted" style="line-height: 1.38; text-align: justify; background-color: rgb(255, 255, 255); margin: 10pt 0px 0pt; padding: 0pt 0pt 10pt; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">Join Kimberley Demagny, award-winning cultural strategist and founder of arTech Education and Caribeart, for the workshop &lsquo;The Impact of Technology on the Practices of Contemporary Caribbean Artists.&rsquo; With over 10 years of experience and successful cultural projects in the Caribbean, she will share her expertise on the new possibilities offered by technology and how artists and cultural professionals can use it to create and tell their own stories.<p dir="ltr" fr-original-style="line-height:1.38;text-align: justify;background-color:#ffffff;margin-top:0pt;margin-bottom:10pt;" style="line-height: 1.38; text-align: justify; background-color: rgb(255, 255, 255); margin: 0pt 0px 10pt; width: 100%; box-sizing: inherit;"><span fr-original-style="font-size:11pt;font-family:Arial,sans-serif;color:#222222;background-color:transparent;font-weight:400;font-style:normal;font-variant:normal;text-decoration:none;vertical-align:baseline;white-space:pre;white-space:pre-wrap;" style="font-size: 11pt; font-family: Arial, sans-serif; color: rgb(34, 34, 34); background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; box-sizing: inherit;">The workshop will present an overview of Caribbean creations incorporating technology, then explore how artists can develop their own narratives, far from dominant Western models, while reflecting on issues related to algorithmic bias, inclusivity and the conditions of artistic production in the region. This activity is part of the <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">RAN International Symposium - Black Atlantic Networks: Heritage, Knowledge, and Solidarities</a>, which will take place in Montreal from November 18 to 22, 2025, promoting a transnational dialogue and providing a space for knowledge co-construction. Practical Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Free activity in French, presented on Tuesday, November 18 at 4 pm</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location: Goethe-Institut Montreal, 1626 Boulevard Saint-Laurent</li></ul>About the facilitatorKimberley Demagny, originally from Guadeloupe, is a consultant, researcher, and entrepreneur. She founded arTech Education, the first training center in the South on art and technology, Caribeart, which maps creatives from the Caribbean, and co-founded Synapse.Zone. She helps regional and international creatives embrace innovation and shape the digital future.

L'impact des technologies sur les pratiques des artistes caribéens contemporains

&nbsp;Cet &eacute;change r&eacute;unit des porteurs de projets bas&eacute;s en Martinique et en Guyane (the shade, Manman Dilo)&nbsp; engag&eacute;s dans la cr&eacute;ation et la consolidation de lieux de r&eacute;sidence et d&rsquo;initiatives culturelles favorisant la circulation des pratiques artistiques. Ensemble, ils et elles aborderont les enjeux, d&eacute;fis et strat&eacute;gies propres au d&eacute;veloppement de ces espaces dans la r&eacute;gion, en partageant leurs exp&eacute;riences quant &agrave; la mani&egrave;re de surmonter les obstacles, de p&eacute;renniser les initiatives et de renforcer les r&eacute;seaux culturels afrodescendants et carib&eacute;ens. Cette activit&eacute; s&rsquo;inscrit dans le cadre du &nbsp;Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s, qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025 et qui favorise un dialogue transnational et offre un espace pour la coconstruction des savoirs. in the shade est une r&eacute;sidence pour artistes afro-diasporiques ouverte depuis 2024. Elle est situ&eacute;e &agrave; Tartane en Martinique, et est port&eacute;e par Ronald Rose-Antoinette, commissaire d&rsquo;art, universitaire et &eacute;crivain martiniquais. L&#39;engagement de ce dernier porte sur le d&eacute;veloppement d&rsquo;exp&eacute;rimentations cr&eacute;atives autour des pratiques d&eacute;coloniales et transculturelles. Ayant v&eacute;cu &agrave; Montr&eacute;al de 2002 &agrave; 2020, Ronald entretient encore des relations fortes avec le milieu culturel qu&eacute;b&eacute;cois. Chaque ann&eacute;e, la r&eacute;sidence in the shade r&eacute;unit des artistes des arts visuels et de la performance, originaires de la Martinique et de diverses r&eacute;gions du monde. La r&eacute;sidence op&egrave;re comme un stimulant dont la fonction principale est de nourrir et p&eacute;renniser les &eacute;changes transculturels tout en imaginant de nouvelles formes d&rsquo;expression et de collaboration en art contemporain. La th&eacute;matique de la r&eacute;sidence, &quot;&agrave; l&rsquo;ombre&quot;, fait appel aux notions de camouflage, d&#39;acclimatation, de ruse et d&#39;in/discr&eacute;tion &mdash; autant de dimensions ou pratiques qui s&rsquo;improvisent et se recomposent quotidiennement dans le paysage culturel, &eacute;copo&eacute;tique martiniquais.&nbsp; L&#39;approche des deux entrepreneurs culturels, T2i (musicien et designer graphique guyanais) et NouN (artiste plasticienne et peintre parisienne), est profond&eacute;ment li&eacute;e &agrave; leurs histoires intimes et s&#39;inscrit dans une perspective afro-diasporique et afro-amazonienne. Leur action vise notamment &agrave; r&eacute;duire l&#39;important &eacute;cart &eacute;conomique et administratif qui s&eacute;pare le milieu cr&eacute;atif culturel guyanais des autres territoires francophones. Leur initiative est orient&eacute;e vers un r&eacute;-enracinement des individus, cherchant &agrave; promouvoir une meilleure connaissance de soi et, par cons&eacute;quent, une meilleure cohabitation. Leur d&eacute;marche est globalement amazonienne et s&#39;articule autour d&#39;une volont&eacute; de d&eacute;centralisation (notamment en zone rurale, en Amazonie) et pour la d&eacute;colonisation des esprits et des structures. Leur projet actuel, l&#39;exposition Manman Dilo cr&eacute;&eacute; en Guyane en 2022, est un exemple concret de cette vision. Son export depuis 2023 (Br&eacute;sil, USA, Uruguay, ...) permet la rencontre et la mise en lien avec des artistes de toute l&#39;Am&eacute;rique, op&eacute;rant ainsi une d&eacute;centralisation des &eacute;changes qui &eacute;taient jusque-l&agrave; concentr&eacute;s uniquement sur l&#39;Europe. &nbsp;Depuis 6 ans, ils mettent aussi en place sur le territoire guyanais des masterclass 2BeFruit autour de l&#39;audio-visuel, de l&#39;image et de la musique en autoproduction en invitant des professionnels de Paris et de Guyane afin de pallier au manque de formation sur le territoire. Ce s&eacute;minaire cr&eacute;atif compos&eacute; de pratique et de moments d&#39;&eacute;changes avec des autodidactes permet de stimuler les jeunes artistes, cr&eacute;atifs et entrepreneurs. L&#39;objectif, apr&egrave;s avoir ainsi diffus&eacute; la culture guyanaise sera, d&#39;ici quelques ann&eacute;es, de proposer une offre de tourisme culturel et de tiers lieu permettant aux visiteurs et aux locaux de d&eacute;couvrir les subtilit&eacute;s culturelles de ce pays amazonien. &Agrave; terme, ils souhaitent concr&eacute;tiser l&#39;ouverture d&#39;un espace en Guyane pour accueillir les cr&eacute;atifs rencontr&eacute;s tout au long de leur parcours, cr&eacute;ant un v&eacute;ritable p&ocirc;le d&#39;&eacute;change. Informations pratiques<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Activit&eacute; gratuite en fran&ccedil;ais, pr&eacute;sent&eacute;e le mardi 18 novembre &agrave; 13h</li><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : articule, 6282 Rue St-Hubert, Montr&eacute;al, QC H2S 2M2</li><li fr-original-style="" style="box-sizing: inherit;">Le lieu est accessible aux personnes &agrave; mobilit&eacute; r&eacute;duite</li></ul>&Agrave; propos des pan&eacute;listes Ronald Rose-Antoinette est un universitaire martiniquais et commissaire ind&eacute;pendant qui s&#39;int&eacute;resse &agrave; la promotion d&#39;exp&eacute;riences cr&eacute;atives dans le domaine des pratiques d&eacute;coloniales et interculturelles. Ces derni&egrave;res ann&eacute;es, il a contribu&eacute; &agrave; l&#39;organisation de nombreux conf&eacute;rences, ateliers, programmes cin&eacute;matographiques et expositions ax&eacute;s sur les pratiques des artistes visuels, sonores et performatifs au Canada, en Allemagne, en France, en Martinique et en ligne. Il est coauteur de Nocturnal Fabulations, un ouvrage qui examine les &oelig;uvres du cin&eacute;aste tha&iuml;landais Apichatpong Weerasethakul. (traduction par NI) NouN est une artiste visuelle. Elle vit et travaille entre Paris et la Guyane. Elle explore plusieurs disciplines dont la peinture, le dessin, la photographie. Dans son travail elle aborde le rapport aux corps et &agrave; la construction de nos regards sur l&#39;autre. Elle se questionne sur : la repr&eacute;sentation des corps, un regard f&eacute;ministe d&eacute;colonial et nos identit&eacute;s multiples. T2i est un auteur, compositeur, interpr&egrave;te, il vit et travaille &agrave; Roura en Guyane. Il est aussi designer graphique de formation et r&eacute;alisateur, l&rsquo;image a toujours &eacute;t&eacute; un terrain de jeu pour lui. Il fait tout maison, de la conceptualisation des m&eacute;lodies jusqu&rsquo;&agrave; la r&eacute;alisation de ces clips avec une forte identit&eacute; afro-amazonienne.

Établir des lieux culturels connectés dédiés aux créations et cultures africaines, caribéennes et diasporiques (Martinique/Guyane)

This exchange brings together project leaders based in Martinique and French Guiana (the shade, Manman Dilo) who are committed to creating and consolidating residency spaces and cultural initiatives that promote the circulation of artistic practices. Together, they will address the issues, challenges, and strategies specific to the development of these spaces in the region, sharing their experiences on how to overcome obstacles, sustain initiatives, and strengthen Afro-descendant and Caribbean cultural networks. The workshop is part of the symposium Black Atlantic Networks: Heritage, Knowledge and Solidarity, taking place in Montr&eacute;al from November 18 to 22, 2025. The symposium fosters transnational dialogue and creates a space for the co-construction of knowledge.&nbsp; About the Speakers :&nbsp; <span fr-original-style="color: rgb(32, 33, 36); font-family: Roboto, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: 0.2px; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" id="isPasted" style="color: rgb(32, 33, 36); font-family: Roboto, Arial, sans-serif; font-size: 14px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: 0.2px; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: pre-wrap; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; display: inline !important; box-sizing: inherit;">Ronald Rose-Antoinette is a Martinican scholar and independent curator interested in advancing creative experiments in decolonial, cross-cultural practice. In recent years, he has helped organize numerous talks, workshops, film programs, and exhibitions centering the practices of visual, sound and performance artists in Canada, Germany, France, Martinique, and online. He is the co-author of Nocturnal Fabulations, a book that examines the works of the Thai filmmaker, Apichatpong Weerasethakul. NouN is a visual artist. She lives and works between Paris and French Guiana. She explores several disciplines including painting, drawing, and photography. In her work, she addresses the relationship between bodies and the construction of our perceptions of others. She questions the representation of bodies, a decolonial feminist perspective, and our multiple identities. T2i is a songwriter, composer, and performer who lives and works in Roura, French Guiana. He is also a trained graphic designer and director, and images have always been his playground. He does everything himself, from conceptualizing melodies to producing music videos with a strong Afro-Amazonian identity. Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Free activity in French, presented on Friday, November 18, 1pm.</li><li fr-original-style="" style="box-sizing: inherit;">Duration: 60 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location: articule, 6282 Rue St-Hubert, Montr&eacute;al, QC H2S 2M2</li><li fr-original-style="" style="box-sizing: inherit;">The venue is accessible to people with reduced mobility.</li></ul>

So Surreal : Behind the Masks is a documentary that uncovers the untold story of the ceremonial masks of the Yup&rsquo;ik people (Alaska) and the Kwakwaka&rsquo;wakw people (Northwest Coast). Filmmaker Neil Diamond, a member of the Cree Nation (one of the major Indigenous nations of North America) and known for his impactful documentaries such as Reel Injun and Red Fever, brings a unique perspective deeply rooted in his culture and his commitment to preserving Indigenous narratives. Both an expedition and a spiritual quest, this investigation delves into the history of cultural objects appropriated by Western museums and collectors, from the distant lands of Turtle Island (North America) to the hands of European surrealists. These masks have influenced some of the most renowned modern artists and writers, such as Max Ernst (German painter and sculptor), Andr&eacute; Breton (French poet), Roberto Matta (Chilean painter and sculptor), and Joan Mir&oacute; (Catalan artist). Through this journey, Neil Diamond reveals the lesser-known influence of Indigenous cultures on modern art and follows the quest for the restitution of a mask stolen over a century ago from the Kwakwaka&rsquo;wakw people. Presented in partnership with FIFA, this activity is part of the symposium &ldquo;Black Atlantic Networks: Heritage, Knowledge, and Solidarity,&rdquo; organized by Nigra Iuventa in partnership with the Consulat g&eacute;n&eacute;ral de France &agrave; Qu&eacute;bec and the Goethe-Institut. The event will be held in Montreal from November 18 to 22, 2025. The screening will be followed by a short discussion with Rebecca Lessard (editor and archive researcher for the film), moderated by Paul Roth&eacute; from FIFA. Practical Information<ul fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Duration: 1 hour 28 minutes</li><li fr-original-style="" style="box-sizing: inherit;">Location: Public Cinema at 6 p.m.&nbsp;</li></ul>.Neil Diamond is a Cree filmmaker from Waskaganish, Quebec, on the coast of James Bay. Neil co-directed the award-winning feature documentaries, &ldquo;Reel Injun&rdquo; and the more recent &ldquo;Red Fever&rdquo; along with &ldquo;One More River&rdquo;, &ldquo;Cree Spoken Here&rdquo;, and &ldquo;Heavy Metal: A Mining Disaster in Northern Quebec&rdquo;. His credits also include &ldquo;Inuit Cree Reconciliation&rdquo;, &ldquo;The Last Explorer&rdquo;, and &ldquo;Dab Iyiyuu&rdquo;. He is an award-winning photographer, and co-founder of The Nation, the first news magazine to serve the Cree of northern Quebec and Ontario. Biographical notes provided by the film production team and edited by Le FIFA&rsquo;s team Joanne Robertson grew up as a settler on the west coast on the lands of the Skwxw&uacute;7mesh (Squamish). Today she is a director, researcher and creative producer. She first began her work with Rezolution Pictures over 25 years ago, collaborating with Cree co-director Neil Diamond on such documentary projects as Cree Spoken Here, Dab Iyiyuu and One More River. Since then she has honed her research, directing and story producing skills on diverse doc projects including the NFB&rsquo;s Making Movie History, Ports d&rsquo;attache, Chacun son &icirc;le and as story producer on APTN&rsquo;s Lands Enchanted and the award-winning documentary Red Fever. Joanne was co-producer on Kara Blake&rsquo;s installation Lasciare Suonore at Montreal&rsquo;s Place des Arts and Todd Stewart&rsquo;s award-winning short animation The Wind and the Trees.

Projection - So Surreal: Behind the Masks

So Surreal : Behind the Masks est un documentaire qui raconte l&rsquo;histoire m&eacute;connue des masques c&eacute;r&eacute;moniels des peuples Yup&rsquo;ik (Alaska) et Kwakwaka&rsquo;wakw (c&ocirc;te nord-ouest). Le cin&eacute;aste Neil Diamond, originaire de la nation crie (une des grandes nations autochtones d&rsquo;Am&eacute;rique du Nord) et reconnu pour ses documentaires engag&eacute;s comme Reel Injun et Red Fever, apporte une perspective unique, enracin&eacute;e dans sa culture et son engagement pour la pr&eacute;servation des r&eacute;cits autochtones. &Agrave; la fois exp&eacute;dition et qu&ecirc;te spirituelle, cette investigation nous plonge dans l&rsquo;histoire de ces objets culturels d&eacute;tourn&eacute;s par les mus&eacute;es et collectionneurs occidentaux, depuis les lointaines terres de Turtle Island (Am&eacute;rique du Nord) jusqu&rsquo;aux mains des surr&eacute;alistes europ&eacute;ens. Ces masques ont influenc&eacute; des artistes et &eacute;crivains modernes parmi les plus c&eacute;l&egrave;bres, tels que Max Ernst (peintre et sculpteur allemand), Andr&eacute; Breton (po&egrave;te fran&ccedil;ais), Roberto Matta (peintre et sculpteur chilien) et Joan Mir&oacute; (artiste catalan). &Agrave; travers ce voyage, Neil Diamond r&eacute;v&egrave;le l&rsquo;influence m&eacute;connue des cultures autochtones sur l&rsquo;art moderne et suit la qu&ecirc;te de restitution d&rsquo;un masque vol&eacute; il y a plus d&rsquo;un si&egrave;cle au peuple Kwakwaka&rsquo;wakw. R&eacute;alisation:&nbsp;Neil Diamond, Joanne RobertsonDirection de la photographie:&nbsp;Glauco Bermudez, Yoan CartMontage:&nbsp;Rebecca LessardMise en sc&egrave;ne:&nbsp;Neil Diamond, Joanne RobertsonMusique:&nbsp;Ana&iuml;s Larocque Pr&eacute;sent&eacute;e en partenariat avec <a fr-original-style="" href="https://lefifa.com/" rel="noopener noreferrer" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">le FIFA</a>, &nbsp;cette activit&eacute; s&rsquo;inscrit dans le cadre du <a fr-original-style="" href="https://www.nigraiuventa.com/symposium-ran" style="text-decoration-color: initial; user-select: auto; box-sizing: inherit;" target="_blank">Symposium international RAN &ndash; R&eacute;seaux de l&rsquo;Atlantique noir : patrimoines, savoirs et solidarit&eacute;s,</a> qui se tiendra &agrave; Montr&eacute;al du 18 au 22 novembre 2025 et qui favorise un dialogue transnational et offre un espace pour la coconstruction des savoirs. <div fr-original-style="font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; font-family: Verdana, Geneva, sans-serif; font-size: 10pt; color: rgb(0, 0, 0);" id="isPasted" style="font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; font-family: Verdana, Geneva, sans-serif; font-size: 10pt; color: rgb(0, 0, 0); line-height: 1.5; box-sizing: inherit;">La projection sera suivie d&#39;une courte discussion avec <span fr-original-style="color: rgb(0, 0, 0); font-family: Verdana, Geneva, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" style="color: rgb(0, 0, 0); font-family: Verdana, Geneva, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; display: inline !important; box-sizing: inherit;">Rebecca Lessard (m<span fr-original-style="color: rgb(0, 0, 0); font-family: Verdana, Geneva, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;" id="isPasted" style="color: rgb(0, 0, 0); font-family: Verdana, Geneva, sans-serif; font-size: 13.3333px; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: rgb(255, 255, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; display: inline !important; box-sizing: inherit;">onteuse et recherchiste d&#39;archives du film) anim&eacute;e par Paul Roth&eacute; du FIFA. &nbsp;</div> Informations pratiques<ul data-rte-list="default" fr-original-style="" style="box-sizing: inherit;"><li fr-original-style="" style="box-sizing: inherit;">Dur&eacute;e : 1h 28 min</li><li fr-original-style="" style="box-sizing: inherit;">Lieu : Cin&eacute;ma Public &agrave; 18h&nbsp;</li></ul> &Agrave; propos des r&eacute;alisateurs&middot;trices Neil Diamond&nbsp;est un cin&eacute;aste cri de Waskaganish, Qu&eacute;bec situ&eacute; sur la c&ocirc;te de la Baie James au Canada. Neil a co-r&eacute;alis&eacute; les longs m&eacute;trages documentaires prim&eacute;s &ldquo;Reel Injun&rdquo; et le plus r&eacute;cent &ldquo;Red Fever&rdquo;, ainsi que &ldquo;One More River&rdquo;, &ldquo;Cree Spoken Here&rdquo; et &ldquo;Heavy Metal : A Mining Disaster in Northern Quebec&rdquo;. Il a co-r&eacute;alis&eacute; &eacute;galement &ldquo;Inuit Cree Reconciliation&rdquo;, &ldquo;The Last Explorer&rdquo; et la s&eacute;rie documentaire &ldquo;Dab Iyiyuu&rdquo;. Il est un photographe prim&eacute; et cofondateur du magazine The Nation, le premier magazine d&rsquo;information au service des Cris du nord du Qu&eacute;bec et de l&rsquo;Ontario. En 2024 il a co-r&eacute;alis&eacute; le documentaire long m&eacute;trage &ldquo;So Surreal : Behind the Masks&rdquo;. Joanne Robertson est une r&eacute;alisatrice, chercheuse et productrice au contenu bas&eacute;e &agrave; Montr&eacute;al. Elle a commenc&eacute; son travail avec Rezolution Pictures il y a plus de 25 ans, en collaborant avec son co-r&eacute;alisateur Neil Diamond (cri) sur des projets documentaires tels que Cree Spoken Here, Dab Iyiyuu et One More River. Depuis, elle a continu&eacute; &agrave; travailler ses comp&eacute;tences en recherche, en r&eacute;alisation et en production du contenu sur divers projets documentaires, dont Making Movie History de l&rsquo;Office national du film (ONF), Ports d&rsquo;attache et Chacun son &icirc;le pour lequel elle a &eacute;t&eacute; nomin&eacute;e aux G&eacute;meaux pour la meilleure recherche, et plus r&eacute;cemment comme productrice au contenu sur Lands Enchanted, Spirit of Birth et le long m&eacute;trage documentaire Red Fever. Joanne a &eacute;galement &eacute;t&eacute; productrice sur l&rsquo;installation Lasciare Suonore de l&rsquo;artiste Kara Blake &agrave; la Place des Arts &agrave; Montr&eacute;al et du court m&eacute;trage d&rsquo;animation de Todd Stewart, The Wind and the Trees. Elle est co-r&eacute;alisatrice avec Neil Diamond de So Surreal : Behind the Masks, le long m&eacute;trage documentaire sur l&rsquo;influence profonde des masques autochtones sur les artistes surr&eacute;alistes.

So Surreal: Behind the Masks - projection / film screening

<img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1780090008/wysiwyg/q73jvwkppzhxfmiwjwvv.jpg" style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center; cursor: pointer; padding: 0px 1px; user-select: none; max-width: 100%; position: relative; box-sizing: inherit;" fr-original-style="width: 600px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable">Faire partie du Cercle, c&#39;est accompagner durablement la transformation du paysage culturel canadien. Depuis son incorporation en 2021, Nigra Iuventa construit une infrastructure culturelle d&eacute;di&eacute;e aux artistes africain&middot;e&middot;s et afrodescendant&middot;e&middot;s en art contemporain. &Agrave; travers des expositions, des r&eacute;sidences internationales, le Symposium des R&eacute;seaux de l&#39;Atlantique Noir et le programme COLLECT, nous soutenons la cr&eacute;ation, la diffusion et la pr&eacute;servation d&#39;&oelig;uvres trop longtemps absentes des grandes institutions canadiennes. En cinq ans, nous sommes devenu&middot;e&middot;s un acteur reconnu, laur&eacute;at du Prix &Eacute;quit&eacute; 2021 du Conseil des arts de Montr&eacute;al, collaborant notammant avec le Mus&eacute;e des beaux-arts de Montr&eacute;al, la Fondation PHI, le Mus&eacute;e McCord Stewart, SAVVY Contemporary &agrave; Berlin et le Dikan Center &agrave; Accra. En 2026, nous portons une d&eacute;l&eacute;gation qu&eacute;b&eacute;coise &agrave; la 61e Biennale de Venise.. Pourquoi rejoindre le CercleEn devenant compagnon&middot;ne, ami&middot;e, alli&eacute;&middot;e, m&eacute;c&egrave;ne ou b&acirc;tisseur&middot;euse de Nigra Iuventa, vous contribuez directement &agrave; soutenir le d&eacute;veloppement professionnel d&#39;une nouvelle g&eacute;n&eacute;ration d&#39;artistes afrodescendant&middot;e&middot;s, &agrave; permettre la tenue d&#39;&eacute;v&eacute;nements culturels d&#39;envergure comme le Symposium RAN qui a r&eacute;uni plus de 1000 personnes en 2025, &agrave; d&eacute;mocratiser l&#39;acc&egrave;s au collectionnement d&#39;art contemporain &agrave; travers le programme COLLECT et &agrave; construire un patrimoine culturel durable pour des communaut&eacute;s historiquement exclues des grandes institutions. Une d&eacute;marche d&#39;appartenance, pas seulement de soutienLe Cercle Nigra Iuventa n&#39;est pas une simple liste de donateur&middot;rice&middot;s. C&#39;est une communaut&eacute; engag&eacute;e, qui partage avec nous les coulisses de notre travail, acc&egrave;de en avant-premi&egrave;re &agrave; nos &eacute;v&eacute;nements et participe &agrave; fa&ccedil;onner l&#39;avenir de Nigra Iuventa.Nous tenons &agrave; pr&eacute;ciser qu&#39;en l&#39;absence pour le moment du statut d&#39;organisme de bienfaisance enregistr&eacute;, Nigra Iuventa ne peut pas &eacute;mettre de re&ccedil;us fiscaux pour vos dons. Votre soutien est un acte d&#39;engagement direct envers notre mission, dans une logique d&#39;investissement communautaire et de conviction. Rejoignez-nous.

Faire partie du Cercle, c'est accompagner durablement la transformation du paysage culturel canadien.Depuis son incorporation en 2021, Nigra Iuventa construit une infrastructure culturelle dédiée aux artistes africain·e·s et afrodescendant·e·s en art contemporain. À travers des expositions, des résidences internationales, le Symposium des Réseaux de l'Atlantique Noir et le programme COLLECT, nous soutenons la création, la diffusion et la préservation d'œuvres trop longtemps absentes des grandes institutions canadiennes.En cinq ans, nous sommes devenu·e·s un acteur reconnu, lauréat du Prix Équité 2021 du Conseil des arts de Montréal, collaborant notammant avec le Musée des beaux-arts de Montréal, la Fondation PHI, le Musée McCord Stewart, SAVVY Contemporary à Berlin et le Dikan Center à Accra. En 2026, nous portons une délégation québécoise à la 61e Biennale de Venise..Pourquoi rejoindre le CercleEn devenant compagnon·ne, ami·e, allié·e, mécène ou bâtisseur·euse de Nigra Iuventa, vous contribuez directement à soutenir le développement professionnel d'une nouvelle génération d'artistes afrodescendant·e·s, à permettre la tenue d'événements culturels d'envergure comme le Symposium RAN qui a réuni plus de 1000 personnes en 2025, à démocratiser l'accès au collectionnement d'art contemporain à travers le programme COLLECT et à construire un patrimoine culturel durable pour des communautés historiquement exclues des grandes institutions.Une démarche d'appartenance, pas seulement de soutienLe Cercle Nigra Iuventa n'est pas une simple liste de donateur·rice·s. C'est une communauté engagée, qui partage avec nous les coulisses de notre travail, accède en avant-première à nos événements et participe à façonner l'avenir de Nigra Iuventa.Nous tenons à préciser qu'en l'absence pour le moment du statut d'organisme de bienfaisance enregistré, Nigra Iuventa ne peut pas émettre de reçus fiscaux pour vos dons. Votre soutien est un acte d'engagement direct envers notre mission, dans une logique d'investissement communautaire et de conviction.Rejoignez-nous.

Campagne le cercle de Nigra Iuventa

<img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1780090008/wysiwyg/q73jvwkppzhxfmiwjwvv.jpg" fr-original-style="" fr-original-class="fr-draggable" style="cursor: pointer; padding: 0px 1px; user-select: none; max-width: 100%; position: relative; box-sizing: inherit;">Joining the Circle means accompanying the lasting transformation of the Canadian cultural landscape. Since its incorporation in 2021, Nigra Iuventa has been building a cultural infrastructure dedicated to African and Afrodescendant artists in contemporary art. Through exhibitions, international residencies, the Black Atlantic Networks Symposium and the COLLECT program, we support the creation, diffusion and preservation of works long absent from major Canadian institutions. In five years, we have become a recognized organization, laureate of the Conseil des arts de Montr&eacute;al&#39;s 2021 Equity Prize, collaborating notably with the Montreal Museum of Fine Arts, the PHI Foundation, the McCord Stewart Museum, SAVVY Contemporary in Berlin and the Dikan Center in Accra. In 2026, we are leading a Qu&eacute;bec delegation at the 61st Venice Biennale.But this work requires means. And beyond public grants, our independence is built thanks to those who believe in our approach. Why join the CircleBy becoming a Companion, Friend, Ally, Patron or Builder of Nigra Iuventa, you contribute directly to supporting the professional development of a new generation of Afrodescendant artists, enabling cultural events of significant scope such as the BAN Symposium that gathered more than 1,000 people in 2025, democratizing access to contemporary art collecting through the COLLECT program, and building a lasting cultural heritage for communities historically excluded from major institutions. A community of belonging, not just supportThe Nigra Iuventa Circle is not simply a list of donors. It is an engaged community that shares with us the inner workings of our practice, gains preview access to our events, and helps shape the future of Nigra Iuventa.We wish to specify that, in the absence for the moment of registered charity status, Nigra Iuventa cannot issue tax receipts for your donations. Your support is an act of direct commitment to our mission, in a logic of community investment and conviction. Join us.

Joining the Circle means accompanying the lasting transformation of the Canadian cultural landscape.Since its incorporation in 2021, Nigra Iuventa has been building a cultural infrastructure dedicated to African and Afrodescendant artists in contemporary art. Through exhibitions, international residencies, the Black Atlantic Networks Symposium and the COLLECT program, we support the creation, diffusion and preservation of works long absent from major Canadian institutions.In five years, we have become a recognized organization, laureate of the Conseil des arts de Montréal's 2021 Equity Prize, collaborating notably with the Montreal Museum of Fine Arts, the PHI Foundation, the McCord Stewart Museum, SAVVY Contemporary in Berlin and the Dikan Center in Accra. In 2026, we are leading a Québec delegation at the 61st Venice Biennale.But this work requires means. And beyond public grants, our independence is built thanks to those who believe in our approach.Why join the CircleBy becoming a Companion, Friend, Ally, Patron or Builder of Nigra Iuventa, you contribute directly to supporting the professional development of a new generation of Afrodescendant artists, enabling cultural events of significant scope such as the BAN Symposium that gathered more than 1,000 people in 2025, democratizing access to contemporary art collecting through the COLLECT program, and building a lasting cultural heritage for communities historically excluded from major institutions.A community of belonging, not just supportThe Nigra Iuventa Circle is not simply a list of donors. It is an engaged community that shares with us the inner workings of our practice, gains preview access to our events, and helps shape the future of Nigra Iuventa.We wish to specify that, in the absence for the moment of registered charity status, Nigra Iuventa cannot issue tax receipts for your donations. Your support is an act of direct commitment to our mission, in a logic of community investment and conviction.Join us.

Nigra Iuventa

Nigra Iuventa

Nigra Iuventa

Événements passés

Événements passés

Voir l'événement

Séance spéciale RAN : Omi Nobu & Le monde est à elles

Voir l'événement

Scénographier la première présence de la RDC à la Biennale de Venise — Conférence de Johnny Leya

Voir l'événement

Documenter sa pratique, en collaboration avec Artexte

Voir l'événement

Séance spéciale RAN : PNEUMOTHERAPY (II), Big Bang Henda & Memory of Princess Mumbi

Voir l'événement

Thinking Through Exhibition Space with Farida Abu-Bakare

Voir l'événement

Entrer en relation avec une galerie, en collaboration avec l'AGAC

Autres façons de nous soutenir

Faire un don

Campagne le cercle de Nigra Iuventa

Réalisé avec

.css-uul6jx a{color:inherit;-webkit-text-decoration:none;text-decoration:none;}.css-uul6jx a:hover{-webkit-text-decoration:underline;text-decoration:underline;text-decoration-color:hsl(240, 74%, 14%);}Nigra Iuventa

Nigra Iuventa

Événements passés

Événements passés

Voir l'événement

Séance spéciale RAN : Omi Nobu & Le monde est à elles

Voir l'événement

Scénographier la première présence de la RDC à la Biennale de Venise — Conférence de Johnny Leya

Voir l'événement

Documenter sa pratique, en collaboration avec Artexte

Voir l'événement

Séance spéciale RAN : PNEUMOTHERAPY (II), Big Bang Henda & Memory of Princess Mumbi

Voir l'événement

Thinking Through Exhibition Space with Farida Abu-Bakare

Voir l'événement

Entrer en relation avec une galerie, en collaboration avec l'AGAC

Autres façons de nous soutenir

Faire un don

Campagne le cercle de Nigra Iuventa

Réalisé avec

Nigra Iuventa