In movement: Impressions Embarquées | ancrage(s) | étant donnéEs

Souad Mani's research project with Arts Cabinet is entering its third axis. étant donnéEs marks the crystallisation of a thought process which departs from Impressions embarquées, following Ancrage(s), as described below.

Silex, pierre et pigment Ocre Rouge, KIT IOT, Gafsa 2017  © Souad Mani

Silex, pierre et pigment Ocre Rouge, KIT IOT, Gafsa 2017
© Souad Mani

Axis III étant donnéEs

étant donnéEs is a space-time dedicated to the generation of reflections and visualizations of ideas…A proposition of a model of an experimental and branched matrix. A junction between a conceptual and an abstract ideal and a representation of a thought putting into practice a paradigm focused on a collective "geo-intelligence" around a transdisciplinary plastic approach.

Le terme d’écologie est éclectique. Il englobe des réalités très hétérogènes, ce qui fait d’ailleurs sa richesse. D’abord, c’est une science, la science des écosystèmes de toute nature. Elle n’a pas des contours bien délimités car elle prend en compte aussi bien des écosystèmes sociaux-urbains, familiaux que ceux de la biosphère. À côté de ça, l’écologie est devenue un phénomène d’opinion, recouvrant des sensibilités très diverses : de celles conservatrices, voire réactionnaires, prônant un retour à des valeurs ancestrales, à celles qui tentent la recomposition d’une polarité progressiste se substituant à l’ancienne polarité droite-gauche. J’ai tenté une jonction conceptuelle entre toutes ces dimensions. Est ainsi née l’idée d’écosophie articulant les trois écologies : environnementale, sociale et mentale.
— Revue chimères, Entretien avec Félix Guattari « Qu'est-ce que l'écosophie ? », Propos recueillis et mis en forme par Eric Braine et Jean-Yves Sparfe, Terminal n°56. Voir: http://www.revue-chimeres.fr/drupal_chimeres/files/termin56.pdf
L’état de nature n’existe pas dans le virtuel. Ce qui compte, ce ne sont pas les frontières prétendument « naturelles » comme les États savent en tracer, Parce que ce paysage, « la connectivité ». [...] La carte, c’est le territoire. Les parcours subjectifs des internautes dessinent l’une et l’autre simultanément.
— Godelück S., La géopolitique d’Internet, Paris, La découverte, 2002, p.8.
L’intelligence collective est le projet d’une intelligence variée, partout distribuée, toujours valorisée et mise en synergie en temps réel.
— Pierre Lévy, L’intelligence collective, Paris, La Découverte, 1994.
Toute connexion entre deux éléments a des effets sur d’autres éléments du réseau. Que ce soient les hommes et les femmes, le règne animal, végétal ou minéral, la terre, le souterrain ou le ciel, l’infiniment petit et l’infiniment grand, la vie actualisée et les rêves, tout interagit. Ces connexions sont mises en œuvre par les rites, par les rêves, et par le lien spirituel et physique qui unit chaque humain à certains éléments de son environnement – lien que l’on a coutume d’appeler, en anthropologie, “totémique”.
— Barbara Glowczewski, « La pensée en réseau des Aborigènes », Le Nouvel Observateur, hors-série, n° 51, juillet-août 2003.

Souad Mani, examines the perpetual technical transformations as well as the climatic transformations linked to the political societal and environmental landscapes of a subjectif and scientific ecosystem structured by three interconnected regimes and plateaux of thought: subterranean, terrestrial and aerial.

She also wants to make the project resonate from the very local to the global, from the personal to the common and the natural to the artificial, and vice versa .

The inquiry is conceived around three axes of evolutionary research.

In the first axis, a retrospective, that establishes links between the nuclei traced in her artistic approach with multiple entries and anchor points in which her experiences are written on the territory of Gafsa, her travels through her root-project "Elle m’aime" and her city of residence, Sousse.

The second axis, she will point to time and spaces for the analysis and dialogue of her multiple archives in relation with other other nuclei initiated in and derived from her research process.

And finally, the third axis, will offer an open and porous forms of synthesis that will bring together human and artificial collective intelligence.

« Souvenirs du présent », digital photography, 2010, Gafsa, Tunisia © Souad Mani

« Souvenirs du présent », digital photography, 2010, Gafsa, Tunisia © Souad Mani

Impressions embarquées. Impression IV, Dataviz (Temperature and humidity of Gafsa, Tunis and Nantes in real time), Gallery Bonus, Nantes, France. 30 August 2018. Developed in real time by the collectif Apo33.

Impressions embarquées. Impression IV, Dataviz (Temperature and humidity of Gafsa, Tunis and Nantes in real time), Gallery Bonus, Nantes, France. 30 August 2018. Developed in real time by the collectif Apo33.


Axis II Ancrage(s)

Point d'ancrage. Island Magiorre Perugia, Italy. Production Open Art Week, C. Tobia Faverio

Point d'ancrage. Island Magiorre Perugia, Italy. Production Open Art Week, C. Tobia Faverio


Artist’s first statement

In his artistic approach Souad Mani, through a mode of sharing and pollination, sows in the universe the image of her self-portrait in search of a possible encounter with beings and things. From Paris to London via Gafsa or Nantes, she probes links, leaves traces, archives them and then links them to others by creating networks that contribute to the ramification, densification and settlement of her world, both human and digital.


Methodolology

Through a transdisciplinary dynamic, the visual artist focuses on archaeological, territorial and anthropological research. In search of a sensible "geo-intelligence", which unites multicultural contributions that she considers one of the figures of our era that of the Man and its impact on its environment. And in pursuit of pictorial, analog and digital "geo-poetry" she studies and maps, their intertwined energies and the traces collected in her collaborations, her networks and her travels.




Axis I Impressions embarquées
In the beginning, ‘Impressions Embarquées’ started as a project in 2016 as part of the Under Sand project in Gafsa, a territory located in the south of Tunisia, whose history dates back to ancient times. The discovery of phosphate in this territory in the colonial era in 1886 by Philippe THOMAS, founder in 1897 of the Phosphate and Railways Company of Gafsa caused significant modification of the different landscapes of this city, at various levels: social, political, economic and ecological.
Metlaoui, Molarès and Redeyef are the three big villages (called today fillettesby the inhabitants) in which the settlers settled to extract phosphate.
The result is the creation of three Western villages with Western architecture, churches, trading rooms, cinemas and houses for mining engineers in the arid region at the gateway to the Tunisian desert. Today, these buildings - colonial heritage - are poorly safeguarded and partly abandoned or transformed and are under the power of the CPG (Gafsa phosphate company).

Currently, "Impressions embarquées" includes traces in the forms of objects or images or databases or writings that testify to performative artistic actions and presence on Ancrage (s) of Souad Mani in real time. These traces record her "Now", her presence and her omnipresence with other energies. “ Impressions embarquées” bear the breath of the living, they are in the making and take multiple forms that evolve according to the context of omnipresence. They represent the energies that are transformed, they are anachronistic and interconnected with the "Ancrage (s)", "étant donnéEs" and others.

Souad Mani, sows, harvests, explores, archives, transforms, contributes, collaborates and weaves various links in a matrix with a multiple and indefinite entry structure.

In partnership with Arts Cabinet, she proposes a residency of reflections and visualizations of her materials with people and researchers of different profiles in order to define the thought and the structure o this anachronistic, mobile and collaborative process.