Perfomances & talks

Diego Marcon, Barbara Sirieix, Julie Béna

Dr. Felix 72A

Everything falls faster than an anvil
Program of animation films by Diego Marcon
16.00 – 22.00

Everything falls faster than an anvil is a 4 hours screening of cartoons and animated films, from early animations to US studio classics, passing by avant-garde European and Asian animation.

The screening is conceived for a wide public – it starts in the afternoon with films for children, and ends in the evening with a selection for a grown-up public.


Discussion with curator Barbara Sirieix

Barbara will uncover her working method for this original project, as well as discuss her work as an international freelance curator.


A Cat at the Window
Performance by Julie Béna
20.5. 2015

A Cat at the window is a performance conceived and realized during a week of residency at ODD Bucharest, for Prologue to a fiction of a space that does not yet exist.

“I think I don’t like cat,

cats are

cats are

cats are

In fact I never had any cat at my place. The first cat I met was sleeping all the time, so I decided I won’t love cat, because what I hated the more when I was a child was to sleep.

When I asked Barbara what will be her story about, the two first things which emerged, were a cat and a window. Cat as a character, window as a space. The story is set up. So now, let’s just have a drink.”


Diego Marcon

Diego Marcon was born in Busto Arsizio (Varese) in 1985. His research focuses on video and moving images, taking a documentary approach. The starting point of his work is reality; through a process of audio-visual recording, it is edited and re-written into a film structure. The moving image is a powerful tool to scratch the surface of reality and unfold some of its invisible dimension – where the strains that flow across spaces, objects and images are caught into dispositifs of feeling and desire. There is a progressive effort to deny the image itself, an attempt to empty a space in order to let this dimension surface and present itself. From this emptiness, he recently introduced fictional elements in his practice.

Diego Marcon graduated in film editing at the Scuola Civica di Cinema, Televisione e Nuovi Media di Milano in 2006. In 2012 he received his BA in Visual Arts at the IUAV University of Venice. In 2009 he participated in the Advanced Course in Visual Arts of the Fondazione Antonio Ratti and took part in the residency program of the Dena Foundation for Contemporary Art in Paris. In 2010 he was a studio recipient at the Fondazione Bevilaqua La Masa in Venice. In 2013 he was artist in residence at Centre international d’art et du paysage in Vassivière and participated in a residency program of the Institut Français at the Cité Internationale des Arts in Paris. His works have been screened in film festivals both in Italy and abroad, and have been show internationally: at the Whitechapel Gallery (London, UK), Fondation d’entreprise Ricard (Paris, France), De Vleeshal (Middelburg, The Netherlands), NAi – National Architecture Institute (Rotterdam, The Netherlands), Fondazione Sandretto Re Rebaudengo (Torino, Italy), MAGA Musea Arte Gallarate (Gallarate, Italy), Fondazione Bevilacqua La Masa (Venezia, Italy), Peep-Hole and Gasconade (Milano, Italy).

Barbara Sirieix

Barbara Sirieix (b. 1983) is a writer and independent curator based in Paris. She was co-founder and co-director of Redshoes from 2008 to 2012; she curated film programs for various venues (Cinematheque of Tangiers, LOOP Barcelona, Souvenirs from Earth, FIDMarseille). In 2011, she organized Channel with Josefine Wikström between Paris (Treize) and London (Depford X Festival, The Old Police Station, Chisenhale Gallery) and collaborated with Ismaïl Bahri on Working for Change, Project for a Moroccan pavillon at the 54th Venice Biennale curated by Abdellah Karroum. She contributed to various publications and magazines (South as a State of Mind, Sarai Reader, Journal de la Triennale, Vdrome, La belle revue, art-agenda). Her recent projects involve process-based constructions, fictional and poetic writing (I’ve lost my marbles, Tòtal Project Space, Athens; La référence d’objet n’est pas définie à une instance d’objet, Galerie Edouard Manet, Gennevilliers). She will be in residency this summer at La Galerie, contemporary art centre of Noisy-le-Sec, to write a fiction in the context of an exhibition project at ODD in Bucharest in April-May and Schleifmühlgasse 12-14 in Vienna in December.

Julie Béna

Julie Béna (b.1982, France) works on environments that draw inspiration from the world of literature, film, theater and popular culture. Her works deal with the threshold between one perception and another; between being a player or a spoilsport, participation or abstinence. Béna studied at the Villa Arson in Nice and attended the Gerrit Rietveld Academie ad Amsterdam.

Selected solo exhibitions include: Nail Tang, Galerie Joseph Tang (2015-Upcoming); Destiny, Galerie Edouard Manet, Gennevilliers (2015); T&T consortium, you’re already elsewhere, FIAF, New York (2014); The Song of the hands, 100% Transparent, New-York (2013) and Das Reisebüro, Display art projects, Paris (2012). Selected collective exhibitions include: Rideaux / blinds, IAC, Villeurbanne, (2015), Late capitalism, it’s like, almost over, The Luminary, St Louis, Missouri (2014); Things, Design Cloud, Chicago, (2014); La Méthode Jacobson, Nouvelles vagues, Palais de Tokyo, Paris (2013) and Oracular Vernacular, MAMO, Marseille (2013).

She realized performance projects at Lives Works, Centrale Fies (2014), Palais de Tokyo, Paris (2014), PERFORMA In 100% Transparent, New-York (2013) La Fondation Ricard, Paris (2012) and La Fonderie Darling, Montréal (2011) where she presented the first act of the long-term project Have you seen Pantopon Rose? which continued at Fahrenheit, Los Angeles (2014). In 2012-2013 she was part of le Pavillon, the research laboratory of le Palais de Tokyo.