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Architecture, numérique, genre : la possibilité de spatialités queer ?

[Noisy-le-Sec • La Galerie]

 

Jean-Charles de Quillacq reçoit son cousin, Eric de Thoisy, « Architecture, numérique, genre : la possibilité de spatialités queer ? »

 

Dans sa lecture du travail de Eric de Thoisy, Vanessa Desclaux évoque la dimension spatiale de termes aujourd’hui employés pour décrire les sexualités : orientation, straight, queer, etc. Parallèlement, on voit émerger de nombreuses architectures décrites comme féminines, utérines voire vaginales.

 

Le rapport entre genres / sexualités et espace serait-il décisif ? L’histoire que veut démonter la philosophe féministe Donna Haraway est celle d’un « homme dans l’espace » (Manifeste Cyborg) ; le passage à la culture numérique du cyborg est alors, selon elle, le moment de l’émergence d’ « accouplements fâcheux ». Quelle en serait l’architecture ? Le “ jeu de l’imitation ” (autre résonance avec le travail de Jean-Charles de Quillacq) proposé par le mathématicien Alan Turing, pionnier de la culture numérique, est peut-être le point de départ d’une nouvelle pensée queer de l’espace.
 

Émilie Renard avec Jean-Charles de Quillacq, conversation

[Noisy-le-Sec • France]

 

Jusque-là, ma langue reposait dans ma bouche comme si de rien n’était. Puis on a parlé d’elle et elle a pris un certain poids, occupé un certain volume dans ma bouche. Elle est devenue une chose à part, en partie visible et en partie invisible, pas tout à fait en moi ni tout à fait à moi. « La langue de ma bouche », c’est aussi une langue qui fourche, qui se fait entendre avant de se faire comprendre, une créature indépendante douée de parole, un instrument émetteur avec sa propre technique. Cette langue-là n’est plus si familière à cette bouche qui est la sienne et qui est la mienne.

Une conversation avec Jean-Charles de Quillacq et Émilie Renard

Enregistré par l'équipe de la r22 Tout-monde le 17 mars 2018 à la Galerie.

De nos âmes arrimées

[Tout-monde]

 

Un voyage au cœur d’un chant mystique dédié aux sortilèges de l’extase. Deux entretiens s’arc-boutent sur une énigme électro-modulée, des fragments de voix irisent l’espace… Ces déflagrations oniriques évoquent à la fois les pratiques d’un magnétiseur au souffle vital et le bois sacré utilisé par les Pygmées lorsqu’ils pratiquent le rite du Bwiti. Ce rite renoue avec un dialogue perdu où la chair se frotte à la mort imminente.

 

Le voyageur accède à un état intérieur d’extralucidité par la prise d’un psychotrope naturel : la racine de l’iboga. Les conséquences psychiques de cette connexion mystique bouleversent la vie entière de l’initié – la mort se liquéfie, le corps se délivre de la nuit, les os humains inversent leur vieillissement par le rire, la bave, le souffle… Une guérison par l’extase.

Évasion documentée de Sigolène Valax
pour le premier numéro de la revue Jef Klak – Marabout (toujours disponible en librairie)
Avec Laurent Dubouchet et Pierre Yonas.

[Nanterre • France]
 
Angela Davis & Tariq Ali en conversation avec Françoise Vergès et Marcus Rediker

 

Two prominent figures of militancy and activism gathered for this particular evening: Angela Davis, known internationally for her fight against racism, sexism and the American prison system, and Tariq Ali, a staunch opponent to Pakistan’s military dictatorship, now a major figure of the world’s left and a writer. They conversed with researcher and activist Françoise Vergès, historian Marcus Rediker and the audience.

 

The two discussed neoliberalism, the systematic destruction of countries of the Global South by USA wars, Palestine, the necessary support of  the BDS campaign, abolitionist feminism, music… the discussion is available in French and in English.

 

Global 68 is a series of conferences organised by Françoise Vergès, Marcus Rediker, Oscar Guardiola-Rivera and Sylvie Robic, thanks to the support of the College of Global Studies (FMSH), Pittsburgh University, Birkbeck College (University of London) and Paris-Nanterre University.
The translation of this conference was by Nacira Guénif-Souilamas and Geoffrey Pleyers.
Recorded at Nanterre-Amandiers theatre on 3rd May 2018.

[Paris 10e • France]

 

Surfacing Trouble (Piercing Surface and Deep Sea Frontiers)

 

What is Deep Sea Mining? is a five episode webseries dedicated to the topic of deep sea mining, a new frontier of resource extraction at the bottom of the ocean, set to begin in the next few years. The prospects of this new, experimental form of mining are re-actualizing a colonial, frontier mentality and redefining extractivist economies for the twenty-first century. This webseries addresses different issues related to this process, from resource politics to ocean governance by international bodies, prompting today’s shift towards a « blue economy » but also efforts to defend sustained ocean literacy when the deep ocean, its species, and resources remain largely unmapped and unstudied.

 

More informations on Black Lens

Recorded on the 30th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

Black Lens | « Prologue » (work in progress) by Rachel O’Reilly

[Paris 10e • France]

 

Surfacing Trouble (Piercing Surface and Deep Sea Frontiers)

 

Australian-born artist, poet and critic Rachel O’Reilly is producing with Pa.LaC.E (Valle Medina and Benjamin Reynolds) the first moving image work of her ongoing artistic research project The Gas Imaginary. Since 2013, through poetry, collaborative drawing, public lectures and film history screenings, The Gas Imaginary has diagrammed the drama of install and political dis-ordering produced by the unconventional gas extraction (fracking), as it has rolled out internally to the New Economy–in Australia, between the artist’s home town port city of Gladstone, Central Queensland (which for just 4 months in 1847 was the capital of a Colony of North Australia) and across agricultural zones inland of Australia’s east coast. The industry now threatens remote aboriginal communities at the centre of the country where, ten years ago, the Northern Territory intervention conducted a large scale land grab.

 

Addressing the difference between modernist (vertical) and unconventional (rhizomatic) mining techniques that are challenging settler colonial citizenships, O’Reilly’s project connects mine to port developments, land to ocean, to address the contradictions of democratic ideals and propertied material justice under settler colonialism.

 

More informations on Black Lens

Recorded on the 30th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

avril 2018

[Paris 10e • France]

 

Mémoire humaine et œil de machine

 

Is the drone a continuation of separability or a tool for fugitivity ? We will comment on this question with words and images that illustrate each set of possibilities. These will include considerations of visibility, as an imposition of separability and its relationship with the predication of essence on the world and its parts. But also, being untethered from the ground allows the drone to see across multiple axes of spacetime, which approximates migrancy as mode of being of the world, which offers fugitivity as a proper descriptor for existence.

 

Plus d’informations sur Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

Black Lens | Visibility of the Work of Harun Farocki : An Archeology of the Image

[Paris 10e • France]

 

Mémoire humaine et œil de machine

 

A considerable number of Farocki’s films and installations assemble materials from archives, and in this sense they may be recognized as «montage» or compilation films. However, neither of the terms manages to summarize the peculiar approach of the filmmaker-artist. In his work, re-editing is certainly a process of thinking about images; and the act of assembling together pre-existing shots surely evokes the idea of a “collection of documents” (“compilation”), constituting an explicit figure in many of Farocki’s essay films, and exposing archive materials to processes of repetition and permutation as well as to a complex interplay between the acoustic and the visual.

 

The medium, by assuming the function of an “archiving archive” (Derrida), participates in the generation of future images. We may call Farocki’s image criticism “archaeological”, having in mind Michel Foucault’s envisaging of a historically determined system of thought and his working on the sources in order to give an account of the order of thought. As an extension to this archaeological approach, we may underline the importance of the materiality of techniques. The contribution intends to show how, in Farocki’s work, montage comes to produce a thinking of visibility as well as to suggest the unthought in the archive and its relation with the filmic unthought at the moment of recording.

 

Plus d’informations sur Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

Black Lens | What is the Content of (Your) (Black) Technique? : Le geste comme technologie

[Paris 10e • France]

 

Human Memory and Machine Eye

 

Onyeka will introduce the videos and speak about their aim — the use of dance, the body, movement, and gesture as technologies or analytics. After the films Ciaran will read a piece about the works developing some of their themes in relation recent work by Rizvana Bradley and Andrew Benjamin on these questions of gesture, Adorno on technique and technology, in response to Moten and Harney’s provocation that « the black aesthetic is not about technique, is not a technique… »

 

 

More informations on Black Lens

 

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[Paris 10e • France]

 

Human Memory and Machine Eye

 

In this lecture, Zach Blas gazes into the crystal balls of Silicon Valley and charts the transmutation of big data into a magical substance that predicts—and polices—our future.

 

Focusing on the appropriation of mysticism and magic by Silicon Valley start-ups and governmental surveillance agencies alike, Blas suggests that the crystal ball, a transparent device that permits one to see into the future, has come to stand in as a paradigm for how tech entrepreneurs prefer to imagine the algorithmic processing of information.

 

Palantir Technologies, it is suggested, is at the forefront of such metric mysticism. Co-founded by Peter Thiel—and described by some as the most powerful machine for spying ever devised—the controversial data analytics company appropriates the palantir, a fictional all-seeing crystal ball used by wizards in The Lord of the Rings. Here, in the palantir, data becomes the new absolute, determining what the future is and how it should be controlled.

 

More informations on Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[France] 
 
Morceau pour étoffes, violoncelle et quelques notes de piano… Les différents tissus sont caressés, froissés, tapotés voire frappés, et viennent dialoguer avec les cordes du violoncelle ou du piano – pour aboutir à une sorte de « blues urbain cotonneux ».

Musique de Jack in my head (Erwan Martinerie) pour le second numéro de la revue Jef Klak – Bout d'ficelle

[Paris 10e • France]

 

Escaping, hiding, fighting from the shadows: Opacity, transmission and toxicity

 

The talk explores some technologies of seeing — images, surveillance, categories, terror, representation — to give historical-geographic context to the PAIGC documentary film cadre’s work. Topics include the Berlin Conference, Kodak’s innovations in film and processing, imperial uses of anti-slavery, and the scopic imperatives of colonialism and apartheid. What are some contradictions, and how might we understand the PAIGC legacy as fundamental to ongoing decolonial practice that enlivens consciousness by re-seeing experience?

 

More informations on Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

Black Lens : Meteorizations (Humble Derives from Humus) : Amilcar Cabral’s Materialist Heritage

[Paris 10e • France]

 

Escaping, hiding, fighting from the shadows: Opacity, transmission and toxicity

 

A reading of Amílcar Cabral’s agronomic writings exposes the substrata of a syntax for liberation later performed in guerrilla language and struggle. It is a timely reminder in troubled times, a commoning of the humble — reclaiming soil as a rhizosphere rich in animated beings and inscriptions of oppression. A place to return to in order to regenerate a future multitude that was divided through the violent engineering of the Capitalocene. This take, on Amílcar Cabral’s agency as an agronaut, ventures through his soil cosmologies, mesologies, meteorizations, atmos-lithos conflict zones, celluloid compost, imperial consumptions — the sugar question. It matters what matters matter matters.

 

More informations on Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[Paris 10e • France]

 

Escaping, hiding, fighting from the shadows: Opacity, transmission and toxicity

 

Conversation with Bonaventure Son Bejeng Ndikung about the talks holded by Jepthé Carmil, Nadia Yala Kisukidi, Nadir Khanfour and Olivier Marboeuf.

 

More informations on Black Lens

Transcriptions :
Français

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[Paris 10e • France]

 

Starting with a paradox : how can skin, that exposes all of the police interrogations, all of the abusive designations, become, at the same time, the sign of hospitality? How are we to theoretically produce the noun “black”, to mean, despite a whole history of violence, the possibility of refuge?

 

It is at the heart of an imagined scene between the Americans and the Europeans, grasped in the texts of Césaire and Baldwin and by the voice of Jeanne Lee, that we will attempt to specify the ambivalence, the difficulties, just like the dreamlike potentials of the idea of “racial hospitality”.

 

More informations on Black Lens

Enregistré le 29 mars 2018 à La Colonie.
Conception : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma en collaboration avec Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » est un programme associé du festival Cinéma du Réel au Centre Pompidou.
Avec le soutien du fonds PERSPEKTIVE pour l’art contemporain & l’architecture (une initiative du Bureau des arts plastiques de l’Institut français, soutenue par le Ministère de la Culture et le Goethe Institut) et de Fluxus Art Projects.

[Paris 10e • France]

 

Escaping, hiding, fighting from the shadows: Opacity, transmission and toxicity

 

The question at stake here, is to think of the opacity of the body within the political sphere. The action of veiling and unveiling women’s bodies in French Algeria have shown the strategic potentials of the recovering of bodies in the face of the perspective of the occupier. Harun Farocki grasped the interest of this and prolonged the action in 1988 with Images du monde et inscription de la guerre (Images of the world and inscriptions of war), using the film as a rescue space of the fascist and colonial histories of modern Europe. This intervention will consider the contemporary gestures that attempt to escape from police identification, from facial recognition and all forms of summons by light.

 

More informations on Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[Paris 10e • France]

 

Escaping, hiding, fighting from the shadows: Opacity, transmission and toxicity

 

We will cross over marroons scenes at Saint-Dominic. They are seen as experiences of subjectification, in other words moments in which the captive experiments with the liberated use of their body and attempts to create another space that participates in the formation of a new kind of common.

 

These new, very fleeting, space-times, sometimes institute spaces in which the body emancipates itself from exclusively productive frameworks implanted by plantationary systems. They also offer another regime of visibility and of perception of the body. It is a new topography which alters the domain of possibility at the centre of the plantation itself.

 

What is at stake in this reading, is the replacing of these scenes into a discontinued history of freedom of bodies and their expressive capacity. My words will be accompanied by a fragment of text that retraces a scene of resistance that took place on a slave ship, this technical-political dispositif, which insured the crossing of the Atlantic. Then, from a numismatic archive, I will present the survival of the spectre of the Maroons over the course of the second half of the XXème century.

 

More informations on Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

Black Lens | Creating safe places, hiding oneself in the light

[Paris 10e • France]

 

The safe places that we are going to talk about, maybe to undo and reform them over and over again, are inscribed somewhere. They are demonstrative from somewhere, but this inscription does not mean anything in terms of their permanence, they are not solid and do not always exist with the same intensity. They need to be brought up. These are presences, which are to be summoned “under certain conditions”. And it is perhaps these very conditions that we have been seeking, that we are seeking and that we will be seeking throughout these conversation, navigating from the light to the shadows, from words to that which escapes words, from forgotten images to our way of bringing them back. Unless they have come back themselves and archived themselves within our bodies. The subject matter is vast and during the seminar we will be considering the question of the different possible regimes of visibility and invisibility, to learn to “hide oneself in the light”. Or, to put it another way, the safe places that we are interested in are not utopias, they are not outside the realms of the world we live in and even share a part of its toxicity, in as much as they take their share of a common and at times painful history.

 

As we needed to find a starting point to draw out the struggle as well as places to live, we have chosen a several narratives because, throughout the two days, we will be dealing with manners of telling and making appear, of giving form or maybe contours to certain situations, of making cinemas, and out of these cinemas, forces that engage. Because we don’t want these narratives to be told by one voice only, we have chosen to get away from the “figure” and instead concentrate on the “scene” as a space of multitude, of polyphony, of indissociable bodies who know and produces possible places that flee from day.

 

More informations on Black Lens

Recorded on the 29th March 2018 at La Colonie.
Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[Paris 10e • France]

 

On the occasion of the exhibition by artists Filipa César and Louis Henderson, «Op-Film: An Archaeology of Optics» at Espace Khiasma (29th March — 28th April in Les Lilas, on the outskirts of Paris), Khiasma presented Black Lens, a two-day experimental seminar at La Colonie (Paris) on 29th-30th March, associating a series of screenings, audiovisual performances and conversations by artists and theorists from France, Germany, the UK and Portugal.

 

Black Lens unfolds as one long conversation ongoing over two days — an open work space to share forms and research interrogating the conditions of invention of safe spaces through gesture and narrative, code and body. Following on from the exhibition Op-Film: An Archaeology of Optics, Black Lens attempted to trace, within technologies of sight, the contours of minority ecologies, forms of life and of knowledge transmission. From humus to ocean, algorithm to creole, from surface to depth — where are new zones of conflict drawn out and where do they crystallize? Where can the voices we need to struggle with be written out and woven?

 

With : Erika Balsom, Zach Blas, Christa Blümlinger, Jephthé Carmil, The Otolith Group (Kodwo Eshun & Anjalika Sagar), Denise Ferreira da Silva, Ciarán Finlayson, Ayesha Hameed, Onyeka Igwe, Nadia Yala Kisukidi, Nadir Khanfour, Margarida Mendes, Olivier Marboeuf, Bonaventure Soh Bejeng Ndikung, Arjuna Neuman, Rachel O’Reilly, Lorenzo Pezzani & Charles Heller, Ruth Wilson Gilmore

Concept : Filipa César, Louis Henderson & Olivier Marboeuf
Production : Khiasma in collaboration with Archive Kabinett (Berlin) & Spectre Productions
« Black Lens » is an associated programme of Cinéma du Réel Film Festival at Centre Pompidou.
With the support of the PERSPEKTIVE fund for contemporary art and architecture (an initiative of the Institut français’s Bureau des arts plastiques, supported by the French Ministry of Culture and the Goethe Institut) and Fluxus Art Projects.

[Querétaro • Mexique]

 

quand, à bord du cargo container le Von Humboldt, Roger, messman philippin, évoque (un peu) sa vie en warai warai, sa langue, qu’il parle en famille et avec ses amis — ailleurs, il parle tagalog, la langue véhiculaire des Philippines ; un mois après, à l’Universitas Gadjah Mada, une étudiante se souvient un peu de son samawa… et quelques mois plus tard, à Querétaro (Mexique), Gloria parle en zapothèque et chante une berceuse, que reprend sa fille. 

ces fragments sont collectés depuis juillet 2017 dans le cadre du projet « glossolalie/unventer », inventaire-invention d’un chemin d’une langue à l’autre. tour du monde des langues mené par fréderic dumond au cours d’une traversée d’un mois en cargo, à partir du Havre vers Port Klang, en Malaisie, et de temps de présence à Jogyakarta et Jakarta (Indonésie), sur la côte du Coromandel, le long du golfe du Bengale, à Madras et Pondicherry (Inde), à Ha Noi et dans les montagnes du nord Vietnam à la frontière chinoise — dans le sud de l’Australie, à Melbourne — en Nouvelle-Calédonie sur la Grande Terre (à Nouméa) et à Port-Vila, sur l’île d’Efaté au Vanuatu — à Valparaiso et sur l’île de Pâques, à Querétaro (au Mexique), enfin sur l’île de Malte.

Enregistrements réalisés par Frédéric Dumond en 2017/2018.

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