Artists in residence

Chloé Dugit-Gros’s work brings out forms and gestures that move from one medium to another. It is a formal and often abstract game that plays with the graphic and colored repertoire of modern and contemporary visual cultures. By shifts and plastic bifurcations, the simplicity of its gestures establishes a joy of making and undoing hierarchies between the arts to show us other stories.

– Marianne Derrien

Born in 1981 in Paris, Chloé Dugit-Gros lives and works on the Île Saint-Denis. Her work is crossed by elementary forms that appear in her drawings, are transposed into sculptures, form environments, and make video appearances. They seem to live an autonomous life, wandering from one medium to another, among all those that the artist experiments with.

Chloé Dugit-Gros has had several exhibitions in institutions (at the Quimper art center, at the Friche Belle de Mai in Marseille, at the Domaine de Chamarande, at the Musée régional d’art contemporain Languedoc Roussillon in Sérignan and at the Villa Arson in Nice) while remaining faithful to alternative spaces (le 6b in St Denis, la Couleuvre in St Ouen, FDP in Paris or Arco in Nevers).

She has obtained work residencies at Astérides in Marseille, at the IAAB in Basel, at the art center of the Parc St Léger in Pougues-les-eaux, at the Monstrare Camp in Dampierre, at the chateau of Kerpaul in Loctudy and at Les Arques. She has recently exhibited at Atelier W in Pantin, Toshiba House in Besançon, Radiator Gallery, and Scaramouche Gallery in New York, Confort Moderne in Poitiers, PSM Gallery in Berlin, Lafayette Anticipation Foundation, Boghossian Foundation / Villa Empain in Brussels.

João Dumans was born in Belo Horizonte, Minas Gerais. Since 2004, he has been working as a programmer, teacher, scriptwriter and director in different areas of artistic production, focusing on the intersection between film, literature and theatre. In the films he has directed, as well as in those in which he has collaborated as a scriptwriter and editor, he has dedicated himself to reflecting on the contradictions of Brazilian reality through documentary and fiction, addressing the difficulties, desires and subjectivity of the marginalized and excluded from economic and social processes. He is currently the coordinator of the Centre for Audiovisual Production of the Galpão Theatre Group, in Belo Horizonte, where he guides collective works and creative processes located on the border between theatre and cinema.

His first feature film Arábia (2017), co-directed with Affonso Uchoa, won the awards for Best Film, Editing, Actor and Soundtrack at the 50th Brasília Film Festival in the year of its release, and has been screened in more than a hundred festivals around the world, such as the Rotterdam Film Festival (Tiger Competition), BFI, San Sebastian, New Directors/New Films, FID Marseille and Viennale. It has also been released in commercial theatres in Brazil as well as in Mexico, Argentina, Ecuador and the United States, where it received the Tropical Awards in 2018.

João Dumans has also worked as a screenwriter and editor in films that have become central references in Brazilian cinematography in the last twenty years, and have won many awards in Brazil and abroad. Among them, Os Residentes, by Tiago Mata Machado (exhibited at the Berlin Film Festival Forum, 2010, and voted Best Film at the Tiradentes Film Festival, 2011); A Vizinhança do Tigre (Best Film at the Tiradentes Film Festival, 2014);  Sete Anos em Maio (awarded in the Burning Lights section of the Visions du Réel festival, 2019), by Affonso Uchoa and A Cidade onde Envelheço, by Marília Rocha (presented at the Tiger Competition of the Rotterdam Film Festival and elected best film at the Brasília Film Festival, 2014).

In addition, he has worked as a researcher and script consultant in partnership with Brazilian and foreign directors such as Nicolas Klotz, Marcelo Gomes, Cinthia Marcelle, Alfredo Manevy, Francis Vogner dos Reis, Clarissa Campolina, Juliana Antunes and Gregório Gananian.

His second feature film, As linhas da minha mão, will be released in the first half of 2023.

PAX est chorégraphe, interprète et commissaire issue de la communauté hip-hop et street dance. Figure marquante de la scène hip-hop locale et internationale, elle a présenté son travail sur des plateformes telles que i-D, le musée V&A et Sadler’s Wells. Sa démarche se distingue par une approche multidisciplinaire, alliant le mouvement ancré dans l’improvisation, les arts visuels et les médias numériques. Engagée dans le développement du street dance à travers la transmission et la création, elle est fondatrice de A.MUSE, une compagnie de danse interdisciplinaire, de HYBRID(X), une exposition explorant l’intersection entre danse urbaine et art numérique, ainsi que de Free Form Lab, un programme de développement dédié aux artistes en danse de rue en support à leur parcours artistique.

Pauline-Rose Dumas is a French multidisciplinary artist. She graduated in 2019 with a Bachelor’s degree in Textile Design from the Chelsea College of Art in London and then joined the École Nationale Supérieure des Beaux-Arts de Paris in the studio of Tatiana Trouvé, where she graduated in 2022.

The artist combines the language of textiles with that of sculpture through the combined work of patchwork, photography, and forging. In her plastic work, she seeks to integrate the issues of drawing and textiles into sculpture or polymorphic installations. Textiles and their vocabulary of forms populate her imagination. She also works with forge and metal. These lines, which are lengthened and sculpted to fit the body, can be considered a metaphorical extension of the sewing thread and the drawing line.

By using techniques derived from working-class or historically so-called “feminine skills” such as sewing, Pauline-Rose Dumas takes over tools that allow her to evoke a range of sensations like threat, protection or danger. These are things that the artist can relate to the home and the intimate. Thus, in most of his installations, the artist proposes a plunge through places of passage where the gaze is lost in the observation of lost details of the architecture of her pieces, often created in situ.