Artists in residence

Born in 1998 in Antananarivo, Madagascar, Irimboangy Tsiriniaina Hajatiana lives and works between Paris and their native island.

They are a digital artist and image creator at the intersection of research and design. With a background in graphic design, their approach questions the various digital media and their uses in their ability to produce new forms and new images. They employ different creation technologies within a transmedia logic to address specific issues with the aim of valorizing and preserving cultural heritage.

They also see themselves as a visual storyteller, as they are passionate about telling silent and invisible stories through their artistic and visual productions, those that are on the margins of the grand narratives typically found in the collective imagination. Using various digital creation technologies such as photography, video, artificial intelligence, and 3D digitization, they explore new artistic and creative paths to realize original and sensitive projects.

Their approach aims to valorize, preserve, and give voice to Malagasy heritage and culture through a transmedia approach, by offering varied media and supports.

Their artistic projects combine the search for meaning and the search for forms. Indeed, research is the foundation of their artistic practice. Thus, giving meaning to signs, providing representation to their multiple realities, and offering a new perspective on what may seem ordinary in Madagascar are the themes that animate their artistic projects.

iNTERVIEW

As a Malagasy artist, how do your cultural roots influence your artistic practice, particularly in the context of this exhibition Ridô – Unveiling Memories?

As a Malagasy artist, my cultural roots play a central role in my work. My projects constantly explore my Malagasy identity and various aspects of Malagasy culture. In the context of the exhibition Ridô – Unveiling Memories, I delve into a more personal dimension by reflecting on my roots through the memories of my grandparents’ home, where I spent the early years of my life. Through this project, which may initially seem very intimate, I broadly question the typical Malagasy home, which I see as bearing a strong cultural significance.

How has the residency at the Cité internationale des arts nurtured your artistic reflections, particularly regarding the exploration of memory and identity in your work?

The residency at the Cité internationale des arts has provided a space conducive to introspection, experimentation, and reflection on my memories of Madagascar. Having a dedicated space and time for experimentation has been essential in nurturing my work on memory. The geographical distance from Madagascar has also played a pivotal role: it became both a constraint and a source of creative stimulation. Being far away allowed me to approach my memories with a sense of detachment, not with the intent to recreate them exactly as they were, but to perceive them in a more poetic and sensitive way.

Can you tell us about the main themes you explore in your work and how you merge art and storytelling to engage the viewer?

The main themes I explore in my work are memories, heritage, transmission, and representation. These notions are at the heart of my artistic practice. I see myself as a visual storyteller, and in this sense, I often say that storytelling is my primary medium. Through my visual and textual productions, I aim to shed light on marginalized and invisible stories that I believe deserve to be highlighted. Through storytelling, I aspire to evoke emotions and preserve cultural aspects related to Madagascar. My work also incorporates an archival dimension, particularly through my family archives, where I sometimes see myself as the historian of my own family.

What future projects do you envision as part of your artistic research, and how will these projects continue to address questions of memory and cultural identity?

Generally, my artistic projects follow a coherent continuity, always centered on the notion of Malagasy identity. My current residency at the Cité internationale des arts extends a body of work that I have been developing for several years. It is an ongoing project aimed at preserving and transmitting Malagasy cultural identity while experimenting with new artistic approaches. In the future, I intend to continue this research, particularly through fieldwork in Madagascar, to immerse myself more deeply in local cultural practices. I also wish to participate in longer international residencies that would provide a supportive environment for experimentation and reflection. Lastly, I plan to enrich my practice by further developing its textual and performative dimensions, exploring new forms of storytelling.

Rosie Isaac (b. 1990) is an artist with a research-based practice. She presents works in exhibitions, as videos, talks, and published texts. Rosie is interested in artmaking as a form of attention to material, social and linguistic systems. Her recent projects have examined waste, soil chemistry, the law, libraries, and reading.

She has shown work at the National Gallery of Victoria (Australia), West Space (Australia) for ‘Language Ecologies’ at the Australian Centre for Contemporary Art (Australia), Foundation Fiminco (France) and with Liquid Architecture, Gertrude Contemporary and Adelaide Contemporary Experimental.

Her writing has been published in Overland, Cordite Review, un. Magazine and Art and Australia.

She is a PhD candidate at MADA, Monash University.