Artists in residence

Sasha Baydal identifies as an interdependent art worker and as an Eastern European queer.

Their practice is centered around experiences of displacement, a certain cultural memory of the socialist past and memory loss, and their family’s history shaped by different forms of forced mobility. Their work is influenced by postcolonial and queer theory, along with decolonial approaches, and involves daily exercise in recollection, remembrance, and decolonization.

They have collaborated with Centre Pompidou in Paris, HISK in Ghent, Mudam Luxembourg, Triangle-Astérides in Marseille, Capc Museum in Bordeaux, Lviv Municipal Art Center, and Pickle Bar by Slavs and Tatars in Berlin around exhibitions, discursive programs, performances, workshops, and texts. In 2021, they were a Laureate of ‘Résidences Sur Mesure Plus+’ by l’Institut français, and in 2022, served as a curator-in-residence in Vilnius on the invitation of the Lithuanian Culture Institute.

In 2019, they were a researcher-in-residence at the Institut national d’histoire de l’art in Paris. Sasha Baydal initiated Curatorial hotline in 2020 and co-founded the collective Beyond the post-soviet in 2021. In their 2022-2023 role as a curatorial research fellow at the Centre national des arts plastiques in Paris, they conducted a research titled “Two-Faced Janus,” which analyzed the presence of artists related to or coming from (post-)socialist countries of Europe, Central Asia, and South Caucasus in the Cnap collection through a postcolonial lens.

Jordan Beal was born in Martinique in 1991, where he lives and has been working as a photographer since 2018. Self-taught, he works on commercial images for agencies and brands in Martinique and Europe.

At the same time, he is developing an artistic approach to photography, focusing on both the human and the plant, in series of diverse forms. He likes to construct his images by playing with the materiality of photography. Using digital as well as film, he explores the possibilities of working with negatives. He deteriorates, buries or submerges his prints. The Corrosion series, on which he is currently working, is an example of his approach to aesthetic research that verges on abstraction.

He has taken part in a number of group exhibitions on his native island, and his work has been the subject of monographic exhibitions, such as Pour faire le portrait d’une fleur, at Tropiques Atrium scène nationale (2022) and at the Biennale Internationale des Rencontres Photographiques de Guyane 2023.

Patricia Bonnet is a self-taught French painter. Over the years, she has tried several techniques, devoting more and more time to her practice while intensifying her rate of production to naturally find her way.

The usual constraints of day-to-day life, particularly that of a mother of three children, have built the foundations of her modus operandi over time. It singularizes her production while giving her a lot of pleasure and freedom in her imaginary escapes. Patricia Bonnet paints at night by the light of candles installed in her studio from different angles. She obtains particular shades and colors that help her transcribe universes drawn from her inner thoughts, her emotions of the moment, her memories, and the omnipresent luxuriant nature of Polynesia.

Patricia Bonnet’s painting is very abstract and personal. She also works with black and colored Indian ink. For the past three years, her painting has taken a more specific direction. Patricia Bonnet takes pleasure in working more frequently on very large formats, which lend themselves well to her universe.