FEMININE AND SUFFERING
Giving endometriosis its aesthetic
Nadia Russell Kissoon
Curated by Paul Ardenne - Untraceable Body.
"Nadia Russell Kissoon's artistic commitment merges several approaches: the creation of visual artworks; mediation and encounters in public spaces; and care. Founder, in 2010, of L’Agence Créative, this Bordeaux-based artist notably promotes her business through an original mobile installation, the Tinbox, a mobile gallery that has seen several variations. This showcase, a striking and attractive red, is carried on the back in its smallest version and towed by a car or van in its larger versions. It is installed wherever the artist or her collaborators decide – the best possible way to foster contact, directly engaging with people in the street or public squares. In her Tinbox, the artist presents not her own creations but, in a collaborative spirit, those of other artists. Desacralization, spontaneity, facilitated exchanges… the Tinbox aims to break the mold of the 'White'." Cube, this institutional exhibition space with regulated and limited access, is, strictly speaking, a social vehicle. It is a striking and practical example of a traveling museum, conceived in the tradition of the portable exhibition concept initiated a century ago by Marcel Duchamp with his Box in a Suitcase.
Among the themes Nadia Russell Kissoon explores artistically, that of care is prominent—a constant. This attention to human fragility and the means of reducing it, or at the very least, raising awareness, leads the artist to work, when necessary, with practitioners in the medical field, even within hospitals. In this aspect, art acts as a form of treatment: because it informs, because it aestheticizes, because it encourages putting words to illness or suffering, because it becomes a "connecting force," creating bonds and solidarity. This is the spirit of the project undertaken by the artist, from a feminist perspective, on Endometriosis, this chronic gynecological disease from which she herself suffers, is something she is committed to raising awareness about. Her goal is to move this pathology beyond the purely medical sphere by exposing its reality, effects, and lived experience in public spaces, for the purpose of broadening awareness. This is achieved through the Tinbox project, or wherever the artist intends to engage with potential venues, art spaces, schools, clinics, or cultural and community centers.
Exposing a Disease
Offering an image, an artistic "vision" of endometriosis, is no easy feat, at least not using traditional methods of artistic expression. Nadia Russell Kissoon tactically employs a broader semantic approach: the creation of images, certainly, but also the organization of debates, conferences, and networking opportunities between patients, healthcare professionals, and the public, favoring a "Medical-Care" approach akin to nursing. This is one example. This is accomplished art, described as "useful," situated, contextualized, even therapeutic, setting concrete objectives, in this case educational, exchange-based, and supportive (the artist as "helper"). Breaking the isolation of her fellow sick women, some of whom may be artists, like the visual artists she brought together during the summer of 2025 at the French Cultural Center in Berlin for the exhibition "Breaking this Silence," means recognizing their dignity despite their disability, enlightening the public, and more broadly, acknowledging this reality inherent to the human body, contemporary as it has always been: the possibility of ill health. If the human body that Nadia Russell Kissoon describes is heroic, it is not because it stands up to the adversity of history or continues to shine like Narcissus in a world desperately more ugly than beautiful, but rather because it must confront illness, this deviation in the constitution and representation of the body, without any other vital option. Perfect.
The works presented by the artist in 2026 at the Sorbonne ArtGallery—images, in this case—are part of the Endometriosis Academy project, launched in September 2021 by Nadia Russell Kissoon. Universal and invisible, yet affecting millions of people, women and transgender individuals worldwide, endometriosis is a painful chronic disorder that can lead to infertility. This disease, explains Nadia Russell Kissoon, “was long considered gynecological and is now recognized as systemic (Hugh S. Taylor, The Lancet, 2021).” Endometriosis Academy, the artist’s project, focuses from this perspective on “narratives of endometriosis,” an untreated condition “yet common,” as well as on the “epistemic injustices” it engenders. A few words about the origin of this project: while it owes much to Nadia Russell Kissoon's intimate and personal experience with illness itself, it also stems from work the artist conducted with sociologist Bruno Latour "in the form of an inquiry carried out within the framework of the political, artistic, and scientific protocol 'Where to Land?'"
Between evocation, education, and activism
"Aestheticizing" an illness, producing a representation of it primarily through images to generate interest: this is not a straightforward matter, especially when one intends to avoid taking the easy way out. The simplest, and most common, approach in this case is to merely freeze the sick human body visually in a painful posture. Showing a bedridden body in a medicalized environment, for example. Or again, to offer the viewer a stylized image of a face contorted in pain, or the compassionate depiction of a living person asleep, on the verge of catalepsy or death. A lack of imagination, in essence, reigns supreme, more so, in any case, than the concern that guides Nadia Russell Kissoon: to provide a representation of endometriosis and its physical and psychological effects that is simultaneously a composite of images, performances, public education, and personal and media attention given to the patient—a whole didactic apparatus of which the nine visuals presented at the Sorbonne ArtGallery are, in this instance, only the tip of the iceberg. These visuals, precisely. These works, which can combine text and image, give prominence not to the color red, the color of blood (blood as the flow of life, menstrual blood, blood of pain), but to the hue of orange, the color, according to the artist, of the chakra of creative energy, the sacred chakra Svadhisthana in Hindu mythology. Another artistic focus is the artist's attention to the female genitalia, here stylized. Some of these visuals are inspired by performances carried out in natural or public spaces by the artist, either in the Landes region, not far from where she lives, or in the countryside of Kochi, in southern India, as part of the local biennial where the Endometriosis Academy project was received in November-December 2025. Other visuals evoke certain historical points of view on gynecology, those of specialists of the past often suspected of linking the uterus, the seat of endometriosis, and hysteria, the initial stage of madness, a frequent aberration of patriarchy... Uniting graphic style, color work and pedagogy, none of these visuals expresses any pity or a wounded representation of the status of the sick. Rather, the artist subjects the viewer's gaze and consciousness to a panorama of optical and mental figures in which a poorly understood or misunderstood illness can come to be embodied, alongside the visual exposition of an artistic engagement with the very truth of the illness. This work, akin to testimony, also expresses a deliberate appropriation. Art signifies here that it does not abandon this aspect, without ever succumbing to pathos or the sin of labeling. To suffer, yes, but also to persevere. Ill, yes, but still alive among the living and, as such, fully human. Art as a therapeutic process, in its own way, in short.
PAUL ARDENNE
FOTOPERFORMANCE POPULAR
ALEX OLIVEIRA
Sorbonne Artgallery presents an exhibition that focuses on a new curatorial and artistic initiative based on an open dialogue initiated in Paris between Elena Posokhova and Katherinne Fiedler. This interaction, embedded in a creative process centered on the study of territorial connections, aims to support the development of artistic practices related to the beginning of research in other environments.
The landscape is viewed here not only as a geographical location, a natural or cultural space, but also as a "way of perceiving." It becomes a tool for understanding the roots of our worldview and identity, revealing the influence of context on the creation of new images. This presentation, based on research, offers immersion where memory, matter, and imagination meet, and where artistic creativity unfolds as a means of knowledge and dialogue between territories.
The works presented by artist Katherinne Fiedler, under the curation of Elena Posokhova, outline vectors for new artistic research, striving to show how the natural-cultural code interacts with new information, how our experience and territorial identity shape the perception of emerging realities in the environment.
"The artistic process, in its co-evolution and interaction with different fields, practices, and ideas, is at the center of my attention. The connections between the natural and cultural contexts of various coastal and island territories, both linked and separated by seas, constitute my field of action. This space resonates with the practice of artist Katherinne Fiedler, whose imagination has been shaped by her life experience in the coastal areas of Lima, Peru. In her work, she focuses on the landscape, interpreting its fragments and remnants through sculpture, photography, and video, linking them to the social and cultural characteristics of the place.
Meeting in the geography of the French capital, we develop a discourse on its semiotic space, becoming cartographers and charting routes for artistic research, interpreting and enriching it with forms of communication, exchanges of meanings, stories, and knowledge.
For example, the symbolic forms and materials of the marine environment (shells, corals) in Katherinne's works navigate to what geologists call "Paris stone" or Lutetian limestone, containing fossils of ancient marine creatures. Used in construction, it manifests in the walls of the city's architectural bodies, testifying to a distant connection with the tropical sea, as detailed in the catalog of the 2014 exhibition LA MER À PARIS. 45 million years ago.
The journey continues through the poetics of juxtaposition and the interplay between natural and mechanical materials in the artist's works: leather, metal, and stone. Within this research framework, associative analysis can explore the relationships between the environment and industrial interventions, directing attention to the rivers and hydraulic systems of Paris as territories of memory and ecological tension. Through conversations and meetings in Paris, this line of interest began to emerge as a future direction and will serve as a starting point for Katherinne's further research, focusing on the case of the Bièvre — once connected to the Seine — to develop new works in a later phase.
Thus, the observation and interpretation of symbols, translated through the artistic prism, allow for the creation of a multilayered work, presenting the creative research process as a living performance, synchronized with the landscape. Acts of field research and collaboration can lead to the establishment of an exchange space that activates the imagination. An intrigue emerges to observe the continuity and results of the work, suggesting that the development of innovation potential becomes possible, especially in a different environment. In our mobile world, where we frequently move from one place to another, such collaborative in-situ research sessions can help find a point of stability and form communities where values can be shared, a sense of belonging reinforced, and the connection to place deepened."
Elena Posokhova, Curator.
This meeting between the artist and curator is part of a collaborative studio project in Paris, supporting artists from island and coastal territories while engaging in dialogue with local initiatives. The curator's work with the studio, integrated into her dissertation at the University of Paris 1, in the doctoral school of fine arts and art sciences, includes curatorial research sessions to develop artistic projects and strengthen the connection to the territory through immersive experiences.
Katherinne Fiedler
An artist recognized on the international scene, Katherinne Fiedler has received numerous distinctions, including the Leonardo Grant for Creators and Researchers in Visual Arts from the BBVA Foundation (2023) and the CIFO Emerging Artist Grant (2017). She has participated in prestigious residencies such as Casa de Velázquez (Madrid), Flora Ars Natura (Bogotá), Bilbaoarte (Bilbao), Utopiana Pro Helvetia (Switzerland), and LARA (Panama). Her work is held in major international public and private collections.
Elena Posokhova
Elena Posokhova is a contemporary art curator and project manager based in Paris, and a former resident curator at the POUSH cultural center. She specializes in the relationships between nature and culture in the Mediterranean region, developing the MARLANDS project in collaboration with museums and institutions such as ES Baluard Museum, Ca’ Foscari University, Spazju Kreattiv – Malta National Centre for Creativity, among others. She also directs the Art and Science program at the Universitat Catòlica de València. Her work focuses on the creative process through collaborative projects involving artists, scientists, and the public. She seeks to create spaces for co-creation and new works, while analyzing the factors that influence creativity.
METAMORPH
TIA-CALLI BORLASE
Exposition du 6 au 23 mai 2026
Commissaire : Paul Ardenne / Cycle « Corps introuvable » #2
Vernissage le 4 mai 2026
Sorbonne Artgallery presents an exhibition that focuses on a new curatorial and artistic initiative based on an open dialogue initiated in Paris between Elena Posokhova and Katherinne Fiedler. This interaction, embedded in a creative process centered on the study of territorial connections, aims to support the development of artistic practices related to the beginning of research in other environments.
The landscape is viewed here not only as a geographical location, a natural or cultural space, but also as a "way of perceiving." It becomes a tool for understanding the roots of our worldview and identity, revealing the influence of context on the creation of new images. This presentation, based on research, offers immersion where memory, matter, and imagination meet, and where artistic creativity unfolds as a means of knowledge and dialogue between territories.
The works presented by artist Katherinne Fiedler, under the curation of Elena Posokhova, outline vectors for new artistic research, striving to show how the natural-cultural code interacts with new information, how our experience and territorial identity shape the perception of emerging realities in the environment.
"The artistic process, in its co-evolution and interaction with different fields, practices, and ideas, is at the center of my attention. The connections between the natural and cultural contexts of various coastal and island territories, both linked and separated by seas, constitute my field of action. This space resonates with the practice of artist Katherinne Fiedler, whose imagination has been shaped by her life experience in the coastal areas of Lima, Peru. In her work, she focuses on the landscape, interpreting its fragments and remnants through sculpture, photography, and video, linking them to the social and cultural characteristics of the place.
Meeting in the geography of the French capital, we develop a discourse on its semiotic space, becoming cartographers and charting routes for artistic research, interpreting and enriching it with forms of communication, exchanges of meanings, stories, and knowledge.
For example, the symbolic forms and materials of the marine environment (shells, corals) in Katherinne's works navigate to what geologists call "Paris stone" or Lutetian limestone, containing fossils of ancient marine creatures. Used in construction, it manifests in the walls of the city's architectural bodies, testifying to a distant connection with the tropical sea, as detailed in the catalog of the 2014 exhibition LA MER À PARIS. 45 million years ago.
The journey continues through the poetics of juxtaposition and the interplay between natural and mechanical materials in the artist's works: leather, metal, and stone. Within this research framework, associative analysis can explore the relationships between the environment and industrial interventions, directing attention to the rivers and hydraulic systems of Paris as territories of memory and ecological tension. Through conversations and meetings in Paris, this line of interest began to emerge as a future direction and will serve as a starting point for Katherinne's further research, focusing on the case of the Bièvre — once connected to the Seine — to develop new works in a later phase.
Thus, the observation and interpretation of symbols, translated through the artistic prism, allow for the creation of a multilayered work, presenting the creative research process as a living performance, synchronized with the landscape. Acts of field research and collaboration can lead to the establishment of an exchange space that activates the imagination. An intrigue emerges to observe the continuity and results of the work, suggesting that the development of innovation potential becomes possible, especially in a different environment. In our mobile world, where we frequently move from one place to another, such collaborative in-situ research sessions can help find a point of stability and form communities where values can be shared, a sense of belonging reinforced, and the connection to place deepened."
Elena Posokhova, Curator.
This meeting between the artist and curator is part of a collaborative studio project in Paris, supporting artists from island and coastal territories while engaging in dialogue with local initiatives. The curator's work with the studio, integrated into her dissertation at the University of Paris 1, in the doctoral school of fine arts and art sciences, includes curatorial research sessions to develop artistic projects and strengthen the connection to the territory through immersive experiences.
Katherinne Fiedler
An artist recognized on the international scene, Katherinne Fiedler has received numerous distinctions, including the Leonardo Grant for Creators and Researchers in Visual Arts from the BBVA Foundation (2023) and the CIFO Emerging Artist Grant (2017). She has participated in prestigious residencies such as Casa de Velázquez (Madrid), Flora Ars Natura (Bogotá), Bilbaoarte (Bilbao), Utopiana Pro Helvetia (Switzerland), and LARA (Panama). Her work is held in major international public and private collections.
Elena Posokhova
Elena Posokhova is a contemporary art curator and project manager based in Paris, and a former resident curator at the POUSH cultural center. She specializes in the relationships between nature and culture in the Mediterranean region, developing the MARLANDS project in collaboration with museums and institutions such as ES Baluard Museum, Ca’ Foscari University, Spazju Kreattiv – Malta National Centre for Creativity, among others. She also directs the Art and Science program at the Universitat Catòlica de València. Her work focuses on the creative process through collaborative projects involving artists, scientists, and the public. She seeks to create spaces for co-creation and new works, while analyzing the factors that influence creativity.
COMBINES
Aurélie Gravas
Exhibition from February 9th to February 28th, 2026.
A dialogue between the artist, Katherinne Fiedler and the curator, Elena Posokhova
Sorbonne Artgallery presents an exhibition that focuses on a new curatorial and artistic initiative, based on an open dialogue initiated in Paris between Elena Posokhova and Katherinne Fiedler. This interaction, embedded in a creative process informed by a study of territorial connections, aims to support the development of the participating artists' practices and to establish meaningful links with their territories.
The landscape is not only considered a geographic place, a natural or cultural space, but also as a "way of perceiving." It becomes a tool for understanding the roots of our worldview and our identity, while simultaneously revealing the influence of context on the creation of new images. This research-based presentation offers an immersion where memory, material, and imagination meet, and where artistic creativity unfolds as a means of knowledge and dialogue between territories. The works presented by the artist outline vectors for an in-depth exploration of the creative process, seeking to demonstrate how the natural-cultural code interacts with new information, how our
territorial identity shapes the perception of emerging realities, and how it contributes to the complex intertwining of our actions within the fabric of our environment.
Through a discourse on coexistence that intersects ecological, cultural, political, and aesthetic concerns, the artist and the curator meet at the crossroads of a new territory. They seek to unite their efforts in its exploration while simultaneously developing their individual practices. This encounter between an artist and a curator is part of a collaborative project by the studio in Paris, supporting artists from island and coastal territories while engaging with local initiatives. The curator's work at the studio, integrated into her doctoral thesis at Paris 1 University, in the Doctoral School of Visual Arts and Art Sciences, includes curatorial research sessions to develop artistic projects and strengthen the connection to the territory through immersive experiences.
"The artistic process, co-evolution in its interaction with various fields, practices, and ideas, is at the heart of my attention. The connections between the natural and cultural contexts of different coastal and island territories, both linked and separated by seas, constitute my area of action. This space resonates with the practice of artist Katherinne Fiedler whose imagination has been shaped by her life experience in the coastal areas of Lima, Peru. In her work, she reinterprets fragments and remnants from the landscape through sculpture, photography, and video, linking them to the social and cultural characteristics of the place. Here, in the geography of the French capital, these directions converge as we trace possible paths between significant sites of exploration, initiating a collaborative artistic inquiry enriched by new forms of communication, narratives, knowledge, and memories.
Cartography finds its starting point in the narrative of the 2014 exhibition catalog The Sea in Paris. 45 Million Years Ago, which refers to what geologists call the "stone of Paris," or Lutetian limestone, forming the impressive architectural bodies of the city, admired worldwide. Extracted from underground quarries, this material bears witness to the presence of a tropical sea that left fossilized remains of ancient marine creatures in the layers of stone walls, thereby affirming a deep connection with nature.
The artistic journey continues through the poetics of juxtaposition and the interplay of natural and mechanical materials in the artist's works: leather, metal, and stone. Within this research framework, an associative analysis can explore the relationships between the environment and industrial interventions, directing attention toward the rivers and water systems of Paris as territories of
memory and ecological tension. Through conversations and introductions in Paris, this line of interest has started to emerge as a future direction and will serve as a point of departure for Katherinne´s later line of investigation focusing on the case of the Bièvre — once connected to the Seine — to be developed through new artworks in a later phase.
Thus, the observation and interpretation of symbols, translated through the artistic prism, allow for the gathering of materials for a multilayered work, presenting the creative process as a living performance synchronized with the landscape. Acts of field research and collaboration can lead to the establishment of an exchange space that activates the imagination. An intrigue emerges to observe the continuity and outcomes of the work, suggesting that the development of innovation potential becomes possible, particularly in a different environment. In our mobile world, where we frequently move from one place to another, such sessions of collaborative in-situ research can help find a point of stability and form communities within which to share values, strengthen the sense of belonging, and deepen the connection to place."
Elena Posokhova, Curator
An artist recognized on the international scene, Katherinne Fiedler has received numerous distinctions, including the Leonardo Grant for Creators and Researchers in Visual Arts from the BBVA Foundation (2023) and the CIFO Emerging Artist Grant (2017). She has participated in prestigious residencies such as Casa de Velázquez (Madrid), Flora Ars Natura (Bogotá), Bilbaoarte (Bilbao), Utopiana Pro Helvetia (Switzerland), and LARA (Panama). Her work is held in major international public and private collections.
Elena Posokhova is a contemporary art curator and project manager based in Paris, and a former resident curator at the POUSH cultural center. She specializes in the relationships between nature and culture in the Mediterranean region, developing the MARLANDS project in collaboration with museums and institutions such as ES Baluard Museum, Ca’ Foscari University, Spazju Kreattiv – Malta National Centre for Creativity, among others. She also directs the Art and Science program at the Universitat Catòlica de València. Her work focuses on the creative process through collaborative projects involving artists, scientists, and the public. She seeks to create spaces for co-creation and new works, while analyzing the factors that influence creativity.
A JOURNEY IS AN INVENTORY
LUCA SPANO
Exhibition from March 16th to 28th, 2026
Curator : Elena Posokhova
Continuing the study of territorial connections, this exhibition takes us to the island of Sardinia, presenting Luca Spano’s project “A Journey is an Inventory,” which focuses on the fragile integrity of memory in the process of constructing our experiential narratives.
The project is showcased through a series of photographic works that reflect the Sardinian landscape, manifested through the opacity of dark tones of its origins. Within the historic venue of the Sorbonne, it resonates with a rhythmic-linear narrative of window views installations, associated with the process of contemplation and symbolizing spaces open to metaphorical pieces of an outside world.
Natural and architectural fragments, serving as complementary elements of a singular image of unstructured memories, are revealed by the author as a process of diving into the depths of intertwining opaque possibilities, rather than a pursuit of linear clarity. Artist Luca Spano, who explores perception through photography, the boundaries of the visible and invisible, light and shadow, connects his artistic practice with academic research, science, and, in this project, with literature. Through a reference to Lawrence’s book, which describes his nine-day journey across the island of Sardinia in 1920, he narrates his autobiographical experience of a perceptual journey upon returning to his homeland, Sardinia.
During his travels, Lawrence did not take a single note about his experiences, what he saw, the encounters he had, and the cultural imagery he discovered. The entire book is a posthumous work, written from memory—a construction based on the recollection of fragments displaced in time and space.
Luca Spano was born in Sardinia, and in 2020 he returned to the island after living abroad for 20 years. His relocation occurred exactly 100 years after Lawrence’s journey. The process of interpreting memory to construct a new narrative arose spontaneously while reexperiencing his native island and grappling with the uncanny feeling of negotiating his identity between memories and the present. “A Journey is an Inventory” is the result of this unexpected intersection: the mnemonic journey of a writer on one side and his identitarian displacement on the other. Luca began traveling across the island from south to north, just as Lawrence did in 1920, walking extensively and relying on a map comprised of literature and recollections. The artist based the process on collecting narrow excerpts, producing images not connected to a specific event but designed to create a narrative open in time and space.
As a result, the work explores the developing phases of memory, grounded in the captivating response of perception and the fluid reconstruction of recalling. It is a process in which memory fills gaps and replenishes narratives with pieces of uncertain provenance, shaping the semantic structures we rely on to define ourselves.
VÍNCULOS TERRITORIALES
KATHERINNE FIEDLER
ELENA POSOKHOVA
Exhibition from February 9 to February 28, 2026
A dialogue between the artist, Katherinne Fiedler and the curator, Elena Posokhova
Sorbonne Artgallery presents an exhibition that focuses on a new curatorial and artistic initiative based on an open dialogue initiated in Paris between Elena Posokhova and Katherinne Fiedler. This interaction, embedded in a creative process centered on the study of territorial connections, aims to support the development of artistic practices related to the beginning of research in other environments.
The landscape is viewed here not only as a geographical location, a natural or cultural space, but also as a "way of perceiving." It becomes a tool for understanding the roots of our worldview and identity, revealing the influence of context on the creation of new images. This presentation, based on research, offers immersion where memory, matter, and imagination meet, and where artistic creativity unfolds as a means of knowledge and dialogue between territories.
The works presented by artist Katherinne Fiedler, under the curation of Elena Posokhova, outline vectors for new artistic research, striving to show how the natural-cultural code interacts with new information, how our experience and territorial identity shape the perception of emerging realities in the environment.
"The artistic process, in its co-evolution and interaction with different fields, practices, and ideas, is at the center of my attention. The connections between the natural and cultural contexts of various coastal and island territories, both linked and separated by seas, constitute my field of action. This space resonates with the practice of artist Katherinne Fiedler, whose imagination has been shaped by her life experience in the coastal areas of Lima, Peru. In her work, she focuses on the landscape, interpreting its fragments and remnants through sculpture, photography, and video, linking them to the social and cultural characteristics of the place.
Meeting in the geography of the French capital, we develop a discourse on its semiotic space, becoming cartographers and charting routes for artistic research, interpreting and enriching it with forms of communication, exchanges of meanings, stories, and knowledge.
For example, the symbolic forms and materials of the marine environment (shells, corals) in Katherinne's works navigate to what geologists call "Paris stone" or Lutetian limestone, containing fossils of ancient marine creatures. Used in construction, it manifests in the walls of the city's architectural bodies, testifying to a distant connection with the tropical sea, as detailed in the catalog of the 2014 exhibition LA MER À PARIS. 45 million years ago.
The journey continues through the poetics of juxtaposition and the interplay between natural and mechanical materials in the artist's works: leather, metal, and stone. Within this research framework, associative analysis can explore the relationships between the environment and industrial interventions, directing attention to the rivers and hydraulic systems of Paris as territories of memory and ecological tension. Through conversations and meetings in Paris, this line of interest began to emerge as a future direction and will serve as a starting point for Katherinne's further research, focusing on the case of the Bièvre — once connected to the Seine — to develop new works in a later phase.
Thus, the observation and interpretation of symbols, translated through the artistic prism, allow for the creation of a multilayered work, presenting the creative research process as a living performance, synchronized with the landscape. Acts of field research and collaboration can lead to the establishment of an exchange space that activates the imagination. An intrigue emerges to observe the continuity and results of the work, suggesting that the development of innovation potential becomes possible, especially in a different environment. In our mobile world, where we frequently move from one place to another, such collaborative in-situ research sessions can help find a point of stability and form communities where values can be shared, a sense of belonging reinforced, and the connection to place deepened."
Elena Posokhova, Curator.
This meeting between the artist and curator is part of a collaborative studio project in Paris, supporting artists from island and coastal territories while engaging in dialogue with local initiatives. The curator's work with the studio, integrated into her dissertation at the University of Paris 1, in the doctoral school of fine arts and art sciences, includes curatorial research sessions to develop artistic projects and strengthen the connection to the territory through immersive experiences.
Katherinne Fiedler
An artist recognized on the international scene, Katherinne Fiedler has received numerous distinctions, including the Leonardo Grant for Creators and Researchers in Visual Arts from the BBVA Foundation (2023) and the CIFO Emerging Artist Grant (2017). She has participated in prestigious residencies such as Casa de Velázquez (Madrid), Flora Ars Natura (Bogotá), Bilbaoarte (Bilbao), Utopiana Pro Helvetia (Switzerland), and LARA (Panama). Her work is held in major international public and private collections.
Elena Posokhova
Elena Posokhova is a contemporary art curator and project manager based in Paris, and a former resident curator at the POUSH cultural center. She specializes in the relationships between nature and culture in the Mediterranean region, developing the MARLANDS project in collaboration with museums and institutions such as ES Baluard Museum, Ca’ Foscari University, Spazju Kreattiv – Malta National Centre for Creativity, among others. She also directs the Art and Science program at the Universitat Catòlica de València. Her work focuses on the creative process through collaborative projects involving artists, scientists, and the public. She seeks to create spaces for co-creation and new works, while analyzing the factors that influence creativity.
Giro nos
Acessos
TOURISME ET RESILIENCE
Exhibition from November 3 to November 30, 2025
Winner of the 2024 SAM Residency, this exhibition marks Yan Carpenter’s first solo show in France.
Born in 1994 in Rio de Janeiro, Yan Carpenter lives and works in Guadalupe, in the northern zone of the city. A self-taught photographer, DJ, history teacher, and former drummer, he has developed a photographic practice rooted in his everyday life, at the heart of the favelas where he grew up. Through his gaze, he captures fragments of life—gestures, faces, suspended moments—that convey the vitality and complexity of a territory often misrepresented.
With this exhibition at the Sorbonne, Photo Days continues its commitment to supporting the international emerging scene, offering young artists a space for visibility and dialogue. In this place of knowledge and exchange, Yan Carpenter’s images meet a curious and evolving audience, extending the human and social reach of his work.
Photo Days
Founded in 2020, Photo Days aims to bring together all venues and events related to photography and video in Paris each November. It brings together institutions, galleries, fairs, an auction house, and a selection of carefully chosen private spaces—such as artists’ studios, laboratories, or collectors’ apartments—to offer visitors, both professionals and amateurs, a fully immersive photographic experience at a time when Paris becomes the world capital of photography.
SAM Art Projects
Since its creation in 2009, SAM Art Projects has structured its philanthropic program around three main pillars supporting artistic creation: the SAM Prize (€20,000, awarded annually to an artist from the French scene presenting a project destined for a foreign country), SAM Residencies (which have enabled more than 20 artists from 19 countries to be hosted and exhibited in France), and carte blanche projects.
By relaunching the residency program in 2023—suspended in 2020 due to the global health context—Sandra Hegedüs, Founder of SAM Art Projects, has strengthened her committed support for the production and dissemination of contemporary art, encouraging artistic exchanges between North and South, and between East and West.