Large-scale artistic projects that connect worlds that seem to be diametrically opposed.
I've always been in between : too commercial for some, too intellectual for others. Over time, I've come to understand that my strength lies precisely in this ability to build bridges between worlds and structures that don't communicate with each other.
curatorial in-betweenness ,
the working tool that I have theorized,
because when what we do cannot be named,
So, we need to create the appropriate word.
Curatorial betweenness is a theory of curatorial practice that emerged in response to the increasing polarization of the contemporary world. My practice initially developed around the female gaze, which questions the representation of the female body and identity in art. Faced with the radicalization of debates and the disappearance of spaces for nuance, this framework gradually appeared insufficient to me. I then found in the mathematical notion of betweenness a way of thinking about the value of transitional positions rather than centers. The curator thus becomes a bridge-knot, connecting artistic, social, or cultural worlds that no longer intersect. This approach is rooted in the legacy of Kaprow, feminist and postcolonial pratiques, Bourriaud's relational aesthetics, and the convergence proposed by Enwezor. But it responds to a new context: that of a fragmented world where camps are closing in on one another. Betweenness involves maintaining the possibility of passage, creating spaces where opposing worlds can recognize each other. The goal is to reopen dialogue, recreate a sense of community , and remind us that connection remains possible, even where everything seemed separate.