Genre2030

Hevré Sénant

The research program Gender2030 questions the influence of gender criteria on the evolution of practices (notably pictorial practices) and their display, in a context of globalisation and considers the influence of these practices on the evolution of our societies as we head towards 2030.

Progressively identified, isolated, and recognised over the course of the twentieth century through the successive work of psychoanalysts, sociologists, and intellectuals, the notion of gender has taken hold of academic culture worldwide. Beyond this scientific fortune, it nevertheless seems crucial that it not remain monopolised by specialists and social science researchers, or by a handful of politically committed artists, but become popularised, discussed, appropriated, and socially integrated if we are to hope for a veritable transformation of art and society towards a more equitable and just distribution of spaces and thus contribute to “undoing the dominant norms of social existence” (Judith Butler, Undoing Gender). In particular, it is a matter of finding “how to create a world in which those who define their gender and desire as non-normative can live and find fulfilment without the external threat of violence and without the invasive sense of their unreality.”

Gender2030 aims to foster a consistently singular appropriation of the notion of gender, to identify problematic situations stimulating the emergence of practices capable of thwarting desires of domination, hierarchisation, competition, and allocation as they are often observed in the operating modes of venues, organisations, and situations of display, according to distribution standards that are sometimes explicit but often implicit within these space-times. Gender2030 strives to find feasible alternatives, highlighting instability, fluidity, play, cooperation, the sharing of areas of visibility, and the refusal of exclusion.

Open to all kinds of approaches, this research project is fuelled by the interests and practices of participants, students, artists, and theorists.

guest participants (selection)

• Joan Ayrton, artist, director of studies at the ENSBA, Paris
• Henry Kleine, artist, Berlin
• Kerstin Drechsel, artist, professor at the Kunsthochschule Kassel
• Nathalie Leroy-Fiévée, artist, Paris and French Guiana
• Thomas Demoulin, artist, Paris.

workshops (selection)

• Genre#Luminy, Usage, paysage, cohabitation, workshop by Nathalie Leroy-Fiévée at the École Supérieure d’Art & de Design de Marseille Méditerranée (invitation from Katharina Schmidt), in partnership with the isdaT, October 2017.
• Your Body Is Yours, workshop with Nathalie Leroy-Fiévée, with the assistance of Valérie Vernet and the screenprinting workshop, isdaT. Display of 500 screenprints in public space at La Reynerie, in the Stadium, Place du Salin, Toulouse, March 2017.
• Workshop with Jagna Ciuchta and presentation at L’Adresse during the Printemps de Septembre, Toulouse, May 2016.
• Situation Post: Happy Sit-Crisis, workshops at the Centre d’art de la Villa Arson, Nice, February 2016
• “Je et nous” (“I and Us”), Gender2030 workshop at the Kunsthochschule Weißensee in Berlin and an “in progress” installation as part of the Brücke im Dschungel exhibition at the Kunsthalle am Hamburger Platz (Berlin) with the students and graduates of the isdaT and the fine art schools of Hamburg, Weimar, Frankfurt, Saarbrücken, Dresden, Linz and Berlin (UDK & Weißensee), 2015.
  • The Politics of Mounting Exhibitions with Kerstin Drechsel at the Kunsthochschule in Kassel, February 2014.

exhibitions (selection)

• ESADMM, Marseille, in-situ display, ESADMM / isdaT partnership, 2017
• Gender2030 in VISION at the Palais de Tokyo (invitation from the ANdÉA), April 2016
• Mur#20, isdaT beaux-arts, Dec. 2015 – Jan. 2016.
• Trouble in painting (exhibition and study days), isdaT / BBB art centre co-production, in partnership with the Delapeinture network, March 2015
• Presentation of the “Je et Nous” workshop at the Kunsthalle am Hamburger Platz (Berlin), Dec. 2014.

Gender2030 research enjoys the support of the Ministry of Culture.