[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row][et_pb_column type=\u00a0\u00bb1_2″][et_pb_text admin_label=\u00a0\u00bbQuand, o\u00f9\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb||25px|\u00a0\u00bb]<\/p>\n
Vendredi 11 octobre de 19h \u00e0 21h30<\/p>\n
Centre de l’Universit\u00e9 de Chicago \u00e0 Paris<\/p>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_2″][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text admin_label=\u00a0\u00bbIntro\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbintro\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n
Cycle de conf\u00e9rences-projections \u00ab\u00a0Cin\u00e9ma au f\u00e9minin engag\u00e9 : Pratiques, discours, th\u00e9ories\u00a0\u00bb organis\u00e9 par Olga Kobryn (CERILAC, Universit\u00e9 Paris Cit\u00e9) et G\u00e9raldine Sfez (CEAC, Universit\u00e9 de Lille)<\/p>\n
\u00ab\u00a0Feminism, Commitment, and Women’s Cinema: Practices, Discourses, Theories\u00a0\u00bb, Research Seminar and Screening Series<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Qu\u2019est-ce que le f\u00e9minisme aujourd\u2019hui ? Quelles images engag\u00e9es produit-il ? Comment le faire dialoguer avec le f\u00e9minisme des ann\u00e9es 1960-70-80 dont l\u2019empreinte est manifeste, tant au niveau des exp\u00e9rimentations formelles que des engagements politiques ? \u00c0 travers un cycle de projections-dialogues nous voudrions instaurer des conversations entre les artistes femmes issues des courants f\u00e9ministes historiques et actuels\u00a0: quels sont les combats qui ont \u00e9t\u00e9 gagn\u00e9s et quels sont ceux qu\u2019il reste, de mani\u00e8re urgente, \u00e0 mener ? La parole f\u00e9ministe, qui d\u00e9passe d\u00e9sormais la notion de genre, s\u2019impose aujourd\u2019hui pour d\u00e9construire les hi\u00e9rarchies, penser un principe d\u2019\u00e9galit\u00e9 et une\u00a0\u00ab\u00a0communaut\u00e9, fond\u00e9e sur la r\u00e9alit\u00e9 \u00bb, comme le rappelle Erika Balsom[1]<\/a>.<\/p>\n D\u00e9pliant t\u00e9l\u00e9chargeable<\/a><\/p>\n S\u00e9ance con\u00e7ue en partenariat avec Capricci \u2013 producteur, distributeur et \u00e9diteur du cin\u00e9ma, Filmform \u2013 The Art Film & Video Archive Stockholm (Su\u00e8de) et National Asian Culture Center (Cor\u00e9e du Sud)\u00a0<\/strong><\/p>\n Conf\u00e9rence d\u2019Erika Balsom<\/strong> (ma\u00eetresse de conf\u00e9rences au King’s College de Londres et commissaire d\u2019exposition, curatrice de l\u2019exposition \u00ab\u00a0No Master Territories: Feminist Worldmaking and the Moving Image\u00a0\u00bb) suivie d\u2019une discussion avec Corinne Maury<\/strong> (chercheuse, r\u00e9alisatrice, ma\u00eetresse de conf\u00e9rences HDR en esth\u00e9tique du cin\u00e9ma \u00e0 l\u2019Universit\u00e9 de Toulouse \u2013 Jean Jaur\u00e8s) et d\u2019une projection de films.<\/p>\n Erika Balsom pr\u00e9sentera l\u2019exposition et le cycle de projections \u00ab No Master Territories: Feminist Worldmaking and the Moving Image \u00bb con\u00e7us avec Hila Peleg pour la Maison des cultures du monde (Haus der Kulturen der Welt) \u00e0 Berlin en 2022. Ce projet a r\u00e9uni plus de 100 \u0153uvres (films et vid\u00e9os) r\u00e9alis\u00e9es par 89 artistes et collectifs dans les ann\u00e9es 1970-80-90, l\u2019\u00e9poque o\u00f9 les mouvements de lib\u00e9ration des femmes prirent de l’ampleur et acquirent une dimension internationale. Nous examinerons les r\u00e9flexions curatoriales et historiographiques mobilis\u00e9es dans le cadre de ce projet, en portant une attention particuli\u00e8re \u00e0 la mani\u00e8re dont les m\u00e9diums et les m\u00e9dias num\u00e9riques ont \u00e9t\u00e9 utilis\u00e9s au sein d\u2019un accrochage \u00ab\u00a0post-cin\u00e9matographique\u00a0\u00bb.<\/p>\n Erika Balsom<\/strong> est ma\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques au King\u2019s College de Londres. Elle est l’auteure de quatre ouvrages, dont After Uniqueness: A History of Film and Video Art in Circulation<\/em> (2017, Columbia University Press) et TEN SKIES<\/em> (Fireflies Press, 2021). Ses \u00e9crits ont \u00e9t\u00e9 publi\u00e9s dans des revues telles qu’Artforum, Cahiers du cin\u00e9ma, e-flux, Frieze, Grey Room, New Left Review et Screen. Avec Hila Peleg, elle est co-\u00e9ditrice de Documentary Across Disciplines<\/em> (MIT Press, 2016) et Feminist Worldmaking and the Moving Image<\/em> (MIT Press, 2022). En 2021\/22, elle a \u00e9t\u00e9 co-commissaire de l’exposition r\u00e9trospective \u00ab Peggy Ahwesh: Vision Machines \u00bb (Spike Island, Bristol \/ Kunsthall Stavanger), et en 2022\/23, elle a \u00e9t\u00e9 co-commissaire de \u00ab No Master Territories: Feminist Worldmaking and the Moving Image \u00bb (HKW Berlin \/ Museum of Modern Art, Varsovie).<\/p>\n Screening \u2013 a carte blanche to Erika Balsom: \/ <\/strong><\/p>\n Projection\u00a0\u2013 carte blanche \u00e0 Erika Balsom\u00a0: <\/strong><\/p>\n Gunvor Nelson et Dorothy Wiley Schmeerguntz<\/em>, 1965, 16 mm, 15 min<\/p>\n HAN Ok-Hee, Untitled 77A<\/em>, 1977, 16mm, 7 min (film provided by National Asian Culture Center)<\/p>\n Chantal Akerman, Saute ma ville,<\/em>\u00a01968, 16 mm, 14 min<\/p>\n Mardi 26 novembre 2024, 19h-21h30<\/strong><\/p>\n D\u00e9pliant t\u00e9l\u00e9chargeable<\/a><\/p>\n Rencontre avec Rose Lowder, anim\u00e9e par Augustin Gimel (r\u00e9alisateur et enseignant \u00e0 l\u2019Universit\u00e9 de Lille et \u00e0 l\u2019ENSAD) et G\u00e9raldine Sfez (ma\u00eetresse de conf\u00e9rences en \u00c9tudes cin\u00e9matographiques \u00e0 l\u2019Universit\u00e9 de Lille), suivie d\u2019une projection de films.<\/p>\n Rose Lowder est n\u00e9e en 1942 au P\u00e9rou, elle vit et travaille aujourd\u2019hui \u00e0 c\u00f4t\u00e9 d\u2019Avignon. Cin\u00e9aste exp\u00e9rimentale, elle d\u00e9ploie depuis la fin des ann\u00e9es 1970 une pratique singuli\u00e8re qui consiste \u00e0 tisser ses films image par image. \u00c0 l\u2019aide de sa Bolex 16 mm, elle compose ainsi ses films \u00ab dans la cam\u00e9ra \u00bb : \u00e0 l\u2019image de ses Bouquets qui durent chacun une minute et sont constitu\u00e9s de photogrammes pris en des lieux et des moments diff\u00e9rents. Son travail s\u2019inscrit dans une d\u00e9marche \u00e9copo\u00e9tique, tant par les moyens utilis\u00e9s (une petite cam\u00e9ra Bolex) que par les lieux et les motifs choisis. \u00c0 travers Tournesols (1982), la s\u00e9rie des Bouquets (initi\u00e9e dans les ann\u00e9es 1990 et toujours en cours) ou Voiliers et coquelicots (2001), le motif v\u00e9g\u00e9tal, et en particulier floral, appara\u00eet en effet comme l\u2019un des fils conducteurs de son travail. Rose Lowder s\u2019est vue d\u00e9cern\u00e9e en 2023 le Prix d\u2019honneur AWARE (Archives of Women Artists Research & Exhibition).<\/p>\n PROJECTION : [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbInformations pratiques\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ 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header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb25px|||\u00a0\u00bb]<\/p>\n Informations pratiques<\/strong><\/p>\n Centre de l\u2019Universit\u00e9 de Chicago \u00e0 Paris, 41 rue des Grands Moulins, Paris 13e.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bb\u00c0 lire aussi\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″]<\/p>\n [\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.22.1″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Quand Vendredi 11 octobre de 19h \u00e0 21h30 O\u00f9 Centre de l’Universit\u00e9 de Chicago \u00e0 Paris <\/p>\n Cycle de conf\u00e9rences-projections \u00ab\u00a0Cin\u00e9ma au f\u00e9minin engag\u00e9 : Pratiques, discours, th\u00e9ories\u00a0\u00bb organis\u00e9 par Olga Kobryn (CERILAC, Universit\u00e9 Paris Cit\u00e9) et G\u00e9raldine Sfez (CEAC, Universit\u00e9 de Lille) \u00ab\u00a0Feminism, Commitment, and Women’s Cinema: Practices, Discourses, Theories\u00a0\u00bb, Research Seminar and… Lire la suite Cycle \u00ab\u00a0Cin\u00e9ma au f\u00e9minin engag\u00e9 : Pratiques, discours, th\u00e9ories\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":5065,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[31,27],"tags":[],"class_list":["post-5055","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-agenda","category-seminaire"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5055","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=5055"}],"version-history":[{"count":11,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5055\/revisions"}],"predecessor-version":[{"id":5312,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/5055\/revisions\/5312"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/5065"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=5055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=5055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=5055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}S\u00e9ance 1\u00a0: Feminisms \/ F\u00e9minismes<\/em><\/h3>\n
[1]<\/a> Erika Balsom, \u00ab\u00a0La communaut\u00e9 fond\u00e9e sur la r\u00e9alit\u00e9\u00a0\u00bb, dans Erika Balsom et Marcella Lista, Eric Baudelaire. Faire avec<\/em>, Paris, Paraguay, 2022, p. 7-30.<\/h5>\n
S\u00e9ance 2 :\u00a0Ecopo\u00e9tique<\/em><\/h3>\n
> Rose Lowder, Bouquets 1-10, 1994-1995, 16 mm, 11 min 33 sec.
> Rose Lowder, Voiliers et coquelicots, 2001, 16 mm, 2 min.
> Rose Lowder, Bouquets 21-30 (Bouquets \u00e9cologiques), 2001-2005,
16 mm, 14 min.
> Ana Vaz, Atomic Garden, 2018, 16 mm, 8 min.
> Jodie Mack, Blanket Statement #1: Home is where the heart is, 2012,
16 mm, 3 min.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\u00c0<\/span> lire aussi<\/h2>\n