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—» Autumn, Autonomy, Crazy Chestnuts, Dead Leaves
by Lætitia Paviani

Ethan Assouline’s exhibition “La médiathèque autonome” at La Tôlerie took place in the autumn of 2022.

One could believe that seasons have existed since forever, as they…

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—» The 16th Lyon Biennale of Contemporary Art: a Manifesto of Fragility?
by Tania Hautin-Trémolières

A biennial is often a sprawling event. Dense, immense, dispersed. The Lyon Biennale of Contemporary Art is no exception to this tentacular disposition. Its 16ᵉ edition, conceived by the curatorial…

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—» “Mood Ring” – Martin Kersels
by Katia Porro

The more I think of the title “Mood Ring” the more I am convinced that there exists no other phrase more appropriate to entitle an exhibition. Because an exhibition…

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—» “OK OK K.O” - Julie Sas
by Katia Porro

When I visited Julie Sas’s exhibition “OK OK K.O” at Treignac Projet, I was in denial of anger. I rejected the feeling, believing it was truly a waste of energy,…

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—» To record and testify
by Sophie T. Lvoff

For Thea Djordjadze’s first major presentation in France displaying more than sixty artworks, produced between 1993 and 2021, the gestures in the rooms needed to be powerful, forceful, even. I…

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—» Introduction Global Terroir: Oran and Algiers
by Katia Porro

In 2015, La belle revue initiated our column “Global Terroir” with the desire to highlight the artistic scene of a foreign territory situated beyond the major capitals, to address the…

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—» Algiers Haunts...
by Amina Menia

“Algiers has never stopped changing throughout the centuries:
Berber, Phoenician, Roman, Arab, Andalusian, Ottoman, French.
It has known and assimilated all styles.
It shifts, lashes out, snorts like…

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—» Operating in Algeria: A Joyful Schizophrenia
by Myriam Amroun

Operating in a context such as Algeria – and particularly for the professions gravitating around art and culture – has become, by necessity, a project for life.¹ The…

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—» Informality and Effervescence: Oran
by Natasha Marie Llorens

The first and most significant aesthetic task of French colonization was to map space.¹To dispossess people of their land, the colonial regime had to know that land.…

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—» Introduction "Moonlighting"
by Julie Portier

It’s a shame that the rhythm of publication of La belle revue, in its paper version, does not allow us to pick up a text from where we left off…

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—» A reign of love that reeks of death
interview with François Durel

Lou Ferrand: The situationist concept of “psychogeography”,¹ connecting the city to something akin to emotions or desire, and more specifically the book La Nuit by Michèle Bernstein came…

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—» Bring Down the Night
Interview with Fallon Mayanja
by Marie Bechetoille

Artist Fallon Mayanja composes and assembles poetic texts and sound works linked to other bodies and other voices, which are deployed during performances and within installations. The idea is first…

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—» Interview with Gérald Kurdian
by Sophie Lapalu

Sophie Lapalu: You are a musician, performer, dancer, composer, photographer, choir conductor, researcher, DJ, activist, and researcher at the Research Cooperative at the École supérieure d’art de Clermont-Ferrand. How…

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—» “Keep your eyes a little wide and blank.
Show no interest or excitement.”¹
by Liza Maignan & Fiona Vilmer

“Sleep No More” is one of the titles that was rejected for the science-fiction film Invasion of the Body Snatchers (Don Siegel, 1956). An extra-terrestrial phenomenon identically replicates the bodies…

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—» Visual Arts in Clermont-Ferrand: Coming Together and Cooperating
by Émilie d’Ornano

On the national scale, many artists’ workshops and entities dedicated to the visual arts have a fragile economy. It has become essential to imagine new schemas of cooperation and mutualisation,…