인스타그램 스토리 뷰어

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

🔥 la critique d’art est un travail / la passion ne paie pas le loyer / message - pas trop - subliminal à destination de nos futurs client•es / le collectif donne de la force

Tribune intégrale à lire dans ma bio et celle de @jeunescritiquesdart 👀

This post is about money and art, about how sick we are to be paid in « visibility », about the emergency of having this conversation, about the importance of unions. V connected to French context but elite art world as no borders ; so here is a very shaky translation of the slides. Dm for full version or use deepL 💋

1. All work deserves payment
2. Being an art critic implies being constantly confronted to the rhetoric of the profession-passion, which disqualifies our professional involvement and leads in fact to the negotiation of our fees, to the devaluation of our work and sometimes even to the contempt of it.
3. Art critic is a real work and we ask to be able to make a decent living from it.
4. If one cannot pay art critics decently, one must internalise the writing or find an alternative. All work deserves a salary, and the salary should be worthy of the task. The said salary must, again, be unanimously agreed upon. There is no other field where there is as much disparity in the minimum wage or pricing index as in the art world.
5. Since 2018, the AICA has updated its pricing guidelines and recommends a minimum fee of between €300 and €600 1500 characters. If this first amount is equivalent to the hourly minimum wage, we are still regularly confronted with astonishment, if not disagreement, when we share our quotes.
6. The art world can no longer ignore the guidelines recommended by France's largest group of art critics - or help impose lower ones.
7. The profession has come a long way and suffers from the prejudices fostered and maintained by critics who, historically, came from privileged social classes, who could afford to consider art and their activity as a purely aesthetic or literary gesture, and not as a " job". Our realities today go beyond this situation and we can no longer accept the consequences.

What the world need now
[Edito]

Parallèle 16 a été pensé par Flora Fettah, Assia Ugobor, Lamia Zanna, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel porté par Parallèle.
@fcftth
@asscroco
@la_miaz

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes
28 janvier—7 février 2026
Danse, performance, arts visuels
Marseille et Aix-en-Provence

What the world need now
[Edito]

Parallèle 16 a été pensé par Flora Fettah, Assia Ugobor, Lamia Zanna, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel porté par Parallèle.
@fcftth
@asscroco
@la_miaz

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes
28 janvier—7 février 2026
Danse, performance, arts visuels
Marseille et Aix-en-Provence

What the world need now
[Edito]

Parallèle 16 a été pensé par Flora Fettah, Assia Ugobor, Lamia Zanna, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel porté par Parallèle.
@fcftth
@asscroco
@la_miaz

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes
28 janvier—7 février 2026
Danse, performance, arts visuels
Marseille et Aix-en-Provence

What the world need now
[Edito]

Parallèle 16 a été pensé par Flora Fettah, Assia Ugobor, Lamia Zanna, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel porté par Parallèle.
@fcftth
@asscroco
@la_miaz

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes
28 janvier—7 février 2026
Danse, performance, arts visuels
Marseille et Aix-en-Provence

What the world need now
[Edito]

Parallèle 16 a été pensé par Flora Fettah, Assia Ugobor, Lamia Zanna, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel porté par Parallèle.
@fcftth
@asscroco
@la_miaz

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes
28 janvier—7 février 2026
Danse, performance, arts visuels
Marseille et Aix-en-Provence

What the world need now
[Edito]

Parallèle 16 a été pensé par Flora Fettah, Assia Ugobor, Lamia Zanna, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel porté par Parallèle.
@fcftth
@asscroco
@la_miaz

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes
28 janvier—7 février 2026
Danse, performance, arts visuels
Marseille et Aix-en-Provence

Team Heartline 🖇️ Book your appointment with Flora Fettah • Advising / Accompaniment / Text / Training 🤍

Flora Fettah (born in 1994, France and based in Marseille) is an independent curator, writer and researcher.

She understands contemporary creation through the lens of its political, social and cultural contexts and, therefore, her attention is particularly drowned by the alternative narratives and practices at work within a territory, their modality of existence and how they interact with the official discourse. She conducted research on ‘Borders crisis in Morocco seen by contemporary artists and their place in public debates’ (EHESS, Paris) and has been part of curatorial teams in French and international organizations (Cnap, Monnaie de Paris, Manifesta Biennial, Triangle - Astérides, AWARE, Kadist Foundation), while at the same time carrying out various exhibition projects both on her own and within collectives (Jeunes Critiques d’Art, Diamètrea).

She is vice-president (2019-2023) and board member of Contemporaines, a non-profit organization that fights gender discriminations in the visual arts and promotes an intersectional feminism. A member of C-E-A and AICA France, she is a regular contributor to the podcast ‘Pourvu Qu’iels Soient Douxces’ and writes for magazines, public and private institutions (Documents d’Artistes, the Van Gogh Foundation, Kadist), galleries and artists.

✨

📸 @clairebourrasse

Stacked and ready to travel into readers’hands: Bodies of Work by @marilouponcin, a publication prompting us to reflect on societal issues through a visual exploration and new narrative. With contributions from Flora Fettah @fcftth and Elora Weill-Engerer.

Available in bookstores and online, link in bio 🔗

Stacked and ready to travel into readers’hands: Bodies of Work by @marilouponcin, a publication prompting us to reflect on societal issues through a visual exploration and new narrative. With contributions from Flora Fettah @fcftth and Elora Weill-Engerer.

Available in bookstores and online, link in bio 🔗

𝗥𝗘𝗦𝗧𝗜𝗧𝗨𝗧𝗜𝝝𝗡 𝗣𝗨𝗕𝗟𝗜𝗤𝗨𝗘 | 𝗜𝗡𝗧𝗘𝗥𝗦𝗧𝗜𝗖𝗘 #𝟱

— 𝙄𝙉𝙏𝙀𝙍𝙎𝙏𝙄𝘾𝙀 permet à de jeunes artistes des Beaux-Arts de Marseille d’inventer et d’expérimenter sur quatre jours un 𝗮𝗰𝗰𝗿𝗼𝗰𝗵𝗮𝗴𝗲 𝗰𝗼𝗹𝗹𝗲𝗰𝘁𝗶𝗳 𝗮𝘂 𝗖𝗲𝗻𝘁𝗿𝗲 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝗶𝗾𝘂𝗲 𝗠𝗮𝗿𝘀𝗲𝗶𝗹𝗹𝗲, accompagné·es par un·e professionnel·le du monde de l’image et par l’équipe du lieu. Cette année, 𝗹𝗮 𝗰𝗼𝗺𝗺𝗶𝘀𝘀𝗮𝗶𝗿𝗲 𝗱’𝗲𝘅𝗽𝗼𝘀𝗶𝘁𝗶𝗼𝗻 𝗙𝗹𝗼𝗿𝗮 𝗙𝗲𝘁𝘁𝗮𝗵 @fcftth accompagne ce travail intensif en proposant d’aborder la curation et la mise en espace comme des pratiques collectives. En repartant de son projet 𝘛𝘰 𝘣𝘦𝘤𝘰𝘮𝘦 2 qui expérimente des méthodologies de travail féministes et collaborative, elle développe 𝘩𝘰𝘸 2 𝘣𝘦𝘤𝘰𝘮𝘦, un nouveau format de workshop dédié au co-apprentissage de la curation.

— avec les étudiant·e·s du Champ de pratique et d’investigation (CPI) 𝘜𝘯𝘦 𝘧𝘢𝘣𝘳𝘪𝘲𝘶𝘦 𝘥𝘦𝘴 𝘪𝘮𝘢𝘨𝘦𝘴, sur une proposition de l’équipe enseignante des Beaux-Arts de Marseille associée (Hélène Biesse, Nicolas Feodoroff, Lia Giraud, Samuel Gratacap, Éric Pasquiou et Olivier Sola)

𝙸𝚗𝚏𝚘𝚛𝚖𝚊𝚝𝚒𝚘𝚗𝚜 𝚙𝚛𝚊𝚝𝚒𝚚𝚞𝚎𝚜 :
𝚓𝚎𝚞𝚍𝚒 𝟷𝟸 𝚏𝚎́𝚟𝚛𝚒𝚎𝚛
𝟷𝟾𝚑 → 𝟸𝟷𝚑 · 𝚎𝚗𝚝𝚛𝚎́𝚎 𝚕𝚒𝚋𝚛𝚎
L'exposition sera ensuite ouverte les vendredi 13 et samedi 14 février de 14h à 18h

𝙲𝚎𝚗𝚝𝚛𝚎 𝙿𝚑𝚘𝚝𝚘𝚐𝚛𝚊𝚙𝚑𝚒𝚚𝚞𝚎 𝙼𝚊𝚛𝚜𝚎𝚒𝚕𝚕𝚎 · @centrephotomarseille
𝟽𝟺 𝚛𝚞𝚎 𝚍𝚎 𝚕𝚊 𝙹𝚘𝚕𝚒𝚎𝚝𝚝𝚎, 𝟷𝟹𝟶𝟶𝟸

—
Légende de l’image : Accrochage des travaux de Rose Forette lors deInterstice #4, accompagné en 2025 par la commissaire d’exposition Magali Avezou. ©emmacozzani/Centre Photographique Marseille

Parallèle 16, ça commence demain
mercredi 28 janvier avec les vernissages
de La Relève 8

📍mercredi 28/01 au @chateaudeservieres à 18:00
📍mercredi 28/01 à @lacompagnie_belsunce_ à 20:00
📍jeudi 29/01 à @lecouvent_belledemai à 18:00

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes.
@frichelabelledemai
@lesgrandestables
@gmem.marseille
@triangle_asterides
@3bisf
@theatreantoinevitez
@balletnationaldemarseille
@conservatoirepierrebarbizet
@klapkelemenis
@museesmarseille
@_______soma__
@theatrejoliette
@lacompagnie_belsunce_
@chateaudeservieres
@lecouvent_belledemai
@art_cadegalerie
@sudside_
@centredartsfernandleger

Programme complet sur festival16.plateformeparallele.com
[lien dans la bio]

Parallèle 16, ça commence demain
mercredi 28 janvier avec les vernissages
de La Relève 8

📍mercredi 28/01 au @chateaudeservieres à 18:00
📍mercredi 28/01 à @lacompagnie_belsunce_ à 20:00
📍jeudi 29/01 à @lecouvent_belledemai à 18:00

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes.
@frichelabelledemai
@lesgrandestables
@gmem.marseille
@triangle_asterides
@3bisf
@theatreantoinevitez
@balletnationaldemarseille
@conservatoirepierrebarbizet
@klapkelemenis
@museesmarseille
@_______soma__
@theatrejoliette
@lacompagnie_belsunce_
@chateaudeservieres
@lecouvent_belledemai
@art_cadegalerie
@sudside_
@centredartsfernandleger

Programme complet sur festival16.plateformeparallele.com
[lien dans la bio]

Parallèle 16, ça commence demain
mercredi 28 janvier avec les vernissages
de La Relève 8

📍mercredi 28/01 au @chateaudeservieres à 18:00
📍mercredi 28/01 à @lacompagnie_belsunce_ à 20:00
📍jeudi 29/01 à @lecouvent_belledemai à 18:00

Parallèle 16, c’est une quarantaine d’artistes, des spectacles, expositions, rencontres et fêtes.
@frichelabelledemai
@lesgrandestables
@gmem.marseille
@triangle_asterides
@3bisf
@theatreantoinevitez
@balletnationaldemarseille
@conservatoirepierrebarbizet
@klapkelemenis
@museesmarseille
@_______soma__
@theatrejoliette
@lacompagnie_belsunce_
@chateaudeservieres
@lecouvent_belledemai
@art_cadegalerie
@sudside_
@centredartsfernandleger

Programme complet sur festival16.plateformeparallele.com
[lien dans la bio]

Meet the team 🩶 Flora Fettah @fcftth

Born, raised and based in Marseille, France, my curatorial practice is informed by its history and political dynamics. With exhibitions, books and shared moments (workshops, dinners, games), often conceived collectively, I explore contemporary creation through the lens of its social and cultural contexts. Therefore, my attention is particularly drawn by the alternative narratives and practices at work within a territory, their modality of existence and how they interact with the official discourse.

🔗As independant art workers, part of our activities are less known and publicised than others. Giving advice and accompanying artists, writers and researchers are part of it. I joined Heartline to have a transparent framework so all aspects of my work is recognised and therefore paid.

📌 For the next two weeks, you will find me at Parallele Festival that promotes international emerging practices in performances, dance and visual arts. I had the pleasure to curate this edition with the brilliant Assia Ugobor and Lamia Zanna, and in discussion with the Parallele team and a wide range of great partners all around Marseille.

@plateformeparallele

Meet the team 🩶 Flora Fettah @fcftth

Born, raised and based in Marseille, France, my curatorial practice is informed by its history and political dynamics. With exhibitions, books and shared moments (workshops, dinners, games), often conceived collectively, I explore contemporary creation through the lens of its social and cultural contexts. Therefore, my attention is particularly drawn by the alternative narratives and practices at work within a territory, their modality of existence and how they interact with the official discourse.

🔗As independant art workers, part of our activities are less known and publicised than others. Giving advice and accompanying artists, writers and researchers are part of it. I joined Heartline to have a transparent framework so all aspects of my work is recognised and therefore paid.

📌 For the next two weeks, you will find me at Parallele Festival that promotes international emerging practices in performances, dance and visual arts. I had the pleasure to curate this edition with the brilliant Assia Ugobor and Lamia Zanna, and in discussion with the Parallele team and a wide range of great partners all around Marseille.

@plateformeparallele

Retour sur 2 jours de programmation à la @maisondesmetallos les 26 & 27 octobre pour le festival de la 1re édition d’Art Emergence « What the world needs now », imaginé par Assia Ugobor (@asscroco), Flora Fettah (@fcftth) et Lamia Zanna (@la_miaz) 🪁

__
🎥 @instant.prod & @_juanelvis

QG Parallèle 16 à @lacompagnie_belsunce_ 💜

Cette année, Parallèle a imaginé un nouvel espace de rencontres  : un QG ouvert à toutes et tous, du mercredi au vendredi après-midi, de 14:00 à 18:00.
Inauguré à l’occasion de cette édition au sein de La compagnie, lieu de création, les artistes, publics et professionnel·le·s pourront s’y poser et échanger autour des spectacles, participer à un atelier-lecture ou à une table ronde.

🔗 Programme complet des rendez-vous proposés sur festival16.plateformeparallele.com [lien dans la bio] 

✻ Bibliothèque du Festival 
Tous les après-midis du QG, les spectateurices de Parallèle pourront consulter la bibliographie collectivement proposée par les artistes et l’équipe de Parallèle afin de prolonger les œuvres, ouvrir des pistes de lecture et faire résonner autrement les gestes présentés.

QG Parallèle 16 à @lacompagnie_belsunce_ 💜

Cette année, Parallèle a imaginé un nouvel espace de rencontres  : un QG ouvert à toutes et tous, du mercredi au vendredi après-midi, de 14:00 à 18:00.
Inauguré à l’occasion de cette édition au sein de La compagnie, lieu de création, les artistes, publics et professionnel·le·s pourront s’y poser et échanger autour des spectacles, participer à un atelier-lecture ou à une table ronde.

🔗 Programme complet des rendez-vous proposés sur festival16.plateformeparallele.com [lien dans la bio] 

✻ Bibliothèque du Festival 
Tous les après-midis du QG, les spectateurices de Parallèle pourront consulter la bibliographie collectivement proposée par les artistes et l’équipe de Parallèle afin de prolonger les œuvres, ouvrir des pistes de lecture et faire résonner autrement les gestes présentés.

✍️ A propos de l’atelier Guerrières reposées, animé par l’autrice Margaux Mazellier (@margauxmzll )à partir de l’exposition « To become 2 - Là où poser sa tête », en présence des artistes, Jehane Mahmoud (@jehanemahmoud ) et Camille Soualem (@camille_soualem_ ) ainsi que la curatrice Flora Fettah (@fcftth )

Dans cette exposition ‑ et partout ailleurs -, les femmes sont des guerrières. Des guerrières qui ont besoin de repos. Qui prennent soin les unes des autres. Qui s’écoutent, se confient, se soignent. À partir des oeuvres présentées dans cette exposition, nous avons imaginé des endroits, des relations, des mots dans lesquels nous pourrions enfin nous reposer.

Nous avons imaginé des femmes (et leurs ancêtres) comme des guerrières. Nous leur avons inventé des combats et offert du repos. Nous leur avons donné la parole et elles nous ont dit : “Et toi, quand est-ce que tu te reposeras ?”. Il était question d’oursins, d’héritages, de siestes, de sang, d’écoute, d’épaules, de mères, de culpabilité et tant d’autres choses.

C’était un moment d’une grande tendresse et, si tout va bien, vous devriez bientôt retrouver ces textes sous la forme d’une publication…

✍️ A propos de l’atelier Guerrières reposées, animé par l’autrice Margaux Mazellier (@margauxmzll )à partir de l’exposition « To become 2 - Là où poser sa tête », en présence des artistes, Jehane Mahmoud (@jehanemahmoud ) et Camille Soualem (@camille_soualem_ ) ainsi que la curatrice Flora Fettah (@fcftth )

Dans cette exposition ‑ et partout ailleurs -, les femmes sont des guerrières. Des guerrières qui ont besoin de repos. Qui prennent soin les unes des autres. Qui s’écoutent, se confient, se soignent. À partir des oeuvres présentées dans cette exposition, nous avons imaginé des endroits, des relations, des mots dans lesquels nous pourrions enfin nous reposer.

Nous avons imaginé des femmes (et leurs ancêtres) comme des guerrières. Nous leur avons inventé des combats et offert du repos. Nous leur avons donné la parole et elles nous ont dit : “Et toi, quand est-ce que tu te reposeras ?”. Il était question d’oursins, d’héritages, de siestes, de sang, d’écoute, d’épaules, de mères, de culpabilité et tant d’autres choses.

C’était un moment d’une grande tendresse et, si tout va bien, vous devriez bientôt retrouver ces textes sous la forme d’une publication…

✍️ A propos de l’atelier Guerrières reposées, animé par l’autrice Margaux Mazellier (@margauxmzll )à partir de l’exposition « To become 2 - Là où poser sa tête », en présence des artistes, Jehane Mahmoud (@jehanemahmoud ) et Camille Soualem (@camille_soualem_ ) ainsi que la curatrice Flora Fettah (@fcftth )

Dans cette exposition ‑ et partout ailleurs -, les femmes sont des guerrières. Des guerrières qui ont besoin de repos. Qui prennent soin les unes des autres. Qui s’écoutent, se confient, se soignent. À partir des oeuvres présentées dans cette exposition, nous avons imaginé des endroits, des relations, des mots dans lesquels nous pourrions enfin nous reposer.

Nous avons imaginé des femmes (et leurs ancêtres) comme des guerrières. Nous leur avons inventé des combats et offert du repos. Nous leur avons donné la parole et elles nous ont dit : “Et toi, quand est-ce que tu te reposeras ?”. Il était question d’oursins, d’héritages, de siestes, de sang, d’écoute, d’épaules, de mères, de culpabilité et tant d’autres choses.

C’était un moment d’une grande tendresse et, si tout va bien, vous devriez bientôt retrouver ces textes sous la forme d’une publication…

La billetterie Parallèle 16 est ouverte <3
Rendez-vous sur le site festival16.plateformeparallele.com

❤️‍🔥 Lien vers la billetterie en bio

Festival Parallèle 16
28 janvier—7 février 2026
à Marseille et Aix-en-Provence

Marga Alfeirão @margaridaalfeirao
Vivian Allard @pluspetitque.trois
Romy Alizée @romixalizee
Bonnie Banane @bonnie.banane
Saphir Belkheir @saphir.belkheir
Mackenzy Bergile @mackenzybergile
Nadia Beugré @beugrenadia
Anat Bosak @anatbosak
Laju Bourgain @uniteton
Cheetah @cheetah369
Yu-Hsuan Chiu @yuhsuan_les_montagnes_assises
Chouf @canalchouf
Théophylle Dcx @theophylle.dcx
DouceSœur @toutendoucesoeur
Eau Vive @eauviv3
Nina Eba @ninaebamusic
Etaf @thisisetaf
Lucía García Pullés @luciagarciapulles
Aïda Jamal @aidajamalll
Hannan Jones @hannannannanananannnn
Stephanie Kayal @stephanie.kayal
Samir Kennedy @samirkennedyisreborn
Abed Kobeissy @abed_kobeissy
Zoé Lakhnati @zoelakhnati
La Rage @charlie.larage
Jehane Mahmoud @jehanemahmoud
Mystique @3600bpm
Calixto Neto @zecalix
Amit Noy @a.m_i.t_
Luara Raio @raioraioraioraio
Soa Ratsifandrihana @soa_ratsifa
Shed publishing @shed.publi
Shereya @shereya_ya
Catol Teixeira @catol.teixeira
Mona Varichon @monavarichon
Manon Worms @manonworms_krasna_cie

Design graphique
Manon Bruet @manon_bruet
& Julia Andréone @juliaandreone
Développement Studio F451

Parallèle 16, c’est dans 3 semaines !

Dans les salles, les ateliers, les lieux d’exposition, autour d’une table, le temps d'une fête, nous avons hâte de partager avec vous l’élan, la joie mais aussi les nécessités à dire, les sensibilités singulières qui irriguent la programmation du Festival et au-delà, le projet de Parallèle.

🔗 Lien vers la billetterie en bio

Festival des pratiques artistiques émergentes internationales
Danse, performance, arts visuels
28 janvier—7 février 2026
Marseille et Aix-en-Provence

𝗣𝗮𝗿𝗮𝗹𝗹𝗲̀𝗹𝗲 𝟭𝟲
Marga Alfeirão @margaridaalfeirao
Vivian Allard @pluspetitque.trois
Romy Alizée @romixalizee
Bonnie Banane @bonnie.banane
Saphir Belkheir @saphir.belkheir
Mackenzy Bergile @mackenzybergile
Nadia Beugré @beugrenadia
Anat Bosak @anatbosak
Laju Bourgain @uniteton
Cheetah @cheetah369
Yu-Hsuan Chiu @yuhsuan_les_montagnes_assises
Chouf @canalchouf
Théophylle Dcx @theophylle.dcx
DouceSœur @toutendoucesoeur
Eau Vive @eauviv3
Nina Eba @ninaebamusic
Etaf @thisisetaf
Lucía García Pullés @luciagarciapulles
Aïda Jamal @aidajamalll
Hannan Jones @hannannannanananannnn
Stephanie Kayal @stephanie.kayal
Samir Kennedy @samirkennedyisreborn
Abed Kobeissy @abed_kobeissy
Zoé Lakhnati @zoelakhnati
La Rage @charlie.larage
Jehane Mahmoud @jehanemahmoud
Mystique @3600bpm
Calixto Neto @zecalix
Amit Noy @a.m_i.t_
Luara Raio @raioraioraioraio
Soa Ratsifandrihana @soa_ratsifa
Shed publishing @shed.publi
Shereya @shereya_ya
Catol Teixeira @catol.teixeira
Mona Varichon @monavarichon
Manon Worms @manonworms_krasna_cie

Parallèle 16 a été pensé par 𝗙𝗹𝗼𝗿𝗮 𝗙𝗲𝘁𝘁𝗮𝗵, 𝗔𝘀𝘀𝗶𝗮 𝗨𝗴𝗼𝗯𝗼𝗿, 𝗟𝗮𝗺𝗶𝗮 𝗭𝗮𝗻𝗻𝗮, en collaboration avec la direction et les équipes de Parallèle, dans le cadre du Cycle de professionnalisation pour une durabilité du secteur culturel.
@asscroco
@fcftth
@la_miaz

Les lieux du festival
@frichelabelledemai
@lacompagnie_belsunce_
@chateaudeservieres
@lecouvent_belledemai
@art_cadegalerie
@sudside_
@centredartsfernandleger
@klapkelemenis
@museesmarseille
@theatrejoliette
@conservatoirepierrebarbizet
@_______soma__
@3bisf
@theatreantoinevitez
@triangle_asterides
@gmem.marseille
@balletnationaldemarseille