{"id":120,"date":"2018-03-05T15:39:30","date_gmt":"2018-03-05T15:39:30","guid":{"rendered":"http:\/\/revolution.fuelthemes.net\/revolution-portfolio-simple\/?page_id=120"},"modified":"2025-06-02T22:42:30","modified_gmt":"2025-06-02T20:42:30","slug":"about","status":"publish","type":"page","link":"https:\/\/sisume.com\/index.php\/about\/","title":{"rendered":"About"},"content":{"rendered":"
[vc_row css=”.vc_custom_1733415243914{padding-top: 20px !important;}”][vc_column css=”.vc_custom_1733415149642{padding-top: 25vh !important;padding-bottom: 4vh !important;}”][vc_row_inner][vc_column_inner]\t
\n\t\t\n

Clelia Coussonnet is an independent curator, researcher, facilitator, writer, editor and Taiji quan instructor.<\/span><\/span><\/h4>\n\t\t\t<\/div>\n\n\t[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row rtl_reverse=”yes” css=”.vc_custom_1733415045874{padding-bottom: 4vh !important;}”][vc_column width=”2\/3″][vc_row_inner][vc_column_inner][vc_column_text]\n

CURATING<\/h4>\n[\/vc_column_text][vc_column_text css=””]\n

Clelia Coussonnet’s research has been revolving around botanical politics and power structures, investigating political imprints on plants, circulation and resilience in the shows La Rose de J\u00e9richo<\/i> at Institut des Cultures d\u2019Islam, Paris, France (2024);\u00a0Effet de Serre, Farah Khelil<\/i>\u00a0(Recipient of AFAC Visual Grant 2019) <\/span>in a renovated greenhouse in the Parc du Belv\u00e9d\u00e8re, Tunis, Tunisia (2021) accompanied by an eponymous publication<\/span>; Planted in the Body<\/i>, MeetFactory, Praha, Czech Republic (2021) co-curated with Tereza Jindrov\u00e1;\u00a0Ground Control [Markkontroll]<\/em><\/span><\/i>, Bildmuseet, Ume\u00e5, Sweden (2020) co-curated with Sofia Johansson;\u00a0Leave No Stone Unturned [Remuer la terre]<\/i>, Le Cube \u2014 independent art room<\/span>, Rabat, Morocco (2019) and Botany under Influence<\/i>, apexart, NYC, USA (2016). In this field, her essay Waking Dormant Seeds<\/em> was published in <\/span>Theatrum Botanicum<\/span><\/i>, edited by Uriel Orlow and Shela Sheikh (Sternberg Press, 2018).<\/span><\/span><\/p>\n

As a ramification, Coussonnet has been diving into riverine and marine environments considering liquidity, toxicity and contamination, and how pollutants get superimposed. Projects include Breaking Water<\/i>, Contemporary Arts Center Cincinnati, USA (2022) co-curated with Amara Antilla; Spoiled Waters Spilled<\/i>, Les Parall\u00e8les du Sud Manifesta 13, BNM, Marseilles, France <\/span>(2020) co-curated with Inga L\u0101ce, and Au loin les signaux, al lou\u2019lou\u2019<\/i>, dockyards of L\u2019Anse du Pharo, Marseilles, France (2017). co-curated with Claire Astier, during the Heritage Days.<\/span><\/p>\n

In 2023, she prepared two group shows for the Institut Fran\u00e7ais de Gaza and Qattan Foundation (postponed), celebrating the 20<\/span>th<\/sup><\/span> anniversary of a residency program for Palestinian artists at Cit\u00e9 Internationale des Arts, Paris, France.<\/span><\/p>\n[\/vc_column_text][vc_column_text]\n

EXCHANGING<\/h4>\n[\/vc_column_text][vc_column_text css=””]\n

Coussonnet has participated in the seminars\u00a0The Many Meanings of Flora<\/em>, die Angewandte, Wien, Austria (upcoming 2025); Les G\u00e9orgiques : Art et inutilit\u00e9<\/em> at FRAC MECA, Bordeaux, France (2024); Towards Permacultural Institutions. Exercises in Collective Thinking <\/i>at Stiftung K\u00fcnstlerdorf Sch\u00f6ppingen, with K\u00f6ln\u2019s CCA Temporary Gallery, Germany (2022); a collaborative research trip on environmental justice and the privatisation of public spaces in Athens (i-portunus grant, 2022) with artists Elena Azzedin, Giuliana Grippo and Corinne Silva, and lawyer Xryssa Kapartziani<\/span>; in\u00a0<\/span>Gathering for Rehearsing Hospitalities <\/span><\/i>with Frame Finland in Helsinki talking about gestural, material and corporeal knowledge (2019); <\/span>in Tate Intensive: The Case for Action<\/i> at the Tate Modern, London, UK (2019) and was a resident at HIAP Helsinki, Finland (2019); Click Sofia, Bulgaria (2018) and Hors Pistes Nuuk, Greenland (2017).\u00a0 \u00a0<\/span><\/span><\/p>\n

In 2022, she was a resident at Villa Ndar Saint-Louis, French Institute, Senegal, with her project L\u2019eau passe, la rive reste <\/i>exploring the contamination of Senegal river, resulting in a podcast and creative writing workshops for students. The same year, she was a resident at Griffin Art Projects\/ Polygon Gallery in Vancouver, BC, Canada, pursuing her research on botanical politics and waterways.<\/span><\/p>\n

In 2024-2025, Clelia Coussonnet is part of the research project Po\u00efpo\u00ef Foly\u00f3<\/em>, a transnational endeavour between rivers of Lot (France) and Danube (in Budapest, Hungary, specifically).<\/p>\n

In 2025, she is also a mentor for the artists in residency at Tilal Utique, within the framework of project Elyssa, French Institute Tunis, Tunisia.[\/vc_column_text][vc_column_text]\n

WRITING<\/h4>\n[\/vc_column_text][vc_column_text css=””]\n

Her latest writings include Territoires Intimes en<\/em> Commun, Points de Vue, R\u00e9seau DDA; Farah Al Qasimi, Patterns<\/em>, NoteNote Edition (2024); texts for artists Marc Buchy and Camille Pradon; the catalogue of Being as Communion, 8th Thessaloniki Biennale<\/i>, Greece; <\/i>the zine Towards Permacultural Institutions. Exercises in Collective Thinkin<\/i>g, Stiftung K\u00fcnstlerdorf Sch\u00f6ppingen, Germany; the publication Archivalia<\/i>, In Ruins\/Archive Books (all 2023); the publication Effet de Serre<\/i>, BAO Books, Tunis (2022); the magazine Trouble dans les collections<\/i> (2021); the publications Rehearsing Hospitalities \u2013 Companion 1<\/i>, Frame Finland\/Archive Books Berlin (2019) and Theatrum Botanicum<\/i>, Sternberg Press\/The Showroom London (2018).<\/span><\/p>\n

Her editorial projects are driftongue <\/i>with Cl\u00e9ment Faydit and Alexandros Simopoulos (2017-2019) and In\/Visible Voices of Women<\/i>, with Missla Libsekal, an artist\u2019s book on Safaa Erruas, Nadia Kaabi-Linke, Nic\u00e8ne Kossentini, Amina Menia and Zineb Sedira (2015-2019).<\/span><\/p>\n[\/vc_column_text][vc_column_text]\n

ETHOS<\/h4>\n[\/vc_column_text][vc_column_text css=””]As a curator, Clelia Coussonnet is <\/span>interested in how visual cultures address political, social and spiritual issues in different, or complementary, ways to other disciplines. The main concern of her curatorial practice is to consider how knowledge, understood in a broad, inclusive sense, is formed and how it is transmitted, reinterpreted, updated, and used to inform alternative modes of acting and being in the world.<\/span><\/p>\n

Fascinated with deconstructing invisible power structures that shape geopolitics and with understanding resistance strategies to domination patterns. As such, she loves to dive into interstices, gaps and other cracks, and follows artists who challenge norms and narratives around history, memory, and the production and dissemination of knowledge.<\/span><\/p>\n

She enjoys setting up interdisciplinary projects outside of traditional art circuits and in spaces that are little or not used to host cultural projects. <\/span><\/p>\n

Clelia Coussonnet is also a Taiji quan instructor, transmitting the traditional Yang style. She is keen on bringing this discipline’s ethos and qualities into the art sphere, and looks for collaborations with art seminars and residencies who would like to experiment on other forms of cooperating and communicating, and slowing.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/3″][vc_single_image image=”313″ img_size=”full”][vc_column_text]\n

Say hi<\/h1>\n[\/vc_column_text][vc_column_text]\n

curator(at)sisume.com<\/a><\/p>\n

Meet me in Marseilles<\/span>
\nGet in touch to collaborate in the Mediterranean and elsewhere<\/span>[\/vc_column_text][vc_empty_space height=”62px”][vc_row_inner el_class=”text-center”][vc_column_inner]\t\n\t\tPROJECTS<\/span>\n\t\t\t<\/a>\n\t\t[\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”62px”]\t

\n\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

Research Group<\/h4>\n\t\t\t\t\t\t\t\t\t\t\t\t

Po\u00efpo\u00ef Foly\u00f3, transnational project on Lot, Danube, Tisza and Maros rivers<\/p>\n<\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t2024-26 * Lot, FR \/ Danube, Budapest, HG<\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

Mentoring<\/h4>\n\t\t\t\t\t\t\t\t\t\t\t\t

For the confirmed artists of Elyssa Project, at Tilal Utique Residency with Institut Fran\u00e7ais de Tunisie<\/p>\n<\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tJune 2025 * Utique, TN<\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

Curating<\/h4>\n\t\t\t\t\t\t\t\t\t\t\t\t

Aur\u00e9lia Zahedi, 'La Rose de J\u00e9richo', solo show<\/p>\n<\/blockquote>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tJan.-June 2024 * Institut des Cultures d'Islam, Paris, FR<\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t\t<\/div>\n\t[\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_empty_space height=”52px”][vc_column_text]\n
\n\t
\n\t\n\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t\t\t
\"_sisume\"\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t
\n\t\t\t\t

_sisume<\/h3>\n\t\t\t\t\t\t\t\t\t

Independent curator, author, researcher \ud83c\udf31Botanical politics, \ud83d\udca7bodies of water &contamination, politics of ecology,... plus linktr.ee\/sisume<\/p>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/a>\n<\/div>\n\n

\n\t\t
\n
\n \n Last May, I was invited by artist C\u00e9line Domengie<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"Last\n <\/a>\n <\/div>\n<\/div>
\n
\n \n This is the last post about the Rose of Jericho. T<\/span>\n \t <\/path><\/svg> \"This\n <\/a>\n <\/div>\n<\/div>
\n
\n \n Although\u00a0the name \u201cRose\u00a0of\u00a0Jericho\u201d\u00a0seems <\/span>\n \n\t <\/path>\n\t <\/svg>\t \"Although\u00a0the\n <\/a>\n <\/div>\n<\/div>
\n
\n \n The elements (water, earth, fire, air) that link t<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"The\n <\/a>\n <\/div>\n<\/div>
\n
\n \n Nesrine, a woman in the Bedouin family visited by <\/span>\n \t \"Nesrine,\n <\/a>\n <\/div>\n<\/div>
\n
\n \n The story goes that the Rose of Jericho was born f<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"The\n <\/a>\n <\/div>\n<\/div>
\n
\n \n The first Rose Ceremony took place in 2018 when Sa<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"The\n <\/a>\n <\/div>\n<\/div>
\n
\n \n The Rose of Jericho sketches out its own opening i<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"The\n <\/a>\n <\/div>\n<\/div>
\n
\n \n Aur\u00e9lia Zahedi\u2019s video La Rose de Jericho, seem<\/span>\n \t \"Aur\u00e9lia\n <\/a>\n <\/div>\n<\/div>
\n
\n \n In\u00a0ancient\u00a0Rome,\u00a0it was\u00a0customary\u00a0to bury\u00a0in<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"In\u00a0ancient\u00a0Rome,\u00a0it\n <\/a>\n <\/div>\n<\/div>
\n
\n \n In 2018,\u00a0Aur\u00e9lia\u00a0Zahedi invited the agronomist <\/span>\n \n\t <\/path>\n\t <\/svg>\t \"In\n <\/a>\n <\/div>\n<\/div>
\n
\n \n On\u00a0her first\u00a0trip\u00a0to\u00a0Palestine,\u00a0Aur\u00e9lia Zahe<\/span>\n \n\t <\/path>\n\t <\/svg>\t \"On\u00a0her\n <\/a>\n <\/div>\n<\/div> <\/div>\n\n\t
\n\n\t\t\t\n\t\t\tLoad More...<\/span>\n\t\t\t<\/span>\n\t\t<\/a>\n\t\n\t\t\t\n \n \n\t <\/path>\n\t <\/svg> Follow on Instagram<\/span>\n <\/a>\n <\/span>\n\t\n<\/div>\n\n\t \n\t<\/span>\n\t<\/div>\n\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row css=”.vc_custom_1733415243914{padding-top: 20px !important;}”][vc_column css=”.vc_custom_1733415149642{padding-top: 25vh !important;padding-bottom: 4vh !important;}”][vc_row_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row rtl_reverse=”yes” css=”.vc_custom_1733415045874{padding-bottom: 4vh !important;}”][vc_column width=”2\/3″][vc_row_inner][vc_column_inner][vc_column_text] CURATING [\/vc_column_text][vc_column_text css=””] Clelia Coussonnet’s research has been revolving around botanical politics and power structures, investigating political imprints on plants, circulation and resilience in the shows La Rose de J\u00e9richo at Institut des Cultures d\u2019Islam, Paris, France (2024);\u00a0Effet de Serre, Farah…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-120","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/pages\/120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/comments?post=120"}],"version-history":[{"count":91,"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/pages\/120\/revisions"}],"predecessor-version":[{"id":2336,"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/pages\/120\/revisions\/2336"}],"wp:attachment":[{"href":"https:\/\/sisume.com\/index.php\/wp-json\/wp\/v2\/media?parent=120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}