Catherine Radosa

June 27 to Jully 4 (2023)

Témoins – Nous / Witnesses – We
Photography made during the long-term project Campagne de Paris, paysage triangulaire (2017-2023) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

June 6 to June 13 (2023)

Rues de la Fraternité·e

Participatory performance and sound and visual installation
Photographies made the 3 of June 2023, on the occasion of my project conceived for the Nuit Blanche 2023 as part of my residency at the Maison POP art center and the curatorial project
« actes de langage » (acts of language) by simona dvorák & tadeo kohan. The project takes as its subject a place and its name: rue de la Fraternité (street of Brotherhood) in Montreuil.
In a processual, situated and collective approach, the aim is to deploy, question, appropriate, update and set in motion the word ‘fraternité’ and what it inspires and evokes.
Through interviews with a group of women, I composed a polyphony of words and testimonies, questioning representations and alternatives to this symbolic and gendered term. At the Fraternity square, through my sound installation, seventeen voices take shape in the space: those of Roseline Rollier, Salika Sissoko and Mbassa Diarra from the Maison des femmes (House of women), Gaëtane Lamarche-Vadel, essayist and Anne Brunswic, writer, members of the CIMADE, Sophie Wahnich, historian specialising in the French Revolution, Élisabeth Pelsez, magistrate, Bani Khoshnoudi, Iranian artist, the students from Lycée Jean-Jaurès (Samiate N’Kounkou, Rania Biyen, Elisha Youetto, Amexiane Guillamo, Léa Khenchare and Kayliah Germany), a member of the Colleur-euse-s from Montreuil, Sophie Jankowski from Murs à Fleurs (Flower walls) and of D.
Warmest thoughts and thanks to all of them for the discussions we were able to have, for their generous and inspiring voices and words, for their trust and for their commitment.

Credit photos : Catherine Radosa, Tadeo Kohan, Christophe Domino

May 2 to May 9 (2023)

***Témoins – Nous – Persistance*** ***/ Witnesses – We – Persistence***
Photography made during the long-term project ***Campagne de Paris, paysage triangulaire*** (2017-2023) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

April 4 to April 11 (2023)

***Témoins – Nous / Witnesses – We***
Photography made during the long-term project ***Campagne de Paris, paysage triangulaire*** (2017-2023) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

February 28 to March 7 (2023)

January 24 to January 31 (2023)

***Témoins – Nous / Witnesses – We***
Photography/digital collage made during the long-term project ***Campagne de Paris, paysage triangulaire*** (2017-2023) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization (modified satellite view from Géoportail.gouv.fr).

January 10 to January 17 (2023)

**Plantes résistantes – Capteur de rêves pour le Triangle (2023) / Resistant plants – Dreamcatcher** ***for the Triangle (2023)***

Object made in the frame of the long-term project *Campagne de Paris, paysage triangulaire* (2017-2023) on the Triangle of Gonesse (Paris region) – agricultural land threatened by artificialization.

December 6 to December 13 (2022)

**Témoins – Bernard et Christophe / Witnesses – Bernard et Christophe**

Photography made during the long-term film project Campagne de Paris, paysage triangulaire (2017-2022) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

November 29 to December 6 (2022)

**Témoin (champs-contre champs)** II

Photography made during the long-term film project **Campagne de Paris, paysage triangulaire** (2017-2022) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

November 22 to November 29 (2022)

**Témoin (champs-contre champs)**

Photography made during the long-term film project **Campagne de Paris, paysage triangulaire** (2017-2022) on the Triangle of Gonesse (Paris region) – agricultural land in the process of artificialization.

November 15 to November 22 (2022)

October 4 to October 11 (2022)

F.V.L.
(HD video, 1’25 », Women Life Liberty, In homage to Iranian women)

September 13 to September 20 (2022)

**Témoin (Œdicnème criard) / Witness (Œdicnème criard)**
(digital photomontage, 09/2022, realised in the framework of the long terme project on the Triangle de Gonesse, Paris region, France)

September 6 to September 13 (2022)

**Témoin (Witness)**
(digital photomontage, 09/2022, realised in the framework of the long terme project on the Triangle de Gonesse, Paris region, France)

July 5 to July 12 (2022)

Libre cours, libre choix / L’hymne des femmes (vidéo HD/4K, 2’34 »)

June 28 to July 5 (2022)

Libre cours, libre choix (vidéo HD, 1′, 2022)

June 21 to June 28 (2022)

*Women’s Art Factory Occupation (digital photograph)*

June 14 to June 21 (2022)

*Plantes résistantes II* *(Resistant plants II)*
(Triangle de Gonesse, participatory happening and photographic series)

May 31 to June 7 (2022)

May 24 to May 31 (2022)

May 17 to May 24 (2022)

*Plantes résistantes II* *(Resistant plants II)*
(8/5/2022, Triangle de Gonesse, participatory happening and photographic series)

May 10 to May 17 (2022)

March 1 2022 to March 8 2022

Lettre du 28.2.2022

Difficile de traduire le présent, je ne peux que tenter de retracer les derniers jours et tisser quelques liens entre les choses.

Le mercredi 23 février je prends l’avion de Paris pour Prague.

Le lendemain, le jeudi 24 février, les nouvelles nouent l’estomac, focalisent toutes pensées sur l’invasion de l’Ukraine par Poutine.

Avant de partir, j’ai relu Europeana, une brève histoire du 20ème siècle, de Patrik Ourednik.
J’ai un étrange sentiment d’être restée dans le livre. Une phrase particulièrement me revient : « Et les Russes disaient que l’Europe allait à sa perte et que les catholiques et les protestants l’avaient complètement corrompue et ils proposaient de chasser les Turcs de Constantinople et de rattacher l’Europe à la Russie afin de sauvegarder la foi.»

Le jeudi soir je retrouve Simona, avec qui j’ai pris le même vol la veille.
C’est son anniversaire et je suis désolée que la date soit aujourd’hui si dure à porter.
Elle nous invite à voir une pièce de théâtre sur Jan Patočka -un des principaux philosophe tchécoslovaques et signataire de la Charte 77- qui parle de sa tragique fin dû aux interrogatoires brutales de la police en 1977. La représentation théâtrale de l’histoire est recouverte par un brouillard de l’actualité.

Le vendredi 25. février les troupes de Poutine bombardent Kiev. La vitesse des événements est hallucinante, nauséabonde. Dans le métro de Prague je vois sur mon téléphone des photos du métro de Kiev rempli de gens s’abritant de bombardements. Les décors se ressemblent, le métro praguois a été construit dans le style soviétique dans les années 1960-80.

Vendredi soir la Gampa galerie où j’expose ma pièce Colonne/révolution organise un débat sur La réécriture de l’histoire porté par Stehlik&Groman. Il n’était pas prévu que ce débat soit d’une actualité explosive. On est plutôt soulagé de tenter de penser ensemble ce qui se passe au travers de l’histoire et de l’art.

Plusieurs jours avant l’invasion de l’armée de Poutine en Ukraine, j’ai vu dans un reportage un homme. Il disait avec lucidité, profonde tristesse et effroi qu’il sait ce qui arrivera. Qu’il sera obligé de prendre les armes, de tuer des êtres humains, et que ça lui est insupportable, qu’il refuse. Je l’ai aperçu dans une terrible solitude. Je n’arrête pas de penser à lui.

Aujourd’hui, le lundi 28 février, les familles ukrainiennes sont déchirées et sur les routes pour fuir la terreur. Des russes qui protestent sont emprisonnés par leur propre régime. Les journaux parlent de la sécurité nucléaire, de l’occupation de Tchernobyl. Je pense à toi Natacha. Que penses-tu de tout ça ? Ça serait juste un pas vers un désert de mots, d’images, de films, un désert de pensée, de vie. Juste ça. Albert, la stupidité pourrait-elle vraiment emporter l’espèce humaine ?

Lessia Oukraïnka a écris son poème L’Espérance quand elle avait 9 ans.
Comment s’appellent les filles de 9 ans qui sont maintenant contraintes de fuir leurs maisons, quitter leurs pères ?

« Je n’ai plus ni bonheur ni liberté
Une seule espérance m’est restée :
Revenir un jour dans ma belle Ukraine,
Revoir une fois ma terre lointaine,
Contempler encore le Dniepr si bleu
— Y vivre ou mourir importe bien peu –,
Revoir une fois les tertres, les plaines,
Et brûler au feu des pensées anciennes…
Je n’ai plus ni bonheur ni liberté,
Une seule espérance m’est restée. »
Lessia Oukraïnka , L’Espérance, 1880

Czech and english version :
https://www.calameo.com/books/007014644e92386313865

February 8 2022 to February 15 2022

Par tous les seins

January 18 2022 to January 25 2022

Neroztaj #2

January 4 2022 to January 11 2022

Neroztaj #I

December 14 2021 to January 4 2022

Campagne de Paris, paysage triangulaire (situation novembre 2021, Bernard Loup)
WAVES OF CARE, a collective art work for TRIGGER

October 12 to October 19

*Faire du foin*
Photographie faite le 10 octobre lors des « Marches des terres », devant l’Hôtel de Ville à Paris.

September 28 to October 5

*Dialog*
Catherine Radosa
Photography of the letter sent to Adriana Bustos for the exhibition of The Crown letter at the Bienal Sur.

September 7 to September 14

*Moving architecture*
Photography made during the art residency in Pragovka Gallery in Prague.

June 15 to June 22

*Campagne de Paris, paysage triangulaire*
Photography made during the long-term film project (2017-2021) on the Triangle of Gonesse (France) – agricultural land in the process of artificialization.

June 15 to June 22

*Paysage triangulaire*
Presentation at *La Maison de l’Ours* consisting of a performance, two videos, a large-format painting on fabrics (10m x 1.5m; June 13, 2021, duration 1 hour).
At the invitation of curator Simona Dvořáková and Kristina Solomoukha and Paolo Codeluppi on the occasion exhibition Langue pmaternelle.
Photography: artist Ruda Samohejl

*Campagne de Paris, paysage triangulaire*

Photography of the action made the 6th of June 2021 as a part of the long-term film project (2018-2021) on the Triangle of Gonesse (France) – agricultural land in the process of artificialization.
Action made with Nathan André, Christophe Domino, Simona Dvořáková, Tania Gheerbrant and with the proximity of the members of the CPTG (Collectif for the Triangle of Gonesse) and other activists during the Zadimanche.

May 11 to May 18

*Campagne de Paris, paysage triangulaire* *(6)*
Photography made during the long-term film project (2017-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.

May 4 to May 11

*Campagne de Paris, paysage triangulaire* *(5)*
Photography made during the long-term film project (2017-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.

April 27 to May 4

*Campagne de Paris, paysage triangulaire* *(4)*
Videogram from the long-term film project (2017-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.

April 20 to April 27

*Campagne de Paris, paysage triangulaire* *(3)*
Videogram from the long-term film project (2017-2021) on the Triangle of Gonesse (France) – agricultural land threatened with artificialization.

March 23 to March 30

*Campagne de Paris*, *paysage triangulaire* *(2)*
Photography made during long-term film project in Gonesse, France (2017-2021).
Photo : Vladimir Turner

*Campagne de Paris*, *paysage triangulaire* *(1)*
Photography made during long-term film project in Gonesse, France (2017-2021).

February 23 to March 2

*Paysage triangulaire*
Photography made during long-term film project in Gonesse, France (2017-2021).

*Paradis* *terrestre*
Photography made during long-term film project in Gonesse, France (2017-2021).

January 12 to January 19

Alivio
(video HD, vertical, 55 »)

December 1 to December 8

*Masqué, flouté, grillé*
Montage photographique

November 24 to December 1

*Image sans intention*
photography, watercolor, composition

November 10 to November 17

Soulagement

November 3 to November 10

October 20 to October 27

October 6 to October 13

September 29 to October 6

September 22 to September 29

September 8 to September 15

August 18 to August 31

July 7 to July 14

June 23 to June 30

POLYPHONIC MANIFESTO

May 26 to June 2

Reforestation

May 12 to May 19

https://vimeo.com/416846605

Catherine Radosa, Printemps, 2020

The same point of view, at the same moment of the day, during the lockdown.
Sounds and details become very important, nature takes place progressively in the frame,
the light changes, spring wakes up, while collective daily domestic ritual inhabit the void of the street.

May 5 to May 12

We are the 30th of April 2020.

One year ago exactly I projected in Czech Republic my Monument for a witch (a ten minutes video displayed in the public space) on the occasion of the Walpurgis night – the traditional popular celebration taking place in several European countries which consists in making bonfires to ward off the witches, burning a puppet of a witch in it.

As one of the marks of the male domination remaining in our society, I wont spread here all the significations of this act. But precisely, in this period of lockdown, emerge more than ever the heritage of the feminicide crimes that took place in the history and that persists. Domestic violence has increased all over the world against women, those who at the same time are first on the line fighting against corona virus, giving care to others, in hospitals, sanitary and social structures, at home.

So even if my mobile monument is locked down, I decide to make it appear throw my window, this night, thinking of women for whom being locked up at home is living the hell.

https://catherineradosa.net/mps.html

April 28 to May 5

April 21 to April 28

Catherine Radosa works at the intersection of images and situations that she meets, or produces. By lecture of places, observing, listening, documenting, she questions the present of the memory, personal and collective representations: the individual-society relationship, geographical and social boundaries, History, identity. Between investigation and reverie, by mounting voices, images, contexts and times, she forms collective figures of witnesses from the experienced spirit of the place (Prague, Paris, Lima) and the moment. According to each project, she involve several vocabularies (photography, video, animation 3D, sound, document, text). Also she builds, often in urban areas, participatory situations and performances, including projection on the architecture, but also films (short and medium-length films) for projection room, broadcasting on screen, for installation, images for printing and publishing.

She was born in Prague in 1984, she lives in Paris, works in Europe.

https://catherineradosa.net/mps.html