In response to recent statements published by the network expressing the absolute necessity of being as close as possible to artists and authors during this period of crisis, TRAM member structures are mobilizing to support contemporary creation. In an increasingly uncertain world, the network launches a project inviting artists and authors to produce a piece around the concept of “after”.

Cneai = presents Corioland by Théodora Barat:
Developed by DuPont in 1967, Corian is a composite material made from bauxite and resin. Entirely artificial, it imitates various mineral formations or specific materials. DuPont played a major role in the Manhattan Project, an extensive scientific-military-industrial program that developed the atomic bomb and initiated the nuclear era. Corianland consists of a taxonomy of Corian samples. The classification is based on the theme (animal, vegetable, mineral, spatial, etc.) evoked by their respective names. The different groups unfold and articulate, forming strange pathways of thought. Revealing the artificiality of this material, this performance focuses on the marketing attempt to infuse an aura into each piece through their designation. Corianland thus attempts to grasp a new synthetic world.

Featuring 30 artists and authors freely expressing their perception of the “after” through images and texts: Nour Awada, Théodora Barat, Julie Béna, Mia Brion, Matthieu Cossé, Antoine d’Agata, Hoël Duret, Karim Ghelloussi, Richard Julice-Mayer, Fanny Lallart, Eléonore Lubna, Louis Matton, Nelly Maurel, Albertine Meunier, Émilie Moutsis, Jean-Christophe Norman, Josèfa Ntjam, Pierre Paulin, Louise Porte, Delphine Pouillé, Marie Quéau, Julien Ribeiro, Chloé Riviera, Charles Robinson, Evan Roth, Maxime Thoreau, Maxime Verdier, the collective CLARA, or the collective Obvious.

tram-idf.fr/projet/apres

Théodora Barat studied at the Fine Arts of Nantes before joining Le Fresnoy – National Studio of Contemporary Arts. Currently pursuing a research and creation thesis within the RADIAN doctoral program on the imprint of nuclear research in the Four Corners region of the United States. Her work appears as a “terrain” where film, sculpture, and installation intertwine. Blurring boundaries between these different mediums, she brings narration to one, volume to the other. She explores mutating environments, those ultimate moments where the artificial landscape becomes a sign.
In recent years, her work has taken a documentary turn, examining the figures of modernity, dissecting their chimeras to question our future. Her work has been showcased at cneai =, the Emily Harvey Foundation and the Elizabeth Foundation for the Arts (New York), Nuit Blanche (Paris), Friche de la Belle de Mai (Marseille), Mains d’Œuvres (Saint-Ouen), Glassbox (Paris), CAC Vilnius (Lithuania), and featured in video programming at the Palais de Tokyo, Villa Medici, as well as numerous international festivals.

A big thank you to The Art Newspaper for collaborating with the network to showcase one to three artwork(s) each day throughout July.

PRACTICAL INFORMATION
{Displayed throughout July 2020 on the TRAM venues’ websites, on social media, and in The Art Newspaper.}

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