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poster

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80

/1/

Documentary on the French graphic and visual artist and designer, editor, artistic director, and teacher who is known for his widely-used fonts.

poster

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10

/2/

In the 1970s, Françoise d'Eaubonne stood out in the French intellectual landscape. At 50, she has already won several literary prizes and published around forty novels and essays, but is resuming her militant fight with renewed vigor. She is the first to define ecofeminism, denouncing the common oppression of women and the planet as a consequence of patriarchy. She participated in the actions of the MLF (Women's Liberation Movement), in the creation of the FHAR (Homosexual Revolutionary Action Front) and theorized counter-violence, going so far as to sabotage the construction site of the Fessenheim nuclear power plant. This film presents unpublished documents for the first time. Drawing freely from the manuscripts and photographic archives that she bequeathed to the Memory Institute for Contemporary Publishing, her relatives and researchers, historians and publishers comment on the resonance of her feminist and ecological heritage.

poster

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7.2

/8/

22

/4/

80

/1/

N/A

poster

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60

/1/

In 1924, a garden city, called “Ungemach”, was inaugurated in Strasbourg; it was restricted to couples who bore “healthy and fertile strains”. This officially eugenicist experience was endorsed by both political and scientific authorities, and the selection system lasted until the 1980s! To understand the genesis of such a project, it is necessary to revisit the history of eugenics. We will first go to England, where the concept was born and developed in the 1880s. Then to the United States, Switzerland, the Nordic countries, Japan, where, since the 1920s, large-scale sterilization policies have been implemented to eradicate health and social "defects", long before Nazi Germany. This question of eugenics is a universal one; its implementations were numerous and it still permeates ethical debates on medically assisted procreation techniques or Transhumanism today.

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“If a lion could speak, we wouldn't be able to understand it”, said wittgenstein. we look at animals with the same curiosity, as if we'd lost each other's memory. a thin veil of incomprehension separates us and casts us into a deep melancholy. there they are, with their hair, feathers and scales, survivors from a fabulous world, mythical heroes of edifying stories and phantasmagorical material of our dreams. over the past two centuries, we have begun to study, classify and naturalize them, at the same time as their disappearance has begun. in museums, their remains have accumulated, the tangible form of our view of them and its history. what could be more natural? museums are the place for this. we observe the passing of time, that which precedes us and that which is yet to come.

poster

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N/A

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