215 x 135 mm
In this eighth title in the Digressions series Marie Preston speaks with Nora Sternfeld and Julie Pellegrin about her practice as a crossroads for art, education and cooperative working. Marking Marie Preston’s residency at La Ferme du Buisson Centre for Contemporary Art, Digressions #8 maps the development of the exhibition Du pain sur la planche and the issues raised by the artist’s works in progress. Together with Nora Sternfeld and Julie Pellegrin, Marie Preston addresses the connection between co-creation and coeducation, the exhibition as workspace and her relationship with the experimental and the collective.
About the Artist
Marie Preston (b. 1980, Paris) is an artist and a research educator. Her projects exist in-between art and ethnography and are based on the exchange of knowledge and skills between all participants. Several projects are united under the name “Co-creation” and include exhibitions, workshops and other initiatives. All these events are united by the idea of collective action, which creates an opportunity for meeting, exchange, and interaction. By documenting experience of communication with different people, Preston explores the possibilities of creating spaces for a dialogue. Photographs, sculptures, performances and videos become instruments for capturing situations that arise during these actions. Preston is currently working on the project “Common Bread”, which consists of a series of meetings, workshops and collective baking sessions. Preston connects environmental issues with alternative approaches to teaching, based on the example of a network of experimental schools established in new cities in France in the 1970s and 80s. The main principles of these schools are self-government, cooperation and openness. With Céline Poulin, she co-edited the book Co-Creation (Éditions Empire & CAC Brétigny, 2019) in cooperation with Stéphanie Airaud.
About the Collection
Initiated in 2017 by Julie Pellegrin and the team of the Contemporary Art Center La Ferme du Buisson in collaboration with the Captures editions, Digressions is a collection of interviews (bilingual French / English) which accompanies the programming of the Art Center. Through conversations with the guest artists, the notebooks give access behind the scenes of the projects and testify to the reflections, research, methodologies and sometimes doubts or trial and error that nourish a work process. By giving the floor to the artists, the whole collection makes very singular voices heard which nevertheless resonate with each other to explore shared questions around the performance and the writing of the exhibition, the commitment corporal and political, of the decompartmentalization of disciplines.
For each issue, there is a change in color of the cover paper with or without embossing, distinguishing the publications in relation to the artistic project. The inside pages are printed in a pantone tone and the transition to the English language is materialized by a double-page image resulting from the research work. Postcards from the exhibitions are printed and inserted randomly into the notebooks like bookmarks. The elegant and dynamic layout by Claire Moreux marries the intricacies of reflection by inviting the reader to navigate, literally, in the text.
About the Publisher
Captures’ initial priority was to publish artists’ books, an association artist, graphic designer and publisher, free of all constraints. Subsequently, with the constant desire to prioritize the artist’s voice, uncover research, differences and debates on the question of art, other collections were born: monographs, collective works and interviews.