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Afsah allows her protagonists to dissolve these dichotomies – a symbiosis that leaves space for the audience to evaluate the possibility of an overarching empathy between the species, which seems rooted in mutual vulnerability.\u003Cbr> \u003C\u002Fp>",[819],{"id":820,"name":821,"alternativeText":66,"caption":822,"width":769,"height":703,"formats":823,"hash":854,"ext":707,"mime":710,"size":855,"url":856,"previewUrl":66,"provider":753,"provider_metadata":66,"createdAt":857,"updatedAt":858,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":859,"documentId":860,"publishedAt":757},1493,"Centaur, 2020 © Yalda Afsah. Photo © Jeanchristophe Lett \u002F Manifesta 13 Marseille_high res.jpg","Centaur, 2020 © Yalda Afsah. 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All these photographs were shot in Gabon by the artist’s grandfather over a period of three years, from 1931 to 1934. \u003Ci>Secteur IX B\u003C\u002Fi> is a fiction, almost science-fiction, film, which weaves political issues together with scientific and artistic narratives which still inform national and international relations in the former colonial empire today. The project re-reads a personal desire to collect and classify objects in light of a collective history. Among all the collecting campaigns, the Dakar-Djibouti mission and its role in the creation of the Musée de l’Homme is the most significant example available, especially thanks to Michel Leiris’ diary.\u003C\u002Fp>\u003Cp>\u003Ci>Sector IX B\u003C\u002Fi> deals with the policies of cultural appropriation – of places and modes of knowledge production – as well as how we can question this scientific legacy now. 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Using figures inspired by the animal kingdom, the aquatic world and imaginary hybrid beasts\u003Ci>, The Gatekeepers\u003C\u002Fi> by Lebanese artist Ali Cherri welcomed visitors to the Musée des Beaux-Arts de Marseille and offered a tribute to the souls of all the animals lodged in the  Musée d’Histoire Naturelle, only a few steps away.\u003C\u002Fp>",[1364],{"id":1365,"name":1366,"alternativeText":66,"caption":1367,"width":769,"height":703,"formats":1368,"hash":1399,"ext":707,"mime":710,"size":1400,"url":1401,"previewUrl":66,"provider":753,"provider_metadata":66,"createdAt":1402,"updatedAt":1403,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1404,"documentId":1405,"publishedAt":757},1766,"M13_Cherri.jpg","Ali Cherri, Tiger fed by a Raven after Giovanni Lanfranco’s Elijah fed by a Raven (1624 – 1625), 2020 © Manifesta 13 \u002F Jean Christophe Lett",{"large":1369,"small":1374,"medium":1379,"xlarge":1384,"xsmall":1389,"thumbnail":1394},{"ext":707,"url":1370,"hash":1371,"mime":710,"name":1372,"path":66,"size":1373,"width":714,"height":776},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_M13_Cherri_18a46063f4.jpg","large_M13_Cherri_18a46063f4","large_M13_Cherri.jpg",552.81,{"ext":707,"url":1375,"hash":1376,"mime":710,"name":1377,"path":66,"size":1378,"width":721,"height":720},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_M13_Cherri_18a46063f4.jpg","small_M13_Cherri_18a46063f4","small_M13_Cherri.jpg",88.36,{"ext":707,"url":1380,"hash":1381,"mime":710,"name":1382,"path":66,"size":1383,"width":728,"height":727},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_M13_Cherri_18a46063f4.jpg","medium_M13_Cherri_18a46063f4","medium_M13_Cherri.jpg",327.13,{"ext":707,"url":1385,"hash":1386,"mime":710,"name":1387,"path":66,"size":1388,"width":735,"height":734},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_M13_Cherri_18a46063f4.jpg","xlarge_M13_Cherri_18a46063f4","xlarge_M13_Cherri.jpg",955.57,{"ext":707,"url":1390,"hash":1391,"mime":710,"name":1392,"path":66,"size":1393,"width":742,"height":741},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_M13_Cherri_18a46063f4.jpg","xsmall_M13_Cherri_18a46063f4","xsmall_M13_Cherri.jpg",13.77,{"ext":707,"url":1395,"hash":1396,"mime":710,"name":1397,"path":66,"size":1398,"width":749,"height":748},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_M13_Cherri_18a46063f4.jpg","thumbnail_M13_Cherri_18a46063f4","thumbnail_M13_Cherri.jpg",156.45,"M13_Cherri_18a46063f4",3270.2,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FM13_Cherri_18a46063f4.jpg","2023-11-15T12:58:25.719Z","2023-11-15T12:59:09.786Z",{"en-US":1367},"wtypiytjgpc9blrp7ngh07d8",[1407],{"id":1408,"nationality":1409},1235,"LB",[],{"sortKey":1361,"id":434,"documentId":435,"names":66,"collectiveName":436,"annotation":66,"richText":1412,"locale":8,"images":66,"nationalities":1413,"localizations":1427},"\u003Cp>Isabelle Carbonell, Hannah Mezaros Martin, T.J. 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These monstrous forms, composed of pulped organic matter, were a contrasting echo of the monumental female figure Colonies d’Asie (1923-24) sculpted by Louis Botinelly and situated in Marseille’s main train station, providing a haunting anti-monument to the city’s role in the European colonial project.\u003C\u002Fp>",[1431],{"id":1432,"name":1433,"alternativeText":66,"caption":1434,"width":1435,"height":1436,"formats":1437,"hash":1468,"ext":707,"mime":710,"size":1469,"url":1470,"previewUrl":66,"provider":753,"provider_metadata":66,"createdAt":1471,"updatedAt":1472,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1473,"documentId":1474,"publishedAt":757},1767,"M13_Lien & Camacho.jpg","Amy Lien and Enzo Camacho, waves move bile, 2020 © Jeanchristophe Lett \u002F Manifesta 13 Marseille",6720,4480,{"large":1438,"small":1443,"medium":1448,"xlarge":1453,"xsmall":1458,"thumbnail":1463},{"ext":707,"url":1439,"hash":1440,"mime":710,"name":1441,"path":66,"size":1442,"width":714,"height":776},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Flarge_M13_Lien_and_Camacho_994480f4e6.jpg","large_M13_Lien_and_Camacho_994480f4e6","large_M13_Lien & Camacho.jpg",462.3,{"ext":707,"url":1444,"hash":1445,"mime":710,"name":1446,"path":66,"size":1447,"width":721,"height":720},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fsmall_M13_Lien_and_Camacho_994480f4e6.jpg","small_M13_Lien_and_Camacho_994480f4e6","small_M13_Lien & Camacho.jpg",69.53,{"ext":707,"url":1449,"hash":1450,"mime":710,"name":1451,"path":66,"size":1452,"width":728,"height":727},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fmedium_M13_Lien_and_Camacho_994480f4e6.jpg","medium_M13_Lien_and_Camacho_994480f4e6","medium_M13_Lien & Camacho.jpg",272.74,{"ext":707,"url":1454,"hash":1455,"mime":710,"name":1456,"path":66,"size":1457,"width":735,"height":734},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxlarge_M13_Lien_and_Camacho_994480f4e6.jpg","xlarge_M13_Lien_and_Camacho_994480f4e6","xlarge_M13_Lien & Camacho.jpg",797,{"ext":707,"url":1459,"hash":1460,"mime":710,"name":1461,"path":66,"size":1462,"width":742,"height":741},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fxsmall_M13_Lien_and_Camacho_994480f4e6.jpg","xsmall_M13_Lien_and_Camacho_994480f4e6","xsmall_M13_Lien & Camacho.jpg",9.1,{"ext":707,"url":1464,"hash":1465,"mime":710,"name":1466,"path":66,"size":1467,"width":749,"height":748},"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002Fthumbnail_M13_Lien_and_Camacho_994480f4e6.jpg","thumbnail_M13_Lien_and_Camacho_994480f4e6","thumbnail_M13_Lien & Camacho.jpg",126.8,"M13_Lien_and_Camacho_994480f4e6",2927.94,"https:\u002F\u002Fifm-bucket.ams3.cdn.digitaloceanspaces.com\u002FM13_Lien_and_Camacho_994480f4e6.jpg","2023-11-15T13:01:06.094Z","2023-11-15T13:02:36.243Z",{"en-US":1434},"it7g0n6j4vikbuhc2nx8r7us",[1476,1478],{"id":1477,"nationality":1415},1418,{"id":1479,"nationality":1480},1419,"PH",[],{"sortKey":1361,"id":506,"documentId":507,"names":508,"collectiveName":66,"annotation":66,"richText":1483,"locale":8,"images":66,"nationalities":1484,"localizations":1487},"\u003Cp>Anita Conti (1899-1997, FR) was a French explorer, photographer and the first French female oceanographer. She used to write poems and exercise in book binding. But after having married a diplomat Marcel Conti in 1927, she started traveling around the world, exploring the seas and documenting her experience. She published many scientific reports on the negative effects of industrial fishing and the different problems related to fishing practices. In 1971, Conti published \u003Ci>L’Océan, Les Bêtes et L’Homme\u003C\u002Fi>, which denounced the disaster that men create and its effects on the oceans. Through many conferences and forums and for the rest of her life, she advocated for the betterment of the marine world. \u003C\u002Fp>",[1485],{"id":1486,"nationality":233},1422,[],{"sortKey":1489,"id":538,"documentId":539,"names":540,"collectiveName":66,"annotation":66,"richText":1490,"locale":8,"images":1491,"nationalities":1535,"localizations":1538},"d","\u003Cp>November 5th, 2018, two buildings on Rue d’Aubagne in Noailles collapsed, leading to the death of eight people. Fearing further collapses, reports multiply and the municipal government evacuated hundreds of buildings, displacing about 5,000 people in eighteen months, many of whom are yet to find a new home. These measures sparked a wave of protests which criticised the municipal government’s ostensible collusion with commercial property developers at the cost of citizens’ lives. Though there are countless museums commemorating the homes of wealth and power, there are hardly any commemorating the trauma of the ones who have lost their homes and markers.\u003C\u002Fp>\u003Cp>The Marseille-based association Noailles Debout invited the inhabitants of this neighbourhood to vote on an object, among those they brought in the Museum Street on the 21st of September 2019, that commemorated their collective experience, which would then be submitted to the collection of the Musée d’Histoire de Marseille. Together they settled on a chain that used to lock the entrance to one the evacuated buildings of the neighbourhood. Indeed, even when the buildings were reopened, the chains are unlocked by the authorities but left firmly in place. 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After the oil shock of the 1970s, thousands of people left Marseille, leaving many of the homes deserted. By the early 2000s, three quarters of the apartments were empty. These buildings were then sold off to international investors, with the support of the municipal government at the time, and the remaining working-class tenants were forced to leave. An exemplary mobilisation followed, thanks to which many of the residents have been rehoused on the same street. Yet, many buildings still remain empty: too expensive for the poor, not attractive enough for the rich. Alongside a team of academics, activists, and local residents, the Marseillebased artist and publisher Martine Derain documented many of these empty homes along Rue de la République. 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The suits became became the flame of Love (represented by Baudelaire, Stendhal’s Portuguese nun, Novalis), the black star of the Dream (Lautréamont, Lewis Carroll’s Alice, Sigmund Freud), the bloody wheel of the Revolution (Marquis de Sade, Lamiel, Pancho Villa) and the lock of Knowledge (Hegel, Hélène Smith, Paracelsus). A random draw determined who would design the different cards: Victor Brauner (Hegel and Hélène Smith), André Breton (Paracelsus and the Ace of Knowledge), Jacques Hérold (Lamiel and Sade), André Masson (La Religieuse portugaise and Novalis), Max Ernst (Pancho Villa and the Ace of Love), Jacqueline Lamba (Ace of Revolution and Baudelaire), Wifredo Lam (Alice and Lautréamont) and Oscar Dominguez (Freud and the Ace of Dream). The joker was based on Alfred Jarry’s drawing of Father Ubu, while Frédéric Delanglade designed the backs of the cards. Frédéric Delanglade was then tasked with standardising the sketches by redrawing them in a continuous line. In 1943, they were published for the first time in New York in the third issue of \u003Ci>Revue WW\u003C\u002Fi> and then edited in 1983 by André Dimanche.\u003C\u002Fp>",[1590],{"id":1128,"name":1129,"alternativeText":66,"caption":1130,"width":873,"height":872,"formats":1591,"hash":1162,"ext":707,"mime":710,"size":1163,"url":1164,"previewUrl":66,"provider":753,"provider_metadata":66,"createdAt":1165,"updatedAt":1166,"hideFromHomepage":66,"objectFitContain":66,"localized_caption":1598,"documentId":1168,"publishedAt":757},{"large":1592,"small":1593,"medium":1594,"xlarge":1595,"xsmall":1596,"thumbnail":1597},{"ext":707,"url":1133,"hash":1134,"mime":710,"name":1135,"path":66,"size":1136,"width":776,"height":714},{"ext":707,"url":1138,"hash":1139,"mime":710,"name":1140,"path":66,"size":1141,"width":720,"height":721},{"ext":707,"url":1143,"hash":1144,"mime":710,"name":1145,"path":66,"size":1146,"width":890,"height":728},{"ext":707,"url":1148,"hash":1149,"mime":710,"name":1150,"path":66,"size":1151,"width":734,"height":735},{"ext":707,"url":1153,"hash":1154,"mime":710,"name":1155,"path":66,"size":1156,"width":741,"height":742},{"ext":707,"url":1158,"hash":1159,"mime":710,"name":1160,"path":66,"size":1161,"width":748,"height":749},{"en-US":1130},[1600],{"id":1601,"nationality":233},1359,[],{"sortKey":1604,"id":550,"documentId":551,"names":552,"collectiveName":66,"annotation":66,"richText":1605,"locale":8,"images":1606,"nationalities":1649,"localizations":1652},"e","\u003Cp>Between 1947 and 1952, Le Corbusier constructed L’Unité d’habitation (Cité Radieuse) in Marseille. Conceived as an autonomous ‘living machine’, the housing complex articulated Le Corbusier’s utopian vision of a purist, self-sufficient architecture, wherein every aspect of life had been rationally streamlined. In \u003Ci>Radieuse\u003C\u002Fi>, the German artist Jana Euler contrasts Le Corbusier’s austere architecture with the image of a lazing camel – or are there two? These cute to comical creatures evoke cliché images of Africa and the Middle East. Through this simple juxtaposition, Euler seems to compare the hubris of Le Corbusier’s utopian modernism with that of Europe’s colonial enterprise: Le Corbusier, for example, also collaborated with Benito Mussolini in planning Italy’s colonial settlements in Addis Ababa, Ethiopia. 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As visitors make their way through a hotel-like mental labyrinth, they learn about Charles’ story via their encounters with a complex puzzle of elements: a soundscape devised by Stephen O’Malley and Peter Rehberg; a text written by Dennis Cooper and delivered by an animated boy-like mannequin claiming to be Charles with his hand pupped.\u003C\u002Fp>\u003Cp>On the walls of La Vieille Charité, Charles has obsessively drawn blueprints and maps that give visitors a clue to his actual location. 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