EMMANUEL DAYDÉ

 

Lives and works in Paris,

Curator

 

Art historian, drama critic, essayist and exhibition curator, Emmanuel Daydé has organised Nuit Blanche in Paris since its creation in 2002, and written for various publications – Art Absolument, Connaissance des Arts, Art Press and Air France Magazine – interviewing Heiner Müller, Philippe Boesmans, Miquel Barcelo, Krzysztof Warlikowski or Romeo Castellucci. 

 

The man behind exhibitions such as “Ousmane Sow sur le pont des Arts” (Ousmane Sow on the Pont des Arts), “Haïti, anges et demons” (Haiti, Angels and Demons) at the Halle Saint-Pierre, “Paris-Casa”  at the Couvent des Cordeliers, “L'art dans le monde” (World Art) at the Culée du pont Alexandre III, “Regards persans : Iran, une révolution photographique” (Persian Views: Iran, a Photographic Revolution) at the Espace Electra, “C’est la vie ! Vanités de Caravage à Damien Hirst” (That’s Life! Vanities from Caravaggio to Damien Hirst) at the Maillol museum in Paris and curator of the Lebanon Pavilion with Zad Moultaka at the 2017 Venice Biennale, he has written a number of catalogues and monographs, particularly on Fabian Cerredo, Anselme Bois-Vives, Moustapha Dimé, Youri Norstein and Aurel Cojean, as well as the preface for the exhibition “Die Ungeborenen” (The Unborn) by Anselm Kiefer at Galerie Thaddaeus Ropac – Paris Pantin.

 

Having curated the 2018 exhibition Iarivo traduit de la nuit (Iarivo Translated from the Night) by Joël Andrianomearisoa at Galerie RX, Emmanuel Daydé is now co-curator of the Madagascar Pavilion at the 2019 Venice Biennale.

 

Why Madagascar ? Because Joël Andrianomearisoa. Why Joël ? Because I saw him as a young prodigy, growing like a black star that never shot. Having spent time with him as he was producing radiant designs with Jean Loup Pivin and abstract stage costumes, I appreciated the elegant, subtle metamorphoses of his loving tributes to the black square, the matter of dreams and the drift of feelings. Although he is an entirely international artist and citizen of every world, Joël Andrianomearisoa remains Madagascan in name, soul and conscience. No one could better represent the days and nights of the Great Island.

 

Emmanuel Daydé


 

RINA RALAY RANAIVO

 

Born in 1984 in Antananarivo, Madagascar

lives and works between Antananarivo and Berlin,

Curator

 

Rina Ralay-Ranaivo started his career at the Institut Français of Madagascar. For twelve years (2006 to 2018) ha was in charge of the artistic programming of this flagship institution of Malagasy cultural life.

 

This transversal work enabled him to design  produce and manage several projects in the field of visual arts and dance. 

It gave him the opportunity to work with countless Malagasy artists

(Joël Andrianomearisoa, Madame Zo, Rijasolo, Ariry Andriamoratsiresy, Pierrot Men, Christiane Ramanantsoa,  ...), Pan-African artists (Kettly Noël,

Omar Viktor Diop, Ballaké Sissoko ...) Oceanic artists

(Pascal Montrouge, Hans Nayna, Davy Sicard...) and artists from Europe

(Claude Brumachon, Moise Touré, Bernardo Montet, Pascal Maitre,

The Shopping..)

 

Rina Ralay-Ranaivo is also a visual artist and his work has been shown in art centers and contemporary art events in Africa and Europe.

He has curated several exhibitions, all in his country, the most important of which is entitled “Ici la limite du royaume est la mer” (2018): a collective and retrospective exhibition of the last twenty years of the history of Malagasy contemporary artistic expressions.

 

Previously, Rina Ralay-Ranaivo had been a cultural journalist for the Malagasy newspaper La Gazette de la Grande Ile (2003 to 2005), after studying Information Science and Communication at the University of Antananarivo.

This proposal by the Ministry of Culture and Joël Andrianomearisoa to curate the Malagasy Pavilion at the 58th edition of La Biennale di Venezia is an essential mission for several obvious reasons.

 

It is a tremendous honour that comes at the right moment, on the eve of a new orientation in my career. It is also a commitment that I accepted out of friendship, for the artist and for the association Revue Noire, with whom I have maintained both a complicity and a working relationship for about fifteen years.

 

This invitation to write together, in a dialogue and collectively, a page in the history of Malagasy arts is an act that brings us even closer together. 

This curation is an unprecedented exercise: interacting intimately with the artist on his way of making poetry, drama, emotion and give them shape.

 

Finally, it is a personal source of pride to be able to participate in this project and to bring this work on aesthetics - deeply Malagasy in its soul and in its approach - to a prestigious event with worldwide outreach.

 

Rina Ralay Ranaivo