Walter Benjamin

In the window from 15 September to 15 December 2018 some paths of WALTER BENJAMIN in MARSEILLE

A proposal for a North hotel and the Office of the Guides of GR2013 in co-production with the Musée d'histoire de Marseille in the context of the cycle "Walter Benjamin in Marseille" 

    Go to the showcase of the GR2013, 152 La Canebière 13001 Marseille Vernissage Sunday 16 September at 12h some paths of Walter Benjamin in Marseille [exhibition] between the old obsolete national accounts and the European narratives fledgling, Christine Breton (Honorary Heritage Conservatory) invites us to ask the poetic necessity of counter-fiction. From a few geographical and thought paths of Walter Benjamin in Marseille, there are situations conducive to the emergence of other narratives of a common history. Showcased by Christine Breton with Julie de molt and Jean Cristofol, Scénograpie Theo Paolo Goedert and Milena Walter.    Out of the window on Sunday 30 September follow Walter Benjamin [stroll] by Christine Breton and the association Les Labourdettes. From the showcase on the Canebière to the Labourdette towers, in order to follow the surveys of Walter Benjamin, passing through the café Riche and the Hotel du commerce and traders.   On inscription only of the mouth [Performance market] by Nicolas Martin. A balancing performance exploring the emotion felt by the people of the North who discover the physics of Marseille, live in the animation of our streets and places. A group with slippery posture on the quay of the Belgians and the bottom of the Canebière, pretending not to look at our faces and our postures, hiding behind the pretext of the evocations of those who described our little people. Free on registration on departure at 152 la Canebière/arrival at the Marseille History Museum on the edge of the window on Sunday, October 7 "Geography of the Unseen, from Walter Benjamin to Trevor paraglen" [Mini Sidewalk Conference #1] by Jean Cristofol, philosopher and teacher at the School of Art of Aix en Provence. Walter Benjamin's text the author as producer (1934) has constantly echoed and referenced in the artistic field. Today, it is still an active force that allows us to think about the reconfiguration of practices which, between art, science and activism, renew the forms of experimentation and intervention in the social field.   «Yellow tooth of sea-wolf jaws open… [Mini-Sidewalk Conference #2] Anna Gjuillo, artist and teacher at the University of Aix-Marseille. Benjamin develops the complex, trendy notion of a work that can only be politically correct if it is literaryly just. The question is how to make commitment and quality coincide by insisting in particular on the technique of the author. It is Walter Benjamin writer who will be summoned in this reading-performance from his text titled Marseille that it is to propose to the street, as to better experience and put into practice the theories of its author. Free admission on Saturday 13 October the city-port, lifted from the Rue de Lyon with Walter Benjamin [stroll] 9.30 am to 12.30 am lifted from the rue de Lyon with Jean Cristofol, Christine Breton and Julie de molt, sequenced by interventions in TR Ois bars de la rue de Lyon-aux dung, Saint-Louis, La Viste-which will hang the possible encounters imagined between W. Benjamin and Emile Zoccola, Hanna Arendt and Siegfried Kracauer.  On registration start of the Bougainville Metro

Artistic rights and precariousness

Apparently for Pole employment, being an artist is not being "creator" of activity. Yet many artists contribute to the activity of our Co-op, they are even essential, like the joint editions that have published the nine stories of hospitality of the North Hotel that we continue to share, to market and to use for the Creation of new activities such as heritage walks. Pole job claims 10,000 euros to Martine Derain, creator of the joint editions, for the allowances she received over the last three years when unemployed, she developed new activities. A creator or business owner can opt for the maintenance of his return to employment assistance (AER) allowances until the end of his rights. No artist. If the state speaks well of "activity creation", the accompanying measures concern the creation of "enterprise", terminology which is not the subject of a real legal definition and which, in fine, for Pole employment, is confined to "lucrative enterprises". Employment Pole therefore considers an artist as "volunteer" when he creates his activity and other creators of activities, non-artistic, as "entrepreneur", then granting them the maintenance of their allowances. Like many artists, for lack of a recognized status as Christine Breton described in the following text, Martine has been alternating for 30 years, copyrights, vacations in schools of art or architecture, formerly and sometimes jobs aided on trades where She needed to be trained, finally salaried from the general CDD regime on missions of artistic direction within artists ' associations – and unemployment when these management missions were completed. Between these salaried periods, that is, when she is unemployed, she conceives and proposes projects to a network of associations that employ her regularly, projects of which she is sometimes the artistic manager of the tutors. She also accepted a Treasurer's mandate after a big project for Marseille-Provence 2013 In one of these associations to pass on to the youngest his administrative skills. Employment Division refers to this investment as a "volunteer" and not to "creation of activity" and then based on a recent decision (May 2017) of the Court of Cassation concerning article L5425 of the Labour Code, which states that if any applicant for employment can exercise Volunteer activity, this activity cannot be done in a previous employer or substitute for salaried employment, and must remain compatible with the job search obligation. Artists are not recognized as "creators of activities" but as "volunteers", terminology as equally blurred legally as that of "entrepreneur". Christine Breton, also a member of the Northern Hotel, returns in the enclosed text on this "ill-posed case" while "the status of artists is still not clarified". Or if you consider that they do not create activity. As a cooperative, we can only testify to the contrary and worry about this situation which jeopardizes our own activity and weakens many of our members, already strongly insecure in recent years. We publish the text of Christine Breton to contribute to this debate and accompany Martine Derain in the legal battle that is ahead.  

The case of the artist-editor Martine Derain

Employment Division litigation. Testimony of Christine Breton, honorary curator of heritage. I would like to testify in the case cited in order to underline the collective stakes that it makes for artistic creation and for public cultural policy. To do so, I intend to rely on my professional experience as a public servant, which I summarize in the three grounds concerning the dispute:

  • From 1973 to 1986, curator at the Museum of Fine Arts of Grenoble and two regional funds for contemporary art (FRAC), I am responsible for the acquisitions and valorisation of French public collections, specialising in contemporary art, doctor in History
  • From 1987 to 1995, curator in charge of mission to the city of Marseille, I am responsible for cultural policy in the team of Dominique Wallon, namely creation, museum, research, art school and art market, I also teach at the university;
  • Finally, from 1995 to 2010, the date of my retirement, curator of a city-State Council of Europe Programme, I lead the first European experimental mission of Integrated heritage, in the context of the northern districts of Marseille.

1-Issues for public cultural policy. Above all, it seems to me that the case cited is ill-posed. The dispute it describes is an evolution of the public services of employment, economy and culture. Its regulation must be internal, between the administrations concerned. The artists that these services have the responsibility to accompany cannot be used as a pretext. That pole employment obliges Martine Derain to go before the court of great Instance can not be conceivable in the light of the history of public policies that I propose to re-contextuer. I met Martine Derain, a self-taught artist who arrived in Marseille in 1986, as part of the projects of the Casa Factorial Association which she had co-founded. In 1988 D. Wallon had decided to set in motion the cycle of art and I accompanied all the actors who were going to activate the famous "Movida" Marseille. Divided into 4 equal parts and dependent on each other, the movement of the art cycle has been made with few public means as its potential is rich: * A quarter of the museums fulfil the reference function. It is the body of symbols that makes us citizens of the French Republic. It is a decentralized, municipal institution created by terror and organized by Jules Ferry. * A quarter of the second public institution, municipal, art school, performs the transmission function. The artist of the past transmits his knowledge to the artist of the future. This happens in the knowledge and exemplary of the artists. * A quarter of the artists fills the production function. Self-taught or out of art school they lost their student status. No status awaits them on the other side of this passage. They do not benefit from that of intermittents of the show. They still have to monetize their diplomas in education. They can organize themselves in networks, workshops or galleries of artists with the Status of Associations Law 1901. They can declare themselves self-entrepreneurs to continue their research and artistic production. They can join the artists ' house or the AGESSA. * The last quarter is that of the art market which fulfills the function of diffusion: purchases, sales, exchanges of artistic production. It is governed by the law of the market. Contemporary art has become a refuge in the current financialisation. Setting in motion the four functions required, as a priority in Marseille, to accompany the most fragile quarter of which everything else depends: artists, producers. My mission was to be inventive and diversified: – with social services, to enable the exit of the Subproletariat and misery on a case-by-case basis; -With the services of pole employment to have their specificity recognised and to seek a statutory solution; – With Municipal services restore laws that promote public order to artists such as 1%; – With the services of the economy revive the art market through support for associative galleries, purchases at the restored communal fund and participations in international art fairs; – With the artists invent co-editions of catalogues or specialized books to make them known, co-commissions, co-installations of the work tool which is the workshop of artists; – With the cultural services supporting the network actions of artists; – with public landlords negotiate to integrate workshops-housing in their programmes, etc… I must confess a limit at the end of my mission in 1995: The status of artists was still not clarified. Weakness that would produce a perverse effect during the change of municipality. The clientelism awarded the grants instead of the theoretical and economical accompaniments. The subsidies were scarce creating even more misery and the need for artists to juggle even faster between the acquired statutes. The case of Martine Derain shows how in the legal framework the same person must pass from artist to artistic director to unemployed to associative agent to stay alive and in the movement of his own creation. The multiplication of collaborations between associations such as the multiplication of territorial scales is a sign of a profound transformation of artistic research. More holistic, it must find ways to transcend classifications and trades that have become obsolete. 2-stakes for artistic creation it will be possible to object that my testimony is not admissible because I am a judge and a part having been myself published in the publishing house animated by Martine Derain: "The Joint editions". I will actually rely on this experience at the border between my work as a researcher and that of curator to testify in his case of collective issues in artistic creation. In 2010, during my retirement, I was able to undertake the great project of "Tales of Hospitality". In nine books and three years of research, I attempted to write the history of the neighbourhoods that I shared for 15 years the heritage adventure. It was a double experimentation of the practice of integrated heritage and the writing of history in its context. So there was no question for me to choose a publishing house from my heritage environment too specialized. On the other hand I could not choose a public publishing house because too tempted by the "scoop" of the neighborhood put to the ban. I searched for a publishing house capable of formal and strategic creation. This is how I applied for the "Joint editions". A long intellectual partnership began. From 2013 the 9 books were published and sold in the specialized bookstores and in the unlikely places of the districts concerned. Some of them are already exhausted. This is what the artist-editor created, a new space for the diffusion of ideas and artistic creations. Unique Situation! I could never have found another space to restore my research. I then understood the coherence of the process of Martine Derain started with the collective wall newspaper created via the association "Casa Factorial". This is the best pragmatic school to approach the report to the public. And it is this school that job pole refutes. Yet as a public Service, we should all be proud to have participated in the development of this 30-year adventure. 30 years: The training time of a human being. 30 years of public spending such as an investment that is denied at the time of picking the fruit. As if we, the leaders of cultural policy, were mistaken in our collective diagnosis! The reversed reading of the truncated texts of the Law of 1901 and that of 1998 by pole employment empties their contents and thus the meaning. Conversely, article 103 of the Law N.O.T.Re of 2015 concerning the Cultural Rights of citizens and the law on freedom of Creation, Architecture and heritage of 7 July 2015, such as the European texts of which the Faro Convention , give reason to creative and citizen Martine Derain. In the hope that my testimony will contribute to the solution of this dispute. Christine Breton, honorary curator of heritage.

Lisette Narducci, Intervention Forum de Marseille

Text of the speech by Lisette Narducci, mayor of the second sector and Vice-President of the General Council at the Marseille Forum on the social value of the patrimony for the company on 12 and 13 September 2013 on the site of the workers of the naval repair. Dear Mr Hirt and members of the Association of Naval Repair workers, ladies and gentlemen of the Council of Europe, the European Union, ladies and gentlemen of the elected representatives, ladies and gentlemen of the delegations of Venice, Oran , from the Seine Saint Denis, ladies and gentlemen, dear friends, Thank you, Mr Hirt, for welcoming us. Here, men, workers have decided to build and preserve the memory of their work, which has disappeared, swept away by the mutations of the port. Behind their action there is a struggle, resistance. This is not a nostalgic place. It is the living history of a culture that is not in a beautiful mirror. Today, politics no longer takes responsibility for this dimension of culture, and it is precisely to talk about it that I am here with you. We have known each other for many years Mr. Hirt, I was convinced for a long time about the importance of what you have achieved with your friends. There is something going on here that concerns us all, which is a heritage within the meaning of the Faro convention. In the Convention the cultural heritage is described as “a collection of resources inherited from the past that people consider, beyond the regime of property ownership, as a reflection and an expression of their values, beliefs, knowledge and traditions in Continual evolution. This includes all aspects of the environment resulting from the interaction in time between people and places. Here we are. The District council joined in 2011 to the principles of the Faro Convention. If this membership is only symbolic (national ratification only), its implications are very concrete. The coordination of heritage and creations of 2/3 was established in the same year, applying the innovative philosophy of the Faro Convention, combining heritage preservation with participatory democracy. Its richness is due to the social diversity of its members: Active/non-active, associations, institutions, artists, academics and experts or ordinary citizens. All live in the 2/3 and thus possess “an expertise of use” real and undeniable of their neighborhoods. Everyone can recognize themselves in their members, and can feel valued by the collective actions achieved. Coordination is a driving force for the development of local democratic participation, with snowball effect: it is increasingly taking on every citizen as it is and enriching the contribution and skills of each. In the coordination of heritage and creations, we advance together, we progress together, we learn together, we diffuse together… All the actions of the Coordination Patrimoine and creation of the 2/3rd arrondissements, are part of the reflection carried out during the Faro Convention, respecting the principles of human values at the centre of the management of the cultural heritage, of Transparency and shared responsibility. They translate into the innovative ideas of the various projects that have been carried out since then.

The very local anchorage of cultural projects makes it possible to discover, manage and promote the cultural heritage very close to the inhabitants. The 2 and 3 boroughs have been the scene of meaningful historical events, and today constitute a unique cultural environment. They also benefit from important renovations or rehabilitation, especially with Euroméditerranée, which allow him to obtain a double inclination: to remember the past, while being turned to the future. The Coordination in action is the heritage walks, the backbone of the project. Since 2011, about 20 heritage walks have been carried out, hundreds of participants, numerous institutional and associative partners, a dozen companies, groupings and collectives of inhabitants. It is also the operation quartiers Libres, a project born of close collaboration between the Town Hall and the association in italics. A reflection and analysis on “What makes heritage in our boroughs” has been the basis of this project. Free quarters These are exhibitions, workshops, meetings, sensitive discoveries (of art and culture) and exchanges (of citizenship and socialization) with inhabitants and users. Since 2012, this innovative initiative proposes to be interested each year, for four years, in a district of the 2nd sector of Marseille. In 2013, the Quartier Libres project is called “TABULA RASA”, it concerns the shopping district and is part of the workshops of the EuroMéditerranée of Marseille Provence 2013.  It puts into action the principles of the Faro Convention.
A new adventure is committed in 2014 with a project in partnership between the departmental library, the Transverscité Association, in italics and the District Council, in the framework of a call for research projects entitled “Intercultural practices In “Heritage institutions”, initiated by the Ministry of Culture. It brings together the heritage communities, inhabitants and associative actors of the sector. The Faro Convention has a central role in this project. The values set out in the Faro Convention stem from the idea of recognizing cultural heritage as a fundamental body of economic, social and political relations. From this point on, it is a question of establishing a democratisation of heritage management and of including in the debates civil society grouped and represented by heritage communities. The concept of shared responsibility theorizes the multiplicity of stakeholders with regard to local cultural policies and the idea of open dialogue to allow everyone to position themselves in the discussion. In the second sector these ideas were implemented as of 2011. I am proud of the work done, thus contributing our contribution and experience in the context of negotiations at European level for the official ratification of the Convention by many Member States. This testimony is proof that the theory of official texts can be transformed into concrete events and effective democratic management of heritage.
I thank those who contributed to the success of this forum, my friends and colleagues: Samia Ghali, Garo Hozvepian, the mayor of Trolles, the Council of Europe, the European Parliament, the General Council, Marseille Provence 2013, Hotel du Nord, the members of the Coordination of heritage and creations of the town hall, the association in italics and Monsieur Hirt and his friends.

Christine Breton: 13/9/13

Host Christine Breton The Marseille Forum on the social value of heritage for society will take place on 12 and 13 September 2013. The opportunity to make history: accumulate 19 years of facts and their interpretation. Reconstruct the collective process that unfolds until the walks that will be shared with the members of the Forum. No, like a scream! This evidence is a counter-sense! For thus escaping the heart of the process, the work of all and all our precursors. Would escape the theoretical base that we are tracking in this return of walks. So I have to tell you a story so that you don’t have to go to 19 years of facts set out in the pretend historical but at a secret staircase, access to the implicit foundations that make us work. Here is a narrative for an implicit description of the Faro process for 15 years in the neighborhoods behind the port. An invitation to the discussions that will open on September 13th when the four walks return.

She had arrived from Germany the day before. He was in Marseille for several weeks already. He had just made a great discovery, reversing the meaning of the city, reversing the academic certainties capable of defining time. She calls it a “gaps”, a flaw in time and tells him about a ghost escaped there. He had just found the Rue de Lyon, in the suburbs, in a part of the city where we only go to exhaust his life at work. In describing, for his diary, the sensation of reversal that the body feels then, he understood that it was the perfect figure, the urban form of his “thesis on the Philosophy of history” that he was completing. The rue de Lyon embodied its most extreme abstract intuition; Lyon Street became the modern icon of the 20th century, just before the great unspeakable catastrophe, totalitarianism, wars and the ultimate rebound of the European civil war. He had both the intuition of this collective catastrophe and that of his own life, of that which only had to do with him. He knew it now, he had understood it here, in Marseille, city of time and not of space. He lived the conjunction between a moment of present and a moment of past, he had returned time by going up the street of Lyon. -End of language-he knew that his initial intuition was right but he could not incorporate this discovery, then, without a word, he took it by the hand and took him to walk on the road to Lyon, in his steps, so that she understands, that she crosses her vision ful Gurante. He had become a no-speaker.

On the rue de Lyon, they walked at length, she began to glimpse this suffocating fault of our collective life. Our disaster. She followed him, she put her steps in the unfolding of her thought. And the street of a sudden took it, she recited the text written by him a few years before: “The farther we get away from the center and the more the atmosphere becomes political. It’s the docks ‘ turn, basins, warehouses, cantonments of poverty, the scattered asylums of misery (…) This fight is nowhere as ruthless as between Marseille and the Provençal landscape (…) The long street of Lyon is the mine that Marseille Dig into the landscape to make it fly in splinters… “

So she knew that the intuition was right, that her meteoric invention should take shape as soon as possible, that the days were counted. They sat in a workers ‘ bistro at the St. Louis level. They had already advanced well in the urban undermining, they had dissolved there. They sat in fear and trembling. They got to work. He pulled out of his pocket an early manuscript, they remained bent over the 17 paragraphs of his “thesis on the Philosophy of History”.

A woman had been watching them for a while. A vast hospital woman as only toil knows how to make them. The women from here learned divination in the hill and this one guessed something. When they came in, she wondered what the bohemian foreigners were doing here, these “bobos” would say today. The man was shaking and she was making a huge effort to support him. Like Pierre and Marie Curie, she said to herself. She had seen this in the party newspaper that was hanging over a coffee table. She watched them work, that is, suffer a lot with words like them and she suffered on the surrounding production lines.

She approached when she understood that their efforts were defeated by the enormity of the thought disaster they measured in its fullness.

So she approached them, she allowed herself and told them, without knowing how, not to stop their walk, that she wanted to keep the paper they were working on. That the Proletarians had no history or heritage, they were only made to produce children who would also be workers. That this paper, it was a foundation stone for here. That they could pass it on by living it, telling it. That one day others would understand it, the incorporate.

And they gave him without knowing why, they gave him, finding in this gesture the force necessary to finish it.

She left for New York with the text two days later and left him to die by himself on the Spanish border. In New York, the text was somewhat revamped, slightly watered down; Humans are weakened in 1940. It remains its version of Fire somewhere on the street of Lyon, in the hospitality of the time “taken in rubs” which makes the heritage a prospective process as well as retrospective. In a nutshell the story of the environment.

This almost fiction is based on a real little known fact: it is in Marseille that Walter Benjamin meets his almost cousin Hannah Arendt in the summer of 1940. He handed her his manuscript of “thesis on the Philosophy of history” so that she would give it to Adorno then refugee in New York. And she the vast hospitable woman, it is Faro that allows its appearance and now its existence. It is we here who incorporate the version of Fire remained rue de Lyon. It is through fiction that the Faro collective process undertaken since 1995 in the complexity of the neighbourhoods along the Rue de Lyon is transmitted. I might as well have projected you to the character of Louis Massignon arrived in Marseille on August 2, 1930. It’s also full summer. It is the annual meeting of the “social weeks of France”, the SSF created in 1904. The SSF should have been held in Algiers and Marseille is a substitute Algiers. 1930, centenary of colonial Algeria, impossible to live there a meeting entitled: The social problem in the colonies. Louis Massignon, Islamologist, professor at the Collège de France, returned from Algiers, sent for investigation. He made the closing conference of SSF on August 3, 1930. He then left for Paris and began his teaching at Aubervilliers: He joined the urgency of the “social teams” that had just been created and provided education for North African workers in France. I can incorporate her word into the neighborhoods, she is born from their transnational experience. It is important to project itself upside down in international industrialism, in the intuition of never again, in the memory of institutional facts since 1994, in almost 20 years of construction as slow as Europe; This is the genesis of the Faro process. Christine Breton, August 2013