Following a call for applications for the research and creation residency at Cité internationale des Arts, performance artist and writer Noé Duboutay was selected from a list of eleven applicants.

Jury members Vincent Gonzalvez (Cité internationale des arts), Lis Hausemer (MNAHA), Julien Hübsch (lauréat 2023), Nathalie Ronvaux (Kulturfabrik) and Francisco Sassetti (Philharmonie Luxembourg) assessed the applications received and awarded Noé Duboutay for his research project:“what a hero!”.

Statement of the jury
The jury was eager to highlight the extensive research conducted by the artist, noting its plural and persuasive nature. The Cité internationale des Arts can provide valuable guidance on the issues raised by the research project. The residency appears to coincide well with the artist’s current career stage. The avenues outlined in the dossier can also be further explored during the brief residency period.

Biography
Noé Duboutay is a performance artist and writer based in Berlin and Luxembourg.

They perform with their body and voice, making installations and props and writing scripts, poems, and prose exploring human identities’ entanglements with non-human entities and materialities.

Noé’s artistic practice moves within finding ways of experiencing a body and forms of embodiments that questions what makes a body and what reads a body. He navigates with the entanglements of social and political constructs of gender and sexuality and creates space for fragile uncertainty and softness.

Through fictive and virtual realms of writing and moving, Noé creates ways of finding queer connections, ally- and kinships as means to mutate with pleasure.

Born and raised in Luxembourg, they graduated in 2019 from HBKsaar with a Bachelor’s in Fine Arts, 2021 with a Master of Fine Arts from ZHdK, and they finished their performance studies in Live Art Forms at AdBK Nürnberg in 2023. Noé won the Akademiepreis AdBK Nürnberg in 2022 and received the Bourse Auguste van Werveke-Hanno the same year. In 2023, Noé published his first literary publication, “mud and the bros” with Lemon Press Zurich.

In order to improve our support processes and in constant dialogue with our Selection Committees and the sector, we regularly update our grants. For 2024, we’ve made a few changes:

Kultur | lx is hosting two webinars on 5 February at 14:00 (in French) and 6 February at 12:00 (In English) to present these developments and discuss them with applicants.

Registration:
05.02.2024 | 14:00 – 15:30 (In French)
06.02.2024 | 12:00 – 13:30 (In English)

The deadlines for submission of projects for the year 2024 are set as follows:

The internal and selection committees have a period of three weeks to decide on the application from the deadline for submission (see deadlines above). The submitted project may not start before the end of the deadline for response.

The project of the Luxembourg pavilion challenges the entrenched notion of individual artistic authorship by presenting a collection of works where artists relinquish ego in favour of a profound exploration of collective creativity through the medium of sound.

The title, A Comparative Dialogue Act, encapsulates the nature of this experimental project – an investigation of diverse sonic languages and a contemplation of dialogue beyond the visual, into the immersive world of sound as a tool for negotiation.

This exhibition explores the potential of sound as a medium for cultivating connection and understanding. It aims to transcend the limits set by singular perspectives of what sound can lend to the acts of interpreting, distorting and appropriating.

The pavilion is conceived as an infrastructure for the transmission of sound. Technology is used to develop a local experiment investigating the transmission of knowledge and work in progress.

A programme of four residencies taking place over the duration of the Biennale Arte 2024 will transform the pavilion into a production space where each individual research will contribute to a shared body of work. An unprecedented collaboration by four emerging artists from diverse backgrounds, it brings together Spanish musician and performer Bella Báguena, French transdisciplinary artist Célin Jiang, Turkish artist Selin Davasse and Swedish artist Stina Fors to offer four intersecting approaches to the multiple ways identity, performance and sound can meet.

The artists are invited to explore the elements that define their individual practices and artistic methods. Each of them is asked to create a sound library representing their unique approach by the start of the Biennale Arte 2024. These libraries will be made available in the Pavilion space as a common tool. Each artist will appropriate and use this library to create a soundscape. The aim being to stimulate cooperation and community through an understanding and interpreting of what was made available.

The body of work, both the libraries and the residencies’ productions, will constantly be absorbed and integrated anew – challenging notions of authorship and appropriation.

Each artist will engage in a series of performances. The performance is part of the collaborative artwork and is the moment during which each artist presents his/her contribution in public. The resulting sequence of pieces will be published as a vinyl record, to be released at the end of the Biennale Arte 2024.

A Comparative Dialogue Act offers a rich composition of singular voices brought together in a blurred sound artwork that pushes the boundaries of contemporary art production.

The jury of the call for projects for the conception of the Luxembourg Pavilion at the 19th Venice Architecture Biennale met on Tuesday, January 9 and selected the three projects for the second jury session from among 8 applications received.

The jury appreciated the relevance of the themes developed in the selected applications and is confident that they will help to build a discourse around the Architecture discipline.

The members of the jury for the call for entries for the Luxembourg pavilion would like to thank all the applicants for the interest they have shown, by taking part in the call, in Luxembourg’s presence at this international event in 2025. The jury also salutes the work undertaken by the various teams on this occasion.

Selected teams :

The jury is made of:

▪ Maribel Casas, Director, luca – Luxembourg Center for Architecture;
▪ Michelle Friederici, President, Ordre des Architectes et des Ingénieurs conseils Luxembourg;
▪ Claudine Hemmer, Visual Arts and Architecture Advisor, Ministry of Culture Luxembourg;
▪ Marija Marić, Curator of the Luxembourg Pavilion 2023;
▪ Eléonore Mialonier, Project Manager Architecture/Design/Crafts, Kultur | lx – Arts Council Luxembourg;
▪ Marion Waller, General Director, Pavillon de l’Arsenal, Paris;
▪ Nemanja Zimonjić, Director, Ten Studio, Zürich/Belgrade.

The deadline for the second round is March 15, 2024, at midnight. The laureate will be announced on March 27, 2024.

More details about the call can be found here.

Taller de Musics and Kultur | lx – Arts Council Luxembourg joined forces to create a jazz residency programme gathering musicians from Luxembourg. The idea was to encourage artistic collaborations, on the one hand, and the transmission between experienced and emerging artists, on the other hand.

For four days, Irene Reig, Marc Demuth, Arthur Clees and Andreu Giró Espasa worked together at the Fabra I Coats in Barcelona. The set they developed consists of compositions by the four musicians and was presented during two concerts: one at the Jamboree Club, Barcelona (21.11.23), and the other at neimënster, Luxembourg(26.11.23).

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To Marc Demuth, this kind of residency project is key to encourage artistic encounters. They contribute to establishing connexions between artists from different territories and backgrounds. “This should never be taken for granted”, Marc Demuth explains. “It is often in the context of studies that one connects with musicians/students from other countries but, in my opinion, it becomes increasingly difficult to build connections with jazz musicians from other countries once the studies are finished”. The artist also adds that the interactions with his peers from Barcelona let him understand the dynamics featuring the Barcelonese jazz scene.

For Arthur Clees, the musical contacts that he set up during this residency programme were a “great learning process and really inspired [his] creativity”.

Kultur | lx is fully committed in the implementation of such residency programmes, especially in the field of jazz. These working times give artists from different territories the opportunity to meet, exchange on their musical practices and open up their horizons on an international scale.

This year was another year of praise for Luxembourg artists in the international press. Discover below the best quotes featuring jazz and classical music artists from Luxembourg.

Tele-Port, Please Disperse

“This quartet plays powerful, energetic, colourful and dense vibrations that explode like supernovas in the listener’s heart and body. Even in a ballad like Cloud Jumper, the sound is strong, rocketing like an Apollo that is about to take off, probably because the quartet is made up of outstanding musicians.” – Le Soir,  Jean-Claude Vantroyen, FR

 

Michel Meis, Lollipop Moment

“Explosive, edgy, provocative: the album features compositions incorporated in extensive and fearless free improvisations. As elaborate as it is spontaneous, Michel Meis’s 4tet breaks down the boundaries between genres, creating something truly avant-garde that refuses to be categorized.” – Jazz Trotter, France Musique, FR

 

Arthur Possing, ID:entity

“… nine small, fine, glittering, charming miniatures for the present, none longer than five minutes, graspable, technically demanding and yet full of natural beauty…” – Jazzthing, DE

 

Jambal, The Great Wave, Enterprises of great pith and moment

“The track is a delectable glimpse of the layered and cohesive sonic world of guitar riffs, melancholic keys, trumpet crescendos and intricate drum patterns that the album will offer us. With an emotive and expressive core that shines bright on each individual track, the album is set to be a showcase of continuitiy, individual brilliance and an instrumental celebration.” – Malvika Padin, Earmilk, UK

 

Dock in Absolute, [RE]flekt

“Not a single moment of distraction, not a second of boredom, as the trio sounds with such consistence that the iterative aspect of some sequences never lets one get bored, quite the contrary: this repetitive ritual supports creative, original, subtle and varied tracks.” – JazzMania, Jean-Pierre Goffin, BE

 

Greg Lamy & Flavio Boltro, Letting Go

“This highly successful new album exudes an astonishing elegance and refinement, an obvious simplicity (on both strings and brass) that surpasses any vain display of virtuosity, outlining a jazz that is limpid, airy, remarkably melodic and, from start to finish, of great beauty.” – Rolling Stone, Philippe Blanchet, FR

 

Claire Parsons & Laurent Peckels, The Aquatic Museum

“Between jazz, pop and contemporary music, fluid lines, dense orchestral arrangements and luxuriant harmonies, the clear, agile voice of [Claire Parsons] and her introspective lyrics, inhabited by flourishing inner worlds, navigate a vast field of possibilities and plunge us into an ambitious sonic experience inviting us to dream or philizophize.” – Catherine Carette, FIP

 

Naama Liany, Daydream

“Naama Liany’s brassy mezzo, always sincere, expresses several facets of dreaming between prayer, delirium and renouncing, through a programme called “Daydream”. This gathers several composers from the 20th and 21st centuries. From Albena Petrovic to Berstein’s young heroin (Barbara), French-Israeli singer Naama Liany offers a dip into the diversity of modern and contemporary compositions.” – Classique News, FR

C’est Karma

“Karma Catena loves pasta and hates the patriarchy, as you quickly realise on her website. Trained by independent, experimental female artists such as Björk, Kate Bush and Billie Eilish, her pop approach is minimalist-intimate and avant-garde at the same time.” – wdr.de, 09.12.2023

“Electro-art-pop with a touch of the theatrical. Somehow fascinating.” – Sounds and Books, 24.09.2023

“Karma performs like a superstar, fan in hand, commanding the stage like a pro.” – The Line Of Best Fit, 05.09.2023

 

CHAiLD

„Emotional music in danceable form has rarely sounded as haunting as with CHAiLD.” – Diffus Magazin, 03.09.2023

„CHAiLD’s melancholic universe is unveiled to us through a stripped-down production of piano chords and a faint drum and bass rhythm in the background. As the track unfolds, CHAiLD’s harmonies intensify until we encounter chilled electronic drum and bass beats. Through his music, CHAiLD emerges as a voice for the current generation of queer youth who seek self-expression.” – earmilk.com, 11.05.2023

 

DasRadial

“TheRADIAL sounds a little as if Kraftwerk had already taken it under their wing in the 80s and only now released it from their workshop.” – Diffus Magazin, 03.09.2023

 

Dreamcatcher

“True to its name, the band “Dream Catcher” from Luxembourg aims to capture dreams in songs. Their music is an interplay – sometimes melancholic and sensual, but then also full of energy and joy of life. The band’s spectrum ranges from Irish ballads and Celtic pop to French chansons and their own compositions. At live concerts, the musicians of “Dream Catcher” like to improvise and react spontaneously to the mood of the audience. This gives each performance its very own flavour.” – Westfalen-Blatt, 03.09.2023

 

Francis of Delirium

“There is a rousing energy in her music that enters you as if you were sitting on her bedside listening in. It is danceable, but also melancholic. It feels vulnerable, but also alive. Expect powerful rhythms, thundering riffs and intense lyrics about insecurity, vulnerability and fear. In short: music the new generation needs in these times.” – effenar.nl, 12.01.2023

“A restless energy and desire to connect with the listener lies at the core of the project, with Jana’s personal lyrics being underpinned by a fierce rock sound that is as liberating as it is intense.” – The Fat Angel sings, 15.11.2023

“Francis of Delirium’s music always has a tinge of nostalgia, of brooding; of the general melancholy some of us feel throughout our lives, that we can’t quite control.” – Atwood Magazine, 21.07.2023

“The 22-year-old songwriting – real name Jana Bahrich – caught attention with three wonderful EPs, blending absorbing use of melody with an increased maturity.” – Clash Magazine, 14.11.2023

 

Josh Island

“The Luxembourg singer-songwriter has a voice that simply makes you want to melt away. Songs like “Pennies From Heaven” and “Rewind” are great pop with a folk flavour.” – Diffus Magazin, 03.09.2023

 

MAZ

„His intense bastard of rap with pop and punk outbursts bangs particularly well live.” – Diffus Magazin, 03.09.2023

 

Plastiklova

“The electroacoustic duo Plastiklova creates a wholly engaging, wholly mysterious sound with their forays into improvised and lightly composed experimentation using vibraphone and a wide array of electronic processing. Fans of artists like Jason Doell, Animal Hospital and Harry Partch will find a lot to uncover here.” – tometotheweathermachine.com, 09.03.2023

“Their debut self-titled album is a daring exploration of the possibilities of sound, which forgoes melody or coherent structures in the name of breaking ground.” – notransmission.com, 07.02.2023

“Plastiklova invites listeners on an enchanting sonic journey with their captivating track ‘Grain Threshold’. This collaborative piece delves into the ambient magic of the bowed vibraphone, intertwining it with automated electronic responses from various synthesizers, resulting in a truly immersive and intriguing musical experience.” – electronica.org.uk, 07.06.2023

 

Pleasing

“Feeding itself to heavy rock and even metal in some places, Pleasing begins with a euphoric and synth driven opening, full of layered and drone-filled guitars, before his signature vocals enter the fore. ‘Feed me to those I envy the most’ feels like a true release from Patrick, with his uncontrollable screams coupled with the floaty and melodically beautiful atmospheres in moments, make for a truly encapsulating listen that switches mood to quickly and cleverly.” – tag.com.au, 12.06.2023

“Miranda was able to channel this energy into a cross-genre blend of explosive and hard-hitting heavy rock-infused songs, paired with spacey synths and raucous vocals about nothing but his darker feelings and truths.” – flexmusicblog.com, 12.06.2023

 

Ptolemea

“Priscila da Costa, with her magical voice, transports listeners to a sonic and spiritual adventure, with mystically fascinating songs, comforting sounds and captivating images that represent her intimacy and musical universe.” – descla.pt, 17.01.2023

“Ptolemea is a musical project with a very strong identity, in an alternative/experimental style, with original pagan rock and dark folk themes.” – Glam Magazine, 06.01.2023

“The sounds of Ptolemea are in other spheres in the centre of the universe and at the same time earthy. Dark folk that honours its pagan roots. The harmony of the sounds is always in balance, and so Priscila da Casto powerfully sings her way directly into the soul in “Balanced Darkness”. Sometimes exuberant and wild, sometimes pensive and melancholy, Ptolemea invite you into their own galaxy. It begins with the atmospheric instrumental “Hamanic Lullaby” and flows into the English-language “Atmospheric Pressure Drop”. The Portuguese “Fado” inspires with its very own dynamics and the remaining six songs will also captivate you.” – Orkus, März/April 2023

„Spherical vocals as if from another world and pumping heartbeat rhythms – this is the interesting scenario with which the Portuguese-Luxembourgish group Ptolemea, formed by Priscilla Da Costa, introduces their self-released debut, which is thematically based on the four elements.” – Metal Hammer, Februar 2023

„The immense spirituality and great charisma of frontwoman Priscila are enthroned above all of this. The result is highly emotional, soulful, esoteric and folk-tinged rock numbers such as “Atmospheric Pressure Drop”, “My Darkest Creature” and “Leap Of Faith”.” – Sonic Seducer, Februar 2023

„It is difficult to compare the sounds of PTOLEMEA with other bands, and this may be understood as praise.” – Legacy, Januar/Februar 2023

 

ROME

“The album’s songs subtly and incisively convey the full spectrum of emotions a full-scale war elicits. Equipped with a profound comprehension of the war’s dynamics, Rome serves as a capable interpreter for English-speaking audiences. Infused with an agreeable and well-conveyed sound, coupled with references to shared symbols and emotions of this war, Rome’s music becomes a skillful reflection of history—and of the present, while the war continues.” – Euromaidan Press, 15.09.2023

 

Say Yes Dog

“In the melting pot of independent music and synth-pop, all shades of Say Yes Dog have found their most beautiful form on “DRÄI”. The dogs are barking again – finally!” – Tonspion, 03.11.2023

 

Seed to Tree

“After thirteen years as a band, Seed to Tree have made an impressive musical journey. They have evolved from acoustic sounds to a synth and dream pop band.” – musik3000.de, 11.07.2023

“Musically, Seed to Tree know how to create catchy melodies that are not only catchy, but also manage to explore new, exciting dream pop paths without losing the acoustic folk elements of their early phase.” – Frontstage Magazine, 01.06.2023 

“A Little Life reveals the astounding pop quality of songwriting as it searches for universal truth in the little things of life.” – PrettyInNoise, 25.11.2023

“Starting from an elaborate indie pop base, Seed To Tree develop atmospheric, varied songs, through which singer Georges Goerens leads with a delicate, warm voice. Dream-pop synths create a dreamy atmosphere, reduced but precise drums set the rhythm and deliberately unrocky guitars that tend towards shoegaze ground the songs.” – soundmag.de, 05.09.2023

 

Tuys

“High-energy live shows provide the antithesis to TUYS’ sophisticated videos. The four guys love to play with fiction and satire, but as soon as the spotlights come on, there’s only the reality of the stage.” – kulturnews.de, 23.02.2023

Kultur | lx – Arts Council Luxembourg commissioned visual artist Claudia Passeri to design its 2023 season greeting card. The artwork, originally a digital work, has subsequently been adapted to a physical card.

Claudia Passeri creates site-specific interventions and contextual pieces that explore human perception in relation to place. Depending on the site and the context, the work takes on social, political, and environmental aspects. Her research has a neo-romantic aspect that seeks, frequently via the use of irony, to reveal the mechanisms that activate the human creative processes, which transform how we view the world.

This video has been created in her kitchen in Umbria on November 3 2023.

Discover the work on the home page of our website and on our social networks. (Facebook, LinkedIn, Twitter, Instagram)

Kultur | lx – Arts Council Luxembourg in collaboration with the Fonderie Darling in Montreal offers a three-month research and creation residency for Luxembourg visual artists or visual artists living in Luxembourg artists at the Fonderie Darling in Montreal, based on a call for applications.

Jury members Justine Blau (artist and laureate 2023), Stéphane Meyers (Rotondes) and Stilbé Schroeder (Casino Luxembourg – Forum d’Art Contemporain) assessed the applications received and made their recommendation to the Fonderie Darling. At the end of the procedure, Julien Hübsch was selected by the board of the Fonderie Darling.

During his residency, which runs from September to November 2024, he will be researching the temporary urban interventions in specific parts of Montreal, that are appearing over the summer to revalue certain public spaces and then serve different purposes in winter. At the heart of this approach lies a particular interest in the historical imprints left by these interventions.

Statement of the jury

The selection committee selected artist Julien Hübsch for the quality of his artistic practice, rooted in a raw aesthetic and the inventive use of everyday materials. Through interventions in the city and in the exhibition space, always in connection with the architecture, the artist explores issues that are central to the Fonderie Darling’s curatorial vision, its urban location and its status as a former industrial wasteland. The members of the committee would also like to highlight the relevance and coherence of the research project proposed for the residency, entitled Sometimes in the fall.

About Julien Hübsch

Julien Hübsch (*1995 in Esch-Sur-Alzette, LU) is a multi-disciplinary artist, currently based between Mainz and Luxembourg. After studying at Bauhaus University Weimar, Kunsthochschule Mainz and HGB Leipzig, he graduated from Shannon Bools’s “expanded painting” class in Mainz in 2023. In his work he deals with temporary interventions in the urban/public space such as construction sites and vandalism, creating works that oscillate between painting, object, installation and environment. His aim is to extract and quote directly from his field of research, thus creating contemporary witnesses of an abstract urban space.

Julien Hübsch is being represented by Reuter Bausch Art Gallery since 2021 and has been part of exhibitions in Frankfurt, Berlin, Mainz, New York and Luxembourg among others. He is also the recipient of this year’s “Prix Grand-Duc Adolphe”.

The unmissable Biennale di Venezia has drawn to a close with the Luxembourg Pavilion Down to Earth designed and curated by Francelle Cane and Marija Marić, a confirmed hit with the public.

Officially opened on 18 May 2023 in the presence of HRH the Great Duchess, the Minister for Culture Sam Tanson, Luxembourg’s Ambassador to Rome HE Michèle Pranchère-Tomassino and over 200 guests, the Luxembourg Pavilion at the Venice Architecture Biennale has been packed ever since. The Down to Earth exhibition welcomed a total of 102,118 visitors during the entire Biennale which itself recorded over 285,000 visitors, along with 14,150 visitors to the preview, making it the second most visited Architecture Biennale ever.

Down to Earth, designed by architects, curators and researchers Francelle Cane and Marija Marić, was a critical behind-the-scenes exploration of the current paradigm of space mining, as well as its media narratives. Replicating a Lunar Laboratory—the research spaces designed to not only run full-scale tests of space mining technologies but also operative as media studios producing the visual imaginaries of the extractions on the Moon and beyond—the exhibition included contributions by Armin Linke, Lev Bratishenko, Jane Mah Hutton, Anastasia Kubrak, Amelyn Ng, Bethany Rigby, and Fred Scharmen, as well as collaborations with different institutions, including Canadian Centre for Architecture.

The pavilion was also a meeting point for fruitful encounters between creatives, curators, and the general public. In addition to the visits organised in September during the Pavilion Days, side-events such as public lectures and roundtables were also held both in Luxembourg and abroad.

“Looking back at our project in Venice, we find ourselves truly humbled by all the incredible encounters, conversations, and collaborations that deeply shaped our project. Starting with the Moon, but coming down to Earth, our exhibition aimed at raising a critical discussion around our relationship with resources, testing at the same time the boundaries between curatorial work, research, and social engagement. We thank all the conversation partners and collaborators for contributing to this project, the journalists for their important questions and curiosity about our work in Venice, and the institutions who supported our work from the very beginning”, the curators Francelle Cane and Marija Marić stated.

The exhibition was not only a success with the public, but also featured in the national and international press.

The publication Staging the Moon: Resource Extraction Beyond Earth, developed during the 18th Venice Architecture Biennale, contains texts by the curators and photographs by artists Armin Linke and Ronni Campana. It explores the topic of extra-terrestrial resources, highlighting the inextricable links between space mining and its portrayal in the media, the legal framework for its development, as well as the concept of commons and comradeship.
The publication costs €32 and is available from the publisher Spector Books.

Kultur | lx, following a decision by the Ministry of Culture, was tasked for the first time with commissioning the Luxembourg Pavilion at the Venice Biennale, a role in which it will continue for the development of future art and architecture pavilions in conjunction with the Luxembourg cultural institutions involved.