We are thrilled to reveal the names
of the participants to ACROSS fifth session,
between January and Octobre 2020.

Kindly supported by the Ministry of Culture and the City of Nice.

We would like to warmly thank the jury
for their continued support during the selection process:
Hélène Guenin (director of MAMAC – Nice), Sophie Lapalu (art critic, curator, PhD in Visual Arts and Aesthetics, teacher at Clermont Métropole Fine Arts School), Marianne Mispelaëre (artist) and Mathilde Roman (Phd in Arts and Sciences of Art, art critic/AICA France and teacher at Pavillon Bosio – Monaco).

• SISSI [É. Poitevin & A. Vimeux] (1993 – Marseille, France), curators and founders of SISSI club – art space
• Sonia RECASENS (1985 – Paris, France), art historian and independent art curator
• Övül Ö. DURMUSOGLU (1978 – Turkey / Germany), independent curator, writer and educator
• John Kenneth PARANADA (1988 – The Philippines / UK), independent art curator and writer
• Kalliopi TSIPNI-KOLAZA (1988 – Greece), independent art curator


The call out for ACROSS – residency program Season #5, launched by thankyouforcoming, received 122 applications of amazing quality from 47 countries all over the world*.

The average age of the candidates is 34,4 ; 82,8% women and 17,2% men.

* (Argentina, Australia, Austria, Belgium, Brazil, Cameroon, Canada, Chile, China, Croatia, Denmark, Finland, France, Georgia, Germany, India, Irak, Iran, Ireland, Israel, Italy, Japan, Lithuania, Mexico, Monaco, New Zealand, Pakistan, Poland, Portugal, Romania, Russia, Saudi Arabia, Serbia, Singapore, Slovenia, South Korea, Spain, Sweden, Switzerland, The Czech Republic, The Netherlands, The Philippines, Turkey, Ukraine, United Kingdom, USA, Vietnam.)


Élise Poitevin et Anne Vimeux are co-founders and co-directors of the art space SISSI club, opened in April 2019 in Marseilles. They graduated from the University of Aix-Marseille in Art History, specializing in Contemporary Art.
Élise Poitevin has studied the Marseilles’ art scene since the 1960s, its institutions,
collections, exhibitions and cultural politics underpinned by the concept of urban identity. Her research aims at developing a de-centralized art history, envisioning a society by its margins rather than by its center. Anne Vimeux specialized in the study of contemporary figurative painting and « kitsch » aesthetics in an expanding meaning. Her research is now moving towards a broader conception of « bad taste », addressing the possibility of creating new positions of subversion.
Élise Poitevin worked as curatorial assistant at the Cantini Museum, [mac] Marseilles Museum of Contemporary Art and cultural mediator at La Vieille Charité and La Friche de La Belle de Mai. Anne Vimeux worked as Charlotte Cosson & Emmanuelle Luciani’s assistant curator, and at the Meessen de Clercq Gallery. She has also been editorial assistant at Editions Lutanie, Galerie Perrotin, Galerie Malingue and for Purple Magazine.


Sonia Recasens is an independent curator, art historian and art critic.
After a series of assignments as curatorial project assistant for a number of cultural institutions, among which “elles@centrepompidou” at the Centre Georges Pompidou, or “Maroc contemporain” at the Institut du Monde Arabe (both in Paris), Sonia Recasens has developed her own curatorial projects with shows like “Cosmogonies: Hessie, Kapwani Kiwanga, Myriam Mihindou” (2015), “Les sept démons” (2016), “Ailleurs est ce rêve proche” (2018), or “Poétique du geste” (2018).
In 2019, Sonia Recasens was awarded the Special Jury Prize at the AICA Awards. She contributes on a regular basis to publications for a number of art centres, museums and publishing houses. Also in 2019, she was invited to meet with the graduates of Pavillon Bosio, the visual arts school of higher education of Monaco, in order to produce a catalogue titled Paysages empruntés (“Borrowed Lanscapes”).
Since 2010, she has been developing research and projects about women artists and afro-descendent artists of the 20th and 21st centuries, to enhance their visibility on the art scene and in the history of art. In 2017, she organised the first retrospective exhibition of French-Cuban artist Hessie at the Abattoirs de Toulouse, France, and at the MUSAC in León, Spain, under the title “Hessie – Survival Art”. In 2018, she was invited by the regional contemporary art funds (“Fracs”) of the Greater Eastern region of France (Frac Champagne-Ardenne, Frac Alsace, Frac Lorraine), with a view to conducting critic and curatorial research on women artists and their collections. Her work took the form of the exhibition Citoyennes paradoxales, at the Palais du Tau (Reims).


Övül Ö. Durmusoglu is a curator, writer and educator living in Berlin.
Her interests lie in the intersection of contemporary art, politics, critical and gender theory and popular culture. As a curator, she acts between exhibition making and public programming, singular languages and collective energies, material and immaterial abstractions, worldly immersions and political cosmologies. Currently, Durmusoglu is mentor and program leader in the Graduate School in University of the Arts in Berlin; section curator for ARCO Madrid and guest curator in CA2M Madrid. Her very recent curatorial project ‘Stars Are Closer and Clouds Are Nutritious Under Golden Trees’ has taken place in the MMAG Foundation, Amman.
In the past, Övül was curator for steirischer herbst festival in Graz; curator/director for YAMA public screen in Istanbul; curatorial advisor for Gülsün Karamustafa’s ‘Chronographia’ at Hamburger Bahnhof, artistic director for the festival Sofia Contemporary 2013 titled as ‘Near, Closer, Together: Exercises for a Common Ground’. She curated programs within 10th, 13th and 14th Istanbul Biennials; coordinated and organized different programs and events at Maybe Education and Public Programs for dOCUMENTA (13).
She has taught in Nuremberg Academy of Fine Arts, Linz University of Arts and Muthesius Arts University in Kiel.  With her writing she contributes to different publications, online platforms and magazines such as Texte zur Kunst and Frieze.


John Kenneth Paranada is a London and Manila-based curator, writer and theorist working to develop critical cultural forms and open, experimental projects. Kenneth holds an MFA in Curating from Goldsmiths, University of London, an MAS in Contemporary Art at the Zurich University of the Arts and was at Science Po Paris for the Philosophy of Nature programme, a pending MA in Museum Studies at the University of the Philippines Diliman and holds a Bachelors in Philippine Studies from De La Salle University in Manila. His interdisciplinary practice focuses on experimental South East Asian Anthropocene Futures, Entanglements and Technologies. Kenneth has worked with art galleries and off spaces including the kamel mennour gallery London, Pi Artworks London, A plus A Gallery, Venice, Chalton Gallery, London, Bãrengasse Museum Zürich, knoerle & baëtting contemporary, Ládron Galleria Mexico, Leroy Neiman Art Centre, New York, LLLLL Kunstraum, Vienna, Künstlerhaus Bethanien with the Node Centre for Curatorial Studies Berlin among others.
He was awarded the exceptional talent visa in the UK in 2016 and was shortlisted for the Purita Kalaw Ledesma Award for Art Criticism in Manila in 2017, he was selected curator for the Asia-Europe Foundation in 2015 and recently been part of the HKW Anthropocene Campus and the PACT Zollverein in Essen, Germany. He co-runs a collective:  Never Ripe / Never Rotten (n/R) with Francesca Altamura and Helena Lugo. Currently, he is the artistic director of the Centre For Ecologies, Sustainable Transitions, & Environmental Consciousness in the Philippines that will open in 2020. An experimental inter-disciplinary research platform that gathers different disciplines that will publish ground-breaking work in the realms of ecologies and contemporary art that explores topics including post-colonial habitat, ancient myths, farming and faith, kinship and land, imagination and exhaustion, queer ecologies, climate justice, sustainable energy, imprints of environmental colonialism, risk assessment and equity, and our entrenched entangled relationship with pollution.


Kalliopi Tsipni-Kolaza is an independent curator and researcher based in Athens, Greece.
She studied English Language and Literature at the National Kapodistrian University of Athens and she holds a Masters degree in Visual Culture from the University of Westminster in London. In 2014-2015 she was part of CuratorLab at Konstfack University of Arts, Crafts and Design in Stockholm.
Between 2012- 2015 she held curatorial positions in public art institutions in London including at the Serpentine Galleries, The Architecture Foundation and the Contemporary Art Society. In 2015 she received the Forecast Platform Curatorial Award. In 2016-2017 she worked as a Curatorial Assistant for documenta14 in Athens and Kassel.
Her interests span a wide range of topics, especially where societal issues are implied, and converge around time-based art, performance, sound and film.
Curatorial projects include: Orange Trees that Talk, a mediated performance by Cooking Sections, Botkyrka Konsthall, Stockholm (2015), Sonic Revolutions Vibrations from the Levant, Haus der Kulturen der Welt Berlin (2016), Litany for Amplified Voices, Bridges Festival, Thessaloniki (2019).
In 2018, she co-founded miss dialectic together with Klea Charitou, Eleanna Papathanasiadi and Evita Tsokanta, an art operator that aims to support artistic and curatorial research with a strong focus on education and the production of new work through interdisciplinary collaborations.