Year 2013

For it's 22th Session, the École du MAGASIN was composed by 6 participants from France, Greece, India, Italy and Russia


Michela ALESSANDRINI (born in 1987, Italy) 

Kanika ANAND (born in 1984, India) 

Laurie CHAPPIS PERON (born in 1989, France)

Carmen STOLFI (born in 1985, Italy)

Ekaterina SHCHERBAKOVA (born in 1990, Russia) 

Dimitra TSIAOUSKOGLOU (born in 1984, Greece) 


Session 22 project

«I lie to them.» Based on a true story


What moves us, irks us, makes us think, emote or react? What drives the need to acknowledge a past event or person, a story neglected or silenced, one that is considered unpopular? Can the retelling of marginal histories represent a form of resistance? The exhibition “I lie to them.” Based on a true story explores the effectiveness of fiction in re-telling, rerepresenting and re-enacting traumatic experiences and unofficial histories. The artists blur the boundaries between the real and the fake, employing strategies of manipulation to create new narratives appropriated from archives, news images or war witness accounts; while questioning both the medium and source’s authenticity. But how do we know what is true if the narration of the story changes every time? The act of retelling presupposes different degrees of comprehension that ‘occupy’ and control the flow of (hi)story by taking a stand in its construction and production of meaning. As for the gathered artworks, are they simply some other subjective versions added to the plethora of stories used by the authorities or the media? Can their inherent creation processes recall the lies, the alleged truths to which we are exposed almost daily? In order to comment on or transmit a traumatic experience, such as a war, do we need to have survived or witnessed it? Within the exhibition, the constellation of fragmented narratives refers back to historical tragic events; for instance from the Second World War or the conflict in Bosnia-Herzegovina to the current state of fear caused by terrorism or social displacement. Retelling establishes a new relationship with History within the context of the exhibition and unfolds on three levels- the disconnection between the actual trauma and the narration of its experience, the (thematic) leveling of historical content of the narratives within the exhibition and the continuing relevance of re-reading these narratives as a reflexive tool that mirrors today’s state of precariousness.


MAGASIN’s auditorium will become an exhibition space where a selection of artworks will be presented: Riikka Kuoppala's film reclaims minority voices left behind when an event has made official History, and focuses on the effects of past trauma on collective identity. Agnès Geoffray draws from archives and media reportage, of which she deliberately confuses the original source as a way to reiterate the ambiguity between the simulated and the real. Bani Abidi's ten flip-books which document a day in the life of a retired political speech writer, deals with repression and free expression, and the fabrication of history. In his video, Omar Fast edits clips from CNN’s “talking heads” so that each word is spoken by a different newsperson. This anxious new address demonstrates the mutability of information and language. The work asks the viewer to question media authenticity and authority and addresses the audience’s experience of news, particularly the language of fear. Through his series of fake bombs, David Ter-Oganyan criticizes the way media use the post 9/11 rhetoric to maintain a climate of hysteria and suspiciousness. Drawing on these fears and proving biological warfare ineffective, Critical Art Ensemble’s filmed performance is a recreation of an experiment by the British army in 1952 wherein they attempted to use plague as a weapon. In Mladen Miljanovic’s film, members of a special police unit, arrest his Professor and escort him to a police station in handcuffs for an interrogation, while the entire operation was monitored from above by helicopters. The re-enactment of violence and the staged arrest are a comment on the war in Bosnia-Herzegovina and reflects the power of the artist’s narration to manipulate reality.


An exhibition and online project by Session 22 of the École du MAGASIN Michela Alessandrini, Kanika Anand, Laurie Chappis Peron, Carmen Stolfi, Ekaterina Shcherbakova and Dimitra Tsiaouskoglou.

Advisor : Caroline Soyez-Petithomme

From June 9th to September 1st, 2013





Kanika ANAND





Year's website


Caroline Soyez-Petithomme

External speakers

Giovanni CARMINE,
Natasa ILIC,