Interview with artist and teacher Keiko Murakami about her students’ concert from the Sound Exploration module, held during the 2026 Spring Festival at Le 19, Crac.

Keiko has been teaching modern and early flutes at the Conservatoire du Pays de Montbéliard since 2022. On Saturday, March 28, 2026, four of her students take over the exhibition Le vide en main by Silvana Mc Nulty to explore the notions of matter, space and perception. Drawing inspiration from the artist’s works, the students examine their relationship to the various sounds that everyday objects can produce, as well as the gestures that result from their use.

Watch the video here

Duration: 2 minutes 40 seconds
Photo credit: Le 19, Crac – Silvana Mc Nulty © ADAGP, Paris, 2026

Sandbox Exhibitions
by Adeline Lépine-Delaborde

Between 2025 and 2026, our director Adeline Lépine-Delaborde contributed to the development of Volume 4, Exhibition as Method, of the online journal Metode with an essay on our so-called “sandbox” summer exhibitions.

Metode publishes essays in the fields of art and architecture. The platform is organized by ROM for kunst og arkitektur. Each new volume begins with an open call for contributions, followed by nine months of collective writing and peer review involving the ten or so selected authors.

Metode is led by Ingrid Halland (Editor-in-Chief), Gjertrud Steinsvåg (Project Director), and Solveig Tjetland (Editorial Assistant). The 2026 authors were also supported by Björn Nilsson and Karoline Kjesrud.

The ten essays included in Exhibition as Method approach exhibition-making as a practice that unfolds over time and continues well beyond the closing of the display moment—particularly through its relationships to places, people, artists, and audiences.

In the essay Sandbox Exhibitions, the aim is to show how the summer exhibitions at 19, Crac function as mediators between the art center and its environment—between people, ideas, and objects (artworks, but not only). It explores how these exhibitions become situations that reveal, activate, and regenerate the institution’s social and historical relationships to its context and its users.

Read Metode volume 4
Read Sandbox Exhibitions

Photo credit: Installation by fem_arc, Hosting Space, Hordaland Kunstsenter, 2023, photos by Runa Hallerker, Sketches by Maike Statz.

Interview with the artist Laura Molton about her work Remonter les rivières [Going upriver], on the occasion of the exhibition Zones de (non)être.

The artist’s films and installations take the form of investigations into waterways, listening bodies, invisible pollution, and ambivalent attachments to the land. She is particularly interested in staging phenomena of sonic resurgence.

In Remonter les rivières [Going upriver], she explores the memory of La Hague in Normandy and gathers testimonies from residents marked by the nuclear contamination of local streams. Their accounts intertwine personal memories, local history, and anti-nuclear struggles.

Watch the video here

The work highlights the contradiction between industrial progress and the destruction of ecosystems, reactivating debates surrounding the energy crisis and the responsibility of the French state. The film sheds light on forms of resistance since 1966 and restores a voice to bodies and communities. Molton thus offers a reflection on care, collective memory, and possible futures.

Duration: 5 minutes
Photo credit: 19, Crac

Invitation to the 19 is a podcast produced by *Duuu Radio in partnership with the 19 Crac, Regional Contemporary Art Center of Montbéliard.

In 1921, the Peugeot company acquired a plot of land at 19 avenue des Alliés in Montbéliard. The industrial building, with its emblematic metal framework, would go on to live several lives. But it was from the 1980s onward that the desire for contemporary art became firmly established, turning into a major focus of local policy and, by extension, of the building’s redevelopment.

In 1995, the 19 Regional Contemporary Art Center moved into this former Peugeot repair workshop, with Philippe Cyroulnik taking over its direction. The building was transferred to the City of Montbéliard in 2009, becoming part of the municipality’s industrial heritage and undergoing significant renovation work, notably on its façade. In 2016, Anne Giffon-Selle became the new director of the art center, succeeded by Adeline Lépine in 2022.

Awarded the “Centre d’art d’intérêt national” label by the French Ministry of Culture, the 19, Crac has been working for 30 years to promote and produce contemporary artworks. Mediation activities hold a central place in all its actions, alongside residency projects. Like the artistic program, they contribute to an ongoing dialogue between the venue and its local area.
In 2025, to celebrate this additional decade, the 19 team launched a call for memories, inviting everyone to share an anecdote or meaningful event connected to the venue. The collected testimonies weave together the collective memory of the 19 over time and highlight the artistic imprint of the art center within the cultural and social landscape.

Listen to the podcast here

The 19 thanks France Acquart, Stéphanie Bunod, Arnaud Clety, Sylvie Daval, Tarsila Delaborde, Fatou Diongue, Anne Giffon-Selle, Hana Jamaï, Brandon Koziol, Fanny Maugey, Sandra, and all anonymous contributors for their testimonies. The sound excerpts were recorded during Emilie Škrijelj’s Glitch concert on June 21, 2025, during the C’PARTY, the anniversary celebration of the 19, Crac.

Editing and mixing: Aurore Portales
Duration: 13 minutes
Photo credit: 19, Crac

Interview with the artist Maeva Totolehibe about her works Les fantômes ont soif [Ghosts are thirsty] and Dans un paysage qui ne me compte pas [In a landscape that does not include me] on the occasion of the exhibition Zones de (non)être [Zone of (non)being].

Artist and poet, Maeva builds her work from missing histories, vanished figures, and lost landscapes. Through her narrative installations, she brings to light small, often invisible lives, where emptiness becomes a space of resonance. Her practice connects her Malagasy heritage to the Landes forest, a territory where she does not feel recognized.

The body becomes a transducer of memory and territory, as in the locks of hair in Les fantômes ont soif. They refer to the Malagasy ritual of Sangory, in which cut hair symbolizes a rite of passage. In Dans un paysage qui ne me compte pas, she evokes the gemmeur’s clog, a rural emblem of the region. She engraves into it signs from her childhood: television, the CAF (Family Allowance Fund), and a map of Madagascar.

Watch the video here

In her book Solastalgie, she writes: “We are not children of the land, but of the neighborhood,” giving voice to the discomfort of a denied belonging that connects the gestures in her work.

Duration: 2:20 minutes
Photo credit: 19, Crac