Gabriela Carneiro da Cunha, Eryk Rocha

For the past four years, the Festival d'Automne opens its program to artists or collectives, making a gesture both artistic and policy. The Carte Blanche becomes a field of experimentation, conducive to crossing of aesthetics, the circulation of ideas and the public. 
For two weeks, the Festival invites the Casa do Povo, a unique Brazilian art center, to invest the Maison des Métallos in the 11th arrondissement of Paris. On this occasion, the Festival d'Automne experiments with new forms of conviviality, and inaugurates for the first time a HQ, open to upheavals and collective reinvention.

In communities of the diaspora, music can be a powerful tool for collectively preserving memories. Along with storytelling, traditional languages, and dancing, songs can represent a living home for stateless nations.

La Cour des petits-parents is a play and care space for children and parents conceived by artist and educator Graziela Kunsch, inspired by Emmi Pikler’s educational approach and Ute Strub’s sand-based experiments. 

On the occasion of this Carte Blanche, Publications Studio Métallos is born—an ephemeral space resulting from the collaboration between Publication Studio Paris / After 8 Books and Publication Studio São Paulo / Parquinho Gráfico, set up at Casa do Povo. 

Rooted in African and Afro-Brazilian cultures, members of the Ilú Obá De Min collective are coming to Paris for the first time. Founded in 2004, this collective now brings together nearly 400 women and opens the São Paulo carnival each year with its percussionists, dancers, and stilt walkers, always paying tribute to Black female figures.

On the occasion of L'École du soir—new cycle of thought imagined by the Festival d'Automne and the Centre Pompidou, in complicity with Felwine Sarr — a series of meetings and workshops unfold around the question "A common life", whose first meeting will take place on October 19 at the Théâtre de la Ville with Judith Butler.

Major artist of the contemporary theatrical scene, the author, director and performer Carolina Bianchi offers a one-day workshop around Sarah Kane’s texts and her research, mixing reading and writing practice.

The Brazilian director Martha Kiss Perrone, a close collaborator of the Casa do Povo, leads the sick residence.vitale.

Born in the early 2000s in the southern neighborhoods of Los Angeles, krump is an improvisational dance style based on percussive movements, body isolations, and intense emotional expression. As a practice of empowerment and transformation, it channels both individual and collective tensions through the body. 

In a ritual-like performance piece, Brazilian director and researcher Gabriela Carneiro da Cunha uses the chemical-based processes of photographic development in order to bring to light the mercury contamination of the Tapajós River.

In communities of the diaspora, music can be a powerful tool for collectively preserving memories. Along with storytelling, traditional languages, and dancing, songs can represent a living home for stateless nations.

La Cour des petits-parents is a play and care space for children and parents conceived by artist and educator Graziela Kunsch, inspired by Emmi Pikler’s educational approach and Ute Strub’s sand-based experiments. 

For the past four years, the Festival d'Automne opens its program to artists or collectives, making a gesture both artistic and policy. The Carte Blanche becomes a field of experimentation, conducive to crossing of aesthetics, the circulation of ideas and the public. 
For two weeks, the Festival invites the Casa do Povo, a unique Brazilian art center, to invest the Maison des Métallos in the 11th arrondissement of Paris. On this occasion, the Festival d'Automne experiments with new forms of conviviality, and inaugurates for the first time a HQ, open to upheavals and collective reinvention.

On the occasion of this Carte Blanche, Publications Studio Métallos is born—an ephemeral space resulting from the collaboration between Publication Studio Paris / After 8 Books and Publication Studio São Paulo / Parquinho Gráfico, set up at Casa do Povo. 

A group of people gather around a table for one last meal. One of them announces their imminent death. Taking its inspiration from the Last Supper, the MEXA collective invites the audience of the Carte Blanche Casa do Povo to a banquet performance, a piece which looks into the memory of the deceased and the need to tell their stories.

Rooted in African and Afro-Brazilian cultures, members of the Ilú Obá De Min collective are coming to Paris for the first time. Founded in 2004, this collective now brings together nearly 400 women and opens the São Paulo carnival each year with its percussionists, dancers, and stilt walkers, always paying tribute to Black female figures.

On the occasion of L'École du soir—new cycle of thought imagined by the Festival d'Automne and the Centre Pompidou, in complicity with Felwine Sarr — a series of meetings and workshops unfold around the question "A common life", whose first meeting will take place on October 19 at the Théâtre de la Ville with Judith Butler.

Major artist of the contemporary theatrical scene, the author, director and performer Carolina Bianchi offers a one-day workshop around Sarah Kane’s texts and her research, mixing reading and writing practice.

Born in the early 2000s in the southern neighborhoods of Los Angeles, krump is an improvisational dance style based on percussive movements, body isolations, and intense emotional expression. As a practice of empowerment and transformation, it channels both individual and collective tensions through the body. 

The Brazilian director Martha Kiss Perrone, a close collaborator of the Casa do Povo, leads the sick residence.vitale.