Research tarot. Non divinatory tarot for performative readings.
Working spread. 2018–2021


Cynthia Montier is French artist researcher and intervener living in Strasbourg.
Her work is anchored in the symbolic and civic forms of appropriation as they manifest themselves in the public space.
She attaches great importance to the place of belief and spirituality in vernacular, ritual and creative practices, in relation to social engagement, often in connection with scattered, uninformed or constituted groups, or with the different communities of practice that make up civil society. Strongly influenced by narratives and territories, their traditions and their narrative, semantic and symbolic charges, her work reinvests anthropological, popular, working-class, spiritual and militant methodologies to transcribe group experiences and knowledge that emerge from gaps and contrasts between environments.
Her approach is based on situated interventions and dialogical devices: conversation as an artistic form, transmission of know-how, ritual pedagogies. Through socially engaged artistic intervention, ritual, workshop, interview, investigation, visit, performance and editorialisation of devices, objects and multiples to be activated, his approach acts as a channel – between intercession and transmission – through which a dialogue and conversation can be built with or among distinct communities. Art as a collective experience and relationship as a form of intervention are the levers; the whole proceeds as much from a process as from a mediation through which sensory or intuitive knowledge can be transformed into material data.


Cynthia Montier est artiste chercheuse et intervenante basée à Strasbourg.
Son travail prend ancrage depuis les formes d’appropriation symboliques et citoyennes telles qu’elles se manifestent dans l’espace public.
Elle accorde une grande importance à la place de la croyance et de la spiritualité dans les pratiques vernaculaires, rituelles et créatives, en regard d’un engagement social, souvent en lien avec des groupes éparses, non-avertis ou constitués, ou encore auprès des différentes communautés de pratiques situées qui composent la société civile. Fortement influencée par les récits et les territoires, leurs traditions et leurs charges à la fois narratives, sémantiques et symboliques, son travail réinvesti des méthodologies anthropologiques, populaires, ouvrières, spirituelles et militantes pour transcrire des expériences et des savoirs de groupe qui émergent de décalages et de constrastes entre les milieux.
Sa démarche se déploie à partir d’intervention situées et de dispositifs dialogiques : conversation comme forme artistique, transmission de savoir-faire, pédagogies rituelles. À travers l’intervention artistique engagée socialement, le rituel, le workshop, l’entretien, l’enquête, la visite, la performance et l’éditorialisation de dispositifs, d’objets et de multiples à activer, sa démarche agit comme un canal — entre intercession et transmission — par le biais duquel peut se construire un dialogue et une conversation avec ou auprès de communautés distinctes. L’art comme expérience collective et la relation comme forme d’intervention sont les leviers ; le tout procède autant d’un processus que d’une médiation par laquelle une connaissance sensorielle ou intuitive peut se transformée en données matérielles.

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𝘈𝘤𝘵𝘪𝘷𝘪𝘴𝘮𝘦𝘴 𝘌𝘴𝘰𝘵𝘦𝘳𝘪𝘲𝘶𝘦𝘴 ; 𝘳𝘦𝘴𝘪𝘥𝘦𝘯𝘤𝘦 ➤ 49° 𝘕𝘰𝘳𝘥 6° 𝘌𝘴𝘵 𝘍𝘳𝘢𝘤 𝘓𝘰𝘳𝘳𝘢𝘪𝘯𝘦, 𝘔𝘦𝘵𝘻 (𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 2021)

« 𝘙𝘪𝘵𝘶𝘦𝘭·𝘭𝘦·𝘴 » ; 𝘦𝘹𝘱𝘰𝘴𝘪𝘵𝘪𝘰𝘯 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘷𝘦, 𝘳é𝘴𝘪𝘥𝘦𝘯𝘤𝘦 𝘦𝘵 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 ; 𝘢𝘷𝘦𝘤 𝘖𝘱𝘩é𝘭𝘪𝘦 𝘕𝘢𝘦𝘴𝘴𝘦𝘯𝘴 ➤ 𝘐𝘯𝘴𝘵𝘪𝘵𝘶𝘵 𝘥’𝘈𝘳𝘵 𝘊𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘪𝘯 𝘥𝘦 𝘝𝘪𝘭𝘭𝘦𝘶𝘳𝘣𝘢𝘯𝘦 (𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 2021)

𝘛𝘙𝘈𝘕𝘚𝘔𝘌𝘙𝘎𝘌𝘕𝘊𝘌𝘚, 𝘙𝘦𝘨𝘪𝘰𝘯𝘢𝘭𝘦 21 ; 𝘦𝘹𝘱𝘰𝘴𝘪𝘵𝘪𝘰𝘯 ; 𝘢𝘷𝘦𝘤 𝘔𝘢𝘵𝘩𝘪𝘦𝘶 𝘛𝘳𝘦𝘮𝘣𝘭𝘪𝘯 ➤ 𝘍𝘙𝘈𝘊 𝘈𝘭𝘴𝘢𝘤𝘦, 𝘚é𝘭𝘦𝘴𝘵𝘢𝘵 (𝘔𝘢𝘳𝘤𝘩 2021)

𝘌𝘴𝘰𝘵𝘦𝘳𝘪𝘤𝘢𝘭 𝘝𝘢𝘯𝘥𝘢𝘭𝘪𝘴𝘮 ; 𝘱𝘶𝘣𝘭𝘪𝘤𝘢𝘵𝘪𝘰𝘯 ➤𝘊𝘈𝘗 𝘗𝘶𝘣𝘭𝘪𝘤 𝘈𝘳𝘵 𝘑𝘰𝘶𝘳𝘯𝘢𝘭, 𝘜𝘳𝘣𝘢𝘯 𝘊𝘳𝘦𝘢𝘵𝘪𝘷𝘺, 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘺 𝘰𝘧 𝘓𝘪𝘴𝘣𝘰𝘯𝘯𝘦 (𝘔𝘢𝘳𝘤𝘩 2021)



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2020

*Get your own personal talisman at cynthiamontier@riseup.net
On the basis of a shared story, the artist creates a tailor-made key ring talisman.

2020

The device Diseuses de sort consists of a non-divinatory reading system based on a rune print elaborated by the two artists whose readings cross virtual makeshift devices that intertwine magic, art and resistance in socially engaged contexts. The readings are based on the principle of consultations and interviews by appointment.

*Contact contact.esotericogeography@gmail.com for a reading

2020

The Magic-Mediation Tarot is a non-divinatory and performative tarot designed by Cynthia Montier.

*Contact cynthiamontier@riseup.net for a reading
*Get yourself one copy on http://editionscartonpate.com/
[Each purchase of Tarot Magie-médiation includes a tarot reading]

2020

A series of talismans as key rings from the pebbles on the Sainte-Odile site with Odylus residents, who are temporarily occupying places. Doubles are then shaped and decorated with an engraving of the Kenaz rune. This rune shaped in a corner of a roof symbolises the domesticated fire, the torch, the flame, in connection with the hearth or the household: in the past, the population was counted in number of « fire » or luminous « hearths », therefore readable at night. Kenaz, lined and inverted to form a cross, corresponds to the rune Gebo which means hospitality, gift or attachment.

*Get yourself one on http://editionscartonpate.com/

2020

On one side, a series of precious, fetish or sacred objects, on the other, views from the rooms of the former Sainte-Odile clinic.
The ensemble is as much a whole as a mediation to operate in a collective egregore of personal belongings, amulets, talismans, gri-gri, family jewellery, or objects of burden or good luck charms collected with the residents and retranscribed in the form of building site banners to cover, adorn or adorn as an offering the dress and scaffolding of the former Sainte-Odile chapel.
The banners are hung with the residents in complicity with the site workers.

2020

Ritual workshop & performative urban visit at Université de Lorraine24 Septembre 2020, Jeudi des Quatre Temps The Tuesday of the 4 times, 4 groups of anonymous citizens gather to form a collective egregora, a political and spiritual body. The 4 groups wander through the city « traveling in spirit » with 4 tools to 4 diferent sites […]

2020

External Promises is a simultaneous urban and astral visit through different cities. External Promises — Fortune guide for disaffected places addresses the issue of disaffectec space, as a way of rethinking intimate space (assigned space, sacred space or conquered space) from a post-confinement perspective by applying it to the affective and political relationship to public space. What […]

2020

Graffiti Ouija No. 1 – Oracle Graffiti is a device to allow communication with the banished spirits of the city. It takes the shape of a Ouija board on the scale of a tunnel floor (13 x 3 m), inscribed on the ground with sign paint. While the municipality tries to make them disappear, wandering […]

2020

“Private is political“ is an online dispositive of conversation between women artists and researchers. Using chating or browsing apps, women invited meet virtually to exchange visual references about domestic art as work condition and about the presence of women in public sphere regarding intimacy and spirituality. This gathering is readable from both physical and digital […]

2020

Ritual of hopscotch – esotericogeographical attempt is a ritual initiated by Cynthia Montier & Ophelie Naessens, and activated from November 30 to December 01 on the occasion of the Rituals season of the Magasin des Horizons in Grenoble during autumn 2019.



« Oser dire magie, c’est célébrer l’évènement en tant que tel, c’est-à-dire le surgissement d’un possible, la sensation qu’a été défait quelque chose qui liait la pensée et la vouait donc à l’impuissance. »
— STARHAWK

« Toutes les villes sont géologiques et l’on ne peut faire trois pas sans rencontrer des fantômes, armés de tout le prestige de leurs légendes. Nous évoluons dans un paysage fermé dont les points de repère nous tirent sans cesses vers le passé. Certains angles mouvants, certaines perspectives fuyantes nous permettent d’entrevoir d’originales conceptions de l’espace, mais cette vision demeure fragmentaire. [..]
Ces images périmées conservent un petit pouvoir de catalyse, mais il est presque impossible de les employer dans un urbanisme symbolique sans les rajeunir, en les chargeant d’un sens nouveau. » — IVAN CHTCHEGLOV