Emmanuelle Choin

I spent my childhood and my adolescence in Morocco, the most beautiful country in the world ... I like sleeping under the stars, taking bus trips, hiking, biking and kayaking. This freedom of movement at my own pace and the possibility to meet those who are different from myself is something I would like to share with my neighbors. I coordinate cultural cooperation programs and accompany young practitioners as they launch their careers and become autonomous.

Geneviève Houssay

I have built my life according to convictions that were established over time. In my career, I lived collectively, or not, in several places in France. I was responsible for several cinema programs and accompanied a number of collectives, organizations, artists and so on.

Khadija El Bennaoui

My desire to explore the world motivates my commitment to the arts and culture. The more I work professionally, the more I understood that arts and culture are more than just leisure activities. They are an invitation to confront oneself and to be self-critical, but more importantly they are an invitation to accept divergent opinions, or points of view that differ from one world to another, with all those differences represented culturally, socially and economically. In my free time, I like to grow plants, pick spices or go for long walks in nature.

Mylène Gaillon

I am passionate about art, literature and cinema. I spent a year in Mexico, which reinforced my interest in travel and photography (and also for the mescal). I worked for cultural institutions organizing exhibitions and cinema programming before I became interested in performing arts. I am not only obsessed by the desire to travel but also by the culture of tea.

Samar Khedy

I wad born in Lebanon and as a result of my personal history I have lived in many different places. I speak several languages, but my only mother tongue is Arabic. In recent years, questions of perception and representation have become especially pertinent to my professional and personal career. I am no longer interested in participating to "happenings" or in being "at the margins" or playing an important or crucial role in programming or for the other. I would like to build my life at the convergence of our cultural differences. The purpose of all this is to live the beauty of nature that we are part of.


Abd Alssattar El-Herek, Aglaé & Sidonie, atelier de l'image, atelier juxtapoz, Caetano, Chantiers du Réel, Danielle Kattar, Editions Le port a jauni, Eric Demech, Georges Daaboul, Guillaume Parmentelas, IOT records, La Brasserie Communale, la maison du chant, le grisbi, Lyne Strouc, Maison RC, Mathieu Régent, Nadine Helwi, Natasha Marie Llorens, salon avant-après, Théâtre de l’œuvre, Théâtre la cité, Vidéodrome 2, Yara Ebrahim,


Abdul Sattar Alherek, Alfons Alt, Anne Pons, Beatrice Lily Lorigan, Benoit Tabary, Carol Mansour, Catherine Vincent, Ex Nihilo, Ghaleb Kabbabe, Jean Pierre Maero, Jeanne et Moreau, Joseph Kai, Julien Valnet, Khaled Dawwa, Laurent Van Lancker, Lena Merhej, Lisa Mandel, LouBess - Bismark Osei, Lucie Bitunjac, Mathias Poisson, Mohamed Al Rashi, Myriam Boulos, No Border Kitchen, Pierre Monestier, Rassegna, Sibongile Mbambo, Sylvie Paz, Yasmina Er Rafass, Yugen Blakrok,

LouBess, Sporting Club Corniche – Les Dauphins,
Our Philosophy

Migratory movements have always existed, for both human and non-human species, a phenomenon that globalization has but accentuated. Today, these movements—primarily from South to North—are represented as static and through negative representations of the migrant.

This negative vision of the Other, nourished by political discourses that regularly mobilize rhetorics of fear and invasion, contributes on a daily basis to misrepresentation.

This rhetoric widens the gap between individuals and cultures by exacerbating competition between those considered to be superior and those considered to be inferior, or between the “strong” and the “weak,” and so on. We therefore prefer the term "visitor" to the term “migrant” in order to avoid any confusion with the prevailing rhetoric, even if we believe that the term “migrant” is linked to the natural world. In the end, are not we all visiting this earth?

Why make art in an emergency?

Because those who have experienced loss and absence need to express these experiences through artistic experimentation. The continuation of their artistic expression is a vital need.

Because forced displacement, precariousness and temporary isolation often produce an urgent need for artistic experimentation and reinvention.

Because it is important to always make space for creative expression in our lives and especially in times of emergency.

Why focus on creation in emergency?

Because we defend the plurality of artwork nourished by individual and / or collective experiences. These constitute the many voices of a common history in perpetual construction, deconstruction and reconstruction.

Because we want to create new common ground, spaces to meet and exchange, in order to stage a confrontation between ways of thinking and ways of living.

Because we believe in the solidarity of artists have with each other.

Because we believe in the solidarity and support of citizens and civil society, without constraints of nationality, territory, color, social class, belief and preferences.

Because we believe that our support, our actions and our words can contribute to the creation of plural and open societies.

Because we want to learn to listen.

Because we believe in the critical spirit of the human being.

Because the realization of this ambitious program will bring people together to produce an ever larger, more diverse, more generous family, one which is more open and more connected to the Other.

Because we advocate for direct and open relationships that promote listening and knowledge in order to build and experiment new management practices. Creations in Emergency organize meetings, film screenings, exhibitions, concerts, auctions and fundraisings, in Marseille and internationally in collaboration with cultural and civic structures.