In extenso
7 MARCH 2025
An art space whose main goal is the promotion and support of artists. Among other things, by publishing a cultural magazine, this non-profit space is one of the most significant in Auvergne. Here’s what Katia, its director, tells us about In extenso:
An art space whose main goal is the promotion and support of artists. Among other things, by publishing a cultural magazine, this non-profit space is one of the most significant in Auvergne. Here’s what Katia, its director, tells us about In extenso:
In extenso is a non-profit, meaning we don't sell artworks. It is neither a commercial gallery nor an art center — it exists somewhere in between. We are entirely government-funded, receiving support from the state, region, metropolis, city, and Puy-de-Dôme department. The board consists of volunteers from the art world.
Our co-presidents are curator Liza Maignan and artist Nino Spanu. Among our salaried employees, we currently have a full-time director, Katia Porro, and a part-time project coordinator, Manue Bureau. We also collaborate with various contributors and volunteers for our editorial activities with La Belle Revue.
Our co-presidents are curator Liza Maignan and artist Nino Spanu. Among our salaried employees, we currently have a full-time director, Katia Porro, and a part-time project coordinator, Manue Bureau. We also collaborate with various contributors and volunteers for our editorial activities with La Belle Revue.
Financial aspect: how does this place sustain itself?
What is the aim of the association?
Its mission is to support and promote artists locally, nationally, and internationally. In extenso fosters an inclusive vision of art, collaborates with cultural institutions in Clermont, and raises awareness of creative approaches—particularly through La Belle Revue and a strong cultural network in the Auvergne-Rhône-Alpes and beyond.
In extenso was founded in 2002 by two L’ESACM graduates, aiming to share contemporary art through two main activities: exhibitions and publications. The first founder, Sébastien Maloberti, is an artist working at La Diode and co-founder of Les Ateliers. The second, Marc Geneix, is an artist who now lives outside Clermont.
How did it start?
In extenso Benefit Auction, Palais de Tokyo, December 2023
Between three and five. In extenso has often been associated with emerging artists, and we have presented many first solo exhibitions. However, our program has varied over the last 23 years, depending on artistic direction. Currently, I curate two to three exhibitions per year and develop partnerships with local institutions.
For example, we collaborate with the art school ESACM, where I teach a group of students throughout the academic year how to curate an exhibition, which we host in the spring. Another partnership is with the association Les Ateliers, where we present end-of-residency exhibitions of artists who have worked in their space.
For example, we collaborate with the art school ESACM, where I teach a group of students throughout the academic year how to curate an exhibition, which we host in the spring. Another partnership is with the association Les Ateliers, where we present end-of-residency exhibitions of artists who have worked in their space.
How many exhibitions are held in your space each year?
I can speak about its recent history and my own experience here, but one of the most significant events in recent years was the benefit auction at the Palais de Tokyo. Thanks to our network, we were able to organize this event there, with 158 artists participating. After an intense day, we raised enough money to secure our existence during a financially fragile period. It was also symbolically important for In extenso that one of the largest contemporary art institutions welcomed us to organize this event.
What are the most important events in the association’s history?
Alan Schmalz, 999 Governing Bodies, February-April 2024
We have many plans! For example, we rent an additional basement space in our building. Right now, it’s just an abandoned, raw basement with a dirt floor and a lot of mold, but we want to transform it into an additional exhibition space and develop new projects there.
But that is perhaps more like a dream at the moment… We also aim to expand our audience beyond the art community and invite a more diverse public through specific programming we are developing.
But that is perhaps more like a dream at the moment… We also aim to expand our audience beyond the art community and invite a more diverse public through specific programming we are developing.
What are the future plans for In extenso?
The selection process depends on the artistic direction in place. Our current director’s curatorial approach emphasizes the human and emotional aspects of working in the art world. She regularly travels to meet artists, maintains relationships, and develops collaborations over time.
Each director brings their own sensibility, which the association considers during recruitment. With each change in directorship, a new artistic vision emerges. Since we plan our program over a year in advance and prioritize artistic directors who develop their unique exhibition concepts, we do not accept open applications.
Each director brings their own sensibility, which the association considers during recruitment. With each change in directorship, a new artistic vision emerges. Since we plan our program over a year in advance and prioritize artistic directors who develop their unique exhibition concepts, we do not accept open applications.
How do you select artists for exhibitions?
Visit of the exhibition “Lier et laisser filer” by Silvana Mc Nulty, 2023
In 2022, we began collaborating with the graphic design duo Traduttore, traditore, who developed an experimental visual identity centered on transformation. The logo was conceived as a signature with trembling lines—white letters surrounded by black contours.
To reflect our role as an exhibition space that regularly hosts artworks, the designers created a system of "charms" that adorn the signature. These charms evolve over time, with new ones designed each year. There are three types: everyday charms, seasonal charms, and festive charms for special occasions.
To reflect our role as an exhibition space that regularly hosts artworks, the designers created a system of "charms" that adorn the signature. These charms evolve over time, with new ones designed each year. There are three types: everyday charms, seasonal charms, and festive charms for special occasions.
Can you tell us about the visual identity of In extenso?
It is a free contemporary art magazine founded by In extenso in 2009. The idea is to support and highlight art from what we call the Centre-France-Auvergne-Rhône-Alpes region through various sections: artist profiles, features on art spaces and initiatives, exhibition reviews, and thematic essays.
One of our newest sections, Dear Reader, invites people in the arts to write a letter—addressed to anything of their choosing, whether an artwork, a space, a mother, or a friend. In recent years, we moved beyond a strictly theoretical approach to art criticism and publishing, embracing more poetic and experimental practices.
One of our newest sections, Dear Reader, invites people in the arts to write a letter—addressed to anything of their choosing, whether an artwork, a space, a mother, or a friend. In recent years, we moved beyond a strictly theoretical approach to art criticism and publishing, embracing more poetic and experimental practices.
What is La Belle Revue?
La belle revue and its evolution
