Cité Internationale des Arts

2020 Announcement


We’re delighted to announce with winners of the 2020 Cite Internationale des Arts Residencies who will be travelling to Paris next year to develop their projects in an environment thriving with community and creativity. Our winners are Sara Morawetz, Lauren Carroll Harris, Mish Grigor and Alexander Cigana. Continue reading to find out more about their residency projects. 


Sara Morawetz



Sara Morawetz is an interdisciplinary artist whose work explores the processes that underpin scientific action, examining how these concepts can be leveraged through artistic inquiry. Interested in the ‘Scientific Method’ and its philosophical implications, her work is devised to test and expose the internal processes of methodological labour. Her practice examines how concepts of observation, experimentation, method and standardisation operate as both scientific and cultural apparatus, exploring the dichotomies inherent in these dual perspectives.

Her recent projects have incorporated diverse collaborations between the arts and sciences, including partnerships with scientists from NASA, MIT and NIST.

Sara’s work has been exhibited throughout Australia and internationally including exhibitions at the Museé des Arts et Métiers (Paris), the Australian Consulate-General New York (New York) and RAPID PULSE International Performing Arts Festival (Chicago). She was the 2016 winner of ‘the churchie’ National Emerging Art Prize, the 2017 Vida Lahey Memorial Travelling Scholar (QAGOMA Foundation) and a recipient of funding from the Australia Council for the Arts.


Sara’s Cité project

In 2018, Sara Morawetz staged a performance across France and Spain called étalon ( – a 112-day, 2,100km action that retraced the genesis of the metre as an Earth-bound metric. Accompanied by a team of female artists, she traversed the length of the Paris meridian – walking from Dunkerque to Barcelona to survey and document the curvature of the Earth. Hiking town-to-town, Sara and her team embarked on a study of the space between arbitrary points, deriving a new ‘metre’ borne of physical action and endurance.

During her time at the Cité, Sara will be re-examining the physical and emotional experience of étalon – seeking to transform the archive created during her performance into a publication and exhibition material.

In addition to this work, Sara will also be researching the shared colonial history between Australia and France as part of a new large-scale project currently in development.


Lauren Carroll Harris



Lauren Carroll Harris works as a broadcaster, producer and critic on Radio National’s The Screen Show. She has contributed writing to Cineaste, The Baffler, The Saturday Paper, The Lifted Brow, the Guardian Australia and Kill Your Darlings among others, and has exhibited across Sydney and Melbourne.


Lauren’s Cité project

As part of her Fellowship at the Cité, Lauren will be curating and researching the second season of Prototype – a new online platform for video art and short film – while immersed in the cinema culture of Paris. Prototype’s second season will engage deeply with artists making work beyond Australia’s eastern coast cities, connecting their work in a dialogue with local artists who now live overseas, in an outward-looking, internationalist program of experimental moving-image work. Lauren will also be working on a small series of essays of longform cultural criticism of contemporary art, film, politics and ideas.


Mish Grigor



The work of Mish Grigor is situated in the performing arts as a maker, writer and performer. Based in Melbourne since 2017, she has recently been announced co-director of APHIDS with Lara Thoms and Eugenia Lim. Passionate about the possibilities of collaboration, her focus is on new works of performance across a variety of contexts. Using autobiographical tools, humour, and fiction; she is intent on problematising the frames of power from which art and identity emerge.

She has presented her work or been commissioned by Sydney Opera House, Malthouse Theatre, Sydney Festival, Belvoir St Theatre, Artshouse, Sydney Theatre Company, Performance Space, Darwin Festival, PICA, Hong Kong Rep Theatre/West Kowloon Cultural District, Noorderzon Festival, Battersea Arts Centre,  Pan Pan (Ireland) and Forest Fringe, amongst others.


Mish’s Cité project

‘Class Act’ will be a performance that examines the intersections between class and protest. Using the recent Yellow Vest and Transport Strike protests as a starting point, the residency will be used to observe public actions and speak to witnesses and participants firsthand. Class and class solidarity will be the focus. ‘Class Act’ will borrow physical choreography from this research, and will consider what it is to move in and out of protest: literally, on a human scale, and figuratively, on a larger social scale. Using examples from Australia as a point of comparison, ‘Class Act’ will investigate what it means to stand alongside other members of the same social status, and what it means to speak to those ‘in power’.


Alexander Cigana



Alexander Cigana is in his third year of a PhD in Art History at the University of Sydney. His thesis is centred on the decorative arts in 18th-century Europe, but encompasses Ancient Greek religion, Venetian oratory, medical illustration, and more. In addition to research, Alexander has taught courses at the university on the Italian High Renaissance and Ancien Régime Europe. Alex has previously worked in art auction houses inclduing Sotheby’s Australia and Theodore Bruce, for the Moran Arts Foundation’s Doug Moran National Portrait Prize and Moran Contemporary Photographic Prize, and he will soon begin translating for the Fondation Jan Krugier in Lausanne.


Alexander’s Cité project

In Paris Alex will be conducting research for his dissertation:

Under the aegis of French taste, eighteenth-century Europe went wild for the ‘trophy’, a representation of objects ribboned or stacked together. No scale, medium, or theme survived the century without one, yet trophies remain overlooked. Why did people surround themselves with them? Why did artists deign to design them, or even aspire to glory through them? What worked? We must trace the trophy back to Archaic Greece, and follow its elaboration by the Romans, its daring adoption by Christianity, the bizarreries of its Renaissance revival, and its use by absolute monarchs. It emerges as an object of anthropological importance, speaking to uses of memory, marking, violence, power, technology, imagination, and knowledge, that are still ours.


About the Cité Internationale des Arts Residencies

The Cité residencies are competitive residencies open to applicants in three categories: artists/craftspeople; critics, art writers, art curators, art historians or art administrators and; staff of the University of Sydney, Museum of Contemporary Art and PhD research students of the Department of Art History & Film Studies and Sydney College of the Arts. The residency gives vital opportunities to learn in and from Paris, and from the astonishing cosmopolitanism of the Cité des Arts. We have committed to funding travel to Paris, service charges at the studios, and to contributing to living expenses for our winners. We could not have done this without the support of those alumni and friends who so generously supported our Cité appeal. If you missed that appeal and would like to give for future years, donations can be made via our website.