LIMBO 93 (This Too is Paris) is an ongoing multidisciplinary project that combines photography, poetry, documentary filmmaking, sound art, and collaborative practices. Initiated in 2021 by Kat Redkind, it documents life in the northern suburbs of Paris — a territory often ignored, misunderstood, or reduced to stigmatizing stereotypes.
Blending personal narrative and sociological research, the project explores liminality: the condition of existing in the in-between, - between countries, cultures, and identities. Both an immigrant and an artist, Redkind herself inhabits this liminal space, using her practice to transform uprootedness into visual and poetic form.
Historically, the term limbo originates from the Latin limbus, meaning “edge” or “border.” In Christian theological imagination, limbo described a threshold state — neither heaven nor hell — a suspended condition between worlds. Although never formalized as doctrine, the idea endured as a metaphor for unresolved transition.
In this project, limbo operates on both levels: as a spiritual archetype of suspension and as a socio-political reality. It names the condition of being positioned between systems, between recognition and invisibility, between belonging and exclusion. This tension — of being held at the edge while yearning for movement — forms the conceptual foundation of LIMBO 93.
But it should have been Uber Eats.
MY PERSONAL LIMBO
The project is inseparable from my lived experience as an immigrant in France and as an artist. For years, I have existed in a state of liminality — navigating structural instability, social displacement, and the fragility of artistic survival. Living in the northern suburbs of Paris, I have witnessed and embodied the tension between progress and stagnation, hope and despair.
For me, LIMBO 93 is not merely a project — it is an exploration of what it means to exist between worlds — an ongoing existential inquiry into displacement, identity, and survival. It is also a strategy of endurance within the precarious condition of an immigrant artist from the global periphery, negotiating survival while refusing to abandon artistic integrity.
I feel like a whole fucking cemetery of Montparnasse.
Je recommence à zéro:
I’m not a good girl anymore
After my exile in the Limbo.
Bad girl is not enough
For a good guy to love.
Good guy needs to go forward,
Bad girl needs no coward
Le temps figé
sans témoignes.
CCTV n’enregistre pas tes rides.
Le temps se fige ici,
mais la vie passe vite.
Vous brûlez au feux doux
Dans le confort absolu
d’où votre indifférence.
……………………………….
(Ajoutez votre ligne qui rhyme)
Ça te rend parano
quand tu descends dans le métro.
Entouré par l’autrui
T’oublies que t’es à Paris.
Regarde dans nos yeux:
Il n’y a pas de danger,
Il n’y a qu’un mur.
Amin Maalouf “Les identités meurtrières
Through film and sound, the project deepens its engagement with lived experience, amplifying voices that are often marginalized while connecting personal trajectories to collective realities. This expansion strengthens the multidisciplinary framework of LIMBO 93 and offers a more layered understanding of what it means to inhabit a state of liminality.
LIMBO 93 continues to evolve. I remain present in the territory — photographing the suburbs, exploring their overlooked spaces, writing poetry, and living in Seine-Saint-Denis. The project grows through proximity: through conversations with neighbors, shared histories, and the gradual collection of stories that might otherwise remain undocumented.
The next phase of the project focuses on research and collaboration with sociologists and artists based in Saint-Denis, expanding the work beyond my personal artistic experience. A central future development is the creation of an archive of what I call “never-made art.” This is an intention and a direction of research. It will gather works imagined or partially created by individuals who have never had the chance to be called artists due to poverty and economic constraint.
“Never-made art” refers to creative potential interrupted by material conditions — drawings never completed, music never recorded, texts never published, practices abandoned in order to survive.
LIMBO 93 positions itself as both personal testimony and collective inquiry — a practice concerned with artistic survival, socio-political critique, and the possibility of cultural recognition.