Asinnajaq, Rock Piece (Ahuriri Edition), 2018. Courtesy of the artist
Reclaim the Earth
Apr 15 – Sep 4, 2022
Palais de Tokyo
Paris, France

Reclaim the Earth is a wake-up call, as much as a rallying cry. The origins of this collective exhibition can be found in an observation by its scientific advisor, Ariel Salleh: “Bringing ecology, feminism, socialism and Indigenous politics together means giving up the Eurocentric lens for a genuinely global one.” In its determination to think the world beyond the Nature-Culture divide, the exhibition follows the trajectories of artists with a different approach to elements – earth, air, fire, water, plants and minerals, irreducible to their mere materiality. They are both medium and tool – cultural, historic and political vectors being revitalized in a context of ecological emergency.

Fourteen artists, from different generations and cultural origins, examine links between body and land, our primordial human relation to soil and everything it nurtures, the disappearance of certain species, the transmission of Indigenous stories and knowledges, gleaning and collecting, or social justice and collective healing. These artists show us that we are not just “face to face with a landscape,” nor “living on Earth” but a part of it. We are indeed part of the great “soil community” as spoken by Rachel Carson, who gave birth to the ecology movement. We need to replace relations of domination and subordination, and to consider instead kinship and alliances, as “the Earth is neither a natural reserve, nor an agricultural resource, it is a skein of relationships between minerals, plants, animals and humans.” Our era needs to leave behind the obsolete model of an extractivist society and put humans back into their right place; no longer individuals separated from their environments, but “relational entities.”

The artists in Reclaim the Earth help us think and feel about a nature that is charged, intensified and active. They rummage the Earth, literally and metaphorically, transforming subterranean roots into aerial ones, foregrounding, even re-inventing, narratives that have been forgotten or reduced to silence. Léuli Eshrāghi, scientific advisor of the exhibition, thus emphasizes the need for reparation, care and healing among Indigenous cultures invalidated by colonialism. Drawing away from the Eurocentric vision, the artists imagine new connections with the living environment. Their actions form a complex assemblage of practices, across multiple scales: with land, with ancestors, with human and non-human life, as well as a conversation with visual culture. Of particular concern are Indigenous bonds with territory, but also social, cultural or spiritual conventions, testifying to the decolonial resurgence of knowing ‘how to think,’ knowing ‘how to do,’ and knowing ‘how to be in the world.’

  • Silke Schönfeld: No More Butter Scenes
    Jun 27–30, 2024
    Kunsthalle Münster
    Münster, Germany

    The video installation No More Butter Scenes (2024) examines the relationship between consent and intimacy in the context of the acting profession. In 2007, around 35 years after the premiere of Tango in Paris (1972), actress Maria Schneider spoke for the first time about the sexual abuse she experienced during the shooting of the infamous butter scene. Director Bernardo Bertolucci argued that it was only by not informing his leading actress in advance of how the scene with co-star Marlon Brando would take place that he was able to capture her authentic frustration and anger. (more…)

  • Hannah Villiger
    Apr 3 – Jul 22, 2024
    Centre Pompidou
    Paris, France

    Bringing together around 100 works and documents from the collections of the Musée National d’Art Moderne and the Estate of Hannah Villiger foundation, this monographic exhibition dedicated to Swiss artist Hannah Villiger is the first of its kind in France. It pays homage to an artistic practice that oscillated between sculpture, photography and spatial architecture, beginning in the early 1970s and evolving until the mid-1990s. (more…)

  • Max Beckmann
    Artist / Painter
    Featured Profile

    Max Beckmann (1884–1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. (more…)

  • What is Truth?
    Feb 17 – Oct 20, 2024
    Sainsbury Centre
    Norwich, UK

    This year, the Sainsbury Centre is investigating how we can know what is true in the world around us through a series of fascinating, interlinked exhibitions. The dynamic 2024 programme consists of four key, interlinked exhibitions – In Event of Moon Disaster, Liquid Gender, Jeffrey Gibson: no simple word for time and The Camera Never Lies – bringing together some of the world’s leading artists and creative thinkers, plus a new, interlinking publication. (more…)

  • Polly Braden: Leaving Ukraine
    Mar 15 – Sep 15, 2024
    Foundling Museum
    London, UK

    Polly Braden: Leaving Ukraine is an intimate portrait of women, forced to leave their homes following the Russian invasion of Ukraine on 24 February 2022. In this new series of work we see the extraordinary journeys undertaken by mothers, daughters, teenagers and babies in arms. Since the outbreak of the war in Ukraine, Polly Braden has used her camera to document the lives of women and children unexpectedly scattered across Europe. (more…)

  • Georg Kussmann: FRG

    The German dramatist Heiner Müller observed that German history lies as if smothered by a rheumatism blanket: beneath there is warmth and stagnation, just enough to give the impression all is well, while the peripheries are freezing. Georg Kussmann’s photographs in FRG were created under this metaphoric blanket. Made in the Federal Republic of Germany over a single summer, they depict everyday scenes of life, work, and leisure (more…)

  • A Model
    Feb 9 – Sep 8, 2024

    We all have ideas of what a contemporary art museum should be. Those who founded Mudam Luxembourg, for example, envisioned a museum that would encompass many aspects of contemporary culture, such as art, design and architecture. While one believes the museum to be a place for the presentation of modern art, others view it as a showcase for Luxembourgish creation. And some see Mudam as a space for collectivity, for openness, for events and an experimental approach. (more…)

Visit our New Announcement Submission page > Announcement Submission page >