English version is lowerFondation Cartier pour l'art contemporain
261 boulevard Raspail (Paris 14)
TERRE NATALE
AILLEURS COMMENCE ICI
21 nov. 2008 › 15 mars 2009
« Avec Raymond Depardon, on se retrouvait sur la même question : que reste-t-il du monde, de la terre natale, de l’histoire de la seule planète habitable aujourd’hui ? » Paul Virilio
Tandis que le monde est à un moment critique de son histoire, où l’environnement conditionne ce que l’homme fait et ce qu’il va devenir, l’exposition Terre Natale, Ailleurs commence ici propose une réflexion sur le rapport au natal, à l’enracinement et au déracinement, ainsi qu’aux questions identitaires qui leurs sont attachées.
Alors que Raymond Depardon donne la parole à ceux qui, menacés de devoir partir, veulent demeurer sur leur terre, Paul Virilio expose la remise en cause de la notion même de sédentarité face aux grands phénomènes de migrations. La pensée de Paul Virilio est illustrée par la mise en scène des artistes et architectes Diller Scofidio + Renfro et Mark Hansen, Laura Kurgan et Ben Rubin.
L’exposition est ainsi conçue comme une confrontation, un dialogue contradictoire et complémentaire, entre Raymond Depardon, cinéaste et photographe, dont on connaît l’attachement à la terre, à la parole, à l’écoute, au monde des paysans et qui depuis toujours a fait le choix du politique et du poétique, et Paul Virilio, urbaniste et philosophe, qui depuis longtemps travaille sur la vitesse, l’exode, la fin de l’espace géographique, la pollution des distances.
Terre Natale
« Écoutons ces gens, qu’ils soient Chipaya, Yanomami, Afar, écoutons ces gens, et donnons-leur un peu la parole afin qu’on puisse les entendre s’exprimer dans leur langue, avec leur façon de parler, leur expression du visage. »
Raymond Depardon
L’enracinement, la relation qu’entretient une population avec sa terre, sa langue, son histoire s’incarnent dans la monumentale projection d’un film de Raymond Depardon spécialement réalisé pour cette exposition. Avec Claudine Nougaret, qui a accompli la prise de son, ils ont voyagé au Chili, en Éthiopie, en Bolivie, en France et au Brésil à la rencontre de nomades, de paysans, d’îliens, d’Indiens tous menacés de disparaître ou vivant en marge de la mondialisation. Ils prennent la parole dans leur langue maternelle, langue ancrée dans la terre – « je suis née dans ma langue » dit une femme – et déclarent leur colère et leur douleur face aux menaces et aux craintes qui pèsent sur leur existence.
« Venant de parcourir le monde pour ‹ donner la parole › aux […] minorités menacées […], j’ai éprouvé le besoin d’affronter le monde qui est le mien, celui de ‹ la maladie de la vitesse › que dénonce Paul Virilio. »
Raymond Depardon
Après avoir « donné la parole » et célébré ceux qui veulent demeurer, Raymond Depardon fait ainsi l’expérience de la globalisation et du rétrécissement des distances, qu’il raconte sous la forme d’un journal filmé sans parole. En 14 jours, d’est en ouest, seul avec sa caméra, il a fait le tour du monde en passant par Washington, Los Angeles, Honolulu, Tokyo, Hô Chi Minh-Ville, Singapour et Le Cap.
Ailleurs commence ici
« Parce que moi j’ai la nostalgie de l’ampleur du monde, de sa grandeur. »
Paul Virilio
Le journal de voyage de Raymond Depardon – dialogue à distance avec Paul Virilio – nous conduit vers la seconde partie de l’exposition, Ailleurs commence ici, réalisée sous la direction de Paul Virilio et scénographiée par les artistes et architectes américains Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan et Ben Rubin.
« La sédentarité et le nomadisme ont changé de nature. […] Le sédentaire, c’est celui qui est partout chez lui, avec le portable, l’ordinateur, aussi bien dans l’ascenseur, dans l’avion, que dans le train à grande vitesse. C’est lui le sédentaire. Par contre, le nomade, c’est celui qui n’est nulle part chez lui. »
Paul Virilio
Paul Virilio expose la remise en cause du pouvoir de demeurer. L’accélération des mouvements, « la grande mobilisation migratoire », remet en cause la notion même de sédentarité, puisqu’on estime que plus de 200 millions de personnes seront forcées de se déplacer d’ici 2050. Cet exode, sans précédent dans l’histoire humaine, intimement lié à la mondialisation et au changement climatique, rencontre la finitude de l’espace géographique, « la disparition de la grandeur du monde » avec la révolution des transports et des télécommunications. L’exode urbain succédant à l’exode rural, la réurbanisation du monde, ainsi que la nomme Paul Virilio, annonce l’apparition de « l’outre-ville », la ville de l’exil urbain, la ville du départ, à l’instar des gares, des aéroports et des futurs spatioports.
Ainsi, c’est l’avenir même de la notion de terre natale qui est questionnée par Paul Virilio. Cet « ailleurs commence ici », qui préfigure la mobilisation globale, est donné à voir dans l’exposition sous la forme d’un ouragan visuel d’images d’actualité, littéralement chorégraphiées sur une cinquantaine d’écrans.
L’ultime salle de l’exposition est entièrement consacrée à une cartographie inédite, qui offre une visualisation dynamique des migrations de population et de leurs causes à travers une projection circulaire créant un environnement immersif. Le visiteur se voit entouré par la projection d’une sphère tournant autour de la salle et qui, à chaque orbite, traduit et retraduit les différentes données migratoires sous forme de cartes, de textes et de trajectoires.
L’exposition bénéficie de la collaboration de François Gemenne, chercheur et enseignant à Sciences Po (Centre d’études et de recherches internationales) et à l’Université de Liège (Centre d’études de l’ethnicité et des migrations) sur les mouvements migratoires liés aux changements de l’environnement.
Commissaire général de l’exposition :
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NATIVE LAND
STOP EJECT
Nov. 21, 2008 › March 15, 2009
“Raymond Depardon and I both came around to this same question: what is left of this world, of our native land, of the history of what so far is the only habitable planet?” Paul Virilio
While the world has reached a critical moment in its history, where the environment conditions what humans do and what they will become, the exhibition Native Land, Stop Eject proposes a reflection on the notions of being rooted and uprooted, as well as related questions of identity. Whereas Raymond Depardon gives a voice to those who wish to live on their land but are threatened with exile, Paul Virilio examines and challenges the very idea of sedentariness in the face of the unprecedented migrations taking place in the contemporary world. Paul Virilio’s concepts are given form in a design by the artists and architects Diller Scofidio + Renfro, as well as Mark Hansen, Laura Kurgan, and Ben Rubin.
The exhibition is, therefore, a confrontation. It is at once a contradictory and complementary dialogue between filmmaker and photographer, Raymond Depardon, and urbanist and philosopher, Paul Virilio. Depardon’s work has often explored native lands, and, particularly, the world of farmers, giving value to speaking and listening. His capacity to combine both the political and the poetic is clear to anyone familiar with his work. Through his writing, Paul Virilio has spent much of his time working on notions of speed, exodus, the disappearance of geographic space, and the pollution of distances.
Native Land
“Let us listen to these people, be they Chipaya, Yanomami, or Afar. Let us listen to these people and give them a chance to speak, so we can hear them express themselves in their language, with their own way of speaking, their own facial expressions.”
Raymond Depardon
This notion of being rooted—the relationship that a population nurtures with its land, its language, and its history—finds its full expression in the monumental projection of a film by Raymond Depardon, made especially for this exhibition. Accompanied by sound engineer, Claudine Nougaret, Depardon travelled to Chile, Ethiopia, Bolivia, France, and Brazil to meet with nomads, farmers, islanders, and indigenous peoples, all of whom were either threatened with extinction or living on the periphery of globalization. They express themselves in their mother tongue languages, anchored in their native soil (“I was born in my language,” says one woman), and voice their anger and pain in view of the numerous threats and fears that plague their lives.
“After travelling all over the world to ‘give a voice’ to […] endangered minorities […], I felt the need to confront my own world, one that is suffering from the ‘disease of speed’ denounced by Paul Virilio.”
Raymond Depardon
Raymond Depardon thus goes on to share his first-hand experience of globalization and the world’s shrinking distances in the form of a silent filmed journal. After celebrating and “giving a voice” to those who wish to remain on their land, he travelled to cities around the world from East to West in 14 days—Washington, Los Angeles, Honolulu, Tokyo, Ho Chi Minh City, Singapore, Cape Town—accompanied solely by his camera.
Stop Eject
“I’m nostalgic for the world’s magnitude, of its immensity.”
Paul Virilio
Depardon’s travel journal—a long-distance imaginary dialogue with Paul Virilio—brings us to the second part of the exhibition Native Land, curated by Virilio, and designed by American artists and architects, Diller Scofidio + Renfro, in collaboration with Mark Hansen, Laura Kurgan, and Ben Rubin.
“The nature of being sedentary and nomadic has changed. […] Sedentary people are at home wherever they go. With their cell phones or laptops, [they are] as comfortable in an elevator or on a plane as in a high-speed train. This is the sedentary person. The nomad, on the other hand, is someone who is never at home, anywhere. »
Paul Virilio
Virilio questions one’s capacity to settle somewhere and take root. The acceleration of movement or, using his terms, “the great migratory mobilization,”—it is estimated that roughly 200 million people will be forced to relocate by the year 2050—challenges the very notion of sedentariness. This exodus, unprecedented in human history, linked to globalization and to climate change, encounters the end of geographical space, or “the disappearance of the world’s vastness,” created by the current transportation and telecommunications revolution. The current urban exodus replacing the rural exodus of the past, the re-urbanization of the world, as Paul Virilio describes it, are factors that announce the emergence of the “ultracity,” the city of urban exile, the city of departure, similar to the train or bus stations and airports of today, or the spaceports of the future.
In this way, Paul Virilio questions the future of “native land” as a notion, reflected in the literal translation of the French exhibition title, Terre Natale, Ailleurs commence ici [Native Land, Elsewhere starts here]. This elsewhere that begins here prefigures global mobilization, and is illustrated through a visual tornado of news clips that are literally choreographed on almost 50 screens.
The exhibition’s final room is entirely dedicated to cartography, proposing a dynamic visualization of global human migrations and their causes via a circular and immersive projection. The visitor is surrounded by a sphere that circles the room, leaving behind a new imprint of migratory data in the form of animated maps, texts and trajectories with each orbit.
This exhibition has benefited from the participation of François Gemenne, researcher and professor of migratory movement linked to climate change at Sciences Po (Centre d’études et de recherches internationales) and at the University of Liege (Centre d’études de l’ethnicité et des migrations).
Chief curator: Hervé Chandès, General Director of the Fondation Cartier pour l’art contemporain.
STOP EJECT
Nov. 21, 2008 › March 15, 2009
“Raymond Depardon and I both came around to this same question: what is left of this world, of our native land, of the history of what so far is the only habitable planet?” Paul Virilio
While the world has reached a critical moment in its history, where the environment conditions what humans do and what they will become, the exhibition Native Land, Stop Eject proposes a reflection on the notions of being rooted and uprooted, as well as related questions of identity. Whereas Raymond Depardon gives a voice to those who wish to live on their land but are threatened with exile, Paul Virilio examines and challenges the very idea of sedentariness in the face of the unprecedented migrations taking place in the contemporary world. Paul Virilio’s concepts are given form in a design by the artists and architects Diller Scofidio + Renfro, as well as Mark Hansen, Laura Kurgan, and Ben Rubin.
The exhibition is, therefore, a confrontation. It is at once a contradictory and complementary dialogue between filmmaker and photographer, Raymond Depardon, and urbanist and philosopher, Paul Virilio. Depardon’s work has often explored native lands, and, particularly, the world of farmers, giving value to speaking and listening. His capacity to combine both the political and the poetic is clear to anyone familiar with his work. Through his writing, Paul Virilio has spent much of his time working on notions of speed, exodus, the disappearance of geographic space, and the pollution of distances.
Native Land
“Let us listen to these people, be they Chipaya, Yanomami, or Afar. Let us listen to these people and give them a chance to speak, so we can hear them express themselves in their language, with their own way of speaking, their own facial expressions.”
Raymond Depardon
This notion of being rooted—the relationship that a population nurtures with its land, its language, and its history—finds its full expression in the monumental projection of a film by Raymond Depardon, made especially for this exhibition. Accompanied by sound engineer, Claudine Nougaret, Depardon travelled to Chile, Ethiopia, Bolivia, France, and Brazil to meet with nomads, farmers, islanders, and indigenous peoples, all of whom were either threatened with extinction or living on the periphery of globalization. They express themselves in their mother tongue languages, anchored in their native soil (“I was born in my language,” says one woman), and voice their anger and pain in view of the numerous threats and fears that plague their lives.
“After travelling all over the world to ‘give a voice’ to […] endangered minorities […], I felt the need to confront my own world, one that is suffering from the ‘disease of speed’ denounced by Paul Virilio.”
Raymond Depardon
Raymond Depardon thus goes on to share his first-hand experience of globalization and the world’s shrinking distances in the form of a silent filmed journal. After celebrating and “giving a voice” to those who wish to remain on their land, he travelled to cities around the world from East to West in 14 days—Washington, Los Angeles, Honolulu, Tokyo, Ho Chi Minh City, Singapore, Cape Town—accompanied solely by his camera.
Stop Eject
“I’m nostalgic for the world’s magnitude, of its immensity.”
Paul Virilio
Depardon’s travel journal—a long-distance imaginary dialogue with Paul Virilio—brings us to the second part of the exhibition Native Land, curated by Virilio, and designed by American artists and architects, Diller Scofidio + Renfro, in collaboration with Mark Hansen, Laura Kurgan, and Ben Rubin.
“The nature of being sedentary and nomadic has changed. […] Sedentary people are at home wherever they go. With their cell phones or laptops, [they are] as comfortable in an elevator or on a plane as in a high-speed train. This is the sedentary person. The nomad, on the other hand, is someone who is never at home, anywhere. »
Paul Virilio
Virilio questions one’s capacity to settle somewhere and take root. The acceleration of movement or, using his terms, “the great migratory mobilization,”—it is estimated that roughly 200 million people will be forced to relocate by the year 2050—challenges the very notion of sedentariness. This exodus, unprecedented in human history, linked to globalization and to climate change, encounters the end of geographical space, or “the disappearance of the world’s vastness,” created by the current transportation and telecommunications revolution. The current urban exodus replacing the rural exodus of the past, the re-urbanization of the world, as Paul Virilio describes it, are factors that announce the emergence of the “ultracity,” the city of urban exile, the city of departure, similar to the train or bus stations and airports of today, or the spaceports of the future.
In this way, Paul Virilio questions the future of “native land” as a notion, reflected in the literal translation of the French exhibition title, Terre Natale, Ailleurs commence ici [Native Land, Elsewhere starts here]. This elsewhere that begins here prefigures global mobilization, and is illustrated through a visual tornado of news clips that are literally choreographed on almost 50 screens.
The exhibition’s final room is entirely dedicated to cartography, proposing a dynamic visualization of global human migrations and their causes via a circular and immersive projection. The visitor is surrounded by a sphere that circles the room, leaving behind a new imprint of migratory data in the form of animated maps, texts and trajectories with each orbit.
This exhibition has benefited from the participation of François Gemenne, researcher and professor of migratory movement linked to climate change at Sciences Po (Centre d’études et de recherches internationales) and at the University of Liege (Centre d’études de l’ethnicité et des migrations).
Chief curator: Hervé Chandès, General Director of the Fondation Cartier pour l’art contemporain.
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