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dates : 21/11/08 - 15/03/09


tous les jours sauf lundi 11.00 - 20.00

mardi 11.00 - 22.00

prix: 6,50 € / 4,50 € tarif réduit


261 Boulevard Raspail

75014 Paris

tel: +33 (0)1 42 18 56 50

site: http://www.fondationcartier.com

plan: www.mappy.fr


Native Land : Stop Eject. The english translation of the exhibition subtitle remains a mystery. What do they mean by “Stop Eject”? “Ailleurs commence ici” would translate literally as “elsewhere begins here”, which I find evocative of travel, dreams and projects. But the subject of the exhibition is more serious.

Tall black curtains turn the otherwise bright ground floor spaces of the Fondation Cartier into dark formal rooms. In both dark spaces are shown completely different videos.

The first one is a documentary, reminiscent of an inventory of endangered human species: families living on remote islands, tribes on hostile land, all are tied to a place where there is very little hope for their future.

The second movie boils a round-the-world-trip down to just 14 days, with this strange feeling that people, filmed in hotels or on beaches, are more or less the same everywhere. Both video works are investigating notions of identity, or loss of identity.

Leaving these rooms though, I felt like they had barely touched an immense subject. I saw a world in decline on the one side and a monochromatic one on the other. Rather gloomy. Nothing in between these two positions. How about the exchanges and dialogues happening with migrations? Don’t they constitute a great enrichment of our cultures?

It’s only in the basement that the argument presented here became clearer. First, an installation by Diller, Scofidio + Renfro, Mark Hansen, Laura Kurgan et Ben Rubin displays TV images of illegal refugees crossing borders in despair; and to remind us that these migrations happen everyday. In place of sound track, we can hear Paul Virilio saying : “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.”

Finally the exhibition ends on a major piece of mapping, an incredible work of data collection and graphic translation on all the different aspects of migration: economic, social, but also climatic change and water level rise. All this makes for an impressive account of the state of our world.

All in all, this is an exhibition which exhibits facts, in an almost journalistic manner, yet absolutely essential.