The genesis of this enigmatic exhibition title

The title of this exhibition held at the Quai Branly comes from a text written in 1801 by the German writer Ludwig Hülsen. While observing a landscape, he describes his vision and how his eye was able to reconstruct a cohesion in a foreign landscape that was previously perceived in fragments. According to Chrisitine Barthe, the curator, the title thus invites the visitor to appropriate/re-appropriate images while questioning our ability to interpret visual information and our relationship to the notion of temporality.

The exhibition, divided into five parts with a preamble, opens with the spectacular work of Cameroonian Samuel Fosso, SIXSIXSIX, consisting of 666 Polaroid self-portraits, never before shown in their entirety. A way of instantly plunging the visitor into an unknown universe in which one gets lost. With these raw images, without retouching or make-up, the visitor is directly confronted with the question: Who is looking at whom?

Another work by Samuel Fosso entitled African Spirits can also be found a little further on in the third part of the exhibition, in which he embodies several key figures of African independence and of the African-American civil rights movement. These include Aimé Césaire, Malcolm X and Seydou Keita, among others.

First part of the exhibition: Is the image a stare?

The first part is made up of six series of photographs that approach the practice as a collection of visual fragments of reality. It reflects the fact that visual information can be interpreted in many different ways depending on how the photographic framing operation was approached. Photography can be a window to urban unrest as shown in the work of South African Guy Tillim in Harrara, Luanda or Nairobi, or a meticulous investigation, a way of collecting clues as revealed in Jo Ractliffe‘s photography. It can also be a way of recreating a particular atmosphere with colours, smells and emotions, as can be seen in the work of Mexican José Luis Cuevas.

Second part of the exhibition: Recognising yourself in an image

This section is based, among other things, on Santu Mofokeng’s seminal work, The black photo / Look at me, a slide show that reproduces historical photographs of the black South African bourgeoisie of the early 20th century. The South African artist addresses the question of the image as a means of identification, as a model, as a reference. These photographs show portraits of the black South African bourgeoisie at the beginning of the 20th century that had disappeared from our memories. The artist questions the conditions and meaning of these visibilities at the time they were made and today.

Third part of the exhibition: Images reflect on each other

This part, which constitutes the large central space of the exhibition, gives way to forms of visual narration. It deals with working methods, the way in which we associate images to create a story, and the way in which photography provokes speech. It includes works by Katia Kameli (France), several large-scale installations such as Brook Andrew’s Horizon (Australia) and Dinh Q’s Crossing the farther shore. Lê (Vietnam) . About the latter, it is a construction composed of several suspended photos forming a sort of refuge. Having lost all his family photos during his exodus, the artist tries to preserve a trace of South Vietnamese history after a large part of the population had to flee because of the Khmer Rouge invasion in 1978. He thus seeks to fill in the historical gaps with various photographs acquired during his travels in Vietnam.

Fourth part of the exhibition: Landscape stories

A fourth section presents several artists who practice in-depth investigations. The works offer possibilities for alternative stories related to specific but as yet little-known events in our history, where the image will act as a revealer of a situation or a questioning. Artists such as Sammy Baloji (Democratic Republic of Congo), Mario García Torrès (Mexico), Heba Y. Amin (Egypt), or the imaginary recompositions of Gosette Lubondo (Democratic Republic of Congo). Each explores in its own way the territorial question and the notion of appropriation associated with it.

Passages in time, last part of the exhibition

This part evokes various staggered temporalities. It shows how representations that are distant in time can suddenly take on a new relevance, be questioned, reactivated or reversed. We find, for example, artists such as Yoshua Okón, who offers an ironic rereading of Joseph Beuys’ performance I like America and America likes me, or Alexander Apóstol who, while visiting a house in Caracas in the 1950s, questions the transition to modernity in Venezuela. The Colombian artist José Alejandro Restrepo also illustrates this phenomenon by travelling to the mountains of Latin America to reproduce the journey of the explorer Alexander von Humboldt.

“Who is gazing”

Musée du quai Branly – Jacques Chirac

From June 30th – November 1st, 2020

37 Quai Branly, 75007

Paris

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The exhibition Our World is Burning offers a fully political view of international contemporary creation seen from the Gulf, where wars and diplomatic tensions have constantly determined the history of the early 21st century. The title explicitly refers to the human disasters generated by the successive conflicts in this region, while bringing in as broadly as possible the ecological catastrophes embodied by the immensely destructive forest fires from Amazonia to Siberia, without forgetting California. But fire is not just a statement of danger. Ambivalently, it is also a symbol of the formidable democratic élan experienced by this region during the Arab Springs.

From the destruction of Iraqi treasures (Michael Rakowitz) to the fate of Syrian refugees (Monira Al Solh) while taking in the financial backing of the Taliban through the exploitation of lapis lazuli (Asli Cavusoglu), “Our World is Burning” presents a complex intermeshing of events, to which the artworks allude while offering multiple poetic perspectives.

The exhibition opens with a reflexion on the issue of the Anthropocene (John Akomfrah, Yto Barrada, Raqs Media Collective) and the question of the use of natural resources (Monira Al Qadiri,  Sammy Baloji, Fabrice Hyber) in order to participate in the debate about the need to change our exploitative relationship with nature. 

It affirms that artworks have the ability to intervene by adopting a position when confronted with the disorders of the world. Fire then refers to the intensity of artistic creation – as in the pieces that are set in the heritage of popular uprisings in the Arab world (Shirin Neshat, Amal Kenawy, Bady Dalloul) and display a deep desire for social justice (Mustapha Akrim, Danh Vo, Faraj Daham, Kader Attia).

From a post-colonial viewpoint, the multiplication of historical narratives (Amina Menia, Bouthayna Al Muftah, Wael Shawky, Dominique Hurth) thus becomes a way to affirm alternative versions and thus to trace out the premises for a pluralistic society, with less hierarchical and more horizontal structures.

As part of the “Fragmenting the World” season proposed by the Palais de Tokyo in Paris, the exhibition highlights the exceptional collection of the Arab Museum of Modern and Contemporary Art (MATHAF) founded in 2010 from the private collection of His Excellency Sheikh Hassan bin Mohamed bin Ali Al Thani.

Engaged in a post-colonial approach, MATHAF insists on cultural exchanges and questions the artistic heritage of Qatar in relation to globalization. Advocating the development of modernity in the Arab countries, it is developing its activities in the educational field and aims to be an institution that is both localized and open in a world of multiple centres. MATHAF thus defines itself as a non-hegemonic and non-normative museum that calls for “new power relations and cultural translations” in line with the thinking of Okwui Enwezor.

Our World is Burning is an exhibition curated by Abdellah Karroum, director of Mathaf: Arab Museum of Modern Art in Doha, Qatar. Karroum previously founded L’Appartement 22 in Rabat in 2002 and curated the 2012 La Triennale alongside its artistic director, the late Okwui Enwezor.

Due to the evolution of the current health situation and following indications from the French government, this exhibition is suspended until further notice. 

With:

John Akomfrah, Mustapha Akrim, Francis Alÿs, Kader Attia, Mounira Al Solh, Bouthayna Al Muftah, Monira Al Qadiri, Sophia Al Maria, Sammy Baloji, Yto Barrada, Aslı Çavuşoğlu, Faraj Daham, Bady Dalloul, Inji Efflatoun, Khalil El Ghrib, Mounir Fatmi, Fabrice Hyber, Dominique Hurth, Amal Kenawy, Amina Menia, Shirin Neshat, Otobong Nkanga, Sara Ouhaddou, Michael Rakowitz, Younes Rahmoun, Wael Shawky, Oriol Vilanova, Danh Vo, Raqs Media Collective

Curator : Abdellah Karoum

Co-curator : Fabien Danesi

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