View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009. © Diller Scofidio + Renfro, Laura Kurgan, Mark Hansen and Ben Rubin, in collaboration with Stewart Smith and Robert Gerard Pietrusko. Photo © Grégoire Eloy.
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Exhibition overview

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.

With works by:
  • Raymond Depardon,
  • Paul Virilio,
  • Diller Scofidio + Renfro,
  • Mark Hansen,
  • Laura Kurgan,
  • Ben Rubin

The exhibition in detail

Paul Virilio, 2008.

Raymond Depardon and I are both concerned with the same question: what is left of the world, of native lands, of the history of the only habitable planet today?

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 confronting the contemporary world.

Image gallery

View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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© Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan et Ben Rubin, avec la collaboration de Stewart Smith et de Robert Gerard Pietrusko

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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© Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan et Ben Rubin, avec la collaboration de Stewart Smith et de Robert Gerard Pietrusko

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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© Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan et Ben Rubin, avec la collaboration de Stewart Smith et de Robert Gerard Pietrusko

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© Luc Boegly

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View of the exhibition Raymond Depardon, Paul Virilio, Native Land, Stop Eject, Fondation Cartier pour l’art contemporain, Paris, 2008-2009

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© Diller Scofidio + Renfro, Mark Hansen, Laura Kurgan et Ben Rubin, avec la collaboration de Stewart Smith et de Robert Gerard Pietrusko

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© Luc Boegly

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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 the idea of native lands. His interest in mother tongue languages and his capacity to combine both the political and the poetic are clear to anyone familiar with his work. Through his writing, Paul Virilio has spent much of his time working on the notions of speed, exodus, and the disappearance of geographic space.