"Être Nature" Tour
Duration: 1h
The Fondation Cartier’s collection reflects its commitment to the relationship between art and the living world. The trail below is a short version of the “Être Nature” section of the exhibition, proposing a stroll through works of different mediums and illustrating the collection’s diversity.
Film: Raymon Depardon, Donner la parole, 2008
A major figure in the international history of photography and documentary film active since the 1960s, Raymond Depardon gives a voice to those who are not generally heard in this film. He and Claudine Nougaret nurture reflection on language as principle of identity. They listen, film, and choose to give a voice to people whose native languages are vanishing – from the outskirts of major global cities to rural French regions, South American islands and the Amazon.
-
An installation: Solange Pessoa, Miraceus, 2004-2
In her work, the Brazilian artist Solange Pessoa uses plant- and animal-sourced organic material – earth, moss, blood, feathers, leather, fat, and more. This piece, whose title translates to “look at the sky”, is a monumental installation made of thousands of bird feathers. Its architecture echoes that of a tree transforming into a spiritual structure devoted to voodoo or shamanic rituals. The trunk at the center of the work represents an umbilical cord connecting ground and sky, reflecting a pantheistic view of life in which natural elements are considered as divine beings that interact with humans.
-
Photograph: Claudia Andujar, Casa Versa II, 1974
The Swiss-born, São Paulo-based artist, photographer, and activist Claudia Andujar has played a vital role advocating for the Yanomami people and the recognition of their land by the Brazilian government. Fascinated by their way of life, she stopped her work as a photojournalist to go live within this community in the Amazon rainforest, developing photography techniques in a quest to document their daily existence and capture the visions described by shamans. Her work Urihi-a captures the aerial view of a yano, the collective house of the Yanomami, surrounded by pink forest. In Yanomami cosmology, urihi represents the forest as a living entity connected to human and non-human beings and to spirits.
-
A painting: Sally Gabori Dibirdibi Country, 2009
The Aboriginal Australian artist Sally Gabori, a member of the Kaiadilt people, from Bentinck Island, began painting in 2005 at the age of over eighty in an art program for elders. In the space of a few years, she developed a powerful, abstract body of work, deeply rooted in her territorial memory. She drew inspiration from the landscapes and traditional stories of her island. Through broad surfaces of colors, the artist used an abstract style to depict banks, rivers, reefs, and stone fish traps. Combining personal and collective memory, her work pays tribute to the heritage and ancestral culture of the Kaiadilt people, who endured a brutal exile in the 1940s due to natural disasters and colonial pressure.
-
Jivya Soma Mashe, Fishnet, 2009
The self-taught artist Jivya Soma Mashe reinvented the painting of the Indian Warli community of Maharashtra, from which he hailed. This traditional practice, dating to 2500 BCE, was reserved for married women, who decorated the walls of their dwellings with depictions of ceremonies connected to harvest seasons and marriages. The first man to take to this art form in the 1970s, the artist preserved traditional techniques while creating a distinctive design style comprising geometrical forms drawn from his observation of nature, including farming, harvest, fishing, and animal scenes, renewing the themes traditionally painted by women.
A sound piece: Bernie Krause and Soundwalk collective, 2025
Since 1968, Bernie Krause has been exploring the living world through its soundscapes, drawing from his training as a musician and sound engineer to capture and study the organization of animal vocalizations. Today, more than half of the habitats he has recorded have gone silent or been transformed by human activity. This installation encompasses eight soundscapes of as many ecosystems. It is also a testament to a history of loss: in 2017, anticipating the threats to environmental science in the United States, Krause gave the Fondation Cartier a copy of his complete archives; a few months later, a forest fire destroyed his home and decades of audio recordings. This work is an invitation to listen and remember, to feel and reconnect with the vanishing voices of the earth.
Exposition Générale
Preorder October 1rst
Events
Change language
- English
- Français
- Arabic أهلًا بك في مؤسّسة Fondation Cartier pour l’art contemporain
- Deutsch Willkommen bei der Fondation Cartier pour l’art contemporain
- Español Bienvenida a la Fondation Cartier pour l’art contemporain
- Italiano Ti diamo il benvenuto alla Fondation Cartier pour l’art contemporain
- Japanese Fondation Cartier pour l’art contemporain へようこそ
- Chinese 欢迎来到Fondation Cartier pour l’art contemporain
- Korean Fondation Cartier pour l’art contemporain에 오신 것을 환영합니다