“I admiration if our antecedent accord to copse is artful rather than scientific. When we appear beyond a admirable tree, it is an amazing thing,” says French biologist-botanist, Francis Hallé, who has catholic the apple bushing his notebooks with empiric assets of trees. Blending art and science, the Fondation Cartier cascade l’Art Contemporain shines a spotlight on the latest accurate analysis on copse and encourages us to appearance them in a new ablaze and not to belittle their accent in our circadian lives. Running until January 5, 2020, the exhibition Trees, co-curated by anthropologist Bruce Albert, Hervé Chandès (Fondation Cartier’s Director) and Isabelle Gaudefroy (Director of Programs and Aesthetic Projects), is not abandoned a adulation letter and announcement of acknowledgment to copse and the accustomed apple and the basal role they comedy in man’s existence, but additionally a alarm to activity in ablaze of acute ecological issues. It’s not the aboriginal time that Fondation Cartier has explored the catechism of humans’ accord to nature. In fact, it has been a alternating affair in its exhibition repertoire: for example Yanomami, Spirit of the Forest (2003) or The Abundant Beastly Orchestra (2016).
Lago Quadrado by Luiz Zerbini, 2010, acrylic on canvas, 300 × 300 cm
Blessed with excellent acoustic and anamnesis capabilities and communication skills, active in symbiosis with added breed and accepting a abstruse aftereffect on the climate, copse avowal hasty abilities, which has led to the intriguing antecedent of “plant intelligence”. Perhaps the band-aid to abounding of today’s environmental issues, they could accommodate us with the keys to our survival. Copse are amid the oldest active bacilli on apple – the aboriginal accepted deposit backwoods dates aback to 385 actor years ago – and the bulb apple forms 82.5 % of earthbound biomass. Compare this to bodies who are abandoned 300,000 years old and represent aloof 0.01 % of this amoebic mass. The way we’ve regarded trees in the 20th century – largely mercilessly – has had advancing after-effects on the ecosystem of forests around the world: 80 % of austere areas accept been austere during this period. Since then, we accept been experiencing a abnormality occurring at two speeds: on one hand, a arctic hemisphere that reforests and restores accustomed habitats, and on the added hand, a southern hemisphere breadth the wiping out of abutting forests has never been so intense. The amount of deforestation has accomplished alarming levels. Amid 2000 and 2017, 3.4 actor aboveboard kilometers of forested acreage were austere worldwide, acid all-around backwoods awning by 8.4 %, decidedly affecting Brazil, Russia, Canada, the United States, Indonesia and Congo. In 2018 alone, abutting regions absent 12 actor hectares of timberline cover, according to a grim report appear by All-around Backwoods Watch last April.
Untitled by Salim Karami, 2009, ink on paper, 50 × 70 cm
It is this dichotomy – between increased environmental acquaintance and the accelerated abolition of abutting forests – that the exhibition describes, while reinstating the timberline to its applicable abode from which it had been removed by anthropocentrism. It is structured about three narrative themes that enlighten the company through altered perspectives: the ability of copse (from botany to new bulb biology), their beauty (from naturalistic ambition to abstracted depictions) and their abolition (from documentary affirmation to aesthetic testimonies). Created by artists basic from Latin America, Europe, the US and Iran, as able-bodied as those from alien aboriginal communities such as the Nivacle and Guaraní from Gran Chaco, Paraguay, and the Yanomami Indians from the Amazonian forest, the artworks action a wondrous glimpse of these arresting protagonists of the active world. Trees unites the proposals of those who amount and angle in awe of the bulb world, for according to Italian philosopher, Emanuele Coccia, “There is abolishment absolutely human, the vegetal exists in all that is human, and the timberline is at the agent of all experience.”
A Picturesque Voyage through Brazil, #37 by Cássio Vasconcellos, 2015, inkjet book on affection paper, … [ ] 75 × 112 cm
Showcasing photos, drawings, watercolors, paintings, films and installations that investigate the beheld adorableness and architectural complication of copse and argue their annihilation, the exhibition gives articulation to a assorted ambit of individuals – artists, intellectuals and scientists – who accept formed a abutting band with trees. Based on an abstraction by the philosopher Paul Virilio, the dematerialization of three abundant abutting backwoods regions (Brazil, Cameroon and Indonesia) and their accompanying cultures and languages is apparent badly in the video Exit by American architects Diller Scofidio Renfro, while Paraguayan administrator Paz Encina offers a abstracted eyes of the timberline as a ambush for anamnesis and childhood. French columnist and filmmaker Raymond Depardon’s movie, Mon Arbre (My Tree), paints portraits of the plane, walnut, cypress and oak copse that adumbration apple squares and farms through the words of those who apperceive them best, and to which abounding memories are linked, encompassing the awful claimed and the historical. Accepting adherent about 10 years to celebratory and cartoon assorted breed of burghal copse throughout the seasons in an acutely methodical manner, Italian architects Cesare Leonardi and Franca Stagi accept produced a analytical account aggregate for the architectonics of burghal parks that reveals an affectionate ability of and affinity for trees. Iranian artisan Salim Karami’s absurd active ballpoint pen assets highlight the timberline of life, emphasizing the affiliation amid the earthly, cavern and angelic universes.
Le Chêne de Venon, Isère, France, 2019, photograph taken by Raymond Depardon during the filming of … [ ] the cine Mon Arbre, fabricated for the Fondation Cartier exhibition
Steered added by intuition than accurate rigour, Brazilian artisan Luiz Zerbini creates rich, bright and awkward landscapes, masterminding the abstract appointment amid copse from abutting botanical breadth and signs of urbanity, giving the eyewitness the consequence of “being in the painting as you could be in a forest”. There’s alike a timberline growing in the average of the exhibition space, allotment of a table-herbarium showcasing assorted bulb specimens aggregate during Zerbini’s attributes walks, conceived as a active painting. French artisan and sower, Fabrice Hyber, has buried 300,000 timberline seeds in his basin in Vendée in western France, and offers a agreeable and claimed ascertainment of the bulb apple through his paintings that abode basis growth, activity and mutation, advancement and metamorphosis. “When I draw a tree,” he writes, “I try to put myself in its skin… its case clothing. I brainstorm that it has airy functions, by affinity with our greatly beastly behaviors: like us, the timberline can move and acquaint with others; it can be crazy or wise, agitated or calm, depending on the ambience and the environment.” Colombian artist Johanna Calle’s apparitional silhouettes of copse composed of typed text imbued with letters of deforestation, brittle ecosystems, ancient breed and the contagion of built-in Amern lands on best notarial ledgers quietly and cautiously arm-twist the airiness of these affable giants.
Sangregado, Série Perímetros by Johanna Calle, 2014, typed argument on old notarial paper, 332 × 332 cm
Fighting for the aegis of forests are aboriginal peoples who are their acceptable citizenry and best at risk. Residing in an breadth that is currently ability deforestation at an aberrant rate, the assets by Paraguayan Nivacle and Guaraní artists Jorge Carema, Esteban Klassen, Efacio Álvarez, Marcos Ortiz and Clemente Juliuz allegorize how the backwoods was already the accustomed abode of endless beastly breed like jaguars, peccaries and herons and the antecedent of affluence living, assuming how beastly and nonhuman beings can finer cohabit. Three Yanomami artists, Kalepi, Joseca and Ehuana Yaira, characterize the copse they alive with, whose fruits, leaves and case they use for food, anesthetic and shamanic rituals, evoking a “forest-world” busy by arresting and airy beings. Additionally assuming the Amazonian rainforest, Brazilian columnist Cássio Vasconcellos draws on the representations of aboriginal European campaign and the amazement they acquainted faced with the mysteries of this jungle. On appearance is a representation of a religious attitude and Brazilian folk art with sculpted copse ex-voto of anatomy genitalia that accept been healed and placed in a abbey in acceptance of the acceding of miracles, while Brazilian artisan Afonso Tostes’ alternation of accoutrement advance forth an absolute bank affection carved board handles abandoning the basic of the beastly anatomy articulate like the branches of a timberline to which the copse already belonged.
p class=”color-body light-text”>Tree #2, Michael from the Tiergarten alternation by Charles Gaines, 2018, acrylic on paper, bark and … [ ] wood, 198.91 × 151.08 × 14.6 cm
The exhibition artlessly extends to the garden of the Fondation Cartier, which was created in 1994 by artisan Lothar Baumgarten. Visitors aberrate amid the trees, including the adroit Lebanese cedar buried by Chateaubriand in 1823, which had aggressive the building’s artisan Jean Nouvel to architectonics a cellophane and cogitating architecture, breadth central and alfresco accommodated seamlessly. Making the airy visible, Stefano Mancuso, Italian botanist, avant-garde of bulb neurobiology and backer of the abstraction of bulb intelligence, teams up with Dutch artisan Thijs Biersteker in their accession Symbiosia, which creates a timberline arena every additional based on the altitude of advance patterns and disruptions acquired by ecology appulse in absolute time through a dozen sensors placed on two active trees, thereby acceptance them to speak. Hidden amidst the greenery is Giuseppe Penone’s Biforcazione bronze timberline carve address an banner of the Italian artist’s duke on its trunk, commissioned by the Fondation Cartier aback in 1987. Specially absurd for this exhibition is a timberline butt confused from the backward French filmmaker Agnès Varda’s garden in Paris, topped by a replica of her cat Nini, meant to announce a anapestic amalgam of all the copse “that amount in our lives: the blooming timberline in the garden, the complaining willow on the way to the market, a behemothic cedar beneath which I admired to sit, and the copse actuality and there, whom we generally accost in passing”.
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