Solo show
L’Ère du Verseau – Marcel Duchamp Prize, Centre Pompidou (2024-2025)Temple of Love – To Hide, KfW Stiftung (2024)
Maât and the tears of God – Aware Prize (2024)
Mentorship, Reiffers Art Initiatives (2023-2024)
Immortelles – A SUD (2023)
Blue Lights in the Basement, Nicoletti Contemporary (2022)
Temple of Love — To Hide, Kunstlerhaus Bethanien (2022)
Temple of Love — Atopos, MAC VAL (2022)
Mondes Subtiles, Air de Paris (2021)
Défixion, Musée Henri-Prades and MO.CO, Panacée (2020)
Hybris, galerie Untilthen (2018)
The Sea Says Nothing, openstudio Rijksakademie (2018)
Openstudio, Rijksakademie (2017)
C R I C C R A C, Centrale Gallery Powerhouse (2015)
Cric Crac (2015)
Group show
FEMMES, Perrotin Gallery (2025)The Last Place They Thought of, Kunsthal Mechelen (2024-2025)
Siren Songs, Villa Medici (2024-2025)
This is the time of sweet sweet change for us all, C-A-L-M Centre d’art la Meute (2024)
Van Gogh and the Stars, Fondation Van Gogh (2024)
Ritual in transfigured time – NW, Aalst (2024)
Temple of Love — Love To Love, New Museum (2021-2022)
Les Moyens du bord, La Vilette x Centre Pompidou (2020)
Le fil d’alerte, Fondation Ricard Prize (2019)
Culture Pop Marauders, Mains d’Oeuvres (2016)
Potomitan, Tour Panorama (2014)
Temple of Love
Temple of Love – Tutti Sistemati, Toronto Biennial (2024)Temple of Love – To Hide, KfW Stiftung (2024)
Temple of Love — To Hide, Kunstlerhaus Bethanien (2022)
Temple of Love — Atopos, MAC VAL (2022)
Temple of Love — Love To Love, New Museum (2021-2022)
Temple of Love — Affirmation, ROHM Theatre Kyoto 1 octobre 2021
Temple of Love – To Be Ascetic (Tolalito), Göteborg Biennial (2021)
Temple of Love – Absence – La Biennale de Lyon (2019-2020)
Biennial
Temple of Love – Tutti Sistemati, Toronto Biennial (2024)Steles – Gwandju Biennale (2024)
Temple of Love – To Be Ascetic (Tolalito), Göteborg Biennial (2021)
Temple of Love – Absence – La Biennale de Lyon (2019-2020)
An unpredictable expression of human potential, Sharjah Biennial (2017)
Performance
Monument aux Vivant·e·s – FESTIVAL DÉPRESSION 10 mai 2023Monument aux Vivant·e·s – DÉNI (2023)
Monument aux Vivant·e·s – CHOC 10 mai 2022
Temple of Love — Affirmation, ROHM Theatre Kyoto 1 octobre 2021
👽
Independent Art Fair, New York City (2023)Frieze London (2022)
Union poisson hallal (2021)
Eat me softly – If you come softly (2021)
Sculptures and more
Ruche (2024)Tears of God (2024)
Transitional object of desire (2023)
Potomitan (2023)
Conquête et Carnaval_ Marchandage (2023)
Liberation (2023)
Forget the appearances 5D (2023)
Luggage_astral_crystal (2023)
Sun City (2023)
Linea de amore (2023)
Screen Telluric ascension (2023)
Madonna de l’abondanzia (2023)
Frequencies (2023)
Inner earth (2023)
Backroom (2023)
AURA/ARUA (2023)
Love is healing – Yeshua (2022)
Purple water-wishes and more foreva1111illimited love.) period. (2022)
My devotion for you (2022)
Fucking strong pyramid power (2022)
L’éveil du Cosmos (2022)
Paul Gilroy my bro (2022)
Lie close to your ancestors (2022)
Penelopes (2022)
Vase à loup-garou (2015)
Sequin + Vodou + Abstract (2015)
Le pied d’Alep (2015)
Nous Carl Brouard (2015)
Entre chien et loup (2015)
Fontaine est puits, l’or noir (2014)
CROCODILE HUNTERS (2013)
DIORAMA (2013)
Series
Safe space for a passing HistoryPause-Clope
Stèles (Port-au-prince, Haïti)
Bye bye memory
Zentray
Map of heart
Affectives documents
Peau de chagrin
Videos
CREOLE GARDEN IN NORMANDIE (2024)PERMANENT STATE OF LIVING (2024)
AURA/ARUA (2023)
ACCUMULATION PRIMITIVE / PRIMITIVE AMNÉSIA (2021)
ALTÉRATION (2019)
VERTIÈRE N’EXISTE PAS (2018)
LANGUAGE OF BIRDS (2018)
N.E.V.A.Q.N.A.L.A. (2017)
THE SEA SAYS NOTHING (2015)
S’ABÎMER (2015)
CRIC CRAC – ÉPILOGUE (2015)
GUARAPERA (2015)
QUAND JE SERAI MORTE (2015)
CRIC CRAC (2014)
CRIC CRAC – PROLOGUE (2013)
DIORAMA (2013)
CROCODILE HUNTERS (2013)

Courtesy the artist and Air de Paris, Romainville

Courtesy the artist and Air de Paris, Romainville

Courtesy the artist and Air de Paris, Romainville

Courtesy the artist and Air de Paris, Romainville

Courtesy the artist and Air de Paris, Romainville

Courtesy the artist and Air de Paris, Romainville
Mondes Subtiles, Air de Paris, 2021
Air de Paris, Romainville, France+
THE WORLD’S LEAST MOISTENED CRY OF PLEASURE
Savagely bestridden until the collapse, hair dishevelled, eyes rolled back, legs contorted, genitals gaping, flaunting entrails of scrap metal and dust, her viscera and her blood. Port-au-Prince surrendered, stripped, naked, yet not obscene. What was obscene was her forced disrobing.
— Yanick Lahens, Fault Lines, 2010
The juice that swells their skin will line no throat. Only by squeezing them could one judge their ripeness, the melting sweetness that breaks down under the tongue. Rather than forbidden, the fruits of eroticism are forbidding. Gaëlle Choisne has laser-engraved on the skin of bananas, mangoes, oranges, persimmons, pomegranates, dragon fruit, lemons and more, a word or a series of words from Audre Lorde’s quatrains If you come as softly. This love poem expresses the desire to communicate, to have the other – lover, sister, woman colonist – hear one’s thoughts and gather them in with the necessary attentiveness and special care. Involved here are grief and the fertility of tears. The fruit, products equally of commercialisation and postcolonial exoticisation, are potent metaphors with kernels that catch in the throat. The literary tattooing sinks with climacteric decay, the words fade, wither, wrinkle, while some break apart, disappear. The passing of time compels our attention as the juice leaves the fruit. Gaëlle Choisne is alerting us to «the world’s least moistened cry of pleasure», just as Suzanne Césaire did in the magazine Tropiques, marking her stay in Haiti in 1945: «The Haitian cicadas consider chirping out their love. When not a drop of water remains on the scorched grass, they sing furiously about the beauty of life and explode into a cry too vibrant for an insect’s body. Their thin shell of dried silk stretched to the limit, they die as they let out the world’s least moistened cry of pleasure.» The dry crackle of their language is etched into the nacreous shells, which in turn gather in the words of Maya Angelou. Gaëlle Choisne weaves her constellations, creates intimate starting points by cannibalising in the present the microhistories of the past.
A series of small acrylic drawings, retouched with pastel and coloured pencils, is suspended in space. Like a herbarium or, rather, a multitude of Creole garden patches, territory won back from the masters. Their character is deceptive if we rely solely on the luxuriance of the what is depicted: a caged toucan, damask roses, birds of paradise, orchids. Other images are slipped into this tropical landscape: a demonstration against police violence, organised by Assa Traoré in Paris, and background from the Pussy Palace, an LGBT club for racialised people in London. Presented in wire grid frames and embellished with grigris, perfume and coin inserts, they transcend the exoticism of their subjects. Echoing a generation of Caribbean women writers who have spoken out against the exoticised representation of racialised women, against «doudou poetry» and «hammock lit», like the Nardal sisters and Suzanne Césaire. As Jane Nardal asked in her article «Pantins exotiques» («Exotic Puppets», La Dépêche africaine, 15 October, 1928), «Shall we have the courage to divest ourselves of the prestige the literature of exoticism confers upon us and, as modernists, to clash with the past, rococo decor of hammocks, palm trees, virgin forest, etc.?» Gaëlle Choisne stands out, in the sense of a tonal shift or the dismantling of vocabulary.
— Émilie Notéris, April 2021