Gaëlle Choisne will present the Frankfurt debut of her long-term project “Temple of Love” (2018-ongoing) and transform the historic Villa 102 into an art space. A meticulous collector of objects acting at the margins of photography, the artist weaves individual memories with social observations to create eclectic installations, videos and performances. Drawing on her personal history and French-Haitian heritage, Choisne’s works often delve into themes of self-healing, spirituality and social interaction. Choisne regards her artistic practice as part of a network of ideas and people, frequently engaging in collaborations and integrating literary and scholarly allusions into her work. For the “To Hide” edition of the long-term project “Temple of Love”, the artist once again refers to a chapter from Roland Barthes’ “A Lover’s Discourse: Fragments”. The site-specific installation takes on a new form with each presentation. Choisne developed the exhibition for the first time during her one-year residency at Künstlerhaus Bethanien, Berlin, in cooperation with KfW Stiftung.

A new chapter in a long-term project, *Temple of Love – Affirmation* is an ode to love. Can we still “burn” with love for one another? By blending Ballroom culture and voguing—rooted in the African American community—the project celebrates life and explores notions of culture and community, care, and personal and collective development within a French museum setting. A sound installation featuring decolonial mantras takes place in the herb garden’s plant beds, serving as a means to offer collective healing and political resistance through the affirmation of a different kind of togetherness. (Text by Marie Gautier)

On the occasion of the 20th anniversary of Nuit Blanche, the artist invests in Japan the Rohm Theatre in Kyoto and revisits the Temple of Love — Affirmation, originally conceived for the Museum of Modern Art in Paris during the 2020 Parisian event.

In an interplay between interior and exterior, a sound and light installation, at the entrance of the theater, combines the recitation of « decolonial mantras » with lush vegetation. Local medicinal, aromatic, exotic and edible plants are assembled according to the design of permaculture and traditional Creole gardens, respecting their balance and an animist conception of nature. In a scenic space, with original costumes of the artist decorated with Japanese accessories, a dance-performance takes place through the windows. The spirituality emanating from the mantra plants resonates with the sensuality, the vibrations and the body language of the dancers.

After an inaugural voguing performance in Paris, the Kyoto performance is singled out by its reference to butoh, a Japanese contemporary dance that expresses universal concepts and questions the dualities of human/non-human, feminine/masculine, beautiful/ugly, agony/extasy. The Temple of Love blends these universes and energies in a magical, creative and emancipating alchemy, a celebration of the living world that affirms, like Barthes, love as a value.

The performance was realized in collaboration with Daiji Meguro (choreographer and dancer), Moe Matsuki, Sho Takiguchi and Ryonosuke Endo (dancers).
Co-organizer: ROHM Theatre Kyoto (Kyoto City music art cultural Promoting Foundation)
Partner: Musée d’Art moderne de Paris
Concept: Gaëlle Choisne
Stage direction (Kyoto version): Daiji Meguro
Performers: Ryohosuke Endo, Sho Gakiguchi, Moe Matsuki, Daiji Meguro
Curator: Nadia Chalbi

The new NW is inaugurated with the opening exhibition Ritual in Transfigured Time, named after the 1946 short film of the same name by Maya Deren (Kiev, 1917–New York, 1961). Deren, whose life was driven by a desire for freedom, was a guiding light for us in devising the exhibition and film programme, as well as the principles of our revitalised organisation: dialogue, collaboration, experiment and the breaking down of boundaries. Many of life’s changes are accompanied by rituals. Rituals help us to navigate liminal phases, the moments between two positions or roles. At the momentary threshold between the old and new NW, we celebrate this radical metamorphosis. Here, in this place, we invite artists to scrutinise, face up to and recreate realities, whether through enchantment or resistance. For Deren, transformation meant treading both paths: dance as poetic self-expression and as a form of liberation. The exhibition opens with Deren’s 16mm film Ritual in Transfigured Time. The film is a ‘documentary of the inner self’, as the artist herself described it. In Deren’s view, ritual dance brought about a ‘depersonalisation’, where the dancer, supported by the community, could be liberated from social and cultural limitations. In this work, the dancing body assumes the space to experience suppressed freedoms once more without limit, to escape from the oppression of the everyday.

Gaëlle Choisne presents a tear-shaped stage and a film made together with dancer Kettly Noël and guitarist Daniele Morelli following the principles of improvisation and transfiguration. Carlotta Bailly-Borg presents an installation with sandblasted glass doors referring to the notion of the momentary threshold, as well as a series of paintings of timeless, forward- flowing figures. Onyeka Igwe interweaves colonial archive footage with her own visual language in an attempt to reclaim Black dance from the colonial project. Ula Sickle explores the concept of a ‘cinematic camera’ in recordings of dance rehearsals for her performance Holding Present, which was a collaboration with Ictus, the Brussels-based ensemble for contemporary music. Bárbara Wagner and Benjamin de Burca show how Frevo, a traditional Brazilian dance, places the self-representation and autonomy of the dancer first. Darius Dolatyari-Dolatdoust treats the costume like a score that grants the performer a new sensory perception of their body. (LA)HORDE offers a contemporary take on dance as ritual within the context of music festivals, collective joy and mass consumption. None of the artworks in this opening exhibition use spoken language; instead, it is only the body that speaks. Under circumstances where speaking becomes pressured or even impossible, artists have been known to find other ways to open doors and let in the unknown.

Authors: Godart Bakkers, Laura Herman

CALM – Centre d’Art La Meute invites you to discover the first exhibition of its 2024-2025 cultural season. The title of the exhibition refers to the film “Born in Flames”, directed by Lizzie Borden (Detroit, Michigan, USA) in 1983.

The film had a profound effect on us, so we decided to design and build an exhibition around its narrative and environment. It depicts a clandestine women’ s army developing in a dystopian New Y ork. As social unrest shakes the streets, brigades of women on bicycles roam the grim urban landscape, fending off rapists in particular . But much of the dramatic tension stems from the efforts of women – racialized and white, queer and heterosexual, working-class and elite – to understand each other and work together .

Considered by cinema to be in the science fiction genre at the time of its release, its discourse is utterly contemporary and real forty years on. Its radicalism, typical of the essay genre, challenges and stimulates reflection on the workings of our society and the place violence occupies within it.

This exhibition brings together women who, in their respective work, bear witness to political links with film or aesthetic links with the genre of science fiction and under ground cultures. The exhibition’ s scenography is an urban mise en abyme, between dense and open spaces, oppressive and liberating, from the grid, a reproducible module, to open squares. The aim was to integrate the primordial and the futuristic, following the example of the generic city model (Rem Koolhaas) that is Manhattan.

A proposal and text by Oriane Emery & Jean-Rodolphe Petter

The precession of the equinoxes is an astronomical concept that describes the displacement of the axis around which our planet rotates, affecting the position of the stars as seen from Earth. It returns to its original point every 26,000 years: in astrology, this cycle is broken down by the twelve constellations of the zodiac to associate them with a particular era. So, we are in the process of leaving the age of Pisces for the age of Aquarius, with its virtues of abundance, transformation and hope. Under these cosmic omens, Gaëlle Choisne invites visitors to the Marcel Duchamp Prize to enter a large- scale installation showcasing her work as a video artist, sculptor and painter.

An indefatigable creator of artistic environments that go beyond the exhibition to include banquets, workshops, gardening, body treatments, concerts and performances, Gaëlle Choisne has been building an experimental, multi-faceted archipelago- work for the past ten years. Resolutely curious, her practice embraces a multitude of media and skills, which she hijacks creatively without concern for canon or tradition. A devotee of kitsch aesthetics, her works sweep everyday objects along with them (coins, cigarettes, key rings, false nails), talismans and other carefully collected finds. A builder trained in scenography, she manipulates industrial materials (plaster, concrete, silicone), ceramics and precious metals with the same affection. From this position of referential impurity2 that runs through her work, she deals with the question of the image and the archive as a ‘self-ethnographer’, in other words by tampering with colonial systems of representation through a practice of video and photography that is both reflexive and anthropological. In her films in particular, she allows herself to borrow the voice and tone of the coloniser, while at the same time hijacking its objects of study. Infused with Caribbean diasporic imaginations and a Haitian and French family history, Gaëlle Choisne’s work resonates with the Black Fantasy movement imagined by the British curator Ekow Eshun in a book and exhibition entitled Black Infinity. It brings together artists who find a generative tension between the everyday and the extraordinary to produce new narratives of Black potential. Black fantasy ‘testifies to the conviction that African cultural beliefs and practices are worthy of sincere, rather than sarcastic, consideration as sources of knowledge and creative inspiration’3.

At the Centre Pompidou, Gaëlle Choisne presents an immense carpet of ‘poured cork’ flooring on which five monoliths represent beehives, burrows or termite mounds. Adorned with intricate metalwork, chains and shells, these promontories house small video theatres showing five films made by the artist since 2020 during her travels in Haiti, the Caribbean and Latin America. Initially trained in the dramatic arts, this gesture of miniaturisation reflects her interest in Brecht’s reflections and in epic theatre, which aims to make the spectator aware of his position within the work. From this stellar observation station that plays with scale, the audience can examine a range of human activities: in L’école des actes, the collective fantasising and reclamation of journeys into exile in the Paris region; in Accumulation Primitive, a political and poetic feminist fable about Haiti; in Creole garden in Normandie, sensual gardening in which the plants are the main characters. At the back of the room, the huge paintings on wood from the Safe space for a passing history-Age of Aquarius 99999 series combine pictorial surges, glyphs and talismans with AI-generated faces of strangers. At once a tribute to the activists of the black liberation struggles and a fictional family tree, they act as a cosmogonic cartography that keeps us asking: where are we?

THOMAS CONCHOU

On the ground and in the atmosphere, as both an element and a resource, water constitutes us and overflows the world. Protean in form – rain, seas, droplets, dew, streams, clouds, fog, and tears – it is the essential source of all life. Diverted, extracted, and polluted, water has now become a vital issue in the ongoing ecological crisis. But although it has been conquered, the abyssal depths remain today more mysterious than the Moon, land of dreams, inhabited by fantastic monsters.

This exhibition follows the cycle of water, from sunken civilizations to ritual practices and the troubled waters of trade routes. The hybrid figure of the siren or mermaid, by turns malevolent and protective, half woman, half animal, acts as a guide to navigate between these worlds, from the depths to the surface. Her ambivalence resonates with that of water, a space of metamorphoses, between waters of rejuvenation and of doom.

The show invites us to explore the different states of water through the artists’ eyes, from its representation to its political implications, from the commodity transformed into a resource to the metaphorical quest for its source. Diving into this liquid world opens up a host of contradictions, when tales of water’s origins intermingle with those that conjure up future times in which it threatens us with flooding and drought, and sea levels rise while rivers run dry.

“Mermaids are part of our feminist history, and losing sight of this belonging leads us to consider them without correlating them to gender, species, race, humanity, (…) Mermaids force us to pay attention to the question of becoming, to that of life in threads of water that make the world permeable and connected, outside any fantasy of total purification. This should serve not as a model, but as a political, artistic, academic and, above all, ethical direction: becoming-sirens are intimately linked to our futures and to the reinvention of the subject in the age of our tragic ecologies”.

Magical Realism: Imagining Natural Dis/order brings together over thirty artists at WIELS and argos, offering new ideas and perspectives on the relationship with our planet.

Adopting the prism of two seemingly opposing terms—magic and realism—, the exhibition examines how artists imagine living environments amid the ecological, political and social challenges that mark today’s world.

The title of the exhibition is borrowed from the artistic and literary genre known as magical realism, which is characterised by its infusion of worlds of magic, dreams and myth into mundane narratives—creating stories that redefine the boundaries of reality. The exhibition looks at how the porosity between ‘magic’ and ‘reality’ may open up spaces for other horizons to emerge in response to proliferating monocultures, precarious lives, and climate transformation.

When the world of science and hard facts has been torn apart from the world of magic and intuition, how to reconcile this fracture, what traces does it leave and how do we repair it? The exhibition navigates these questions through works that shape worlds via painting, moving image, sound and installation. They engage with different spaces, from the cosmos and its galaxies to the scientist’s lab; matters such as bodies of water, bacterial skins or 3D prints; and geologic processes surfacing through the underground rumbling of the earth or the noise of a sinking city.

The artists navigate different, complementary and contradictory ways of relating to ecosystems and myths of the “natural” environment, seeking refuge in dreams and in the raw matter and bare life of the world. At the confluence of analytic and speculative tools, Magical Realism gestures towards restoring connections in a biosphere exhausted by exploitation, dispossession and debt.

Magical Realism follows  The Absent Museum (2017) and Risquons-tout (2020) as the third in-house realisation of a recurring ambitious exhibition format developed and conceived by the WIELS team, focusing on specific patterns within contemporary artistic practice that underscore the necessity for transformation.

Through a large-scale exhibition—including a section organised at argos—a publication and a live program including workshops, talks, screenings, walks and performances, Magical Realism reflects an ecology that addresses both the aesthetic implications of our relationship with natural worlds at a tipping point, as well as the social, economic and scientific implications of exploring and shifting our conceptions of the planet.

Fortune Cookies is an installation made of thousands of handmade clay objects. Some contain a seed or a hidden message inside. The ongoing production honors the unseen labor behind them and the shared experience of making food together.

Breaking a cookie reveals its secret; leaving it closed preserves the mystery. The work explores ideas of value, cultural identity, and hidden histories. Though often linked to Chinese culture, fortune cookies are actually an American invention. The artist uses them to question how cultural elements are misunderstood or altered when removed from context.

With Et si les mots ne suffisent plus à te décrire, ma chérie, Gaëlle Choisne examines Haitian colonial history by confronting still images from the past and contemporary moving images. This dual temporality questions the slow pace of social transformation, resistance to postcolonial change, and the ways in which history continues to shape contemporary perception. The artist juxtaposes digital videos shot in Haiti with a fixed UV print derived from archival material from the Bibliothèque nationale de France (BnF), bearing witness to a colonial history that has often been obscured.

Traces of the colonial past resonate with living images, creating a tension between written and visual narratives. Attentive to contemporary issues, Gaëlle Choisne’s practice interrogates the complexity of the world and its political and cultural disorder – whether it be the overexploitation of nature and its resources or the remnants of colonial history, where Creole esoteric traditions, myths, and popular cultures intertwine. By foregrounding the relationships between Haiti and France, Et si les mots ne suffisent plus à te décrire, ma chérie offers a reflection on the role of images in the transmission of history.