Before the storm

Co-published by Dilecta / Bourse de Commerce – Pinault Collection Languages: French / The exhibition “Before the Storm” will open its doors on February 8, 2023 at the Bourse de Commerce – Pinault Collection in Paris From February to September, from From winter to autumn, the exhibition cycle “Before the Storm”, presented by the Pinault Collection, invites you on a journey, from shadow to light, through emblematic installations and works for some, new for others, of around fifteen artists, who take over all the spaces of the Bourse de Commerce. Against a backdrop of climate change, in the urgency of Now, before the storm breaks again, the artists of the exhibition invent unstable ecosystems representing new seasons. While the ancestral calendars were conditioned by cosmic movements, our The frantic race for progress and abundance has irremediably transformed our environment. Its disruption forces us to adapt in return. Formerly The granary of Paris, the Bourse de Commerce building was from 1889 the witness and the actor of the globalized acceleration of trade predators, resulting from the colonization and intensive exploitation of resources of the planet. The building embodies this new desynchronized round of time. In the architecture of iron, glass, stone and concrete of the Bourse de Commerce, which could just as well be that of a greenhouse, a series of fleeting and contradictory temporalities appear, including the landscape imagined by Danh Vo for the Rotonde. Within the other spaces, a hanging from the Pinault Collection supports this birth of a round of seasons in becoming, of changing ecosystems, of micro-territories in gestation, bathed in a light tending towards a mutant climatic twilight. Hicham Berrada, which immerses the visitor in a landscape in full transformation, makes us to realize the beauty of a world without us. Diana Thater makes us enter an irradiated landscape, an apocalyptic theater, while Pierre Huyghe follows the actions of a monkey, wandering in what appears to be a abandoned town on the outskirts of Fukushima or that Robert Gober stages a trompe l'oeil nature from which we are irremediably separated. At Lucas's Arruda, these are tiny mental landscapes that make up a universe made of indistinctions, where pitch skies, toxic sfumati, give way to invented colors, difficult to discern. Painting is everything at once organic, chromatic and poisonous in the prints that Thu Van Tran leaves on the surfaces of the white cube from transformed rubber tree sails into rubber through colonial exploitation in the Amazon and Asia since the end of the 19th century. In Anicka Yi's work, it is the plant cocoons that give birth robotic insects, blurring the line between the natural and the artificial, like Donna Haraway's cyborg, in whom all the dualisms arising from of modernity, to better embrace all the porosities between beings and identities: these mutations were already announced in Alina's hybridizations Szapocznikow, where the human body mingles with the plant as with the object. Nature relational nature of our humanity is also expressed in the dialogue that Daniel Steegmann Mangrané engages with Cy Twombly: the American painter describes a unregulated cyclical course of time, where the solar boat merged with the image of an eye that opens only to close better, and where belief in the gods antiques mingle with the undulations of desire. The Spanish artist nestles there in deploying a sum of fragile situations, simple taut threads sheltering leaves and branches, luminous filaments responding to fluctuations in the climate as well as the presence of visitors.