Group Exhibitions (Selection - Chronological order)
Instituto Tomie Othake, Saõ Paulo (Brasil), 2025
"The earth, the fire, the water and the winds: for a museum of Errantry with Édouard Glissant" curated by Ana Roman & Paolo Miyada
Taking its title from Glissant’s poetic anthology La Terre, le feu, l’eau et les vents(2010), the exhibition rehearses what a “Museum of Errantry” could be. Errantry, in Glissant’s thought, is a practice of Relation: it rejects fixed affiliations and conceives the museum as an archipelago—a space open to ruptures, disappearances, and reinventions without forced synthesis. Against rigid genealogies, it proposes a memory-in-transit—built on provisional alliances, translations, and tremors—an institutional process fueled by encounters between times, territories, and languages. Although Glissant left scattered insights into what a 21st-century museum could be, he did not concretize this vision. The curators imagine what such a Museum of Errantry might look like through an exhibition composed of multiple layers and unexpected connections between artworks, documents, and landscapes. Two key concepts organize the exhibition display: the word of the landscape and the landscape of the word, both drawn from Glissant’s notion of la parole du paysage. As the curators write, “In the first case, territory infiltrates language; in the second, language expands into space, transforming signs, letters, and codes into terrain, weather, or current.” For Glissant, landscape is not mere background but an active force shaping memory, gesture, and speech.
On view from September 3, 2025 through January 25, 2026
Photo credit : EstudioEmObra ©
Le Louvre, Lens (France), 2024
"Au temps de la Dentellière" curated by Romin Saffré & Annabelle Ténèze
Johannes Vermeer (1632-1675) is today one of the most famous and celebrated Dutch painters. On the occasion of the prestigious loan of the "Dentellière", the Louvre-Lens explores the world of Vermeer, his biography, his technique and his environment. The painting is scrutinized in detail in order to reveal its mysteries. What is the technique used by the lacemaker to make her lace? From which continent comes the silk that dresses it? Thus is revealed the contrast between the closed environment of the young woman and the already globalized world of Vermeer.
Through the presentation of materials and heritage objects, such as a true craft of ancient lacemaking, as well as laces from the 17th century, coming from the Cité de la dentelle et de la mode de Calais, the approach becomes concrete. It is also enriched with contemporary Dutch works by Vermeer, from the collections of the Sandelin Museum in Saint-Omer, the Arras Fine Arts Museum and the Douai Chartreuse Museum. These paintings represent women who, like La Dentellière, wear famous laces and signatures.
The exhibition finally offers a contemporary counterpoint to this investigation through a comparison with recent works by Raphaël Barontini, Safâa Ertilis, Hessie and Annette Messager. With humor sometimes, relevance always, they allow to question the time of Vermeer and his Lacemaker.
On view from November 29, 2023 through May 27, 2024
Photo credit : Louvre Lens ©
La Friche de la Belle de Mai, Marseille (France), 2024
"Dust Specks on the Sea : Contemporary sculpture from the French Caribbean and Haiti." curated by Arden Sherman
Designed from the medium of sculpture, this exhibition presents the works of twenty-eight artists from Guadeloupe, Martinique, French Guiana and Haiti.
In 1964, on a state trip to Martinique, Guadeloupe and French Guiana, Charles de Gaulle flew over the Caribbean Sea, describing the islands as "grains of dust on the sea". If this quote from the then President of the Republic evokes the mysterious and almost supernatural effect that an aerial view of the Caribbean archipelago can create, it is also revealing of the overhanging perspective from which the region is perceived – a perspective whose roots plunge into the history of France as a colonial power in the Antilles. De Gaulle will clearly support the paternalistic political metaphor, confident during this same visit and in the presence of the writer and politician Aimé Césaire "that one does not build a state on dust."
By bringing together the works of twenty-eight artists from Guadeloupe, Martinique, French Guiana and Haiti, the exhibition challenges this colonial image by presenting works with a strong density and materiality. Conceived from the medium of sculpture, Grains de poussière sur la mer stages several material and conceptual approaches that testify to the practices of artists in this region of the world while posing the question of who is at the " center "and who is on the " periphery. The works, placed in proximity and in direct conversation with each other, form a network of ideas around heritage, history, identity, the social body and politics.
On view from February 3, through July 28, 2024
Photo credit : Jean Christophe Lette ©
MAMC Musée d'Art Moderne et Contemporain, Saint-Étienne (France), 2022
"Globalisto : A Philosophy in Flux" curated by Mo Laudi
Globalisto. A Philosophy in Flux invites inter generational artists who invent new worlds, question the status quo of the current modality, critique power systems, biopolitics and multidimensional exploitation of resources. They are activists, philosophers, change-makers, or storytellers and poets interconnecting Africa and its diasporas. They are from, or live in, Cameroon, Egypt, Gabon, Malawi, Mozambique, Nigeria, South Africa, Tanzania, but also Europe, the Caribbean, or the USA. They or their ancestors arrive in new spaces carrying their histories, translating their mobilities into liberating dissent and healing. Their experimentations with materials and ideas are made manifest in works as diverse as films and videos, textiles, paintings, installations, but also ceramics, sound, photography, sculpture as well as performances. This exhibition also make reference to the West African art collection at MAMC+ and include documentation, such as the famous Drum magazine, which has been published in several African countries since the 1950s.
On view from June 25, 2022 to October 13, 2022
Photo credit : C.Chauvet / MAMC ©
MAD Museum of Art & Design, New-York (U.S.A), 2022
"Garmenting: Costume as Contemporary Art" curated by Alexandra Schwartz
The first global survey exhibition dedicated to the use of clothing as a medium of visual art, Garmenting: Costume as Contemporary Art examines work by thirty-five international contemporary artists, from established names to emerging voices, several of whom will be exhibiting for the first time in the United States. By making or altering clothing for expressive purposes, these artists create garments, sculpture, installation, and performance art that transform dress into a critical tool. Adopted globally as an artistic strategy, garmenting uses the language of fashion to challenge traditional divisions of form and function, cast a critical eye on the construction of gender, advance political activism, and address cultural difference.
Live performances and activations involving five of the artists in Garmenting will be presented on-site throughout the exhibition.
On view from March 12 through August 14, 2022
Photo credit : Jenna Bascom / MAD ©