{"id":40862,"date":"2026-01-05T03:03:29","date_gmt":"2026-01-05T03:03:29","guid":{"rendered":"https:\/\/appsaf.apieproject.com\/news\/?p=40862"},"modified":"2026-01-12T04:00:41","modified_gmt":"2026-01-12T04:00:41","slug":"musee-dart-moderne-de-paris-otobong-nkanga","status":"publish","type":"post","link":"https:\/\/appsaf.apieproject.com\/news\/fr\/2026\/01\/05\/musee-dart-moderne-de-paris-otobong-nkanga\/","title":{"rendered":"Mus\u00e9e d\u2019Art Moderne de Paris: Otobong Nkanga"},"content":{"rendered":"\n<p>\u00ab\u00a0Je pense la Terre comme un \u00eatre, comme notre corps\u00a0\u00bb. Cette phrase de l\u2019artiste Otobong Nkanga, n\u00e9e au Nigeria en 1974 et vivant \u00e0 Anvers, constitue le fil conducteur \u00e0 sa premi\u00e8re exposition monographique dans un mus\u00e9e parisien,\u00a0<em>I Dreamt of You in Colours<\/em>, pr\u00e9sent\u00e9e au Mus\u00e9e d\u2019Art Moderne de Paris (MAM). L\u2019exposition se d\u00e9ploie comme une r\u00e9flexion critique et sensible sur les h\u00e9ritages de l\u2019extractivisme, proposant une relecture profonde des relations entre le corps, la terre et la m\u00e9moire.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">L\u2019extraction : une violence syst\u00e9mique <\/h2>\n\n\n\n<p>Au c\u0153ur du travail prot\u00e9iforme de Nkanga, qui englobe dessin, tapisserie, installation, sculpture et performance, se trouve une r\u00e9flexion continue sur l\u2019exploitation des ressources naturelles et ses r\u00e9percussions sur les corps et les territoires. Le parcours de l\u2019exposition met en lumi\u00e8re la constance de cette pr\u00e9occupation, des \u0153uvres sur papier des d\u00e9buts aux installations de grande ampleur.<\/p>\n\n\n\n<p><strong>La terre comme un etre corps<\/strong><\/p>\n\n\n\n<p>Plut\u00f4t que de r\u00e9duire l\u2019extraction mini\u00e8re \u00e0 une question \u00e9conomique, Nkanga en r\u00e9v\u00e8le la dimension historique, politique et coloniale : une logique qui transforme des territoires entiers en zones de pr\u00e9l\u00e8vement intensif et affecte durablement les communaut\u00e9s humaines et non humaines qui y sont li\u00e9es. Les formes plastiques de l\u2019artiste nig\u00e9riane pr\u00e9sent\u00e9es dans cette exposition illustrent avec force la mani\u00e8re dont l\u2019exploitation des ressources engendre des cons\u00e9quences sociales, environnementales et symboliques \u00e0 long terme. En donnant une visibilit\u00e9 institutionnelle \u00e0 ces r\u00e9cits, le\u00a0MAM\u00a0participe \u00e0 une relecture critique de l\u2019histoire moderne et de ses angles morts.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Corps et territoire : penser l\u2019interd\u00e9pendance<\/h2>\n\n\n\n<p>La pens\u00e9e de Nkanga s\u2019articule autour d\u2019une analogie constante entre le corps humain et le paysage. Loin d\u2019une m\u00e9taphore abstraite, cette relation repose sur l\u2019id\u00e9e que corps et territoires sont travers\u00e9s par les m\u00eames flux, les m\u00eames blessures et les m\u00eames processus de transformation. Ce positionnement remet en question le dualisme occidental opposant nature et culture, humain et non-humain, dualisme qui a largement soutenu les logiques de domination et d\u2019appropriation.<\/p>\n\n\n\n<p>Ses tapisseries, sculptures et installations se pr\u00e9sentent comme des assemblages de mati\u00e8res, de couleurs et de r\u00e9cits, \u00e9voquant des strates g\u00e9ologiques autant que des couches de m\u00e9moire. La surface de la terre et la peau du corps y apparaissent comme des zones sensibles, marqu\u00e9es par l\u2019histoire mais aussi porteuses de capacit\u00e9s de r\u00e9g\u00e9n\u00e9ration. Certaines \u0153uvres, r\u00e9activ\u00e9es ou adapt\u00e9es pour le contexte parisien, soulignent le caract\u00e8re situ\u00e9 et relationnel de sa d\u00e9marche, attentive aux sp\u00e9cificit\u00e9s des lieux tout en d\u00e9veloppant une r\u00e9flexion d\u2019ordre global.<\/p>\n\n\n\n<p><strong>Au-del\u00e0 de la critique : r\u00e9parer, relier, imaginer<\/strong><\/p>\n\n\n\n<p>L\u2019exposition ne se limite pas \u00e0 une d\u00e9nonciation des violences extractivistes. Elle ouvre \u00e9galement des perspectives de r\u00e9paration et de transformation. La m\u00e9moire, individuelle et collective, y devient un outil pour envisager d\u2019autres futurs possibles. Nkanga s\u2019int\u00e9resse aux usages symboliques, sociaux et spirituels des mat\u00e9riaux, souvent occult\u00e9s par leur seule valeur marchande.<\/p>\n\n\n\n<p>La pr\u00e9sence de l\u2019\u0153uvre&nbsp;<em>From Where I Stand<\/em>&nbsp;(2015), acquise par le MAM en 2022, t\u00e9moigne d\u2019une reconnaissance institutionnelle croissante de ces r\u00e9cits alternatifs et de leur importance dans le champ de l\u2019art contemporain. Le dialogue entre \u0153uvres anciennes et productions r\u00e9centes r\u00e9v\u00e8le une pens\u00e9e en mouvement, cherchant \u00e0 tisser des liens, des r\u00e9seaux et des continuit\u00e9s entre humains, paysages et ressources.<\/p>\n\n\n\n<p><strong>Une exposition essentielle<\/strong><\/p>\n\n\n\n<p>Pr\u00e9sent\u00e9e \u00e0 Paris, dans un contexte marqu\u00e9 par l\u2019histoire coloniale europ\u00e9enne, I<em>&nbsp;Dreamt ofYou in Colours<\/em>&nbsp;d\u00e9passe le cadre de l\u2019\u00e9v\u00e9nement artistique pour s\u2019affirmer comme une proposition critique majeure. L\u2019exposition invite \u00e0 un d\u00e9placement du regard : consid\u00e9rer la Terre non comme un r\u00e9servoir in\u00e9puisable de mati\u00e8res premi\u00e8res, mais comme un ensemble vivant avec lequel nous entretenons des relations d\u2019interd\u00e9pendance.<\/p>\n\n\n\n<p>Par la force plastique et conceptuelle de son \u0153uvre, Otobong Nkanga esquisse une vision o\u00f9 la r\u00e9paration passe par l\u2019attention, l\u2019\u00e9coute et la reconnaissance des liens qui nous unissent aux territoires que nous habitons. Une invitation \u00e0 repenser nos responsabilit\u00e9s pr\u00e9sentes et \u00e0 imaginer des futurs plus justes.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00ab\u00a0Je pense la Terre comme un \u00eatre, comme notre corps\u00a0\u00bb. Cette phrase de l\u2019artiste Otobong Nkanga, n\u00e9e au Nigeria en 1974 et vivant \u00e0 Anvers, constitue le fil conducteur \u00e0 sa premi\u00e8re exposition monographique dans un mus\u00e9e parisien,\u00a0I Dreamt of You in Colours, pr\u00e9sent\u00e9e au Mus\u00e9e d\u2019Art Moderne de Paris (MAM). L\u2019exposition se d\u00e9ploie comme [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":40867,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[228,53],"tags":[78,229,87],"class_list":{"0":"post-40862","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art-2","8":"category-culture-fr","9":"tag-apie-project-2","10":"tag-art-3","11":"tag-culture-2"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Mus\u00e9e d\u2019Art Moderne de Paris: Otobong Nkanga - APIE NEWS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/appsaf.apieproject.com\/news\/fr\/2026\/01\/05\/musee-dart-moderne-de-paris-otobong-nkanga\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mus\u00e9e d\u2019Art Moderne de Paris: Otobong Nkanga - APIE NEWS\" \/>\n<meta property=\"og:description\" content=\"\u00ab\u00a0Je pense la Terre comme un \u00eatre, comme notre corps\u00a0\u00bb. Cette phrase de l\u2019artiste Otobong Nkanga, n\u00e9e au Nigeria en 1974 et vivant \u00e0 Anvers, constitue le fil conducteur \u00e0 sa premi\u00e8re exposition monographique dans un mus\u00e9e parisien,\u00a0I Dreamt of You in Colours, pr\u00e9sent\u00e9e au Mus\u00e9e d\u2019Art Moderne de Paris (MAM). 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