NATIVE LAND

摘要

"Native Land, Stop Eject" at the Fon-dation Cartier in Paris (until 15 March) has two interconnected themes: rootedness and migration. The first is presented by photographer and filmmaker Raymond Depardon, the second by philosopher and urbanist Paul Virilio. Each has two galleries, Virilio's designed by Diller Scofidio + Renfro with interactive designer Ben Rubin, statistician Mark Hansen and artist and architect Laura Kurgan. Nomads, farmers, islanders and indigenous tribes, all threatened with extinction or economic degradation in the first of Depardon's two films, poignantly voice their wishes in their mother tongues, to remain rooted in their native land. Shown on a huge screen, it conveys a losing but heroic battle. Virilio's "control room" is a dynamic half-hour presentation of maps in a rotunda space. A series of global migration scenarios counts down from the 1990s, leaving you in no doubt as to which regions and countries are experiencing the greatest deracination. As the months click by, relentless flows of coloured pixels "bond" groups of countries in a tragic symbiosis: pairs like Congo and Burundi, or Eritrea and Sudan; clusters such as Iraq, Syrian Arab Republic, Lebanon and Jordan. Spore-like hurricanes, floods and earthquakes in blue, red and yellow infiltrate the planet to the echoes of children's voices, and disappear as a rolling globe "irons" each sequence into invisibility.