Decolonial environmentalisms: Climate justice and speculative futures in Latinx cultural production
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In "Decolonial environmentalisms", David Vázquez argues that the mainstream environmental movement is implicated in racial capitalism, not least through its ignorance of environmental justice as it pertains to Latinx people. Through close readings of eco-minded novels, films, visual art, and short stories by Chicanx, Puerto Rican, Dominican, Cuban American, Peruvian, and(...)
July 2025
Decolonial environmentalisms: Climate justice and speculative futures in Latinx cultural production
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In "Decolonial environmentalisms", David Vázquez argues that the mainstream environmental movement is implicated in racial capitalism, not least through its ignorance of environmental justice as it pertains to Latinx people. Through close readings of eco-minded novels, films, visual art, and short stories by Chicanx, Puerto Rican, Dominican, Cuban American, Peruvian, and Central American culture makers, Vázquez surfaces diverse Latinx visions for an equitable and sustainable humanity. In the creations of Helena María Viramontes, Ester Hernández, Salvador Plascencia, the printmaking collective Dominican York Proyecto GRAFICA, and others, Vázquez locates a bracing critique of racist elisions and assumptions in hegemonic environmentalist thought.
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As a young boy, Sebastião Salgado loved exploring his parents’ farm in the forests of Brazil, always dreaming of what might lie beyond his view. When he went away to school, he met Lélia, who showed him how to use a camera. As he looked through the lens, Sebastião realized he could use photography to capture how the world fits together. Sebastião used his pictures to tell(...)
Planting hope: A portrait of photographer Sebastião Salgado
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As a young boy, Sebastião Salgado loved exploring his parents’ farm in the forests of Brazil, always dreaming of what might lie beyond his view. When he went away to school, he met Lélia, who showed him how to use a camera. As he looked through the lens, Sebastião realized he could use photography to capture how the world fits together. Sebastião used his pictures to tell the stories of people who might not otherwise be seen. But after witnessing too much destruction, he put away his camera and returned to his childhood home. The land was in ruins. So Sebastião and Lélia decided to rebuild the rainforest and photograph the beauty of the world to save it. Through art and activism, they would show that everyone was responsible for caring for the planet and that hope endures if we take action.
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Challenging social inequality: The Landless Rural Workers Moverment and agrarian reform in Brazil
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In ''Challenging Social Inequality'', an international and interdisciplinary group of scholars and development workers explores the causes, consequences, and contemporary reactions to Brazil's sharply unequal agrarian structure. They focus on the Landless Rural Workers Movement (MST)—Latin America's largest and most prominent social movement—and its ongoing efforts to(...)
Challenging social inequality: The Landless Rural Workers Moverment and agrarian reform in Brazil
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In ''Challenging Social Inequality'', an international and interdisciplinary group of scholars and development workers explores the causes, consequences, and contemporary reactions to Brazil's sharply unequal agrarian structure. They focus on the Landless Rural Workers Movement (MST)—Latin America's largest and most prominent social movement—and its ongoing efforts to confront historic patterns of inequality in the Brazilian countryside. Several essays provide essential historical background for understanding the MST. They examine Brazil's agrarian structure, state policies, and the formation of rural civil-society organizations. Other essays build on a frequently made distinction between the struggle for land and the struggle on the land. The first refers to the mobilization undertaken by landless peasants to demand government land redistribution. The struggle on the land takes place after the establishment of an official agricultural settlement. The main efforts during this phase are geared toward developing productive and meaningful rural communities. The last essays in the collection are wide-ranging analyses of the MST, which delve into the movement's relations with recent governments and its impact on other Brazilian social movements. In the conclusion, Miguel Carter appraises the future of agrarian reform in Brazil.
Current Exhibitions
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Since the 1500s, scientists have documented the plants and fungi that grew around them, organizing the specimens into collections. Known as herbaria, these archives helped give rise to botany as its own scientific endeavor. "Herbarium" is a fascinating enquiry into this unique field of plant biology, exploring how herbaria emerged and have changed over time, who promoted(...)
Herbarium: The quest to preserve and classify the world's plants
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Since the 1500s, scientists have documented the plants and fungi that grew around them, organizing the specimens into collections. Known as herbaria, these archives helped give rise to botany as its own scientific endeavor. "Herbarium" is a fascinating enquiry into this unique field of plant biology, exploring how herbaria emerged and have changed over time, who promoted and contributed to them, and why they remain such an important source of data for their new role: understanding how the world’s flora is changing. Barbara Thiers, director of the William and Lynda Steere Herbarium at the New York Botanical Garden, also explains how recent innovations that allow us to see things at both the molecular level and on a global scale can be applied to herbaria specimens, helping us address some of the most critical problems facing the world today.
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Quoi de plus iconoclaste qu’un herbier composé entre quatre murs, sans l’étendue de la nature? Comme une contradiction dans les termes. « L’herbier de prison » de Rosa Luxemburg est une archive sans équivalent. Troublante et attachante, sa fragilité et son histoire en font un témoignage de résistance et d’évasion, une fabrique de formes et de joie, un document sur le(...)
Herbier de prison : 1915-1918
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Quoi de plus iconoclaste qu’un herbier composé entre quatre murs, sans l’étendue de la nature? Comme une contradiction dans les termes. « L’herbier de prison » de Rosa Luxemburg est une archive sans équivalent. Troublante et attachante, sa fragilité et son histoire en font un témoignage de résistance et d’évasion, une fabrique de formes et de joie, un document sur le sentiment politique de la nature, fondement de toute écologie. Composé de sept cahiers datés d’avril 1915 à octobre 1918, l’herbier a pu être réalisé par la révolutionnaire emprisonnée grâce à l’amitié sans faille de quelques femmes, ses amies intimes dont la féministe Clara Zetkin. Au-delà des quelques fleurs et mauvaises herbes de la cour de la prison que Rosa glane lorsqu’elle sort sous surveillance, ce sont ses proches qui lui envoyèrent par lettres des spécimens séchés ou des bouquets fleurs fraîches qu’elle-même pressait. Aux planches de l’herbier répondent ainsi tout une correspondance où il est question de botanique, de nature, de romantisme allemand, d’amour de toutes créatures, et cela, « en dépit de l’humanité ». Rosa Luxemburg ne cesse d’encourager ses proches à garder leur joie de vivre et leur gaieté alors que les nuages qu’elle entraperçoit par une fenêtre à barreaux se chargent des couleurs de la guerre et de l’acier.
Current Exhibitions
Camille Llobet: Glacier noir
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Invited to exhibit on the Mauvoisin Dam in Switzerland, Camille Llobet created a photographic series capturing a glacial landscape in transition. Shot on and around the moraines of the Mer de Glace, the images reveal a layered world of rock, ice, and sediment - remnants of a largely vanished glacier. Through diptychs that often exclude the sky and horizon, Llobet invites(...)
Camille Llobet: Glacier noir
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Invited to exhibit on the Mauvoisin Dam in Switzerland, Camille Llobet created a photographic series capturing a glacial landscape in transition. Shot on and around the moraines of the Mer de Glace, the images reveal a layered world of rock, ice, and sediment - remnants of a largely vanished glacier. Through diptychs that often exclude the sky and horizon, Llobet invites viewers to re-experience the scale and materiality of this grey-toned terrain. The book also features an in-depth interview with Jean-Paul Felley, in which Llobet discusses her working process, collaboration with geomorphologists, and the choreography of mountain landscapes in flux. This is the 11th artist's publication in conjunction with the yearly summer exhibition in the area of the Mauvoisin Dam in Vallais, Switzerland, curated by Jean-Paul Felley. Design: Roger Willems.
Current Exhibitions
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From fashion sketches of smartly dressed Shanghai dandies in the 1920s, to multipanel drawings of refugee urbanites during the war against Japan, to panoramic pictures of anti-American propaganda rallies in the early 1950s, the polymorphic cartoon-style art known as manhua helped define China's modern experience. ''Manhua Modernity'' offers a richly illustrated, deeply(...)
Manhua modernity: Chinese culture and the pictorial turn
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From fashion sketches of smartly dressed Shanghai dandies in the 1920s, to multipanel drawings of refugee urbanites during the war against Japan, to panoramic pictures of anti-American propaganda rallies in the early 1950s, the polymorphic cartoon-style art known as manhua helped define China's modern experience. ''Manhua Modernity'' offers a richly illustrated, deeply contextualized analysis of these illustrations across the lively pages of popular pictorial magazines that entertained, informed, and mobilized a nation through a half century of political and cultural transformation. In this compelling media history, John Crespi argues that manhua must be understood in the context of the pictorial magazines that hosted them, and in turn these magazines must be seen as important mediators of the modern urban experience. Even as times changed—from interwar-era consumerism to war-time mobilization to Mao-style propaganda—the art form adapted to stay on the cutting edge of both politics and style.
Current Exhibitions
Empire: Impressions de Chine
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Souvent amené en Asie pour son travail, J. W. Delano observe, avec des sentiments mêlés, la transformation de la physionomie de la Chine par la ténacité de son peuple. Ses photographies constituent une exploration intense de ce qui affleure sous la surface, une étude de lumière, de formes, d'énergie et d'émotion, de la manière dont le pays réagit à l'intrusion d'un(...)
Empire: Impressions de Chine
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Souvent amené en Asie pour son travail, J. W. Delano observe, avec des sentiments mêlés, la transformation de la physionomie de la Chine par la ténacité de son peuple. Ses photographies constituent une exploration intense de ce qui affleure sous la surface, une étude de lumière, de formes, d'énergie et d'émotion, de la manière dont le pays réagit à l'intrusion d'un observateur étranger.
Current Exhibitions
La maison chinoise
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« La Maison chinoise » traite principalement d’architecture, mais pas seulement : cet ouvrage vise à montrer comment le système de construction et d’aménagement de l’espace propre à la Chine ancienne se conjugue avec une certaine façon d’habiter et de vivre « domestiquement ». Il entreprend ainsi ce que l’on pourrait appeler une archéologie de l’habitat domestique. De(...)
La maison chinoise
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« La Maison chinoise » traite principalement d’architecture, mais pas seulement : cet ouvrage vise à montrer comment le système de construction et d’aménagement de l’espace propre à la Chine ancienne se conjugue avec une certaine façon d’habiter et de vivre « domestiquement ». Il entreprend ainsi ce que l’on pourrait appeler une archéologie de l’habitat domestique. De nombreux aspects de la maison chinoise ont bien entendu déjà été étudiés et commentés, mais ce que vise cette étude, c’est à montrer et expliquer comment, dans l’architecture et l’aménagement de la maison, tout se tient et forme un système technique cohérent ; comment les questions de charpenterie, de disposition des édifices, de décoration intérieure et extérieure, d’aménagement des cours et des voiries, se raccordent entre elles ; comment « grande architecture » et architecture « vernaculaire » s’articulent.
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Depuis environ deux cents ans, les activités industrielles de l’être humain ont profondément transformé notre environnement, jusqu’à entraîner une nouvelle ère géologique : l’Anthropocène. La modernité occidentale, en séparant la nature et la culture, a entrepris d’exploiter la première afin de faire « progresser » la seconde. Ce projet, marqué par une temporalité(...)
La question de la technique en Chine
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Depuis environ deux cents ans, les activités industrielles de l’être humain ont profondément transformé notre environnement, jusqu’à entraîner une nouvelle ère géologique : l’Anthropocène. La modernité occidentale, en séparant la nature et la culture, a entrepris d’exploiter la première afin de faire « progresser » la seconde. Ce projet, marqué par une temporalité linéaire non questionnée, a fini par imposer un technocratisme autoritaire responsable de la catastrophe écologique actuelle, remettant en cause notre existence comme celle de l’écosystème planétaire. Cette situation rend impérative la « question de la technique » : penser celle-ci est peut-être ce qui nous permettra collectivement de dépasser le blocage actuel. Dans son ouvrage, Yuk Hui s’attaque à cet enjeu fondamental.
Current Exhibitions