A Natural History of Ruins

Louidgi Beltrame, Minia Biabiany

Pivô, São Paulo

Curator: Catalina Lozano



Trampoline will support the participation of artists Louidgi Beltrame (France) and Minia Biabiany (Guadeloupe) in the group exhibition A Natural History of Ruins taking place at Pivô, São Paulo in 2021.


A Natural History of Ruins is a group exhibition that explores different forms of resistance to the ways in which the hegemonic modern colonial imagery has captured our imagination. Drawing from diverse artistic practices, this exhibition seeks to offer opportunities to think about healing in what author Anna Tsing calls a ‘precarious survival’. It also attempts to address the implications of representation outside of language in order to explore other-than-human forms of intelligence.


At the core of the exhibition, there is a critique of the modern divide between nature and culture and its ontological implications. Through a series of historical processes, some humans separated themselves from nature and therefore fabricated it as a category. Colonial regimes spread this notion through education and exploitation, normalizing nature as a ‘resource’ at humans’ disposal. It is largely through the knowledge and ecological practices of Indigenous peoples that these functioning colonial categories can be productively challenged.


A Natural History of Ruins wants to think about the representation of “nature” as much as it needs to rethink the nature of representation. Donna Haraway appropriately has sought to answer “what gets to count as nature, for whom and when, and how much it costs to produce nature at a particular moment in history for a particular group of people.” She thus recognizes the historically situated processes and semiotic operations needed to, not only normalize nature as a colonial, imperial category but also to produce and reproduce the category of the “universal man1” as a dominant one.


The transformation of ‘natural history’ museums into ‘natural science’ ones seem to suggest a rhetorical shift ‘history’ as a narrative exercise to ‘science’ as disinterested, objective observation that achieves the full separation of subjects (humans) from objects (non-humans, other-than-humans, but also humans subjected to scientific research). In the process, history is politically neutralised. By opening up dominant definitions of technology to include some that are not inherently attached to the Western notion of progress, art can lead towards a world of multiplicities where the centrality of the reality created by colonisation can be finally unveiled as a brutal, yet efficacious construction bound towards an ill-fated image of progress. In this way, the ruins produced in the present can be partially considered as the projection of a modernist unconscious.


The artists included in the exhibition tackle the brutality of modern binary categories and practices in order to show in different ways how things are entangled and in the words of artist max wíllà morais ‘to dance with the violence of the world’.


Catalina Lozano