Maria Thereza Alves

MICHEL REIN PARIS/BRUSSELS

MARIA THEREZA ALVES

42 rue de Turenne F-75003 Paris 51A Washington street B-1050 Brussels P. +33 (0)1 42 72 68 13 P. +32 (0)2 640 26 40 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Presentation

Born in 1961 in São Paulo (Brasil). Lives and works Née en 1961 à São Paulo (Brésil). Vit et travaille à in Berlin (Germany). Berlin (Allemagne).

Maria Thereza Alves, a Brazilian artist living in Maria Thereza Alves est une artiste brésilienne vivant Europe, researches social and cultural phenomena. en Europe et s’intéresse aux phénomènes sociaux et Alves focuses on concepts that question social culturels. Son travail est centré autour de concepts circumstances; concerning what we think we questionnant les circonstances sociales de ce que know, who we think we are and to look instead at l’on croit savoir et de ce que l’on croit être, en insistant where and how we actually are at this time. davantage sur ce que l’on est en réalité à l’état présent.

In 2017, she has been awarded by the Vera List Prize. En 2017, elle fut récompensée par le prix Vera List.

Selected exhibitions include solo shows at IAC - Le travail de Maria Thereza Alves a notamment Institut d’Art Contemporain (Villeurbanne), Parsons été exposé au IAC - Institut d’Art Contemporain - The New School of Design (New York), CAAC - (Villeurbanne), Parsons - The New School of Centre Andaluz de Arte Contemporáneo (Seville), Design (New York), CAAC - Centre Andaluz de Arte Musée d’Histoire de Nantes - Château des Ducs de Contemporáneo (Seville), Musée d’Histoire de Bretagne, and group shows at Manifesta 7 (Trento), Nantes - Château des Ducs de Bretagne, an group Serpentine Gallery (London), (d)OCUMENTA 13 shows at Manifesta 7 (Trento), Serpentine Gallery (Kassel), Bétonsalon (Paris), Crac Alsace, Jewish (London), (d)OCUMENTA 13 (Kassel), Bétonsalon Museum (Berlin), 3rd Guangzhou Triennial, 29th Sao (Paris), Crac Alsace, Jewish Museum (Berlin), 3rd Paulo Biennial. Guangzhou Triennial, 29th Sao Paulo Biennial.

Her work is part of prestigious collections as Son travail est présent dans de prestigieuses Centre National des Arts Plastiques (Paris), collections comme Centre National des Arts National Gallery of Canada (Ottawa), Heather & Plastiques (Paris), National Gallery of Canada Anthony Podesta (Washington D.C., Collection (Ottawa), Heather & Anthony Podesta (Washington vidéo Seine-Saint-Denis, Collection de la D.C., Collection vidéo Seine-Saint-Denis, Collection Province de Hainaut (Charleroy). de la Province de Hainaut (Charleroy). MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

IAC - Institut d’Art Contemporain, The Middle Earth, Villeurbanne, France, 2018 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Untitled, 2018 glass verre 34 x 24 x 24 cm (13.4 x 9.4 x 9.4 in.) unique artwork ALVE18123 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Olea europaea (1), 2018 painting on paper peinture sur papier Paper : 66 x 51 cm (26 x 20.1 in.) Frame : 75 x 60 x 3 cm (29.5 x 23.6 x 1.2 in.) ALVE18120 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Olea europaea (3), 2018 painting on paper peinture sur papier Paper : 66 x 51 cm (26 x 20.1 in.) Frame : 75 x 60 x 3 cm (29.5 x 23.6 x 1.2 in.) ALVE18122 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Michel Rein, Seeds of Change: New York - A Botany of Colonization, Paris, France, 2018 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Vera List Prize Center, Parsons - The New, School of Design, Seeds of Change: New York - A Botany of Colonization, New York, USA, 2017 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Michel Rein, The Flood, Brussels, Belgium, 2017 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

The Flood (My mother’s father bought a bolt of pumpkin...), 2017 acrylic on canvas, acrylic on paper acrylique sur toile, acrylique sur papier Canvas : 100 x 100 cm (39.4 x 39.4 in.) Text : 50 x 50 (19.7x19.7 in.) unique artwork ALVE1711 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

The Flood (I inherited from my mother’s family...), 2017 acrylic on paper, copper, mother-of-pearl, steel, painted wood, wood, glass acrylique sur papier, cuivre, nacre, métal, bois peint, bois, verre Text : 50 x 65 cm (19.7 x 25.6 in.) Glass : 127,5 x 46 x 31 cm (50.2 x 18.1 x 12.2 in.) Jar : 25 x 45 x 35 cm (9.8 x 17.7 x 13.7 in.) unique artwork ALVE17109 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

The Flood, 2013 painting watercolour on paper, wooden frame, plexiglass peinture aquarelle sur papier, cadre bois, plexiglas Frame : 29,8 x 37,8 x 3,5 cm (11.7 x 14.9 x 1.4 in.) ALVE17093 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

The Flood, 2013 painting watercolour on paper, wooden frame, plexiglass peinture aquarelle sur papier, cadre bois, plexiglas Frame : 25 x 30 x 3,5 cm (9.8 x 11.8 x 1.4 in.) ALVE17094 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

The Flood, 2013 painting watercolour on paper, wooden frame, plexiglass peinture aquarelle sur papier, cadre bois, plexiglas Frame : 24 x 32 x 3,5 cm (9.45 x 12.6 x 1.4 in.) ALVE17096 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

The Flood, 2013 painting watercolour on paper, wooden frame, plexiglass peinture aquarelle sur papier, cadre bois, plexiglas Frame : 29,8 x 37,8 x 3,5 cm (11.7 x 14.9 x 1.4 in.) ALVE17098 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Centre Andaluz de Arte Contemporàneo (CAAC), El largo camino a Xico (1991-2014), Seville, Spain, 2015 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Untitled (Unrejected Wild Flora), 2017 acrylic on paper, wooden frame, glass acrylique sur papier, cadre en bois, verre Frame : 102,3 x 72,8 x 3 cm (40.3 x 28.7 x 1.2 in.) ALVE17087 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Untitled (Unrejected Wild Flora), 2017 acrylic on paper, wooden frame, glass acrylique sur papier, cadre en bois, verre Frame : 102,3 x 72,8 x 3 cm (40.3 x 28.7 x 1.2 in.) ALVE17088 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Untitled (Unrejected Wild Flora), 2017 acrylic on paper, wooden frame, glass acrylique sur papier, cadre en bois, verre Frame : 102,3 x 72,8 x 3 cm (40.3 x 28.7 x 1.2 in.) ALVE17090 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Nowhere, 1991 10 black and white photographs, marker, paint, wood 10 photographies noir et blanc, marqueur, peinture, bois variable dimensions unique artwork ALVE16084 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Centre Andaluz de Arte Contemporàneo (CAAC), El largo camino a Xico (1991-2014), Seville, Spain, 2015 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Coigbâcete recou (Metaplasmos), 2014 bronze bronze 50 x 28 x 24 cm (19.7 x 11 x 9.4 in.) / 20 kg ed. of 5 + 2 AP ALVE15078 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Aimõbucu (Metaplasmos), 2014 bronze bronze 57 x 39 x 17 cm (22.4 x 15.3 x 6.7 in.) / 16,1 kg ed. of 5 + 2 AP ALVE15079 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Aicoabeeng (Metaplasmos), 2014 bronze bronze 50 x 45 x 16 cm (19,7 x 17,7 x 6,3 in.) / 20,5 kg ed. of 5 + 2 AP ALVE15080 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Art Dubai projects, A4 Space, Wake: Flight of Birds and People, Dubai, United Arab Emirates, 2015 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Seeds of Change: Floating Ballast Seed Garden, Bristol, UK, 2012 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Seeds of change: Bristol, 2007 - 2012 photos, text, map, 2 frames photographies, texte, plan, 2 cadres 125 x 240 cm (49.2 x 94.5 in.) / 90 x 140 cm (35.4 x 55.1 in.) ed. of 1 + 1 AP ALVE14074 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Seeds of change: Liverpool, 2004 photos, text, map, frame photographies, texte, plan, cadre 115 x 225 cm (45.3 x 88.6 in.) ed. of 1 + 1 AP ALVE14076 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Seeds of change: Reposaari, 2011 photos, text, map, frame photographies, texte, plan, cadre 110 x 215 cm (43.3 x 84.6 in.) ed. of 1 + 1 AP ALVE14077 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

dOCUMENTA (13), El regreso de un lago, Kassel, Germany, 2012 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Musée d’Histoire de Nantes - Château des Ducs de Bretagne, Par ces murs nous sommes mal enfermés, Nantes, France, 2012 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Beyond the painting, 2011 video work, color oeuvre vidéographique, couleur 23’ 43’’ ed. of 5 + 2 AP ALVE12033 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Kunsthalle Basel, Strange Comfort (Afforded by the Profession),Basel, Switzerland, 2010 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

29th São Paulo Biennial, There is always a Cup of Sea to sail in, São Paulo, Brazil, 2010 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Dicionário Krenak-Português Português-Krenak, 2010 book, wooden frame with number-lock, glass livre, cadre bois avec cadenas à code, verre Frame : 37 x 33 x 8,5 cm (14.6 x 13 x 3.3 in.) ed. of 5 + 2 AP ALVE16083 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Mirta Demare Gallery, Seeds of Change, Rotterdam, Netherlands, 2009 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Michel Rein, Constructed Landscapes, Paris, France, 2009 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Fair Trade Head, 2007 color photographs (diptych) and text (French or English), lambda prints, oak frame, glassbronze photographie couleur (diptyque) et texte (français ou anglais), tirages lambda, cadre en chêne, verre each : 100 x 100 cm (39.4 x 39.4 in.) ed. of 5 + 2 AP ALVE08024 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Michel Rein, Constructed Landscapes, Paris, France, 2009 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

What is the color of a German Rose, 2005 video work transferred to DVD oeuvre vidéographique transférée sur DVD 6’14’’ ed. of 5 + 2 AP ALVE08004 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

3rd Guangzhou Triennial, Farewell to Post-Colonialism, Guangzhou, China, 2008 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Contemporary Art Center, Circa Berlin, Copenhagen, Denmark, 2005 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Landscape 1, 2008 leather, wood, fabric cuir, bois, tissu 200 x 123 cm (78.7 x 48.4 in.) unique artwork ALVE09027 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

Diothio Dhep, 2004 video work transferred to DVD oeuvre vidéographique transférée sur DVD 2’35’’ ed. of 5 + 2 AP ALVE08006 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PRESS

In Spanish Harlem (2), 1983 digital photograph photographie numérique 60 x 40 cm (23.6 x 15.7 in.) ed. of 5 + 2 AP ALVE08026 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

PUBLICATIONS AND SELECTED PRESS MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

El Largo Camino A Xico / The Long Road To Xico, 1991 - 2015, 2017 Texts by Maria Thereza Alves, T. J. Demos, Pedro de Llano Edited by Pedro de Llano Publisher : Sternberg Press, Berlin / Centro Andaluz de Arte Contemporáneo, Sevilla 290 pages English / Spanish ISBN 978-84-9959-238-1 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves, 2013 Texts by Emmanuelle Chérel, Jean Fisher, Catalina Lozano Edited by Beaux-arts°Nantes Publisher : Musée du Château des ducs de Bretagne, Nantes. 112 pages Fr. / Eng. ISBN 979-10-92693-00-3 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves ARTNEWS July 20th, 2018 by Andy Battaglia

MARIA THEREZA ALVES MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Asharq Al-Awsat May 16th, 2018

Maria Thereza Alves New York High Line Park Displays Works of 9 Artists

New York visitors can now enjoy some culture in Manhattan at an outdoor art exhibition organized along the High Line Park. The High Line, a deserted old railway that was transformed into a park in New York, will display the artworks of nine painters until next March at a massive exhibition entitled "Agora." The works of the nine painters focus on the role of art in the definition, creation and use of public spaces. The name of the exhibition is taken from the ancient Greek word that refers to the square, which is traditionally the gathering place, according to the organizers. The pieces were placed along the two-mile-long park on the west side of Manhattan from Gansevoort Street in the Meatpacking district to the 34th street. The participating painters include Timur Si-Qin from Germany, Duane Linklater from Canada, Sable Elyse Smith from the US, the Irish-German Mariechen Danz and Maria Thereza Alves from Brazil. The park has been attracting more visitors annually than the Statue of Liberty, according to officials. Inspired by the “La Colle Forte Pak” in Paris, High Line Park was built on a railway line that authorities had previously pledged to dismantle. It boasts more than 300 carefully selected plants and trees and overlooks Hudson Lake and the streets and buildings of Manhattan. Dutch landscape architect Piet Oudolf, who designed the garden, decided to retain the wild character of the park, which constantly changes according to the seasons. Parts of the former railway have been preserved. The park is open from 7 am till 11 pm during the summer, making it a popular destination for New Yorkers to relax and enjoy free art and celebrations. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Beaux Arts March 29th, 2018 By Maïlys Celeux-Lanval

Maria Thereza Alves & Jimmie Durham, la Méditerranée en terre promise

Maria Thereza Alves et Jimmie Durham ont vécu à Marseille et à Rome avant de poser leurs valises à Naples. Ensemble, ils ont exploré les richesses de la mer Méditerranée. Ils présentent le fruit de leur collecte à Villeurbanne : textes, végétaux et objets archéologiques dressent le portrait sensible du berceau de l’humanité.

Vénus à la coquille, Premier quart du IIIème siècle av. JC

dédicace souligne l’importance des migrations et du mouvement. Dans ce projet intitulé « The Middle Earth », chaque objet semble façonné par des siècles d’histoire(s), à l’image des migrations qui tirent des lignes

invisibles sur la mer Méditerranée. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

« Cette exposition est dédiée à ceux qui, en ce moment, rejoignent courageusement les frontières de l’Europe et aideront à construire le futur. » De la part de deux artistes autoproclamés « citoyens itinérants », cette dédicace souligne l’importance des migrations et du mouvement. Dans ce projet intitulé « The Middle Earth

», chaque objet semble façonné par des siècles d’histoire(s), à l’image des migrations qui tirent des lignes invisibles sur la mer Méditerranée.

Vue de l’exposition « The Middle Earth – Projet Méditerranéen » de Maria Thereza Alves & Jimmie Durham

Les identités se définissent comme des flux. Maria Thereza Alves (née en 1961) et Jimmie Durham (né en 1940) engagent dès la première salle à se débarrasser de tout rapport normatif à l’art. Le duo n’établit d’ailleurs aucune hiérarchie entre les reliques archéologiques, les œuvres d’art contemporain et les textes. Autrement dit, le visiteur peut ici toucher, s’asseoir sur les chaises de l’artiste, lire, sentir, goûter, écouter de la musique. Le parcours se déploie sur une dizaine de salles aux murs jaunes, roses ou beiges, chacune dédiée à un thème : l’écriture (inventée en Méditerranée !), les plantes, les déchets, la couleur pourpre… À la façon d’un herbier, Maria et Jimmie inventorient leurs trouvailles, qu’ils ont dénichées au gré de leurs pérégrinations à travers les paysages et les villes – certains objets proviennent de fouilles dans les poubelles ! De cette errance émerveillée sur les bords de la Méditerranée, ils retiennent également une part de rêve, collectant des textes aussi bien

littéraires que scientifiques, enregistrant les cris du phoque moine – animal en voie de disparition – comme les témoins du passé sonore d’une mer sans navires bruyants, ou l’évocation du chant des sirènes dans l’Odyssée MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves & Jimmie Durham, Mediterranean, 2018

d’Homère.On croise ici des poissons de verre dressés sur une table, une plante à palmes qui pousse sagement dans un coin, un tronc d’arbre posé sur le sol, une mosaïque faite à deux mains (œuvre qui concentre l’idée centrale de la collaboration, où chacun apporte sa touche), le tout étayé par quelques explications au mur – où l’on apprend par exemple que « le verre n’est pas solide parce qu’il est dans un état d’écoulement. Cet écoulement est plus lent que l’expansion de l’univers »… L’exposition « The Middle Earth » semble toujours s’étonner face au réel, face à la faune et à la flore, face aux sons, aux textures, au patrimoine, face aux crises et aux déchets. On pourrait y voir une forme d’archéologie multi-sensorielle de la Méditerranée, mais sans volonté de donner un aperçu exhaustif de ce qu’est le berceau de l’humanité. La proposition des artistes induit plutôt une relation poétisée à cette région du monde, actuellement au centre d’une crise humanitaire dramatique.

De cette errance émerveillée sur les bords de la Méditerranée, ils retiennent également une part de rêve. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

On croise ici des poissons de verre dressés sur une table, une plante à palmes qui pousse sagement dans un coin, un tronc d’arbre posé sur le sol, une mosaïque faite à deux mains (œuvre qui concentre l’idée centrale de la collaboration, où chacun apporte sa touche), le tout étayé par quelques explications au mur – où l’on apprend par exemple que « le verre n’est pas solide parce qu’il est dans un état d’écoulement. Cet écoulement est plus lent que l’expansion de l’univers »… L’exposition « The Middle Earth » semble toujours s’étonner face au réel, face à la faune et à la flore, face aux sons, aux textures, au patrimoine, face aux crises et aux déchets. On pourrait y voir une forme d’archéologie multi-sensorielle de la Méditerranée, mais sans volonté de donner un aperçu exhaustif de ce qu’est le berceau de l’humanité. La proposition des artistes induit plutôt une relation poétisée à cette région du monde, actuellement au centre d’une crise humanitaire dramatique.

Maria Thereza Alves & Jimmie Durham, Mediterranean Sea, 2018

Engagés, Maria Thereza Alves et Jimmie Durham l’ont été et le sont toujours : elle a lutté pour les droits des peuples autochtones au Brésil, lui pour la reconnaissance des natifs indiens en Amérique du Nord. Mais ici le sujet écologique – incarné par un sol jonché d’ordures, de pots de yaourt, de cotons-tiges et canettes de bière – et la (rapide) référence aux migrants cède le pas à un récit essentiellement esthétique, où l’on s’arrête sur des détails… Tel ce minuscule poisson en silex daté d’il y a « au moins 30 000 ans », sans doute l’une des plus anciennes œuvres d’art du monde ! « The Middle Earth », par son aspect inachevé, sa modestie et ses élans poétiques, réussit à provoquer un sentiment d’espoir, une sensation de mouvement, où l’ancien côtoie l’actuel et où rien n’est jamais figé. Maria Thereza Alves Le Monde March 18th, 2018 by Philippe Dagen

MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Le Monde March 18th, 2018 by Philippe Dagen MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Mouvement March 9th, 2018 by Orianne Hidalgo-Laurier

D’emblée, l’exposition de Jimmie Durham et Maria Thereza Alves fait oublier que l’on se trouve dans un centre d’art. Le voyage qu’ouvre The Middle Earth débute dans une pièce aux murs jaune safran, décorée de multiples images et meublée de tables en bois sombre. Dessus, reposent de la vaisselle en céramique typiquement méditerra- néenne et de petits objets – dont des ampoules « trouvées dans les racines d’un acacia jouxtant la plus vieille église de Naples » – que l’on imagine chéris par les éventuels hôtes. Des produits issus des industries agro-alimentaires méridionales – dattes, olives, pain azyme, amendes, poids chiches espagnols, fleur d’oranger – ajoutent à l’ambiance tout en relativisant son pittoresque. En fond sonore, les notes d’une lyre donnent la réplique aux cordes d’un oud. Ni ready-made, ni nouveau réalisme à la Spoerri, cette scénographie s’associe davantage à un incipit romanesque, où sont distillés les motifs constitutifs de la trame. Parmi ceux-ci, une mosaïque composée par le couple avec des résidus hétéroclites glanés au cours de leurs dérives – puces électroniques, piles, pièces, bouchons, coquillages, éclats de céramique et d’ornements architecturaux clas- siques. Les époques, les sociétés, les cultures, la faune et la flore s’y enchevêtrent. Cet ouvrage intitulé Mediterranean semble une synthèse non linéaire de ce « berceau des civilisations », en forme de cosmogonie actualisée et alternative au mythe verti- cal et biblique de la Tour de Babel. Comme une boussole qui guiderait vers l’autre côté du miroir, cette œuvre cartographie un envers de la Grande Bleue, sans zones d’influences délimitées, postes-frontières, garde-côtes et plan d’action immigration. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Dans le couloir qui mène aux autres salles, un préambule intitulé « La condition humaine », écrit par les deux artistes et dédicacé à ceux qui arpentent les routes de l’exil, rappelle que les peuples européens, en tant que premiers déportés aux Amériques, ont été les victimes initiales des politiques impérialistes. Cet appel à une solidarité universelle n’est pas sans lien avec l’engagement politique des auteurs pour la reconnaissance et les droits des peuples indigènes, le rôle de Jimmie Durham au sein de l’American Indian Movement et celui de Maria Thereza Alves dans le Partido Verde et le Partido dos Trabalhores au Brésil.

Réminiscence animiste

Le parcours en enfilade dans le ventre de The Middle Earth se déploie en neuf chapitres – d’« écriture » à « fer » en passant par « sirène », « temple » et « arbres » – tissant un récit hybride entre mythologie, anthropologie et géologie, défiant l’autorité des taxinomies. Contrairement à ce que l’entreprise peut supposer d’encyclopé- dique, aucune monumentalité ici mais des écriteaux discrets, des noms de plantes qui courent sur les murs, des petits dessins naturalistes photocopiés et collés au dessus de quelque plinthe, des vestiges archéologiques, pré- cieux mais sans grandiloquence, issus de la collection du couple ou de celles de musées consacrés. Entre les statuettes et les figurines animales de différents âges, les amulettes d’Égypte antique, les colliers de l’époque ptolémaïque, les silex ou encore les arbres en terre, s’immiscent des installations, sculptures et peintures si- gnées de l’un ou de l’autre artiste, parfois des deux. Que ce soit un morceau de « réel », comme cet énorme tronc d’olivier huitcentenaire couché entre un bois de noyer et les branchages d’un cyprès, une œuvre d’art ou d’arti- sanat, un objet fétiche ou une canette de bière, les éléments cohabitent dans une harmonie toute horizontale. La sculpture Heléns de Jimmie Durham, à mi-chemin entre l’arte povera et le totem, cumule les différents âges. Sur un socle fait d’une caisse en bois manufacturée, trônent trois branches dont l’une, pour atteindre la hauteur des autres, s’appuie sur une boîte de conserve, elle-même posée sur une pierre. Juste après l’espace « temple », au centre du parcours, le duo aménage une sorte de chapelle. L’autel est un bidon en métal – habituellement converti en brasero – rempli d’eau, le sol est parsemé de déchets contemporains à la manière d’une plage. Survivances des cultes païens ou installations à dimension géopolitique, l’une de ces interprétations n’exclut pas l’autre. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Exposition non-domestiquée

Sous leurs faux-airs de Bouvard et Pécuchet, Maria Thereza Alves et Jimmie Durham ouvrent un pan de leur recherches et pérégrinations autour de ce bassin saturé d’histoires, façonné par les métissages. Les regards de ces deux Américains installés de longue date sur le vieux continent remettent en jeu les récits nationaux, la linéarité historique, les discours ethnocentrés et les théories essentialistes, sans avoir be- soin de faire commerce de l’actualité politique et migratoire. Tout en jouant sur des cordes pseudo-scientifiques, ils construisent humblement une odyssée transversale sans égard pour ce qui doit être une œuvre MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Neromagazine March, 2018

This Spring, the IAC, Villeurbanne/Rhône-Alpes handed the totality of its space over to artists Maria Thereza Alves and Jimmie Durham for their project devoted to the Mediterranean, called The Middle Earth. This new and original collaboration comes from the artists’ desire to explore together the territory where they live, in a poetic and critical fashion. After a period in Marseille, followed by Rome and then Naples where they regularly travel, Alves and Durham settled on the coast of the “inland sea” following a continuous and committed period of roaming that led them away from the American continent and all the way to Europe. In a similar vein to Jimmie Durham’s Eurasien Projet, begun in 1994 just after his departure from America, and the project Seeds of Change that Maria Thereza Alves began in the port of Marseille in 1999, the idea of The Middle Earth began to form little by little, in search of that vast continent, not at all defined by nations, but rather something that is completely imagined and dreamed, and thus, endless. The two artists, who both have their own distinct, internationally recognized, artistic practices, reveal common influences that come, on the one hand from a political engagement that flows through their respective work, and on the other hand common areas of research, that deal with notions of territory and authority. One can effectively observe these questions in the work of both artists, and in both cases, their thought processes are engaged in the same criticism of the ideological and normative frameworks that shape people’s relationships with the world.Maria Thereza Alves brings a particular attention, that is also that of an activist to the experience of a territory and guides the research, between poetry and ethnology, that she does on migratory phenomena and peoples that have been uprooted. In Europe Durham’s work has focused primarily on the relationship between architecture, monumentality and national narratives which deconstructs the stereotypes and official tales of powers. Conceiving history as a process, he seeks the reality of objects, their intentionality even, within their evolving context, moving backwards and away from any kind of frozen categorization.Starting from the matrix form of relationship that exists between their artistic practice and the places that they move through or live in, the two artists will work in collaboration with one another, embarking upon new research at the IAC that deals with the mixed heritage of the Mediterranean. Divided into specific fields of knowledge, from archeology to biology by way of climatology, The Middle Earth explores a multiplicity of sources. Playing with universalist models, Alves and Durham’s dialogue hijacks the apparent objectivity of classification in order to deploy an active dialogue between recent artworks and archeological and ethnological objects in each category, with writing that places itself somewhere between the poetic and the scientific. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves E-flux March, 7th, 2018

In Spring 2018, the IAC in Villeurbanne will entrust and national history, through the deconstruction the totality of its space to artists Maria Thereza Alves of stereotypes and official narratives. Considering and Jimmie Durham for their project The Middle history as a process, he seeks the reality of objects, Earth, devoted to the Mediterranean region. This new their intentionality even, within an evolutive and original collaboration comes from the artists’ context, as opposed to their frozen categorization. desire to explore together the territory where they Starting from the matrix form of relationship live, in a poetic and critical fashion. After a period that exists between their artistic practice and the in Marseille, followed by Rome and then Naples, places that they move through or live in, the two where they regularly travel, Alves and Durham artists will work in collaboration with one another, settled on the coast of the “inland sea” following embarking upon new research at the IAC that deals a continuous and engaged period of roaming that with the mixed heritage of the Mediterranean. The led them away from the American continent and exhibition The Middle Earth has been created all the way to Europe. In a similar vein to Jimmy and imagined in the form of an active dialogue Durham’s Eurasian Project, begun in 1994 just after between recent artworks, original creations and his departure from America, and the project Seeds of a multiplicity of archeological pieces and objects Change that Maria Thereza Alves began in the port originating from the Mediterranean basin, that of Marseille in 1999, the idea of The Middle Earth have been borrowed from the collections of began little by little to take shape, in search of that different museum collections: The Museum of vast continent, not at all defined by nations, but rather Archeology of Marseille, The Museum of Fine something that is completely imagined and dreamed, Arts of Lyon and The Musee des Confluences of and thus, endless. The two artists, who both have Lyon. Divided into specific fields of knowledge, their own distinct, internationally recognized, artistic the exhibition thus plays with universalist practices, reveal common influences that come, on and scientific models such as the traditional the one hand from a political engagement that flows museographic codes. Western museums of art, through their respective work, and on the other hand ethnography, cultures and society, through the common areas of research that deal with notions objects that they choose to exhibit, do indeed of territory and authority. One can indeed observe transmit a certain vision of the world, reflecting these questions in the work of both artists, and in a certain vision of what they “represent,” often both cases, their thought processes are engaged in referring to historical stereotypes. It is this vision the same criticism of the ideological and normative that Jimmie Durham and Maria Thereza Alves frameworks that shape people’s relationships have decided to challenge, remaining faithful to with the world. Maria Thereza Alves brings a the poetical and critical engagement that forms particular focus, that is also that of an activist, to the the basis of their artistic approaches, whether experience of a territory and this guides the research, in the very principle of assembly of Durham’s between poetry and ethnology, that she does on sculptures or the contextual work being done by migratory phenomena and uprooted peoples. In Alves. Europe, Durham’s work has focused mainly on the relationship between architecture, monumentality MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Délibéré Feb 27th 2018 by Nina Leger

Flore de ballast : Maria Thereza Alves et la botanique de la colonisation par Nina Leger 27 FÉVRIER 2018

Il est rare de franchir le seuil d’une galerie et d’éprouver immédiatement l’importance de l’œuvre qui y est présentée. On peut en faire l’expérience en entrant dans la galerie Michel Rein où Maria Thereza Alves expose un volet de son projet Seeds of Change. Depuis 1999, l’artiste brésilienne investit des villes portuaires qui furent des points cruciaux de la cartographie coloniale — Marseille, Liverpool, Dunkerque, Bristol — et observe comment les échanges coloniaux furent doublés d’une circulation de semences végétales. On connaît l’histoire migratoire de certains fruits et légumes — on sait la pomme de terre ou la tomate fameusement introduites en Europe à la fin du XVIe siècle. Maria Thereza Alves s’intéresse au contraire à des plantes dont la circulation fut accidentelle et souvent inaperçue : la flore de ballast. L’expression désigne les plantes importées par les navires marchands dont les cales, lorsqu’elles n’étaient pas pleines, étaient lestées de ballast composé de terre, de pierres, de sable et d’autres débris. Ce mélange contenait aussi des graines et des pousses et quand le ballast était débarqué pour que soient à nouveau emplies les cales, une dissémination discrète commençait, transformant furtivement la flore locale en l’hybridant d’essences nouvelles. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

En tirant le portrait archéobotanique de ces lieux-interfaces, en reconstituant les circulations d’une végétation rarement remarquable et majoritairement composée d’herbes qu’on dit mauvaises, Maria Thereza Alves dessine une histoire souterraine de la colonisation, des migrations, des échanges et de leurs effets durables sur le paysage. Cette histoire se joue en sourdine, au revers des conquêtes évidentes. Elle n’en est que plus cruciale.

Instituant les plantes comme sujets historiques, le travail de Maria Thereza Alves trouve une résonance particulière dans le champ de la pensée française où les plantes s’imposent progressivement comme des objets de savoir cruciaux. Elles nourrissent des enquêtes philosophiques, comme la récente Vie des plantes où Emanuele Coccia travaille à réintégrer les plantes à nos cartes conceptuelles et à rappeler ce que notre monde et nos savoirs leur doivent. Elles sont au cœur du projet de Samir Boumediene qui, dans La Colonisation du savoir, raconte une histoire des relations entre Europe et Amérique à travers celle des plantes médicinales — de leur découverte, de leur collecte, de leur circulation et de leurs usages. Le travail de Maria Thereza Alves rappelle que ces réflexions, neuves en France, sont largement enracinées outre-Atlantique et dans d’autres pays d’Europe — Alves s’appuie ainsi largement sur les travaux du philosophe slovène Tomaz Mastnak et son concept de « décolonisation botanique », ainsi que sur le champ états- unien des études postcoloniales et des études de genre.

Le projet actuellement présenté à la galerie Michel Rein fut réalisé à New York. Il est baptisé Seeds of Change : New York — A Botany of Colonization. Le ballast joua un rôle crucial dans la construction de New York, non seulement en raison de la quantité qui fut débarquée dans le port — et qui était en rapport avec l’importance commerciale de la ville vers laquelle convergeaient les navires venus d’Europe et des Antilles —, mais aussi en raison de l’usage qui en fut fait pour surélever certains terrains ou en combler d’autres MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Dès l’arrivée des premiers colons, New York avait été l’objet d’un travail de nivellement acharné. Maria Thereza Alves l’écrit : « À New York, les particularités, les spécificités et les rapports topographiques furent littéralement anéantis. L’eau fut bannie : rivières, ruisseaux et mares furent asséchés, comblés ou recouverts. La non-linéarité fut bannie grâce au nivellement des collines, des crevasses, des failles, des niches, des rigoles et des ravins. Les marais et les marécages furent considérés comme un affront fait aux colons et furent comblés. »

Le ballast participa de cette transformation topographique. Parmi les sites étudiés par Maria Thereza Alves, se trouve Red Hook : situé à Brooklyn, sur les rives de l’East River, tout proche des quais où débarquaient des navires du monde entier, Red Hook fut construit grâce au ballast que les navires étaient invités à décharger afin de gagner du terrain sur la rivière. Progressivement, le territoire de la ville fut mis au carreau, ses reliefs furent aplanis, ses déclivités comblées, son organisation homogénéisée, son approvisionnement organisé et ainsi, « l’immense forêt d’arbres » décrite par l’explorateur italien Giovanni de Verrazzano en 1524, lorsqu’il longea pour la première fois la presqu’île, cette forêt devint un espace conçu pour et par l’homme et où la nature, si elle existait, était faite de main d’homme : une « nature métropolitaine », écrit par Matthew Gandy dans Concrete and Clay. Reworking Nature in New York City. La flore de ballast est une des images de cette nature métropolitaine, une image qui rassemble deux opérations cruciales de la modernité : la construction et la circulation. L’implantation progressive de la flore de ballast raconte à la fois la topographie d’une ville etla cartographie d’un monde. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Matériellement, Botany of Colonization consiste en une série de planches et de cartes à l’aquarelle, de listes inventoriant la flore de ballast répertoriée sur certains lieux, de textes expliquant les postulats sur lesquels repose le travail d’Alves, de récits historiques ou légendaires et d’un passionnant diagramme retraçant l’origine des navires arrivant à New York chargés de ballast — ou leur destination dans le cas des navires en partance. Plus que les images à l’aquarelle, c’est ce diagramme et ce sont ces textes qui frappent tant sont grandes leur intelligence et leur pertinence. Ces documents sur papier sont malheureusement seuls présents dans l’exposition, mais ils vont de pair avec des installations botaniques ex ou in situ, des jardins de flore de ballast que Maria Thereza Alves a notamment installés sur la High Line — l’ancienne ligne ferroviaire qui remontait Manhattan et par laquelle les marchandises débarquées des cales des navires étaient acheminées vers l’intérieur des terres, poursuivant la circulation clandestine de la flore de ballast.

En 1970, un artiste américain, Alan Sonfist, entreprit de recréer au sud de Manhattan, un îlot de la forêt primaire décrite par Giovanni de Verrazzano en 1524. Baptisé Time Landscape, cet insert virginal fut installé au sud de Greenwich Village et s’y trouve toujours. C’est une forêt d’avant la civilisation occidentale, mais une forêt cernée de grillages, dotée d’horaires d’ouverture et gérée par le New York City Department of Parks & Recreation. L’approche de Maria Thereza Alves a ceci de passionnant que, contrairement, au Time Landscape de Sonfist, elle ne propose pas de restauration, n’entreprend pas de revenir à une nature d’avant l’histoire mais choisit d’approcher la nature comme une construction historique. Le mythe de la virginité est remplacé par le constat de l’hybridation.

Nina Leger

Maria Thereza Alves, Seeds of Change : New York — A Botany of Coloniza- tion, galerie Michel Rein, jusqu’au 31 mars 2018. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Wall Street International Feb 10th - Mar 31th 2018

Maria Thereza Alves. Courtesy of Michel Rein MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Dream Idea Machine February 10th, 2018 by Eﬁ Michalarou

ART CITIES:Paris-Maria Thereza Alves

Maria Thereza Alves’ long-term project “Seeds of Change” started in 2002 and studies settler colonialism, slavery, global migration, and EQOOQFKÒECVKQP through the lens of displaced plants in ballast, the waste material historically used to balance sailing ships in maritime trade. Dumped in ports at the end of passages as the ships took on more freight, ballast often carried seeds collected from its place of origin that remained in the soil for hundreds of years before germinating and growing. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

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Scienti�cally these plants are categorized as “ballast �ora” for no other reason than that they come from elsewhere, in this sense the plants are metaphors for today’s undocumented immigrants. The ballast plants speak speci�cally to the forced dis-placement of lands and peoples through the transatlantic slave trade, but in Alves’ project they also literally and metaphorically hold open a space at the intersection of art and science to challenge and think expansively about our social, cultural and political history and possible futures. È5GGFU QH &JCPIGÉ has been presented in several European port cities: Dunkirk, Marseille, Liverpool, and Bristol among them and in New York. È5GGFUQH&JCPIG0GY;QTM– $ %QVCP[&QNQPK\CVKQPÉ after New York is on presentation at Michel Rein Gallery in Paris. The È5GGFU QH &JCPIG 0GY;QTM$%QVCP[QH&QNQPK\CVKQPÉ is conceived as an ongoing collaboration between experts, students, and local communities through a network of partner sites around the New York area: The High Line in Chelsea, Pioneer Works in Red Hook, Weeksville Heritage Center in Crown Heights, and The New School in Greenwich Village. In the spring of 2017 approximately four hundred individual plants selected from thirty-eight species were propagated at Pioneer Works and The New School. This cultivation and dispersal organically tie together each site’s distinct history of trade and the distribution of people, plants and goods. 2KQPGGT9QTMU near the banks of the East River in Brooklyn is literally built on ballast: in the 1851, an Irish immigrant, William Beard, purchased land and gained permission to build the Eerie Basin, originally marsh land below the Brooklyn Docks where ships from around the world would dock. Beard invited ships to dump their ballast at the Basin to shore up the space producing a landmass that is largely made of ballast soil and populated by ballast �ora. 9GGMUXKNNG +GTKVCIG&GPVGT is testimony to a community founded by African American freedmen, located between Bedford Stuyvesant, Crown Heights, and Brownsville, Brooklyn. After abolition purchasing land became a means for freed African Americans to gain economic and political MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

freedom. Weeksville was established by stevedore James Weeks and others in 1838 to accomplish this. By the mid- 1800’s Weeksville was providing for a community of �ve hundred people with their own newspaper, school, orphanage, housing and, perhaps most importantly, $250 worth of property owned by every non-white man. The High Line is a public-private partnership park in Chelsea that was opened to the public in 2009 on elevated train tracks. Here, the story of ballast dispersal shifts from the ports to the Western frontier of this country. As goods arrived at the city’s ports, carrying seeds with them, they were loaded onto the trains that had traveled on what is now The High Line, themselves the carrier of seeds from the West and now transporting “non-native” seeds across the United States on their undercarriage. Using paint, text, and imagery the artist evokes an alternative way of knowing, by layering the stories plants tell as witnesses in the anthropocentric histories of trade and migration. The traces these plants leave, as annuals and perennials, create a map of colonialization that is deeply embedded yet often invisible in the landscape of New York City. Selected for their presence in sites around the New York area, the ballast �ora in the exhibition sets up a key for the map of the city’s sites of colonization. In the shape-shifting cultural, economic and social environments of New York, Seeds of Change holds open physical and temporal spaces for thinking with the plants about the reasons that these landscapes are constructs we all actively co- produce.

Info: Michel Rein Gallery, 42 rue de Turenne, Paris, Duration: 10/2-31/3/18, Days & Hours: Tue-Sat 11:00- 19:00, http://michelrein.com MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves, Seeds of Change: New York – A Botany Colonization, Exhibition view at Michel Rein Gallery, 2018, Courtesy the artist and Michel Rein-Paris/Brussels, © Florian Kleinefenn

Maria Thereza Alves, Seeds of Change: New York – A Botany Colonization, Exhibition view at Michel Rein Gallery, 2018, Courtesy the artist and Michel Rein-Paris/Brussels, © Florian Kleinefenn MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves, Seeds of Change: New York – A Botany Colonization, Exhibition view at Michel Rein Gallery, 2018, Courtesy the artist and Michel Rein-Paris/Brussels, © Florian Kleinefenn

Maria Thereza Alves ZigZags Blog December 2nd, 2017 ZIGZZAIGGSZAGS by Zoé Schreiber

Maria Thereza Alves, 'The Flood', Galerie Michel Rein

La galerie Michel Rein nous invite à aller à la rencontre du travail de l’artiste brésilienne Maria Thereza Alves (née en 1961). Lauréate du Vera List Center Prize for Art and Politics (2016-2018) pour son projet Seeds of Change, cette artiste engagée, exilée avec sa famille proche aux Etats-Unis pendant les années de dictature militaire et qui vit aujourd’hui à Berlin, a co-fondé le Partido Verde brésilien (parti des Verts) en 1981 et est impliquée dans la protection des droits des peuples autochtones. Elle utilise sa pratique artistique pour révéler la face cachée des oppressions et promouvoir l’avancement de la justice sociale. Son travail protéiforme se nourrit à la fois de recherches extensives et d’expériences personnelles.

Intitulée The Flood, l’exposition présentée prend pour point de départ l’inondation du village dont est originaire sa famille et permet à Maria Thereza Alves de dénoncer et de critiquer, avec sensibilité et poésie, l’impact pernicieux que des pratiques héritées du colonialisme ont sur l’environnement. L’interaction formelle entre aquarelles, textes et objets divers qu’elle nous propose reflète son souci d’éveiller chez le visiteur une prise de conscience sociale et écologique.

Maria Thereza Alves, The Flood, 2016, painting watercolour on paper, 32 x 24 cm Courtesy The Artist and Michel Rein Paris/Brussels MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves, The Flood, 2017, Galerie Michel Rein, vue d’exposition Courtesy The Artist and Michel Rein Paris/Brussels

A peine franchie la porte de la galerie, le regard se pose sur une barque miniature en bois coloré. Accrochée au mur adjacent, une toile à l’orange tonique côtoie des peintures à l’aquarelle qui illustrent la submersion des terres. Sur des panneaux roses placés à même le sol, une poupée Barbie, une figurine de tigre ou encore un nid de termites... A côté, des os de bovins, une casserole en cuivre et même les composants mécaniques d’un fusil que l’artiste a hérité de sa mère.

Maria Thereza Alves, The Flood, 2017 Maria Thereza Alves, The Flood, 2017 Courtesy The Artist and Michel Rein Paris/Brussels Courtesy The Artist and Michel Rein Paris/Brussels

Les objets hétéroclites et a priori sans rapport les uns avec les autres et les tableaux aux couleurs assourdies sont chaque fois accompagnés de textes en prose écrits à la main d’une toute petite écriture qui impose que l’on se rapproche pour la déchiffrer. Le visuel et le textuel se répondent et conversent entre eux. Si le regard s’arrête sur les objets et les tableaux, la lecture des textes (rédigés en anglais) permet au spectateur de glaner des informations supplémentaires et d’ouvrir sa réflexion. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves, The Flood, 2017, Galerie Michel Rein, vue d’exposition Courtesy The Artist and Michel Rein Paris/Brussels

L’approche de Maria Thereza Alves s’assimile à une démarche ethnographique. Elle s’intéresse aux histoires individuelles et au quotidien des habitants du village inondé afin de mieux nous aider à les comprendre. Rapportés à la pre- mière personne du singulier, les récits donnent la parole aux différents membres de sa famille (sa mère, son père, son oncle, sa grand-mère...). Les témoignages dessinent par petites touches impressionnistes les expériences de vie quoti- dienne des individus de cette communauté et nous racontent comment est perçue la défo- restation progressive des terres et comment est vécu le brassage des différentes cultures et Maria Thereza Alves, The Flood, 2017 croyances religieuses. L’artiste réussit ainsi à té- Courtesy The Artist and Michel Rein Paris/Brussels moigner le plus fidèlement possible de la réalité telle qu’elle est perçue par le groupe lui-même.

On comprend ainsi que l’élevage intensif du bétail est l’une des causes principales des problèmes environnementaux, que le piétinement répété des terres déboisées exacerbe l’instabilité du sol et le rend vulnérable aux inondations... Une photographie sur alumi- nium fait apparaître en négatif la scarification du paysage. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves, The Flood, 2017, Galerie Michel Rein, vue d’exposition Courtesy The Artist and Michel Rein Paris/Brussels

Vous l’aurez compris, résumer The Flood n’est pas chose aisée dans la mesure où cela m’amènerait immanquablement à réduire voire à cantonner l’exposition à ma propre lecture. Je ne peux que vous encourager à pousser la porte de la galerie et à demander que l’on vous «initie» aux thématiques abordées par Maria Thereza Alves. Artiste conceptuelle, son oeuvre, aussi intime qu’engagée, nous montre une fois encore qu’il peut y avoir un lien entre art et politique. En nous racontant l’histoire de son village, elle donne voix au chapitre aux oubliés de la petite histoire et à ceux qui pourraient peut-être un jour exercer un contrepoids.

Maria Thereza Alves, The Flood, Galerie Michel Rein, 51A rue Washington, B-1050 Bruxelles, Belgique. Jusqu’au 23 décembre 2017. Maria Thereza Alves Observer November 7th, 2017 by Margaret Carrigan

Artist Maria Thereza Alves MARIA THEREZAAr ALVEStist Maria Thereza Alves Is Charting the History of Migration in NYC UsiMICHELng Seeds REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKSC h BIOGRAPHYarting tPUBLICATIONS/PRESShe History of Migration in NYC Using Se

Maria Thereza Alves Observer November 7th, 2017 by Margaret Carrigan

Artist Maria Thereza Alves Artist Maria Thereza Alves Is Charting the History of Migration in NYC Using Seeds Charting the History of Migration in NYC Using Se

For aFlmor aolmst otwost two de cdaedcaedse, sB, rBarzaizliilianan a arrttiisstt AAftfetre re xepxlpolroinrign tgh eth seh osrheos roefs M oaf rMseaillresse,illes, Maria Thereza Alves has been traveling Reposaari, Dunkirk, and Bristol, among Reposaari, Dunkirk, and Bristol, among to EMuraorpeania Th eporezrat Aciltvieess hdaos cbuemene tnrtaivnegli nthge others, Alves has now turned her nont-on aEtuirvoepean plan pot srpect citieiess sdhoec ufimnedns ttihnge rteh.e oatthteerns,t iAolnve tso h tahs en o“Nw etwur nWedo rhlder” by bringing this ongoing project to the U.S. Her nwoonr-kn aitsi vle spsla hnotr stpecicuiletus rshale tfhinadns there. attention to the “New World” by ethnographic, however. The project for the first time. She’s been working reprHeseern wots rokr isg ilnesasl hroersteiacurclthu rinalt toh tahne bwi rintghi nthg eth Nise own gSocihnog oprl’so jVeectr ato L tihste CUe.Sn.ter seedest hthnaotg rhaapvhei cb, eheonwev traenr.s Tpoher tpredo jaecrtoss fofor rt hAer tf iarsntd ti Pmoeli. tSihces’,s Pbieoenne woer rWkionrgks, the seas in ballast, a material (often gravel, High Line and Weeksville Heritage with the New School’s Vera List Center sandr eoprr ecsoeanrtsse o srtigoinnea)l ruesseedar tcoh binatlao nthce Center to excavate seed sites around marsiteiemdse t thraatd hea svhe ibpsee. nU tlrtainmsapoterltye,d t ahcirsoss foNre Awrt Y aonrdk P Coilittyi.c sT, hPeio anreteisr tW’s ofirnksd,i tnhges of plant species that were originally native projseecats r ienv beallasls tth, ea immapacteriat lo (fo fhteunm garnavel, High Line and Weeksville Heritage displacement due to migration and slave to countries like the West Indies, Brazil, tradsea ondve orr tchoea rcsoeu srtosen eo)f u cseendt tuor bieasla. nce Caenndt etrh teo U ex.Kca. vaartee prseedse snitteesd a rwioutnhd her maritime trade ships. Ultimately, this Nmeawps Yo arnkd C ditrya. wiThneg asr tdisetpi’s cfitnindign tghs eo fships’ journeys in an exhibition of the same project reveals the impact of human ptlaitnlet aspect thies V tehraat werListe C oeringtinear lltyh rnoautigveh displacement due to migration and slave tNo ocovuenmtrbiesr li2k7e. the West Indies, Brazil, trade over the course of centuries. and the U.K. are presented with her maps and drawings depicting the ships’ journeys in an exhibition of the same title at the Vera List Center through November 27. and the U.K. are presented with her maps and drawings depicting the ships’ journeys in an exhibition of the same title at the Vera List Center through November 27.

Alves told Observer that her research revealed that so much ballast came into Manhattan, it was used to fill in the city’s ravines, marshes, creeks, ponds and other “undesirable” local topographies from 1646 until the middle of the 20th century. For example, she found that Eighth Avenue from about 155th to 140th MARIA THEREZA ALVES PARIS/BRUSSELS Streets was filled in with an MICHELaverage o REINf EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS seven to ten feet of ballast with seeds hailing from the Sweden, Ireland, Algeria, the West Indies, Norway, Sierra Leone, Spain, Portugal, Antigua, France, and the U.K. are presented with her Cape Verde, Germany, Bermuda, Brazil maps and drawings depicting the ships’ and of course, England. “So when we are journeys in an exhibition of the same walking around, due to the colonization title at the Vera List Center through process of our land, we don’t know if we November 27. are stepping on New York or Bristol, Kingston, Lisbon, Rio de Janeiro, or Oslo,” she explained.

Unique to the artist’s New York-based findings is the discovery that while solid ballast like sand, earth, and stones gave way to the use of water ballast from the early 1920s onwards in European cities, such was not the case in America. According to Alves, ships sailing from

Alves told Observer that her research New York harbor to Europe during revealed that so much ballast came into World War II to deliver armaments Manhattan, it was used to fill in the city’s returned heavy in ballast back to New ravines, marshes, creeks, ponds and York as there was nothing else to bring other “undesirable” local topographies back. from 1646 until the middle of the 20th “Many chunks of Europe ended up in century. For example, she found that New York and many chunks of New York Eighth Avenue from about 155th to 140th ended up in Europe over the last several Streets was filled in with an average of hundred years and even more recently,” seven to ten feet of ballast with seeds said Alves, who explained that she found hailing from the Sweden, Ireland, the deliberate midcentury “displanting” Algeria, the West Indies, Norway, Sierra of New York quite shocking. This Leone, Spain, Portugal, Antigua, France, continued until the end of the Marshall Cape Verde, Germany, Bermuda, Brazil Plan, which saw ships carrying food and and of course, England. “So when we are building materials to devastated Europe walking around, due to the colonization until 1951. “This isn’t a question of process of our land, we don’t know if we reconstruction of a lost landscape or are stepping on New York or Bristol, purity, but an acknowledge the present Kingston, Lisbon, Rio de Janeiro, or coloniality we all find ourselves in.” Oslo,” she explained.

New York harbor to Europe during World War II to deliver armaments returned heavy in ballast back to New York as there was nothing else to bring back. The project is a natural fit for the New School’s politically engaged Vera List Center, who awarded Alves the Vera List Center Prize for Art and Politics last year. But, for Alves, it was equally important to loop in additional organizations. “Seeds of Change has from the beginning been about involving the local community with the history of the ballast flora,” she said, noting that Pioneer Works, located in Red Hook, is situated on an area made of ballast landfill which has grown much of ballast flora that will be exhibited in the Vera List Center’s galleries.

For the High Line portion of Seeds of C hange, Alves worked with plants that are found in the Western Rail Yards, an area that is still populated only by plants that were growing here after the railway was abandoned. “This project touches on one of the most important collaborations for us: the relationship “Many chunks of Europe ended up in MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHYN e PUBLICATIONS/PRESSw York and many chunks of New York ended up in Europe over the last several hundred years and even more recently,” said Alves, who explained that she found the deliberate midcentury “displanting” of New York quite shocking. This continued until the end of the Marshall Plan, which saw ships carrying food and building materials to devastated Europe until 1951. “This isn’t a question of reconstruction of a lost landscape or purity, but an acknowledge the present coloniality we all find ourselves in.”

The project is a natural fit for the New between art and horticulture, and the School’s politically engaged Vera List ways in which both of these things can Center, who awarded Alves the Vera List tell us stories about the histories of the Center Prize for Art and Politics last year. city we live in today,” Melanie Kress, But, for Alves, it was equally important assistant curator of High Line Art, told to loop in additional organizations. Observer. “In this way, Alves is “Seeds of Change has from the beginning illuminating part of the history of the been about involving the local park and the neighborhood within the community with the history of the larger narratives about trade, ballast flora,” she said, noting that colonialism, and slavery.” Pioneer Works, located in Red Hook, is situated on an area made of ballast The history of slavery in the West and landfill which has grown much of ballast the larger African diaspora is a point to flora that will be exhibited in the Vera which Seeds of Change routinely returns List Center’s galleries. in its many iterations over the years, and for the New York edition of the project, For the High Line portion of Seeds of Alves aptly chose to work with C hange, Alves worked with plants that Brooklyn’s Weeksville Heritage Center. are found in the Western Rail Yards, an Named after James Weeks, an African area that is still populated only by plants American stevedore and former slave that were growing here after the railway who purchased a plot of land in 1838 and was abandoned. “This project touches on founded one of the first free black one of the most important communities, the institution “is a collaborations for us: the relationship witness to the complexity of the history of ballast in New York,” said Alves.

According to Rob Fields, interim president and executive director of the Weeksville Heritage Center, Seeds of Change isn’t just about the migration of seeds and flora, nor does it stop with abolition of slavery. “Migration is also a recurring theme for many African- Americans,” he told Observer. Indeed, African Americans fanned out all across the country after Reconstruction to seek a life free from the oppression of the Jim Crow South. “It’s that search for haven, for community, and for a new start that brought the founding residents of between art and horticulture, and the ways in which both of these things can tell us stories about the histories of the city we live in today,” Melanie Kress, assistant curator of High Line Art, told Observer. “In this way, Alves is illuminating part of the history of the park and the neighborhood within the larger narratives about trade, colonialism, and slavery.”

The history of slavery in the West and the larger African diaspora is a point to which Seeds of Change routinely returns in its many iterations over the years, and for the New York edition of the project, Alves aptly chose to work with Brooklyn’s Weeksville Heritage Center. Named after James Weeks, an African American stevedore and former slave who purchased a plot of land in 1838 and founded one of the first free black communities, the institution “is a witness to the complexity of the history of ballast in New York,” said Alves.

MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

According to Rob Fields, interim Weeksville together: free African- president and executive director of the Americans and formerly enslaved Weeksville Heritage Center, Seeds of African-Americans alike,” he said. Change isn’t just about the migration of seeds and flora, nor does it stop with Fields is quick to point out that the abolition of slavery. “Migration is also a project has a special relevance for New recurring theme for many African- York City, which is a city of transplants. Americans,” he told Observer. Indeed, “Of course, there are plenty of people African Americans fanned out all across who are born and bred New Yorkers, but the country after Reconstruction to seek it’s the transplants who came here, had Weeksville together: free African- Weeksville together: free African- a life free from the oppression of the Jim something to prove—that they could Americans and formerly enslaved Americans and formerly enslaved Crow SoutWh. e“eItks’s vthillaet tsoegaercthe fro:r f rheaev eAnfr,ican- Wmeaekkse ivti llhee rteo—tgethhaetr :h farveee rAefarllicya fno-und African-Americans alike,” he said. African-Americans alike,” he said. Weeksville together: free Africfoarn c-ommuAnmiWtye,er aiecnksadnv sfioll aren atd on fgoeewrtmh seetrar:lr yftr etehneas Atlafvriecdan- AwaWmeyeesrks itcoav nitllhse ra itnvoedg, ”ef ohthreme srea: rifdlry.e “eLn Aiskflarei vctehadne -flora AWmeerikscavnills ea ntodg feotrhmere:r flyre een Aslafrbvicreoadnug-ht thWAe fferAoieumcksanendvr-iiAllncaemgn tresoer gasiciendatdehn nefso tras:r li mforkfeeer,”l yA h feern iscsaalaindv-.ed AcAformnictearniinc-aeAndm si enar ntichda ofnosser maslieeekrdely,s” , e hantes sslaoavmideed. point, AAfrmicearni-cAanmse arnicda nfosr amliekrel,y” ehnes slaaivde.d FieAldmAse firsi cqaunic-sA ka mntode porfiocrianmntse o raulliytk etenh,”sa laht etvh esedaid. FiweAeldfr asic llias bn qe-uAciamcmke etr oinc apontisivn eatsli .o”kuet,” t hea ts athide. African-Americans alike,” he said. prAFoijfercldicta sh nias-s Aq amu siecpecrki ctiaoan lpo sr eaillinektv eao,nu” cthe te hf soaarti dNth.eew prFioejldecst ihs aqsu ai cskpec toi poal rienlte ovaunt cteh afot rt hNeew Fields is quick to point out that the YoprrkoF Cjieictldyt ,sh wiashs q iacu hsipecc iks taio ac lpoi tryei lnoetfv atornuactne ts hfpoalrat nNthtese.w Ypro Froikej ldeCcsitt iyhs,a qwsu hai icsckpech t iosi apol criientlyte ovauf ntr ctaehn afsotp rtl haNneetws. prFoiejeldcts hisa qs uai cspeck toi apol rienlet voauntc teh faotr t Nheew“OFYfoi ecprroldkuo sCrj eisistec ytq, , tu hwhiacehskr iae ct hsoapec r ipoes pai lanceltin t royteyu loe tofv tfat hrpeonacnte stp hfploelar nNtes.w“OYprofr ockoj eCucirtts yhe,, a wtsh haei scrpeceh aisri ea l p crlietlnye tovyaf ontrfc aepeon fsoprpl alNenetws. Yoprrko jCecity h, awsh ai cshpec is iaa lc riteyle ovfa tnrcaen fsoprl aNnetwsw.hpr“Ooo Yafjo recercok tbu Chorsraietnsy, a,at hwnsepecdhr iebc rhiaear dlie sr Npeal ecewvintaty Yny o cofref k t fpeoreoarrns ,Ns pbpleuelwatntsw.“hOYofr ackro eCu birtsoyer,, n wt hahenicrdeh b airse ad pc Nlietenyw toy fY otofrr apeoknesrpspl, albenutts. “OYof rcko uCristye,, wthheirceh a irse a p cleitnyt oy fo tfr apeonsppllaenits’sYw. tohh“roOek atfCr caieton ybus,o rpwsrlaenh,n i atcthns ed wir sbeh a roa ecr dciet a Nypm loeeewfn ht tYryeao ronerfks, pepeohlraasdn, pbtlsue.titw’“shO tohf eac roteru abrnsoserp,n lat hanentrdse wbarrheeod p cNlaeemnwtey Y hooefr rpeokee, rhspa, ldbeut w“hOof acroeu brosern, t ahnedre b arreed p Nleenwty Y oofr kpeoersp, lbesuot“imtO’sewf t hcoienu tagrrr sateeon ,b sprtophrlaoenrvn eaet n—tsa drwe hb hpraolete dcnta hNtmeyey eow cfh opeoYeuorlderk,p helerasd, busiottwm’sh teohth ea irtnerga b ntoosrp nprla aonnvtdse —twbrhehoda ctNa temhweey Yh coeorrkueeld, rhsa, dbut itw’s hthoe a trrea bnosprnla anntsd wbrheod c Namewe hYoerek,e hrsa,d mbuawstokhemito i’se ta tthrhheeie nrb etgo—tr ratnonh saprpantlaod hvn beatr—tvsee wd rh heNaaoetll wctyah fmYeooyue rc nkhoedeurrslde,, b huatdmsoiatmk’se et ihtthe hi tnerrgae nt—tosp prlahaontvt hes —tawvheho ra ectaa tllmhyee fy oh cueonruedld, had soitm’s etthhei ntrga tnos pprlaonvtes—t whhoa tc athmeey hceorueld, hwaadimty’sas kotohem etiet ht thrhaievinrnees,gp”—t tlahoenh pr tsasato iwhdvahe. v—t“oLe c irkhaeema tllte hty he f eofyrluoe cnr, oadhualdd wamsoyaskm eteo itt ht hinerirgve et—to,” prhheao tsv ahei—tadv. e“h Lraeitka etllh yteh fyeo cufolnoudrlda msaokme eit hhienrge —tto prhaotv hea—tveh raeta llthye fyo uconudldcoswanotmayisnea tkehoedi tniithng rh titevhoreo epr,s”—te ho sevhe esea—tadti shd,ha. a av“tLte s itrokheemea ytlleh y cpoe of ofuliuoldnnrta,d cwaomntyaaski etno ei tdt h irenir veteh—t,o” shheea s tse aheidavs. ,e“ a Lrtie ksaeoll mtyh feeo pouflnoidrnat, wamyask teo i tt hhreirvee—t,” hhea sta hida.v “eL riekaell tyh feo fulonrdawemc oaawanllk tbeay eiisnct aethomde triehne n—tr tiahvteohi,vsa”e ths sh.e”ea esvadeis dr, .ea “atLll siyok mefo teuh npoed filnort,awecwao nalltyas bi nteoec dathm irnei v tneh,ao”t shieve es se.ae”ids. ,“ aLti kseo mthee pofloirnat, cowantyasi ntoed t hinri vthe,o”s hee s esaeidds., “aLti skoem thee po floinrat,wawecy oaslln t toba eitnchaermdiv ein ,n” tahhteoi vseeas is.d”e. e“dLsi,k aet t shoem fleo rpoa intwe,co nallta bineecdam ine tnhaotsivee sse.”eds, at some point, weco anllt abienceadm ine tnhaotisvee se.”eds, at some po intc,owenta ianlle bde icna mtheo snea stieveedss.”, at some point, we all became natives.” we all became natives.” we all became natives.”

Margaret Carrigan is a freelance writer and

editor. She planned to go to law school but she did terribly on the LSAT, so she got a master’s in art history instead. She lives in Brooklyn with her cat, who is named after Alyssa Milano’s character from the early aughts CW smash hit series Charmed.

SEE ALSO: 5 Most Anticipated Art Projects and Performances at Performa Margaret Carrigan is a freelance writer and M2a0r1g7aret Carrigan is a freelance writer and edMitoarr. gSahree tp Claannerrigda tno igs oa tfore lealwanc sceh woorilt beur tandeMditaorrg. aSrheet Cplaarnnerigadn t ios gao f rteoe lawnc sec whoriotle rb uatnd Recommended by Margaret Carrigan is a freelance writer asndhe ddiMitdoa rt.re gSrarhireblye tp lC aoannenr rthigdea tLSno igAs oTa , t fosro el easlwhaenc s gceoh two oarli tbeur tasndheMde idtaoirdrg. atSerhrereti blyCplaa rnneoring atdhn et oi LSs gaoA f Trteo,e sloa wncsh seec whgoritot lae rb uatnd edMitaorrg. aSrheet pClarnnerigadn t ois g ao ftroe ellaawnc sec hworoitle brm uatandMshstaeee rdrdg’isitad oir nrte.e t arS Crhtiablye hr prisi lgotaoannnern yt h iisdens aLStt ofer aAgedoeTl. ,a t Sosncoh l ease hw lwiev sregcistoh eitonr aoalnd bumstheades tidteoird’rs. tiSenhr raei rblypt lha inneosnto trdhy et io nsLS gtoAe aTtod, .sl oaS whshe s elci hvgeosto ilan but sheed idtiodr .t Serhreibly pla onnen tdh et oLS gAoT t,o s loa wsh esc ghooto al Bbruemotdoaisktshlotyeern .rd ’Sswi dhiin ett h epar lhratienne blyrh ics atodotn ,rt woyt h hignseo LS titseo aAnam ldTa.w, Ss heosdce sh hlaioevfot egels ro bitnu at Bmrsohaoeskt delyridn’s tiwneri trahirbly th he iros nctoa trthy, e wi nsLShotAe iaTs d,nam .s oS hseh deli vgaeofstte iarn msahset edri’ds itne rarirblyt h iostno rtyh eins LSteAaTd, .s Soh seh lei vgeost i AnalysBhsrseoma od aMkidsltyi letnaer no’rwsr ii’nblytsh ca h rotaen rh atcischattetoe, r LSw yf rhiAonsoTm i,t s est aonamhd es. h eSeaeh rgdeloy altif vateesr inAB lmyrsoasoaskt Melyrn’isl awinnoi tah’sr thc herias rctaocrt,ty ew irns hfroto eimas dnam t. hSeh eea dlri vlayeftse irn Bmroaosktleyrn’s winit ahr ht ehri sctaotr,y w inshot eisa dnam. Sheed l iavfetsea riunmAghlayBtssrst oaeCro WM’ks lii ynslnam ano wartsi’ sth hc ih shhtiatoe rrsa yeccr aitinste,sr wt Cferhahoodma .ri sSmt hnamee d lei.aveerdlsy ainftearAuBlgyrhsostoask CMlyWnil a wsnomitah’ss hche hra ircta sctet,r ewire hsf roCo imhs anam trhme eeedad.r layfter ABlyrsosoak Mlyinla wnoit’hs chhear rcaactt,e wr fhroo mis namthe eeadr layfteBar uroAgohlyktsslsy Can W Mw istlamhno ahse’shr cchhaiat ,rs awecrhiteoesr i Csfr namhomar mtehdeed ae.fatrelry aAulgyhsstsa CMWila snoma’ss chh hairta scetreire sf rComha trhmee eda.rly auAglyhstssa C MWil asmnoa’ss hc hhaitr ascetreiers f rCohma rtmhee eda.rly aughts CW smash hit series Charmed. SEAEl yAssLaSO Mi:l a5 noM’os scth Aarnatcitceipatr froemd Athret early SEwindows.weblifedailyaEu gAhLtsSO CW: 5 sMmoa.comshtREBELLE Ahnitt siceripaties Cedh aArrmtBooking.comed. liveschoolnews.org aughts CW smash hit series Charmed.Praoujegchttss aCnWd Psmerafoshrm hiatn sceerise sa tC Phearrfmoremda. Projects and Performances at Performa SEE ALSO: 5 Most Anticipated Art SEE ALSO: 5 Most Anticipated Art 2017 2017 SEE ALSO: 5 Most Anticipated Art ProSEjeEct As LanSOd P: e5 rMfoormst aAnncteisc iapatt Peedrf Aormt a Projects and Performances at Performa 2017 SEE ALSO: 5 Most Anticipated Art Projects and Performances at Performa Projects and Performances at PerformaRecommended2017 by Recommended by SEE ALSO: 5 Most Anticipated Art SEE ALSO: 5 Most Anticipated Art Projects and Performances at Performa 2017 2017 Projects and Performances at PerformaProjects and Performances at Performa 2Recommended017 by Recommended by 2017 2017 Recommended by Recommended by Recommended by

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windows.weblifedaily.comREBELLE Booking.comwindows.weblifedailyliveschoolnews.org.comREBELLE Booking.com liveschoolnews.org MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves The New York Times October 31th, 2017 by Annie Correal

https://nyti.ms/2z0TvUS

A Seed Artist Germinates History An exhibition using plants brought to New York in ships’ ballast illuminates the city’s hidden past using stinging nettle, milk thistle and amaranth.

Written by ANNIE CORREAL; Photographs by KARSTEN MORAN OCT. 31, 2017 About 140 years ago, a botanist named Addison Brown noticed an unfamiliar red- tendriled plant growing around Red Hook, Brooklyn. Trade had lately picked up, he told readers of the Bulletin of the Torrey Botanical Club in 1879, and as ships arrived, they dumped thousands of tons of ballast — earth and stones used to stabilize ships — that carried seeds from far-off lands. The red plant, among several new species growing along Gowanus Creek, was Amaranthus crispus, native to South America.

“Amaranth,” said Marisa Prefer, a gardener leading a group through the same neighborhood last week, picking up a stalk of the crumbly plant, which was spilling out from a crack in the sidewalk like a Medusa head. “These wild urban plants can survive in the craziest circumstances.”

REGISsTERpen NOt nWearly two decades uncovering long-buried colonial histories using ballast Subscriber login Register now to save comment and share on MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS MORAN OCT. 31, 2017 About 140 years ago, a botanist named Addison Brown noticed an unfamiliar red- tendriled plant growing around Red Hook, Brooklyn. Trade had lately picked up, he told readers of the Bulletin of the Torrey Botanical Club in 1879, and as ships arrived, they dumped thousands of tons of ballast — earth and stones used to stabilize ships — that carried seeds from far-off lands. The red plant, among several new species growing along Gowanus Creek, was Amaranthus crispus, native to South America.

This year, a few dozen New Yorkers have been learning about and growing plant species that were inadvertently brought to the city in ship ballast as part of “Seeds of Change,” an ongoing exploration of the phenomenon by the artist Maria Thereza Alves. Ms. Alves, whose exhibition on local ballast plants opens on Friday at the galleries of the Sheila C. Johnson Design Center at the New School, is the most recent winner of the Vera List Center Prize for Art and Politics. She has spent nearly two decades uncovering long-buried colonial histories using ballast seeds, which can lie dormant in the soil for hundreds of years, only to sprout in the right conditions. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

seeds, which can lie dormant in the soil for hundreds of years, only to sprout in the right conditions.

Born in Brazil, Ms. Alves has explored several European and British port cities, creating a floating garden using seeds native to Africa and North America found in the soil of Bristol, England; documenting exotic plants from Asia and elsewhere that turned up in people’s yards in Reposaari, Finland. “I liked the idea that these plants were witnesses to things we would never understand, to paths of trade that we no longer have information about,” Ms. Alves said in a telephone interview. “They are living there in our midst and saying ‘hi.’”

This is Ms. Alves’s first look at ballast seeds brought to the Americas. The exhibition, “Maria Thereza Alves, Seeds of Change: New York — A Botany of Colonization,” will include examples of local ballast flora, watercolor maps, and drawings and texts by the artist exploring two centuries of maritime trade, including the slave trade.

The director of the Vera List Center and one of the judges for the prize, Carin Kuoni, said the project had struck the judges as an original way to track history — and as a powerful comment on contemporary political reality. “What struck us as pertinent when looking at Maria Thereza’s project was its focus on migration and forced migration,” she said.

Sitting in a coffee shop near the New School in Greenwich Village, Ms. Kuoni held a large satchel on her lap. As she spoke, she reached inside and took out a plastic planting tray and put it on the table next to her latte. Minuscule white insects fluttered up, and the people at the next table glanced over.

“Mugwort,” she said, smiling down at a few tiny leaves.

She took out another plant. “Stinging nettle.”

After learning about ballast plants, she said, her perspective on her adopted city — she is Swiss-born — shifted. “You look down at weeds in the street and say: seeds, which can lie dormant in the soil for hundreds of years, only to sprout in the right conditions.

MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

“Mugwort,” she said, smiling down at a few tiny leaves.

She took out another plant. “Stinging nettle.”

After learning about ballast plants, she said, her perspective on her adopted city — she is Swiss-born — shifted. “You look down at weeds in the street and say: ‘That’s incredibly sweet. I wonder what history is trying to tell me.’”

Ms. Alves, who lives in Berlin, visited New York twice to do research. The first thing she learned, she said, was how little of New York was actually New York. “New York was hilly and swampy, and they decided to drain it and make it more linear,” she said. Low-lying areas and marshland were commonly filled in with refuse, ashes, sand — and ballast from around the world. Ballast was brought from ports by boat to Harlem and elsewhere.

Solid ballast was largely replaced by water ballast in the early 20th century, but ships continued to bring ballast into New York until after World War II. After delivering goods and arms to bombed-out English cities during the war, ships sailed back filled with rubble. “There was nothing else,” Ms. Alves said. Bristol Basin, a patch of land under the Franklin D. Roosevelt Drive in the Kips Bay neighborhood in Manhattan, is made from “stones, bricks and rubble from the bombed city of Bristol.”

In other cities, Ms. Alves took soil directly from ballast sites and germinated the seeds. In New York, many ballast sites had been paved or built over, so she turned to historical records, including the list of ballast plants identified by Mr. Brown. With the help of a graduate research fellow at the Vera List Center, Michael Castrovilla, she came up with a list of more than 400 species found on seven sites.

Marisa Prefer, the resident gardener at Pioneer Works, a cultural center in Red Hook, worked with the show’s curators, Ms. Kuoni and Amanda Parmer, winnowing down the list to some 40 species that were still abundant in the city. New School students, faculty and staff, and children enrolled in a free summer program at the Miccio Center in Red Hook, were invited to grow them from seeds.

Recently, the growers gathered at Pioneer Works and in the courtyard of a New School building for their final planting parties, where they would transfer their plants from flimsy containers to the black plastic bags in which they will be exhibited. MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS ‘That’s incredibly sweet. I wonder what history is trying to tell me.’”

MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Recently, the growers gathered at Pioneer Works and in the courtyard of a New School building for their final planting parties, where they would transfer their plants from flimsy containers to the black plastic bags in which they will be exhibited. ‘That’s incredibly sweet. I wonder what history is trying to tell me.’”

MARIA THEREZAneighb ALVESorhood in Manhattan, is made from “stones, bricks and rubbleMICHEL from t REINhe PARIS/BRUSSELS EXHIBITIONS /b ARTWORKSombe BIOGRAPHYd city o PUBLICATIONS/PRESSf Bristol.”

Mr. Castrovilla, the researcher, had sent students regular emails reminding them to tend to their plants, but not all had flourished. Some of his own had failed to thrive on the windowsill of his room in a Fifth Avenue dorm. “My blinds are often closed,” he said. “But the flax is going crazy.”

The students plopped their ballast plants into bags, adjusting the roots, adding water and soil. Alana Giarrano, an undergraduate, appeared with a box containing milk thistle, St. John’s wort, stinging nettle and a plant with a fuzzy pink shock of a flower, like a tiny mohawk, called dwarf coral, or celosia. It was native to East Africa and grew around Southeast Asia, as well as New York.

She has been interested in the project for a couple of reasons, she said. “First, I was interested in the idea of plants and migration and involuntary migration. They’re kind of byproducts that didn’t mean to come over.” Her mother was a refugee from Laos, she said. “Second, I just wanted plants in my room.”

Back in 1879, Mr. Brown had been realistic about the future prospects of plants brought in ballast to the city, predicting that most of them would “perish after a few seasons.” And yet, he predicted, some would survive.

He was correct. On the waterfront in Red Hook, where Mr. Brown had once Mwart. cChaesdt rvoevsilselals, tshper eraedseinargc bhaelrl,a hsta d“w sitenhto usttu cdeesnsatst ioreng,u nlaigrh etm aanilds d raeym,”in thdeinreg wthaesmn’t tmo utechn dv etog etthaetirio np ltaon btse, sbeuetn n loats ta lwl eheakd. fBlouut rcisohnestdr.u Scotiomne foofr h ais n oewwn f ehrardy tfearilmedin taol thhardiv teu ronne tdh ue pw sinodilo awlosnilgl othf eh isw artoeorm, a nind a a F siftrtiph Abveetwnueen d ao rcmon. c“Mretye b wlinaldksw aarye a onfdte an csleoas weda,l”l hwea s aoidve. r“gBruotw tnh ew fitlahx w ise gedoins. g“W croawzy,”.” Marisa Prefer said, pointing out mugwort, St. John’s wort, lambsquarter and tufts of downy brome — all on Ms. AlvesT’sh elis st.u “dHenoltys mploplyp. eTdh taht’esir c oboall.l”a sAtm plidan tthse inmt ow absa gesv,e and aju lsotnine,g f tohuer -rinoocths ,tall acedldoinsiag witathe rit asn fudz szoyil p. inAlka nflao wGeiar.rrano, an undergraduate, appeared with a box containing milk thistle, St. John’s wort, stinging nettle and a plant with a fuzzy pFollowink sh Annieock of Correal a flowe ron, l ikTwittere a tin @anniecorrealy mohawk, called dwarf coral, or celosia. It was

nA avteivrseio nto o fE thaist a Artifcrleic aap apenadrs g irne pwrin at roonu Nnodve Smobuetr h3e, 2a0s1t 7A, soian P, agse w Ae2l5l oafs t hNe eNwew Y Yoorrkk. edition with the headline: Seeds as City History, Carried Across the Sea. She has been interested in the project for a couple of reasons, she said. “First, I was interested in the idea of plants and migration and involuntary migration. © 2017 Thhee Nye’rwe Ykoinrk dT iomfe bs yCpormopdaunycts that didn’t mean to come over.” Her mother was a refugee from Laos, she said. “Second, I just wanted plants in my room.”

He was correct. On the waterfront in Red Hook, where Mr. Brown had once watched vessels spreading ballast “without cessation, night and day,” there wasn’t much vegetation to be seen last week. But construction for a new ferry terminal had turned up soil along the water, and a strip between a concrete walkway and a sea wall was overgrown with weeds. “Wow,” Marisa Prefer said, pointing out mugwort, St. John’s wort, lambsquarter and tufts of downy brome — all on Ms. Alves’s list. “Holy moly. That’s cool.” Amid them was even a lone, four-inch tall celosia with its fuzzy pink flower.

Follow Annie Correal on Twitter @anniecorreal

A version of this article appears in print on November 3, 2017, on Page A25 of the New York edition with the headline: Seeds as City History, Carried Across the Sea.

Follow Annie Correal on Twitter @anniecorreal

A version of this article appears in print on November 3, 2017, on Page A25 of the New York edition with the headline: Seeds as City History, Carried Across the Sea.

Maria Thereza Alves login register ADVERTISE BACK ISSUES CONTArtforumACT US SUBSCRIBE search November 28th, 2016 login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE ARTGUIDE IN PRINT search 500 WORDS PREVIEWS BOOKFORUM A & E 中文版

ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM ADIAR & EY 中文版PICKS NEWS VIDEO FILM PASSAGES SLANT login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE DIARY PICKS NEWS search VIDEO FILM PASSAGES SLANT ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E PO中文版STED NOVEMBER 28, 2016 ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 NEWS DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT DIARY PICKS NEWS VIDEO NEWFILMS PASSAGES POSTED NSLANTOVEMBER 28, 2016 RECENT ARCHIVE Maria Thereza Alves Wins Vera List Center Prize for Art RECENT ARCHIVE Maria Thereza Alves Wins Vera List Center11.26.16 PrizePauline for Art and Politics NEWS POSTED NOVEMBER 28, 2016 Oliveros (1932–2016) NEWS POSTED NOVEMBER 28, 2016 11.26.16 Pauline and Politics 11.25.16 Salem State Manhattan’s the New School has announced that Brazilian artist Maria Oliveros (1R93E2C–E2N0T16A)RCHIVE Maria Thereza Alves Wins Vera ListUn ivCenterersity Shuts D Prizeown for TArthereza Alves was named the winner of the 2016–2018 Vera List RECENT ARCHIVE Maria Thereza Alves Wins11. 2V5.1era6 Sale mList State CenterMa nPrizehattan’s t hfore Ne wArt School has announced that Brazilian artist Maria Exhibition Responding to Center Prize for Art and Politics, which honors artists “who have taken University Sh1u1t.s2 6D.o1w6 nPauline Thereza Aandlves wa sPolitics named the winner of the 2016–2018 Vera List US Presidential Election 11.26.16 Pauline Oliveros (1932–2016) great risks to advance social justice in a profound and visionary way.” and Politics Exhibition Responding to Center Prize for Art and Politics, which honors artists “who have taken 11.25.16 Joseph Shatoff Oliveros (1932–2016) 11.25.16 Salem State Manhattan’s the New School has announced that Brazilian artist Maria US Presidential Election great risks to advance social justice in a profound and visionary way.” Named Deputy Director Alves was recognized for her longterm project “Seeds of Change,” which 11.25.16 Salem State Manhattan’s the New School has announced that BrazilianU anrivtisetr sMitya Sriahuts Down Thereza Alves was named the winner of the 2016–2018 Vera List 11.25.16 Joseph Shatoff and COO of the Frick she launched in 2002. By following the movement of seeds that have University Shuts Down Thereza Alves was named the winner of the 2016–2018 VeErxah ibLisitiot n Responding to Center Prize for Art and Politics, which honors artists “who have taken Named Deputy Director Alves was recognized for her longterm project “Seeds of Change,” which Collection been distributed by cargo ships carrying people and goods around the Exhibition Responding to Center Prize for Art and Politics, which honors artists “who UhSa vPere tsaidkenntial Election and COO of the Frick she launchgereda int r is20k0s 2to. Bayd vfoalloncwe insogc tiahle ju msoticve mine an tp orof fsoeuends a tnhda tv ishaiovneary wa1y1.”.25.16 Norman Foster US Presidential Election 11.25.16 Joseph Shatoff globe, Alves explores notions of colonialism, commerce, ecology, and great risks to advance social justice in a profounCdo allencdtio vnisionary way.” been distributed by cargo ships carrying people and goods around the Selected for Prado 11.25.16 Joseph Shatoff Named Deputy Director Alves was recognized for her longterm project “Seeds of Change,” which migration. She addresses various questions relating to identity and 11.25.16 Norman Foster Museum Expansion Named Deputy Director Alves was recognized for her longterm project “Seeds of Cahnadn gCeO,O” w ohf ticheh Frick globe, Alveshs ee laxpuloncrehse dn ointio 2n0s0 2o.f Bcyo lofonlloiawlisinmg, tchoem mmoveercmee, netc oflo sgeye,d asn tdhat have belonging such as: At what moment do seeds become ‘native’? Selected for Prado 11.25.16 Gabi Ngcobo and COO of the Frick she launched in 2002. By following the movement of seedsC tohlleatc thioanve migration. bSeheen addisdtribesusteds bvay rcioaurgso q suheipstsio cnasr rryeinlagt inpgeo tpole id aendtit gyo aondds around the Museum Expansion Appointed Curator of the In a joint statement, the jury said, “By reimagining the historical geography of the contemporary world, she Collection been distributed by cargo ships carrying people and goods1 a1r.o2u5.n1d6 tNheorman Fosterbelonging gsloucbhe ,a Aslv: Aest wexhpalot mreosm neontiot ndso osfe ceodlos nbiaeliscomm,e c o‘nmamtiveer’?ce, ecology, and 11.25.16 GaSbeile Ncgtecdo bfoor Prado 10th Berlin Biennale practices globalization from below to understand the planet as a holistic ecology.” Chaired by Carolyn 11.25.16 Norman Foster globe, Alves explores notions of colonialism, comApmpoeinrcted, eCcuorloatogry ,o af tnhde migration. She addresses various questions relating to identity and Museum Expansion In a joint statement, the jury said, “By reimagining the historical geography 1o1f .t2h5e. 1c6onMteusmepuomr aorfy world, she ChristovBakargiev, the jury consisted of Ruth Wilson Gilmore, Charif Kiwan, Carin Kuoni, and Radhika Selected for Prado migration. She addresses various questions rela1t0inthg Btoe ridline Bnietitnyn anled belonging such as: At what moment do seeds become ‘native’? Museum Expansion 11.25.16 Gabi Ngcobo practices globalization from below to understand the planet as a holistic ecColoongtye.m” pCohrarirye Adr tby Carolyn Subramaniam. belonging such as: At what moment do seeds b1e1c.o2m5.e1 6‘naMtuivsee’?um of Chicago Announces $16 11.25.16 Gabi Ngcobo Appointed Curator of theChristovBIank aa rjoginietv ,s ttahtee mjueryn tc, othnes isjutreyd s oafid R, u“Bthy Wreilsimoang inGinilmg othre, hCishtoaricif aKl iwgeaong, rCapahriny oKf uthoen i,c oanntde mRpaodrhaikrya world, she Contemporary Art Million Renovation 10th Berlin Biennale Subramanpiaramc.tices globalization from below to understand the planet as a holistic ecology.” Chaired by CarolynThe five finalists for the prize included the Londonbased interdisciplinary research agency Forensic Appointed Curator of the In a joint statement, the jury said, “By reimagininCgh icthaeg oh isAtnonroicuanlc gese o$g1r6aphy of the contemporary world, she 11.25.16 Museum of 11.23.16 Architecture Architecture; the artists coalition Gulf Labor; House of Natural Fibers, a new media arts laboratory in 10th Berlin Biennale practices globalization from below to understand the planet as a holistic ecology.” Chaired bCyh rCisatorovlyBnakargiev, the jury consisted of Ruth Wilson Gilmore, Charif Kiwan, Carin Kuoni, and Radhika Million RenoCvaotniotenmporary Art The five finalists for the prize included the Londonbased interdisciplinary reFsirema OrcMh Aa gAepnpociny tFeodrensic 11.25.16 Museum of Subramaniam. Yogyakarta, Indonesia; IsumaTV, a collaborative multimedia platform for indigenous filmmakers and media ChristovBakargiev, the jury consisted of Ruth W1ils1.2o3n. 1G6ilmAroCcrheitic,e aCcgthou arAernifn Kouiwncaens, $C1a6rAinr cKhuitoenci,tu aren;d t hRea dahrtikisats coalition Gulf Labor; House of Natural Fibers, a newC rmeaetivdiae Maertdsia latobro orfatory in Contemporary Art organization in Canada; and MadeYouLook, an artist collective based in Johannesburg, South Africa. Subramaniam. Firm OMA AMppilliooinnt eRdenovation Manifesta 12 Palermo Chicago Announces $16 YogyakartaT,h Ien dfivoen efinsiaalis; Itssu fmora tThVe, par izcoella inbcluordaetivd eth me uLltoimndeodniab apslaetdfo inrmte rfodris incipdiglineanryo uress feilmarmcha akgeersn cayn dF omreendsiaic Creative Me1d1ia.t2o3r .o1f6 Architecture 11.23.16 Major Events Established in 2012 in celebration of the Vera List Center’s twentieth anniversary, the biennial prize awards Million Renovation The five finalists for the prize included the Londonbased interdisciplinary researcohrg aagneiznactyio AFnroc inrheit nCescaictnuared;a t;h aen adr tMistasd ceoYaolituioLono Gk,u alf nL abrtoisrt; Hcoolleuscet ivoef Nbatsueradl inFib Jeorhsa, nan neeswbu mrge,d Siao aurthts Alafrbicoara.tory in Manifesta 12F irPmale OrmMAo Appointed Planned for 2019 11.23.16 Architecture Yogyakarta, Indonesia; IsumaTV, a collaborative multimedia platform for indigenous filmmakers and mpreodjeiacts for their longterm impact, boldness, and artistic excellence. 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L AT E S T N E W S NOVEMBER 28, 2016 L AT E S T N E W S NOVEMBER 28, 2016 Heather Phillipson Named 2016 Film London Jarman L AT E S T N E W S HeatherNOVE MPhillipsonBER 28, 2016 Named 2016 Film London Jarman Award Winner NOVEMBER 28, 2016 AwardHeather Winner Phillipson Named 2016 Film London JarmanThe Film London Jarman Award announced today at Whitechapel Award Winner Gallery that artist Heather Phillipson has been selected as its 2016 Heather Phillipson Named 2016 Film LondonThe F ilmJarman London Jarman Award announced today at Whitechapel awardee. She will receive a $12,000 prize as well as a commission for Gallery that artist Heather Phillipson has been selected as its 2016 Award Winner The Film London Jarman Award announced today at WhitechapeDl IARY PICKS FILM Channel 4’s “Random Acts”—a platform that showcases short films. awardee. SGhaelle wryill t hreact eaivrteis ta H $e1a2th,0e0r 0P phrillipizes aosn whaesll baese an csoemlemcteisds ioasn itfso r2016 Adrian Wootton, chief executive of Film London and the British Film The Film London Jarman Award announced toDdIaAyR Yat PWIChKitSecFhILaMpel Channel 4a’sw “aRrdaened.o Smh eA cwtsill” —recae pivlaet fao r$m12 t,h0a0t0 s phroizwec as ewse sllh aosr ta f ilmcoms.missioNn efowrest Entries Commission, said Phillipson’s body of work is “complex, anarchic, and Gallery that artist Heather Phillipson has been selected as its 2016 Channel 4’s “Random Acts”—a platform that showcases short films. Newest EDnItArRieYs PICKS FILM Adrian Wootton, chief executive of Film London and the British Film Cristina Sanchez deftly views global events through a very personal lens.” He added, “She awardee. She will receive a $12,000 prize as well as a commission for Kozyreva around the 11th CommissioAnd,r iasanid W Pohoillipttons,o cnh’sie fb eoxdeyc ouft ivweo rokf isFilm “co Lmonpdleoxn, anad rtchheic B, raitnisdh Film collages images, sounds, and words with the sense of pacing and Channel 4’s “Random Acts”—a platform that shoCwrisctainsae Ss asNnhceohwret zefilmst sE.ntries Shanghai Biennale DIARY PICKS FILM deftly viewCso gmlombisals eiovne,n stasid th Prohuillipghs ao nv’esr by opdeyr soof nwaol rlek niss “.”c oHmep aledxd,e adn, a“rScheic, and rhythm as you might expect from someone who is also a poet and Kozyreva aroCurisndtin tha eS 1a1ntchhez Kate Sutton at My Sweet collages imdeafgtlyes v, iesowusn gdlos,b anl edv wenotrsd sth wroituhg thh ae vsernys pee orsf opnaaclin legn as.n”d He added, “She musician.” Newest Entries Adrian Wootton, chief executive of Film London Sahnadn gthhea i BBrieitKisnonzhya rleFeilmva around the 11th Little Lamb (Everything rhythm as cyoollau gmeigs himt eagxpees,c st ofruonmd ss,o amned ownoer dwsh wo itish athlseo s ae npsoee ot fa pnadcing and Commission, said Phillipson’s body of work is “cKoamtep Sleuxt,to ann Saahtr aMcnhygic hS,aw ai eBneiedt nnale we see could also be Cristina Sanchez musician.”rhythm as you might expect from someone who is also a poet and Born in 1978, the Londonbased artist was named a Next Generation Poet in 2014 and was the Writer in deftly views global events through a very personLaitlt lele Lnasm.” bH (KeE avateedr dySteuhdtinto,g n“S aht eMy Sweet otherwise) Kozyreva around the 11th musician.” Residence at the Whitechapel Gallery in 2015. Best known for her immersive landscapes that combine audio, collages images, sounds, and words with the sewnes es eoef cpoaucldinL itagtlels ao Ln badme b (Everything Born in 1978, the Londonbased artist was named a Next Generation Poet Pinia 2 C0a1p4e llia nadt twhea s2 3thrde Writer in Shanghai Biennale otherwise) film, and installations, Phillipson is currently exhibiting works at the thirtysecond Sao Paolo Biennale and the rhythm as you might expect from someone who is also a poweet saened could also be ResidenceB aotr nth ine 1W9h7it8e, cthea pLeoln Gdoanllebray sined 2 a0r1tis5.t Bweasst nkanmowedn afo Nr ehxetr Gimemneerrastivioedenit laPioone dotsf incAa r2tpis0es1sim4 t haantd c womasb tinhe Waurditeior, in Kate Sutton at My Sweet Pia Capelli aot tthheer w2is3red) New Museum in New York. Little Lamb (Everything musician.” film, and inRsetasidllaetioncnes ,a tP thhillipe Wshoitne isch cauprerle Gntalylle erxyh inib it2in01g5 w. Boreksst kant othwen t fhoirrt yhesre Zimceohmnrade r JSsuivamoea labPhanoodylos oc naB ptieheensn tahleat aconmd bthinee audio, edition of ArtPisias imCaapelli at the 23rd we see could also be New Musefilmum, inan Nd einws tYaollarktio. ns, Phillipson is currently exhibiting works at the7 tthhir Atyrtesse cMounndd iS paroiz ePaolo BiennaleT ahned ju thrye consisted of Iwona Blazwick OBE, director of Whitechapel Gallery; Andrea Lissoni, senior curator of Born in 1978, the Londonbased artist was namZeedh ara N Jeuxmt aGbehdeoitnioye nora not fiot hAner tisPsoimeta in 2014 and was the Writer in otherwise) New Museum in New York. Linda Yablonsky at the International Art (Film) at Tate Modern and Film London Board Member; Pegah Farahmand, editor of Residence at the Whitechapel Gallery in 2015. B7tehs At rktneso wMnuZ nfeodhir r pahr eizJure mimambheorys oivne t hlaendscapes that combine audio, Pia Capelli at the 23rd The jury consisted of Iwona Blazwick OBE, director of Whitechapel GalleryN; Aewn dYroerak gLaislassoni, senior curator o“fRandom Acts” at Channel 4; artist Adam Chodzko; Emma Morris, executive director of Towner Art Gallery in film, and installations, Phillipson is currently exhLibinitdinag Y awbolorkn7sth ka yAt artthte tesh eMthuirntdyi sperizceond Sao PaoloT hBeie junnrya leco nasnisd ttehde of Iwona Blazwick OBE, director of Whitechapel Gallery; Andrea Lissoni, senior curator of edition of Artissima International Art (Film) at Tate Modern and Film London Board Member; PeCgraishtin Faa Sraahnmchaenzd, editor of Eastbourne; and filmmaker Joanna Hogg. The shortlist featured five other artists: Sophia Al Maria, Cécile B. New Museum in New York. New York gaLlainsda Yablonsky at the “Random AInctetsr”n atio Cnhaal nAnret (l F4ilm; a)r taistt TAadtea mM oCdheornd zaknod; FEilmmm Lao nMdoornris B,o eaxredc MuteivmKeob zdeyirrr;e Pcveato gora noh Hf FToaonrwga nhKemorna gAnrdt ,G eadlleitory o inf Zehra Jumabhoy on the New York galas Evans, Shona Illingworth, Mikhail Karikis, and Rachel Maclean. 7th Artes Mundi prize Cristina Sanchez Eastbourn“eR; aannddo fmilm Amctask” eart JCohaannnnae lH 4o; gagrt.is Tt hAed sahmo rCtlishotd fzekaotu; rEemd mfivae M oothrreisr ,a Aerrxttis eWctsue:et ivSkeo pdhiriaec Atol rM oaf rTiaow, Cneérc ileArt BG.allery in The jury consisted of Iwona Blazwick OBE, director of WhitCercishtainpae Sl aGnachlleezry ; Andrea Lissoni, senior curator of Kozyreva on Hong Kong Evans, ShEoansat bIllinourgnweo; rathn,d Mfilmikhmaail kKear rJikoisan, naan dH Rogagc.h Tehl eM sahcolertalisn.t featured five other artists: Sophia Al Maria, CIénc ilead dBit.ion to the Jarman Award, editor Lucy Harris received the $6,000 Jules Wright Prize, which honors Linda Yablonsky at the International Art (Film) at Tate Modern and Film ALrot nWdeoenk BoKaorzdy rMeveam obne Hr;o Pnge gKaohng Farahmand, editor of New York galas Evans, Shona Illingworth, Mikhail Karikis, and Rachel Maclean. female creative technicians who have made significant contributions to artists’ films. Harris has worked with “Random Acts” at Channel 4; artist Adam Chodzko; EmmaA Mrt oWrreise,k executive direIcnt oard odfit Tioonw tnoe trh Ae rJt aGrmalleanry A inward, editor Lucy Harris received the $6,000 Jules Wright Prize, which honors Cristina Sanchez Rosalind Nashashibi, Bridget Smith, and Alia Syed. Eastbourne; and filmmaker Joanna Hogg. The shortlist featured five other artists:f eSmoaplehia c rAeIlan Mt ivaaderd iatite,io cCnhé ntcoicile iath neBs .J warhmoa hna Avwe amrda,d eed sitigorn Lifuiccayn Ht acorrnist rribecuetioivnesd ttoh ea r$tis6,t0s0’ 0film Jusle. sH Warrrigish ht aPsr izweo,r wkehdic wh ithhonors Kozyreva on Hong Kong Evans, Shona Illingworth, Mikhail Karikis, and Rachel Maclean. female creative technicians who have made significant contributions to artists’ films. Harris has worked with Art Week Rosalind Nashashibi, Bridget Smith, and Alia Syed. Established in 2008, the Jarman Award, celebrates the diversity and creativity of artists working in film. Rosalind Nashashibi, Bridget Smith, and Alia Syed. Previous winners include Seamus Harahan (2015), Ursula Mayer (2014), and John Smith (2013). In addition to the Jarman Award, editor Lucy Harris received the $6,000 Jules WrEigshtat bPlisrizhee,d w inhic 2h0 0h8o,n tohres Jarman Award, celebrates the diversity and creativity of artists working in film. female creative technicians who have made significant contributions to artists’ filmPrse. vHioaurrsis w Ehinsatnsae bwrlisso hrinkecedlud in dw e2it 0hS0e8a,m thues JHaarmraahna nA w(2a0rd1,5 c),e Ulerbsrualate sM tahyee driv (2e0rs1it4y) ,a anndd c rJeoahtniv itSym oitf ha r(t2is0t1s 3w).orking in film. Rosalind Nashashibi, Bridget Smith, and Alia Syed. Previous winners include Seamus Harahan (2015), Ursula Mayer (2014), and John Smith (2013). PERMALINK COMMENTS

PERMALINK COMMENTS Established in 2008, the Jarman Award, celebrates the diversity and creativity of artists working in film. PERMALINK COMMENTS Previous winners include Seamus Harahan (2015), Ursula Mayer (2014), and John Smith (2013).

PERMALINK COMMENTS NOVEMBER 28, 2016

NOVEMBER 28, 2016 NOVEMBER 28, 2016 Rubell Family Collection to Move to 100,000Square RubellRubell Family Family Collection Collection to Move to Move to 100,000Square to 100,000SquareFoot Museum in 2018 NOVEMBER 28, 2016 Foot MuseumFoot Museum in 2018 in 2018 Rubell Family Collection to Move to 100,000Square Foot Museum in 2018 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

ART Maria Thereza Alves CONTEMPORAIN Le Quotidien de l’Art GABI NGCOBO th NOMMÉE November 25 , 2016 - n° 1181 - page 8 COMMISSAIRE DE LA 10E BIENNALE DE BERLIN P. 5 WEEK-END VENDREDI 25 NOV. 2016 NUMÉRO 1181

Le Quai Branly revientBRÈVES sur PAGE LE QUOTIDIEN DE L’ART | VENDREDI 25 NOVEMBRE 2016 NUMÉRO 1181 le long combat 08 des artistes afro-américains p .9 Maria Thereza Alves. Seeds of Change, projet en cours, à Bristol, au Royaume-Uni. Photo : D. R.

P. 3 BUREAU DES ARTS PLASTIQUES DEUN L’INSTITUT NOUVEAU FRANÇAIS PRIX D’ALLEMAGNE : 20POUR ANS D’ENGAGEMENT L’ARTISTE MARIA

P.THEREZA 5 UN DIMANCHE ALVES À> LA L’artiste GALERIE, C’EST brésilienne CE WEEK-END Maria WWW.LEQUOTIDIENDELART.COMThereza Alves vient de remporter 2 euros The New School’s 2016-2018 Vera List Center Prize for Art and Politics. Le jury, président par Carolyn Christov-Bakargiev, était composé de Ruth Wilson Gilmore, Charif Kiwan, Carin Kuoni et Radhika Subramaniam. Maria Thereza Alves a été récompensée pour Seeds of Change, projets en cours sur la flore de ballast des cités portuaires d’Europe. La remise du prix, accompagnée d’une exposition et d’une publication, se déroulera à New York en octobre 2017.

UN DIMANCHE À LA GALERIE 100 GALERIES D’ART VOUS OUVRENT LEURS PORTES À PARIS

22,48m2 – Almine Rech Gallery – Anne de Villepoix – Antoine Levi – Backslash – Bendana | Pinel Art Contemporain – Berthet-Aittouares christian berst art brut – Dominique Fiat – Galerie Alain Gutharc – Galerie ALB Anouk Le Bourdiec – Galerie Alberta Pane Galerie Anne Barrault – Galerie Anne-Sarah Bénichou – Galerie Antoine Laurentin – Galerie Arcturus – Galerie Bayart Galerie Berès – Galerie Bernard Bouche – Galerie Berthéas Les Tournesols – Galerie Binome – Galerie BSL – Galerie Catherine Putman – Galerie Charlot – Galerie Chauvy – Galerie Derouillon – Galerie Dina Vierny – Galerie Dix9 Hélène Lacharmoise – Galerie du Centre – Galerie Eric Dupont – Galerie Escougnou Cetraro – Galerie Espaces 54 – Galerie Eva Hober – Galerie Françoise Paviot – Galerie Gabrielle Maubrie – Galerie Georges-Philippe & Nathalie Vallois – Galerie Gilbert Dufois – Galerie Imane Farès Galerie Isabelle Gounod – Galerie Jean Fournier – Galerie Jeanne Bucher Jaeger – Galerie Jérôme Poggi – Galerie Jocelyn Wolff Galerie la Ferronnerie – Galerie La Forest Divonne – Galerie Lahumière – Galerie Laure Roynette – Galerie Laurent Godin Galerie Eva Meyer – Galerie Le Minotaure – Galerie Les Filles du Calvaire – Galerie Luc Berthier – Galerie Maïa Muller – Galerie Maria Lund – Galerie Martine Aboucaya – Galerie Maubert – Galerie Nichido – Galerie Odile Ouizeman – Galerie Papillon Galerie Paris-Beijing – Galerie Patricia Dorfmann – Galerie Pièce Unique – Galerie Pixi Marie-Victoire Poliakoff – Galerie Polad-Hardouin – Galerie Protée – Galerie RX – Galerie Samantha Sellem – Galerie Samy Abraham – Galerie Sator – Galerie Thessa Herold – Galerie Thomas Bernard Cortex Athletico – Galerie Valérie Delaunay – Galerie Virginie Louvet – Galerie Xippas Galerie Younique – Galerie Zlotowski – GB Agency – GDM, galerie de multiples – Gilles Peyroulet & cie – Maëlle Galerie – Magda Danysz Gallery – Marcelle Alix – Michel Rein – mor charpentier – Natalie Seroussi – New Galerie – Sit Down – Sultana – Suzanne Tarasiève – Triple V – Under Construction Gallery – Valentin Paris – Vallois – VNH Gallery – Galerie Les Yeux Fertiles – Zürcher DE 12 H À 19 H BELLEVILLE, MARAIS LE 27 NOVEMBRE 2016 SAINT-GERMAIN-DES-PRÉS... Retrouvez la programmation, les événements & votez pour le prix de la meilleure exposition www.undimanchealagalerie.com MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves http://nyti.ms/2f7T2cx The New York Times November 23th, 2016 by Randy Kennedy ART & DESIGN Prize for Migration Project That Weaves Art and Politics

By RANDY KENNEDY NOV. 23, 2016 Maria Thereza Alves, an artist who helped found Brazil’s Green Party and whose floating-garden pieces explore human migration through the idea of seeds distributed inadvertently around the world in the holds of cargo ships, has won the Vera List Center Prize for Art and Politics. The prize is given every two years to an artist or group whose work furthers social justice.

The center, based at the New School in Manhattan, said that Ms. Alves’s ongoing project, known as “Seeds of Change,” “weaves together the fields of art and politics in the most exemplary ways.”

“The history of human migration has never been more relevant,” David E. Van Zandt, the New School’s president, said in a statement. “Through creative and scientific expression, Alves has made our past come to life through visual and oral art forms and, at the same time, highlights the importance of migration in the history of society.”

Ms. Alves, who lives and works in Berlin, developed the seed project beginning in 2002 to explore the social, political and cultural history over centuries of “ballast seeds” — dormant seeds that ride along in the dense material used to stabilize ships. As a metaphor for human movement around the globe, the project, versions of which have been realized in various European port cities, touches on commerce, colonialism, ecology, migration and belonging.

Finalists for the prize included Gulf Labor, a coalition of artists working to ensure that migrant workers are protected during the construction of museums on Saadiyat Island in Abu Dhabi, and MadeYouLook, a South African collective that produces tongue-in-cheek works intended to disrupt urban routines and encourage the questioning of political norms.

The prize, first awarded in 2012 to the Chicago artist and activist Theaster Gates and in 2014 to the Syrian film collective Abounaddara, includes a long-term commitment by the school to aid the winner’s projects through academic study or other means. It was established on the 20th anniversary of the List Center, named in honor of the philanthropist and collector Vera List, who died in 2002. List devoted her money and time to art and educational institutions, with a focus on programs that promoted social justice.

Maria Thereza Alves Frieze April, 2015 - N°170 - Page 144 By Max Andrews MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Al Arabiya News March, 20, 2015 By Saffiya Ansari MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves El Cultural March 27, 2015 - Page 35 By Rocío de la Villa MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Artforum January, 2015 - Online By Miguel Amado MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves A-Desk September, 18, 2013 - Online By Teobaldo Lagos MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS Ouest France - Loire-Atlantique 26/03/2012 MariaN° Theresa 20559 pageAlves 12 Ouest France March 2012, N° 20559, Page 12 MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves El Pais, June 2010, Page 6 By Sergio C. Fanjul MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves artpress november 2009, N°361, Pages 90-91 By Richard Leydier MARIA THEREZA ALVES MICHEL REIN PARIS/BRUSSELS EXHIBITIONS / ARTWORKS BIOGRAPHY PUBLICATIONS/PRESS

Maria Thereza Alves Artforum March 2008, Page 16