Cyprien tokoudagba biography of martin

Adriano Pedrosa's Venice Biennial gave voice to the Global South, the stranger, the migrant, the marginalized, and the outsider artist. It legitimized and cemented a decolonial discourse within a traditional and institutional framework like La Biennale di Venezia. However, Pedrosa isn't the first to challenge the dominant narrative, and many curators dared chip away at the centralized dogma. Notably, Okwui Enwezor is among the many who stirred the murky canals of the art world with his 2015 Venice Biennale exhibition All the World's Futures, continuing the shift towards global perspectives that began in the late 20th century.

But the doors of art history were unhinged many years before that when Jean-Hubert Martin staged the debatable yet momentous 1989 exhibition Magiciens de la Terre (Magicians of the Earth) in Paris. The unprecedented show represents a controversial chapter in art history that has paved the way for underrepresented voices to challenge and break through a Western-centric art world. Its significance lies in the bold claims it introduced, the heated discussions it incited, and the feathers it continues to ruffle after 35 years. It leaves us to wonder: what undertones does the echo of Magiciens de la Terre convey today? 

One Exhibition, Two Venues

While working as the director of Kunsthalle Bern, Jean-Hubert Martin laid the groundwork for the exhibition in 1984 when he established the criteria for a show highlighting the artist as a creative force. In an attempt to disrupt a Eurocentric framework, Martin wanted to produce "the first worldwide exhibition of contemporary art" that would disregard the nationalistic framework often implemented at various biennial exhibitions.

Preparing for the show entailed lengthy research, lots of travel, and consulting various professionals, such as art historians, critics, ethnographers, and anthropologists. Mar

From December 15, 2024 to April 20, 2025, Fondation Opale presents the exhibition NOTHING TOO BEAUTIFUL FOR THE GODS.

Fondation Opale gave carte blanche to French curator Jean-Hubert Martin, who, through some 60 works, offers an insight into the rich and extravagant diversity of spiritual and artistic practices.

Art has always been a powerful means of expressing faith, gratitude and the quest for transcendence. Through sculptures, paintings, altars, songs, dances and rituals, believers from diverse cultures have sought to honor their gods or spirits and connect with a higher spiritual dimension. For those who do not follow a particular deity, artistic creation becomes a search for meaning and a union with a supreme entity.

In three parts, this exhibition reveals how these practices continue to nourish contemporary art, for which the boundaries between disciplines and cultures are increasingly blurred. It begins with altars from cultures all over the world, reconstituted in a museum context, followed by artists born in the first half of the twentieth century, often misunderstood and sometimes marginalised, who refer directly to their beliefs and claim this dual belonging to religion and modern art.  Lastly, the exhibition presents a new generation of artists who have lost their complexes regarding colonisation, and who are campaigning for the recognition of their cultures, particularly indigenous ones, and the enhancement of religious aspects, whether dogmatic, shamanic or animist.

NOTHING TOO BEAUTIFUL FOR THE GODS thus deals with the place of the sacred and the sacred being in our societies. The exhibition proposes a reflection on the link between art, spirituality and culture, and seeks to lift the veil on the visual expressions of Aboriginal cultures, often ignored in the context of contemporary art, and to reveal their current relevance.

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1989 contemporary art exhibition in Paris

Magiciens de la Terre was a contemporary art exhibit at the Centre Georges Pompidou and the Grande halle de la Villette from 18 May to 14 August 1989.

Background

Primitivism

Magiciens de la Terre literally translates to "Magicians of the Earth." In 1989, in the wake of the infamous "Primitivism" show at MOMA, curator Jean-Hubert Martin set out to create a show that counteracted ethnocentric practices within the contemporary art world as a replacement for the format of the traditional Paris Biennial. This exhibition sought to correct the problem of "one hundred percent of exhibitions ignoring 80 percent of the earth." He did this in his show, Magiciens de la Terre, exhibited at the Centre Georges Pompidou and the Grande halle de la Villette. With "Magiciens de la terre" Martin had successfully organized an international exhibition of contemporary art that featured 50% Western and 50% non-Western artists shoulder to shoulder in an equal manner where all participants were still alive at the time of exhibiting, making it truly contemporary. Magiciens also marked a traditional departure from previous exhibitions of non-Western work by identifying non-Westerners by their proper names alongside their Western counterparts, who were always identified in this manner. The artists were presented as individuals rather than by geographic region or time period as was commonplace. This was an attempt by Martin and his curatorial team to subvert the illusion of Eurocentric superiority in the field of artistic representation and the vision of the world inherited from the colonial age.

Martin's show worked to confront problems presented by several exhibitions fehlerpro that perpetuated a colonialist mentality, the most recent being the aforementioned show, "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern held at the Museum of Modern Art, New York. Many critics conde