{"id":106690,"date":"2026-04-22T10:43:12","date_gmt":"2026-04-22T08:43:12","guid":{"rendered":"https:\/\/www.fondationdentreprisemartell.com\/?p=106690"},"modified":"2026-06-15T18:03:48","modified_gmt":"2026-06-15T16:03:48","slug":"the-monkey-and-the-clay","status":"publish","type":"post","link":"https:\/\/www.fondationdentreprisemartell.com\/en\/the-monkey-and-the-clay\/","title":{"rendered":"The Monkey and the Clay"},"content":{"rendered":"

[vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”0″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”176687″ el_class=”galleryToSlider”][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”173411″ el_class=”galleryToSlider__sliderColumn”][vc_gallery el_id=”gallery-879836″ medias=”107071,107067,106684,106688,106686″ gutter_size=”2″ screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_width=”6″ images_size=”sixteen-nine” single_overlay_opacity=”50″ single_padding=”2″ uncode_shortcode_id=”207389″ items=”eyI5Njg4NV9pIjp7InNpbmdsZV93aWR0aCI6IjYifSwiOTY4ODJfaSI6eyJzaW5nbGVfd2lkdGgiOiIzIn0sIjk2NTI5X2kiOnsic2luZ2xlX3dpZHRoIjoiMyJ9LCI5ODk0NF9pIjp7InNpbmdsZV93aWR0aCI6IjMifSwiOTY4MjJfaSI6eyJzaW5nbGVfd2lkdGgiOiIzIn0sIjk2ODE1X2kiOnsic2luZ2xlX3dpZHRoIjoiMyJ9LCI5Njg0M19pIjp7InNpbmdsZV93aWR0aCI6IjYifSwiOTY3MDJfaSI6eyJzaW5nbGVfd2lkdGgiOiIzIn0sIjk2ODg0X2kiOnsic2luZ2xlX3dpZHRoIjoiNiJ9LCI5NjgxM19pIjp7InNpbmdsZV93aWR0aCI6IjMifSwiOTY4ODZfaSI6eyJzaW5nbGVfd2lkdGgiOiIzIn19″][vc_empty_space empty_h=”1″][vc_column_text uncode_shortcode_id=”993186″ el_class=”article__text”]From top to bottom<\/strong>
\nHyperpnea Green, <\/em>2024 \u2013 Bagus Pandega. Courtesy of the artist and ROH (Jakarta, Indonesia) \u00a9 Aur\u00e9lien Mole
\nPassing her a piece of cloth, <\/em>2022 – AKI INOMATA. Courtesy of the artist and Maho Kubota Gallery (Tokyo, Japan) \u00a9 Aur\u00e9lien Mole
\nThe Book of Flowers, <\/em>2023 – Agnieszka Polska.<\/em> Courtesy\u00a0 of the artist.
\nAlfil Relief\/Elephant Relief (V03), <\/em>2021. Courtesy: Lin May Saeed Estate; Chris Sharp Gallery, Los Angeles; Jacky Strenz, Frankfurt\/Main[\/vc_column_text][vc_column_text uncode_shortcode_id=”166486″ el_class=”article__text”]La Fondation d\u2019entreprise Martell thanks
\nGalleries and lenders :<\/strong>
\nEstate de Lin May Saeed & Jacky Strenz Gallery
\nFondation Louis Vuitton
\nMaho Kubota Gallery
\nROH Gallery
\nSponsors :<\/strong>
\nEssarBois
\nTerreal-Wienerberger[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ shift_y=”0″ z_index=”0″ inverted_device_order=”yes” uncode_shortcode_id=”143262″][vc_column_inner column_width_percent=”100″ align_horizontal=”align_center” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”349259″][vc_custom_heading heading_semantic=”h1″ text_size=”h6″ text_weight=”500″ text_transform=”uppercase” uncode_shortcode_id=”154405″ el_class=”article__cate”]<\/p>\n

The Monkey and the Clay<\/p>\n

[\/vc_custom_heading][vc_custom_heading heading_semantic=”h1″ text_size=”h6″ text_weight=”500″ text_transform=”uppercase” uncode_shortcode_id=”100764″ el_class=”article__cate”]<\/p>\n

30 May 2026 – 3 January 2027<\/p>\n

[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ shift_y=”0″ z_index=”0″ inverted_device_order=”yes” uncode_shortcode_id=”143262″][vc_column_inner column_width_percent=”100″ align_horizontal=”align_center” gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/3″ uncode_shortcode_id=”341515″][vc_button border_width=”0″ uncode_shortcode_id=”144301″ link=”url:https%3A%2F%2Fwww.fondationdentreprisemartell.com%2Fwp-content%2Fuploads%2F2026%2F06%2FMARTELL_LIVRET-DE-SALLE-EN-low.pdf”]Exhibition booklet[\/vc_button][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/3″ uncode_shortcode_id=”164853″][vc_button border_width=”0″ uncode_shortcode_id=”120720″ link=”url:https%3A%2F%2Fwww.fondationdentreprisemartell.com%2Fwp-content%2Fuploads%2F2026%2F05%2FSINGE-DOSSIERPRESSE_ENG_WEB_page.pdf”]Presskit[\/vc_button][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/3″ uncode_shortcode_id=”107584″][vc_button border_width=”0″ uncode_shortcode_id=”239359″ link=”url:https%3A%2F%2Fwww.fondationdentreprisemartell.com%2Fwp-content%2Fuploads%2F2026%2F05%2Fkidsbook_web.pdf|”]Kids Book[\/vc_button][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_empty_space][vc_column_text uncode_shortcode_id=”102284″ el_class=”article__text”]At the intersection of play, poetry and science fiction, the exhibition The Monkey and the Clay<\/em> brings together nine international artists who explore the theme of collaboration between species. Through fable and imagination, the exhibition sets natural, human and technological productions in dialogue, sketching out new forms of alliances with the living world. Presented within a scenography evoking the forest, these hybrid works\u2014installations, films, sculptures and sound pieces\u2014contribute to a broader conversation on collective transformation, invoking concepts ranging from ecological compensation to eco-futurism.<\/p>\n

\u2018We must help one another; it is the law of nature.\u2019
\nThe Donkey and the Dog<\/em><\/p>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”121257″ el_class=”article__text”]Collective exhibition with\u00a0: Tania Candiani (Mexico), AKI INOMATA (Japan), Bagus Pandega (Indonesia), Agnieszka Polska (Poland), Lin May Saeed (Iraq-Germany), Shimabuku (Japan), Jessica Warboys (United Kingdom), Trevor Yeung (Hong Kong), Robert Zhao Renhui (Singapore).<\/p>\n

Guest Curator : Emilie Villez
\nExhibition Design : Atelier CRAFT
\nGraphic Design : Th\u00e9o David Gehin<\/span><\/p>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”154861″ el_class=”article__text”]In order to better coexist within a \u2018more-than-human\u2019\u00b9 world, human beings are learning to redefine their place within the ecosystem. Drawing on both theoretical debates and practical experimentation, contemporary artists increasingly position themselves not as conquerors of nature, but as collaborators.<\/strong><\/p>\n

Reflecting its title which embodies an interaction between the animal and the mineral, The Monkey and the Clay<\/em> is permeated by the concept of interspecies interdependence, following ecological currents of thought that decentre the human. Challenging the notion of human exceptionalism and dominance over non-human species, the term \u2018more-than-human\u2019 is used across the humanities and social sciences to mark a rupture with hierarchical understandings of life.<\/p>\n

This entanglement – animal, vegetable, mineral, atmospheric – describes a complex web of relations where no entity exists in isolation, and where every action ripples through a multitude of interconnected beings. The evolution of the word \u2018ecology\u2019 itself reveals this shift: while scientists originally defined the term as the study of interactions between living organisms and their environment, it gradually morphed into a commitment to the conservation of territories and species, before becoming a political necessity in the 1970s.<\/p>\n

Influenced by the avant-garde positions of Land Art, environmental activism, and non-Western holistic thought, contemporary artists are pursuing more horizontal relationships, even envisioning co-creation with the non-human. Yet these collaborative bonds are complex, often unpredictable, and occasionally verge on instrumentalisation. How can we be certain of their reciprocity?<\/p>\n

The exhibition explores these questions through artistic practices that reframe, and even bring a sense of play to, our modes of production and coexistence. <\/strong><\/p>\n

The works on display defy traditional representations of nature; rather than offering solutions, they seek to foster alternative ways of thinking. To mend fractured links, these artists engage in a process of immersion and listening, raising questions of proximity and kinship (Tania Candiani, Shimabuku) and the role of chance within the co-creative process (AKI INOMATA, Jessica Warboys, Trevor Yeung). Striving to counter fatalism, the exhibition highlights practices that cultivate a political and ecological imagination: some offer counter-narratives (Robert Zhao Renhui, Lin May Saeed), while others construct speculative fictions through technological tools (Agnieszka Polska, Bagus Pandega).<\/p>\n

[\/vc_column_text][vc_separator sep_color=”” uncode_shortcode_id=”667590″][vc_column_text uncode_shortcode_id=”184299″ el_class=”article__text”]\u00b9 The term first appeared in David Abram\u2019s The Spell of the Sensuous: Perception and Language in a More-Than-Human World<\/em> (1996). French translation: \u00ab Comment la terre s’est tue. Pour une \u00e9cologie des sens \u00a0, Ed. La D\u00e9couverte, 2013<\/p>\n

[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”107063″ media_width_percent=”100″ uncode_shortcode_id=”162953″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image media=”107069″ media_width_percent=”100″ uncode_shortcode_id=”156368″][vc_single_image media=”107073″ media_width_percent=”100″ uncode_shortcode_id=”419163″][\/vc_column_inner][\/vc_row_inner][vc_column_text uncode_shortcode_id=”135435″ el_class=”article__text”]From left to right<\/strong> – \u00a9 Aur\u00e9lien Mole
\nFirst Concert video and Percutor <\/em>2020 \u2013 Tania Candiani. Courtesy:\u00a0 Tania Candiani Studio
\nRiver Painting, Charente, <\/em>2026 \u2013 Jessica Warboys. Courtesy of the artist and Galerie Gaudel de Stampa
\nEarth to Earth (Terres-de-Haute-Charente), <\/em>2026 \u2013 Trevor Yeung. Courtesy of the artist and Galerie Joseph Allen[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

At the intersection of play, poetry and science fiction, the exhibition The Monkey and the Clay brings together nine international artists who explore the theme of collaboration between species. <\/p>\n","protected":false},"author":32,"featured_media":106684,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[98,81],"tags":[],"acf":[],"yoast_head":"\nThe Monkey and the Clay<\/title>\n<meta name=\"description\" content=\"This exhibition brings together nine international contemporary artists who explore interspecies relations.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondationdentreprisemartell.com\/en\/the-monkey-and-the-clay\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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