Artists Remake the World
The Author

The Author : Bénédicte Ramade


Bénédicte Ramade holds a PhD from Sorbonne University (Paris, France), specializing in the history of ecological art in the United States (The Misfortunes of Ecological Art in the U.S. since the 1960s. Proposition for a Critical Rehabilitation). As art historian and critic specialized in contemporary art, she has spent the past fifteen years analyzing environmental issues. In 2009, she curated the group exhibition Acclimatation at Villa Arson (Nice) and edited the accompanying catalogue, which analyzed the relationships between nature and culture. In 2010–2011, she addressed the idea of recycling in contemporary art practices in the group exhibition Rehab, The Art of Re-Do, at Fondation Edf (Paris). Recently, she was the curator and catalogue editor of The Edge of the Earth: Climate Change in Photography and Video, an exhibition for the Ryerson Image Centre in Toronto (September 14 – December 4, 2016) that looked underneath the ecological appearances of the Anthropocene era. She lives and works in Montréal, and has been appointed a postdoctoral fellowship at Université de Montréal, where she is a lecturer in Art History.énédicteRamade

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Investigation by Bénédicte Ramade
13 April 2018

The Indigenous way

Investigation by Bénédicte Ramade

Naomi Klein’s book This Changes Everything, published in 2014, perfectly explains and analyzes (amongst other merits) the role and impact of First Nations in the struggle to protect nature from the greed of international mining corporations. Are Indigenous artistic practices a reflection of this changing situation, wherein minority populations in Canadian society are being given access to a new kind of power? Through the artistic and conceptual standards established by previous American environmental art movements, and through the singular understanding that Indigenous cultures have of nature’s reign, artworks by Canadian artists can be analyzed for insight into the esthetic and political renewal of environmental art. They also suggest an avenue for emancipating Indigenous art from the limitations of their typical exhibition circuit and critical discussion.

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