Bringing together artists from Tate’s Collection, Gathering Ground explores the connection between environmental and social justice. Featuring works by Outi Pieski, Abbas Akhavan, Bruce Conner, Zheng Bo, and others, the exhibition honors Indigenous knowledge, queer multispecies relations, and the impact of land displacement. Set in a former power station, it invites reflection on our role in shaping a more just and sustainable future.
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Gaza is home to a wealth of archaeological sites from all eras that are now in peril. The IMA is therefore offering an exceptional collection in more ways than one, made up of highly valuable pieces that the vagaries of history have saved from disaster and which reveal the depth of its history, a priceless treasure whose complexity is reflected in this exhibition.
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The IMA Museum is renewing the photographic exhibition at the entrance to its exhibition (level 7): alongside the exhibition “Treasures Saved from Gaza. 5,000 Years of History,” it is offering a rich selection of old photographs from the collections of the Oriental Library of Saint Joseph University in Beirut (@bo.usj), dedicated to the sites and monuments of Lebanon—greatly endangered by Israeli bombardments—and shown for the first time in France.
In addition, the museum is exhibiting for the first time Li Bayrut, a large bronze by Chaouki Choukini created in the aftermath of the explosion in the port of Beirut.
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The exhibition “With My Own Eyes” invites us to immerse ourselves in the living Palestinian timeline through the lens of the French photographer Joss Dray, who describes herself as the “Resistance Photographer.” At a time when standing with Palestine was tantamount to professional suicide, Dray bravely documented the atrocities of occupation, tracing the unwavering Palestinian resistance—both in the occupied land and in refugee camps in Lebanon. Through her lens, she captured moments of truth and defiance, creating a visual testimony of a people’s unyielding struggle, from the Sabra and Shatila massacre to the First Intifada, through the Oslo years, and into the Second Intifada.
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“This is Not an Exhibition”, and certainly not a traditional one neatly displaying specific artworks by their artists. That is beyond our capabilities now; no one can do so, as basic communication with Gazan artists is almost impossible. They, like everyone else in the Gaza Strip, are resisting annihilation in a genocidal war. For months, they have been suffering the misery of displacement, hunger, and cold. They left their homes and studios behind, either destroyed or their destruction imminent, and have consigned their artworks to flames, shelling, and death. As for those who live outside Gaza, their hearts are being torn apart by the agony and martyrdom of their families, our families, and their fates. These considerations have made the mere mention of art seem a luxurious disconnection from reality, and consequently has made it seem preposterous to even think about creating a conventional exhibition.
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