Exhibition

Férocité à domicile [Ferocity at Home]

Exhibition until 19 July 2025

Group show with Chantal Akerman, Tolia Astakhishvili (with Zurab Astakhishvili, Simon Lässig and Maka Sanadze), Cudelice Brazelton IV, Rosa Joly, Harilay Rabenjamina, Rosemarie Trockel and Sebastian Wiegand.
Curator: Oriane Durand

« Férocité à domicile [Ferocity at Home] » explores the ambivalence of the maternal bond through the work of seven artists—Chantal Akerman, Tolia Astakhishvili (with Zurab Astakhishvili, Simon Lässig and Maka Sanadze), Cudelice Brazelton IV, Rosa Joly, Harilay RabenjaminaRosemarie Trockel and Sebastian Wiegand. With sensitivity and contrasting approaches, these artists intimately examine the way in which this complex relationship constructs our presence in the world.

The film News from Home (1977) by Chantal Akerman constitutes the exhibition’s point of departure, highlighting the complexity of maternal love with captivating clarity. At once a refuge and an insidious trap, this love that the filmmaker’s mother expresses in the letters that she addresses to her daughter, living in New York at that time, oscillates between tenderness, guilt trips and infantilisation. This contradiction—which I call ferocity—is at the heart of the exhibition. It is deployed in artworks in which the maternal figure haunts the space with her presence, as diffuse as it is oppressive, whether it is an upright yet discreet mother in Rosemarie Trockel’s mural fresco; Tolia Astakhishvili’s domestic space under construction; or Rosa Joly’s dark and ghostly dolls’ houses. The home, traditionally seen as a protective cocoon, here becomes the theatre of disorder, a territory of uncertainties, in which intimate space is precarious and fragile. Cudelice Brazelton IV’s “wall-tattoos” and sculptures, as well as Harilay Rabenjamina’s video installation highlight a maternal figure conveying social and aesthetic norms, modelled through the assimilation of racial violence and classism. As for Sebastian Wiegand’s paintings, they extend the examination of the Western political legacy of the 1960s and 1970s. The choice of yellow orange colours combined with the representations of hippie style convoke the utopia of an era marked by sexual freedom, feminist movements and revolutionary hopes. Outstretched on her sofa, the mother nevertheless appears exhausted there.

Between presence and absence, tenderness and dispossession, singularity and transmission of social constructs, these works sketch out a nuanced cartography of the maternal  bond. Love, far from being an absolute rampart, does not spare individuals either from the subconscious contradictions inherent to parenting or from dysfunctional relationships. While society (in a traditional nuclear family) assigns to the mother the role of guardian of the home, the father often holds a marginal position there. Consequently, the question of love cannot be dissociated from that of the role assigned to the mother within a patriarchal society: what types of behaviour does this assignation give rise to? What are its repercussions ?

Oriane Durand, Curator

Image: Tolia Astakhishvili, Placeholder, 2025.
Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray 
snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable.
© Dylan Peirce

Related events :

May 17 at 3 PM: Guided tour by curator Oriane Durand, followed by the screening of News From Home by Chantal Akerman.

May 24 at 4 PM: Venenos y bicarbonatos, writing workshop by L. Etchart.

June 7 at 3:30 PM: Workshop around the exhibition for children, led by artist Rosa Joly.

Dates
16 May - 19 July 2025
Schedules
From Tuesday to Saturday, from 11 am to 7 pm
Late night Wednesday until 9 pm
Monday by appointment
Free entrance
Free admission, without reservation
Visits
Free guided tours
Wednesday 12 pm and 6pm
Saturday 12 pm and 4 pm
Documentation
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View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
Chantal Akerman, Press kit of the film News from Home (Chantal Akerman, 1976)  29,7 x 42,1 cm, CINEMATEK / Collection : Archives Fondation Chantal Akerman. © ADAGP, Paris, 2025 © Nicolas Brasseur.
Chantal Akerman, Press kit of the film News from Home (Chantal Akerman, 1976) 29,7 x 42,1 cm, CINEMATEK / Collection : Archives Fondation Chantal Akerman. © ADAGP, Paris, 2025 © Nicolas Brasseur.
Rosemarie Trockel, Mama told me not to come, 2002, Offset print and silkscreen on paper, 57 x 84 cm. Courtesy Sprüth Magers. Copyright the artist and ADAGP, Paris 2025. / Rosemarie Trockel, Seeing Touch, 2024, Pigment print on paper, 32 x 36 cm. Courtesy Sprüth Magers. Copyright the artist and ADAGP, Paris 2025. © Aurélien Mole.
Rosemarie Trockel, Mama told me not to come, 2002, Offset print and silkscreen on paper, 57 x 84 cm. Courtesy Sprüth Magers. Copyright the artist and ADAGP, Paris 2025. / Rosemarie Trockel, Seeing Touch, 2024, Pigment print on paper, 32 x 36 cm. Courtesy Sprüth Magers. Copyright the artist and ADAGP, Paris 2025. © Aurélien Mole.
Rosemarie Trockel, Dry Milk (Mother's Invention), 2020, Ceramic, glazed, 71 x 57 x 6 cm. Private collection. © ADAGP, Paris, 2025. © Aurélien Mole.
Rosemarie Trockel, Dry Milk (Mother's Invention), 2020, Ceramic, glazed, 71 x 57 x 6 cm. Private collection. © ADAGP, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
Sebastian Wiegand, Die Erben (R’s Baby), 2025, Oil on canvas, 120 x 220 cm. Courtesy of the artist. © Aurélien Mole.
Sebastian Wiegand, Die Erben (R’s Baby), 2025, Oil on canvas, 120 x 220 cm. Courtesy of the artist. © Aurélien Mole.
Rosa Joly, L’Hôtel Night, 2025, Plaster and aluminum, collage, mixed material. Variable dimensions. Courtesy of the artist. © Aurélien Mole.
Rosa Joly, L’Hôtel Night, 2025, Plaster and aluminum, collage, mixed material. Variable dimensions. Courtesy of the artist. © Aurélien Mole.
Rosa Joly, L’Hôtel Night, 2025, Plaster and aluminum, collage, mixed material. Variable dimensions. Courtesy of the artist. © Nicolas Brasseur.
Rosa Joly, L’Hôtel Night, 2025, Plaster and aluminum, collage, mixed material. Variable dimensions. Courtesy of the artist. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
Cudelice Brazelton, Treasure, 2023, Cloth, aluminum, inkjet print. Variable dimensions. Courtesy of the artist and Galeria Wschód, Warsaw/New York. / Cudelice Brazelton, Blet, 2025, Wooden table, image, burned denim. Variable dimensions. Courtesy of the artist and Galeria Wschód, Warsaw/New York.  © Nicolas Brasseur.
Cudelice Brazelton, Treasure, 2023, Cloth, aluminum, inkjet print. Variable dimensions. Courtesy of the artist and Galeria Wschód, Warsaw/New York. / Cudelice Brazelton, Blet, 2025, Wooden table, image, burned denim. Variable dimensions. Courtesy of the artist and Galeria Wschód, Warsaw/New York. © Nicolas Brasseur.
Cudelice Brazelton, Blet, 2025, Wooden table, image, burned denim. Variable dimensions. Courtesy of the artist and Galeria Wschód, Warsaw/New York. © Aurélien Mole.
Cudelice Brazelton, Blet, 2025, Wooden table, image, burned denim. Variable dimensions. Courtesy of the artist and Galeria Wschód, Warsaw/New York. © Aurélien Mole.
Rosa Joly, Sarah, 2025, Black and white A4 print on transparent plastic film, 21 x 29,7 cm. Courtesy of the artist © Aurélien Mole.
Rosa Joly, Sarah, 2025, Black and white A4 print on transparent plastic film, 21 x 29,7 cm. Courtesy of the artist © Aurélien Mole.
Harilay Rabenjamina, Le nez de ma mère, 2021, Video 16'36". Courtesy of the artist. Collection Capc musée d'art contemporain de Bordeaux. / Harilay Rabenjamina, Djadja, 2018, Digital print on fine art paper, framed, 134,5 x 91 cm. Courtesy of the artist. Collection Capc musée d'art contemporain de Bordeaux. © Nicolas Brasseur.
Harilay Rabenjamina, Le nez de ma mère, 2021, Video 16'36". Courtesy of the artist. Collection Capc musée d'art contemporain de Bordeaux. / Harilay Rabenjamina, Djadja, 2018, Digital print on fine art paper, framed, 134,5 x 91 cm. Courtesy of the artist. Collection Capc musée d'art contemporain de Bordeaux. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Nicolas Brasseur.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
View of the group exhibition “Férocité à domicile” at Fondation Pernod Ricard, Paris, 2025. © Aurélien Mole.
Sebastian Wiegand, La mère  de l’artiste ouvrant une porte, 2025,  Oil on canvas, 50 x 41 cm.  Courtesy of the artist. © Aurélien Mole.
Sebastian Wiegand, La mère de l’artiste ouvrant une porte, 2025, Oil on canvas, 50 x 41 cm. Courtesy of the artist. © Aurélien Mole.
Rosa Joly, Night Hotel, 2024, Video, 16mm, 6’. Courtesy of the artiste. © Aurélien Mole.
Rosa Joly, Night Hotel, 2024, Video, 16mm, 6’. Courtesy of the artiste. © Aurélien Mole.
Tolia Astakhishvili, Placeholder, 2025. Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray  snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable. © Dylan Peirce
Tolia Astakhishvili, Placeholder, 2025. Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray  snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable. © Dylan Peirce
Tolia Astakhishvili, Placeholder, 2025. Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray  snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable. © Dylan Peirce
Tolia Astakhishvili, Placeholder, 2025. Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray  snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable. © Dylan Peirce
Tolia Astakhishvili with Zurab Astakhishvili, I can't imagine how I can die if I am so alive, 2025 collages dimensions variable. © Dylan Peirce.
Tolia Astakhishvili with Zurab Astakhishvili, I can't imagine how I can die if I am so alive, 2025 collages dimensions variable. © Dylan Peirce.
Maka Sanadze , Untitled, treated magazine pages, 41 x 31.5 cm. © Dylan Peirce.
Maka Sanadze , Untitled, treated magazine pages, 41 x 31.5 cm. © Dylan Peirce.
Tolia Astakhishvili, Placeholder, 2025. Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray  snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable. © Dylan Peirce
Tolia Astakhishvili, Placeholder, 2025. Wall architecture, drywall, plexiglass, led lights, plaster, coffee, ink, acrylic paint, papier mache, spray  snow, newspapers, drawings, photographs, found objects, collages. With Maka Sandaze, Zurab Aastakhishvili and Simon Lässig. Dimensions variable. © Dylan Peirce
Simon Lässig, How one learns to look through other people how we take in, adapt and alter their thoughts, views and  feelings. And if the rest of the film speaks about how we mimic and repeat - about how we are  conditioned - then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment  in which we look out into the world and do not see ourselves reflected back. A reality comes into  being that is closed off and something I've seen before repeats itself, 2023. © Dylan Peirce.
Simon Lässig, How one learns to look through other people how we take in, adapt and alter their thoughts, views and feelings. And if the rest of the film speaks about how we mimic and repeat - about how we are conditioned - then these stretched 2 minutes and 23 seconds remind us of the opposite: Of a moment in which we look out into the world and do not see ourselves reflected back. A reality comes into being that is closed off and something I've seen before repeats itself, 2023. © Dylan Peirce.
Tolia Astakhishvili, Personal and non personal happinesses are mixed up, 2025, drawings photographs collages found objects, dimensions variable. © Dylan Peirce.
Tolia Astakhishvili, Personal and non personal happinesses are mixed up, 2025, drawings photographs collages found objects, dimensions variable. © Dylan Peirce.
Tolia Astakhishvili, Personal and non personal happinesses are mixed up, 2025, drawings photographs collages found objects, dimensions variable. © Dylan Peirce.
Tolia Astakhishvili, Personal and non personal happinesses are mixed up, 2025, drawings photographs collages found objects, dimensions variable. © Dylan Peirce.