At Transfo Emmaüs Solidarité, Between Two Dizzy Spells, Gloria Friedmann shares her assessment and warns us: "Everything is falling apart."

Between two dizzy spells, Gloria Friedmann’s exhibition at Transfo, the Emmaüs Solidarité cultural center in Paris’s 10th arrondissement, gathers sculptures and mixed-media works for a tense, uneasy meditation on humanity, its future, and a threatened environment. Free to explore from September 25 to November 21, 2026.

"It's a warning and a reality check. I can see that, indeed, everything is collapsing."

Vigilance runs through Gloria Friedmann’s body of work. In clay, plaster, metal, feathers, or even electrical cables, her hybrid sculptures have long traced the human figure in all its complexity and pressed questions about our existence in the world.

Astonished observer of a present in upheaval, she brings to Transfo a journey through works that reads as a state of mind, an anxious gaze cast on humanity and its future in a threatened environment.

This manifesto exhibition is curated by Yvon Le Mignan, coordinator of the Emmaüs Solidarité cultural center. It is accompanied by a booklet featuring a text by art critic Philippe Dagen, which the artist has also illustrated.

It is hosted by a team of volunteers and participants supported by the association, inviting you to exchange ideas, “Facing Vertigo.”

Opening on Thursday, September 24, 2026, from 6 to 9 p.m.

Exhibition open during regular hours from Friday, September 25 to Saturday, November 21, 2026.

Free admission.

About the artist:

Born in 1950 in Kronach, Germany. She lives and works in Aignay-le-Duc, France.

Gloria Friedmann leaves Germany for France in 1977. Self-taught and mainly a sculptor, this prolific artist channels an experimental energy across media as diverse as painting, installation, photography, performance, and video. The deliberately protean nature of her practice and its caustic wit fuse gravity and playfulness in a language she cultivates with both scholarly rigor and a sly humor. Taking up a historic genre—the landscape—that contemporary sculpture has left behind, she first earns recognition in the early 1980s through installations and performances about nature, which she considers “part” of it. Yet she focuses on the non-human nature, the one that exists “outside” herself, in her own words, and especially on the violence it endures. Works such as Vagues Normandie (1983), made from paneled windshields, or Paysage d’hiver (1986) straddle a poetics of Minimal Art’s vocabulary and a material culture typical of Arte Povera. Raw, unconventional materials carry her message, staged in an image-driven presentation where existential scenarios unleash antagonistic forces, with no compromise. By melding irony, parody, and incongruity, Gloria Friedmann develops a logic of naturalist metaphor, presenting pieces of a real nature and relocating fragments according to a ready-made procedure to emphasize the idea of chaos rather than any proverbial harmony.

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