By Pierre Restany, 1978
Revised by Frans Krajcberg and Claude Mollard, 2013

"By dint of accepting
barbaric practices
of man against nature,
mankind has today
engaged the process
of destruction of the planet
which drives him to his own
Frans Krajcberg
and Claude Mollard

"To want to impose its law
to nature,
to want to create
against nature,
the man condemns
himself. "
Pierre Restany - 1978

The twenty-first century still has not paved the way for an artistic creation
resolutely committed to the balance of this planet
between its environment and its inhabitants. We denounce
this helplessness.

Crushed by the globalization of cultures and economies,
art loses its meaning, while the universal domination
finance generates shameless speculation and artificial financial bubbles. We denounce the influence of the markets on art,
with their misdeeds and dead ends.

We raise a cry of alarm so that the art finds the
meaning of nature, measurement and harmony, and that it
recovers its vanguard position in the service of the values of 
freedom, dignity, respect.

We publish the New Manifesto of Integral Naturalism
to bring about a movement that mobilizes the expression
of a planetary consciousness.

We recognize in nature an unlimited source of
inspirations, concepts, research and forms.

We claim, in duty and in law, the total diversity of
expression, uncompromised secularism,
freedom of integral creation.

We address the artists and also the citizens of the
world who do not want to remain passive spectators of
the destruction of their planet.
More than ever, the artist must be at the heart of every project of
civilization, both as artist and as citizen of the world,
integrally and radically.

Pierre Restany ended the Manifesto of Rio Negro with these
words: "The original nature must be exalted as
hygiene of perception and mental oxygen ... "

1. The Terms
of the 1978 Rio Negro Manifesto
must be reaffirmed
and radicalized.

In 1978, ecology was stammering and the Rio Negro Manifesto
was a first realization of the formidable potential of nature in artistic expression. For

Pierre Restany, it's about "fighting a lot more against subjective pollution than against objective pollution, the pollution of the senses and the brain ... "

Today, the crisis of the planet has become an obvious reality
 calling for urgent answers. The destruction

the Amazon rainforest is engaged at the cost of the elimination
ineluctable, and unfortunately silent, Indian peoples.

Melting of the pack ice is accelerating, global warming
is working. Population growth maintains poverty, 
promotes wars and pave the way for the development of religious and political fanaticism.

Human rights and secularism are more and more
violated. National and international political powers
have abdicated to global finance.

The art crisis denounced by Pierre Restany has
itself amplified.
The multiplication of the financial investments invoked
to express a march ahead of democratization
the arts in fact leads to the promotion of a great international entertainment company.

2. The political commitment
of the contemporary artist
is the condition of the 
of creation.

At a time when we have never shown so much contemporary art, it is actually proving to be more and more
disconnected of social, economic and political reality. Instead it is centered on the individual and his procrastinations.

It does not announce anymore, it illustrates. It does not anticipate anymore, it accompanies. It no longer denounces, it conceals.

The intellectual movements that used to link artistic innovations and political and social commitments have
disappeared. They have become subjects of studies or exhibitions.

Artistic practice is no longer a collective commitment
but an individual career. Isolated, the artists are
less dangerous. They no longer run the art scene,
they try to take advantage of it. Art is nothing more than a commodity. It oscillates between intellectual speculation and
merchant speculation. He becomes a strategy of power. It
loses its critical reach.

We reaffirm the essential role of the artist, while
it is more and more relegated to that of simple decorator
whose "masters of the world" are waiting for him to disguise
crises instead of denouncing them.

Integral Naturalism calls for
an ethic
of artistic creation.

Integral Naturalism is not only a
combative attitude but also a spur of thought. It
totally opposes the destructive exploitation of the
nature and the transformation of the work of art into an object of
disposable consumption.

Integral Naturalism is conceived as a tool for
sustainable artistic development. It even fits into
the space-time of the cosmos.

Integral Naturalism links the most contemporary cultures
 to the most ancestral ones. It calls upon the conscience of the "Magicians of the earth".

It affirms the necessity of the forces of the spirit and seeks
the conditions of their appearance since the origins of

Integral Naturalism links to the avant-gardes that
have anticipated the great technical and urban changes,
the conquest of the rights of citizens, the liberation and
image development.

Integral Naturalism calls for "the expression of a
planetary consciousness ", able to be indignant, to
to mobilize and act.

4. Integral Naturalism commits itself
to protect nature,
catalyst and mobilizer of the imaginary.

The ecological struggle will rock the imaginative heart of
society if it knows how to take into account the cultural and  artistic dimension of the planet.

The currently dispersed creations of artists who have
chosen to express themselves in, for, by, with and on nature,
will benefit from being assembled and strengthened across
the planet, in a resolutely intercultural dialogue.

Integral Naturalism favors the appearance of a
world-wide and diversified artistic activity around the unifying role
of the safeguarding of the fundamental balances
of the planet.

5. Integral Naturalism
privileges the act of creation based on vision
and the search for meaning.

The natural universe is an unlimited reservoir of species and
animal and vegetal forms. The look on the object or
the being of nature is an artistic act, because the art of seeing is
in itself creative: it is learned, practiced, cultivated and

Integral Naturalism adds to the scientific naturalism
only a poetic dimension. It puts at his service
contemporary technologies that amplify or detail
the vision of the world, it exalts beauty in all
its dimensions, from infinitely small to infinitely

Integral Naturalism gives meaning and coherence
to the myriad of works of art created since the 1960s
in reference to nature, in all forms.

Integral Naturalism
invests without limits into creation,
while privileging
modest practices of art.

The Integral Naturalism seeks to put in images and
in art forms the multiplicity of inventions of nature,
to reveal them or to draw inspiration from them as models or
as motors of energy.

For Integral Naturalism, art is not just about
production but also a way of life in harmony with

Integral Naturalism commits each generation to
to transmit to his children the portion of the planet Earth
which she inherited and received custody. Each generation
ensures that the damage done to his
integrity by the previous one is completely erased.

“To practice availability towards
to the natural given, it is to admit the modesty
of human perception and its own limits. "
(Pierre Restany)

Integral Naturalism
is a response
to globalization.

Integral Naturalism cultivates the art of seeing to renew
the art of thinking and being.

Integral Naturalism strives to better understand
the mysteries of nature. It is also a method that
promotes the cognitive sciences of the planet and of the cosmos.

Integral Naturalism fully combats all
human enterprises that lead to the disappearance of
all diversity in a dangerous globalization by force
to deny or despise the reality of nature. It favors
the dialogue and the meeting of cultures and

It belongs to the artist to draw from this method the
force to regain an essential place in society,
of which he must be, more than ever, the alpha and the omega.
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