Eighteen years have passed since Hal Foster’s critical remarks on the position of the artist as ethnographer. That text, together with Catherine David’s 1997 Documenta X, and its questioning of the anthropological foundations of Western culture, became two groundbreaking events, which heralded a tightening of the artistic and anthropological inquiries that have emerged up to the present day. If the early 2000s witnessed a period of relative downturn in interest for the methods, topics, and scenarios of ethnographic observations and anthropological comparative analysis, we are currently experiencing another ethnographic revival in artistic practices, which—just as in the mid-to-late 1990s—has been simultaneously evidenced and stimulated in exhibitions by both theoretical ventures like Anselm Franke’s “Animism” (2010–12), and major perennial platforms like Carolyn Christov-Bakargiev’s Documenta 13 in 2012. Marine Hugonnier is a London-based artist who has been carrying out a long-standing exploration of the crossroads between anthropology and philosophy. “The Bee, the Parrot, the Jaguar,” her solo show at Galeria Fortes Vilaça, presents an important moment in her inquiry, which engages with the writings of Brazilian anthropologist Eduardo Viveiros de Castro, a key figure for current trajectories in philosophical realism and the critical evaluation of modernity’s culture/nature dualisms. All sorts of potential life forms created …