SWAN
Southern World Arts News
Thursday, 27 March 2025
MARLEY, MUSIC, MORRIS, LIFE: A PHOTO VOYAGE IN PARIS
Friday, 28 February 2025
BRUSSELS SHOW OFFERS DIVERSE VIEW OF ART HISTORY
It’s like walking through several psychedelic halls of history, where bold colours, electrifying compositions and contagious rhythms hit the senses all at once.
This is When We See Us: A Century of Black Figuration in Painting – a momentous exhibition running at the Bozar Centre for Fine Arts in Brussels, Belgium, until Aug. 10, 2025.
“One of the most enduring features of the human condition is the inexhaustible desire to see oneself through visual culture and storytelling,” said Koyo Kouoh, co-curator of the exhibition with Tandazani Dhlakama, and executive director and chief curator of Cape Town’s Zeitz Museum of Contemporary Art Africa (MOCAA) – which conceived and organized the exhibition.
“Whether living on the continent or within the vast, impressive African diaspora, Black artists have invested in a spectrum of narratives that encompass the experience of blackness, intentionally rejecting limiting tropes of representation,” Kouoh told journalists as the exhibition opened this month.
According to Zoë Gray, Bozar’s director of exhibitions, When We See Us demonstrates how art history is “plural, diverse, and always intertwined”. She said that when she first saw the exhibition in South Africa, she immediately wanted Bozar to host it as well. (The show has now travelled from MOCAA to Basel, to Brussels. It will move on to Stockholm in October for a 10-month stint in the Swedish capital.)
The paintings – from a timely “insider” perspective – are grouped into sections titled “The Everyday”, “Repose”, “Triumph and Emancipation”, “Sensuality”, “Spirituality”, and “Joy and Revelry”. As visitors wander through these sections, they stroll to an accompaniment of global rhythms (arranged by musician and sound artist Neo Muyanga); and the overall effect is of a lively, panoptic world.
But this is just one noteworthy element. When We See Us can be viewed as an historic art journey, a parade of artistry, a different way of seeing, an explosion of joy.
The curators say the show’s title is “inspired and derived” from the 2019 miniseries directed by US filmmaker Ava DuVernay, When They See Us, which depicts systemic racial prejudice and violence.
“I like shifting things and flipping things … as a way to continue the conversation,” Kouoh said. “So, flipping ‘they' to ‘we’ allows for a dialectical shift that centres the conversation in a comparative perspective of self-writing, as theorized by Cameroonian political scientist, Professor Achille Mbembe.”
She said it was important for the organizers to show a plurality of experiences and to avoid “reductive” and “myopic” narratives. Pain and injustice are not at the forefront of this exhibition, as black experiences can also be seen “through the lens of joy”.
As for the choice of figurative painting, this reflects the history of the genre throughout the world and especially amid Black artistic practice, she remarked.
Many of the artists have lived in different places and reflect an array of influences or associations; Cuban-born Wifredo Lam, for example, was a long-term resident of Paris, and died there in 1982. He was friends with Spanish artist Pablo Picasso, associated with other European artists including Henri Matisse and Joan Miró, and knew Mexican artists Diego Rivera and Frida Kahlo. In the exhibition, visitors get to see Lam’s striking 1938 work “Femme Violette” up close.
Meanwhile, works by the “kings of Kinshasha” – Congolese artists Chéri Samba and Moké – stand out for their audacious, animated canvases, as well as their satirical themes.
“They were both pivotal protagonists in the political provocative Zaire School of Popular Painting, a style that developed in Kiinshasha in the 1970s, a decade after Congo’s independence from Belgium in 1960,” state the curators. “The work of both artists was focused on the daily life in Kinshasa, the capital of the Democratic Republic of Congo.”
(For a profile of Chéri Samba: https://www.globalissues.org/news/2020/09/28/26874)
In the section “Joy and Revelry”, Netherlands-based British-Nigerian artist Esiri Erherienne-Essi said she wanted to show a different side of anti-apartheid activist Steve Biko. Her painting “The Birthday Party” depicts a group posing for a photograph at a joyful event. Here, she centres a happy-looking Biko, celebrating his niece’s birthday.
In her work, Erherienne-Essi uses photographs from historical archives as a starting point to create her paintings, according to the curators. She brings to the fore “archives and moments from Black people’s lives with vibrant depth, colour and detail, countering the flatness of the Black figures in the Western art historical narratives,” they added.
This idea of reversing the gaze is central to When We See Us – especially in the section “Sensuality”, where artists explore “various levels of pleasure, leisure and desire” with works in a variety of media. Among these, the remarkable “Never Change Lovers in the Middle of the Night”, by American artist Mickalene Thomas, employs acrylic paint, enamel and rhinestones to depict sexuality.
All the artworks are arranged in such a way as to make visitors feel fully connected to the paintings, said Ilze Wolff, of Cape Town design firm Wolff Architects, responsible for the exhibition’s scenography. Visitors can sit in some sections and become immersed in a particular set of paintings.
Visitors can freely browse some 80 books, loaned by Belgian institutions including the Vrije Universiteit Brussel (VUB), local library Muntpunt, and art galleries.
"The books on display give a glimpse of the history of research into Black art, as well as of Black literary writing, philosophy, and political thought," said Eva Ulrike Pirker, VUB professor of English and comparative literature. "While the exhibition is temporary, the books, including the beautiful catalogue, which offers reproductions of all the artworks, are in Brussels to stay and available at the partner libraries free of charge."
Pirker said she liked the idea that the exhibition will have a "concrete, lasting impact" on the collections of libraries that have partnered with the show, as it prompted librarians to look into their holdings and acquire new books to fill existing gaps.
Showing the richness of African diasporic art, the documentation section may even spur viewers to seek out more information, as well as related artwork.
“When We See Us is about a historical continuum of Black expression, Black consciousness and joy, and we hope (audiences) will enjoy it,” said co-curator Dhlakama. – AM/SWAN
Photos from top: An Evening in Mazowe by Kudzanai-Violet Hwami; paintings by Romare Bearden - Jazz Rhapsody - and Katlego Tlabela - Upper East Side, New York (Study); The Conversation by Cornelius Annor; Esiri Erheriene-Essi and her painting The Birthday Party; books in the documentation section of the exhibition; a composite picture of members of the curatorial and organization team: (top, L-R) Koyo Kouoh, Zoë Gray, and Tandazani Dhlakama; (bottom row): Maïté Smeyers and Ilze Wolff. Photos by AM/SWAN.
Saturday, 22 February 2025
THE CARIBBEAN MOURNS LOSS OF A SINGULAR WRITER
By A. McKenzie and S. Scafe
Jamaican writer Velma Pollard provided a special kind of sunlight in the Caribbean literary space. Known across the region for her warm personality and welcoming nature, she also defied simple classification as she shone beyond genre. The work she has left behind encompasses short stories, poetry, academic writing, and novellas. She was also a keen naturalist photographer.
An early poem, “A Case for Pause”, reflects on the interconnections between all the forms she used: “Arrest the sense / and let the fancy flow / Without design / collecting cloud and air / petal and leaf … Rein in the fancy now / unleash the sense … constructs and theories not yet pursued / rush in perfected, whole,” she wrote.
Her sudden death earlier this month, on Feb. 1, has created a huge gap in the lives of those who loved and admired her as a person and poet and who must now draw solace from reading or revisiting her work. Her generosity to other writers, scholars, and artists was legendary in the Caribbean and internationally. In the days and weeks before her passing, and despite her incapacity from a fall and subsequent operation, she took pains to read and comment on work that young writers sent her, carefully and unsparingly collating her responses.
Born in 1937, in the parish of St. Mary on the north-eastern Jamaican coast, Dr Pollard spent her early years in a rural setting along with siblings that include her equally renowned sister Erna Brodber.
She later attended Excelsior High School in the capital Kingston, where she won several elocution contests, and she gained a scholarship to continue her studies at the University College of the West Indies, focusing on languages.
Afterward, she earned a Master's degree in English at New York’s Columbia University, and another Master’s – in education – from McGill in Canada, followed by a PhD in language education at the University of the West Indies (UWI). She would go on to become dean of the education faculty at UWI, inspiring numerous students, while also raising her three treasured children - one of whom has said she was the strongest woman he knew, with the largest circle of faithful friends.
She addressed myriad issues in her work: family relationships, gender, colonialism (and its legacies), history, love, injustice. Many of her poems are tributes to the everyday struggles of ordinary women, the unlettered makers of “hot lunches and hot clothes / cooking and stitching miracles / with equal hand”.
Her poetry stands out for its imagery, symbolism and use of Jamaican Creole, or nation language, with collections such as Crown Point and Other Poems, Shame Trees Don’t Grow Here, The Best Philosophers I Know Can’t Read and Write, and Leaving Traces.
Dr Pollard was perhaps foremost a poet, but she was equally a scholar, editor, educator… an overall literary star. When she contracted meningitis several years ago, messages flowed in from all over the globe (as tributes are now doing upon her passing).
Following her recovery from that bout with meningitis, she told friends she felt the need to do “something worthwhile every day”, as a way of giving thanks for her survival. Part of this naturally included writing, but it also involved taking care of her extended family and being there for her friends and community.
As her sister Erna said at the farewell service, Dr Pollard got “10 out of 10 out of 10 out of 10” for following the commandment: love thy neighbour as thyself. The work she has left behind may be considered a testament of that love, and light, too. - SWAN
Photos , top to bottom: Dr Velma Pollard at her Kingston home (photo AM/SWAN); the cover of Considering Woman; the cover of Crown Point and Other Poems.
Tuesday, 4 February 2025
ART OF WEST AFRICA CUTS THROUGH GREY PARIS WINTER
The Cecile Fakhoury art gallery in Paris sits on one of the fanciest streets in the French capital, sharing a neighbourhood with the Élysée Palace – the official residence of the country's president – and Le Bristol hotel, the five-star haunt of film stars and other celebrities.
The Paris gallery is one of three entities set up to showcase art from countries including Ivory Coast, Senegal, Mali and others. The first Galerie Cecile Fakhoury, which bears the name of its French founder, was launched in Abidjan in 2012, and some six years later, a second space in Dakar, Senegal, was inaugurated, with a showroom in Paris following soon afterward.
That showroom has now transitioned into the Paris gallery on the "luxury-themed" rue du Faubourg Saint-Honoré. The current exhibition, Le pays de Cocagne, features the work of 10 artists and provides an antidote to the greyness of the French winter, according to gallery director and curator Francis Coraboeuf.
Other artists featured are Thibaud Bouedjoro-Camus, Dalila Dalléas Bouzar, Yo-Yo Gonthier, Carl-Edouard Keïta, Elladj Lincy Deloumeaux, Vincent Michéa, Kassou Seydou and Ouattara Watts.
SWAN spoke with Càraboeuf about the exhibition and about the role of the Cecile Fakhoury galleries in highlighting contemporary African art globally. The edited interview, conducted in person in Paris, follows.
SWAN: Please tell us about the artists and paintings on display.
FRANCIS CORABOEUF: All of the artists represented by the gallery have something in common, which is Western Africa – as a geographical, human, cultural common ground. Many of the artists live in different places, or have a background that is diverse, so you have all the situations that you can imagine, and that reflects the complexity of today’s world. When you go to Abidjan, or to Dakar, those are cities that are cosmopolitan, with people coming from everywhere in the world, and they reflect colonial history and colonization, but also pre-colonial history and recent history, which is one of circulation, migration.
The artist Rachel Marsil, for instance, was born in France, of a French mother and a father originally from Western Africa (she doesn’t know her father). But her work is a kind of identity research, and that is why she was attracted by Western Africa and why her work is oriented towards this region of the world. She and the gallery wanted to work together because those subjects of identity, history, geography, what are we doing here and where are we going - these are questions that the artists of the gallery are constantly raising.
FC: This is a group exhibition, and I wanted to present the work of different artists that have a presence right now in Paris, to create an echo, and also to gather some works that are all channelling an idea of warmth, of happiness, of positivity. It’s a response to this time of the year; it’s a response also to how can we create an echo to what’s happening in Dakar and in Abidjan and how do we take people from here and orient their gaze towards Western Africa.
“Pays de Cocagne” refers to an imaginary land, which is a land filled with abundance and dreams, and it’s a utopic place. This is a more subtle approach to the evocation of Western Africa, which is often exoticized. At the gallery, when we present the works of the artists in France, we often confront the clichés that people have toward Westen African countries. So, there’s a kind of deconstruction.
SWAN: How did you go about choosing the works?
FC: The idea was to create a group where the works would echo one another. The exhibition gathers work from very young artists (for example, Rachel Marsil is under 30) and also from artists such as Souleyman Keïta, who died in 2014 and is considered to be someone at the intersection between the modern art scene and the contemporary art scene.
SWAN: There is also another Keïta in the exhibition, Carl-Edouard Keïta, the Ivorian-born, New York-based artist who is influenced by Cubism and portrays a fantastical world in his art…?
FC: Yes, Carl-Edouard Keïta is represented in this exhibition, and he will also have his first solo show in Abidjan at the Cecile Fakhoury gallery there - titled Goumbé, from 13 February to 12 April. The works in that show draw inspiration from cultural associations that were founded by migrants of the Ivorian interior and other areas during the post-independence years. (More info about Goumbé: https://cecilefakhoury.com/exhibitions/117-goumbe-carl-edouard-keita-abidjan/overview/)
SWAN: What do you hope visitors will take away from “Pays de Cocagne”?
FC: It’s important for people to understand where these artists stand in the history of art. When I went to university and studied art history, what I studied didn’t give me the tools to understand how things are interconnected. So, this is what we do, or try to do as gallerists.
Pays de Cocagne runs until March 29 in Paris.
Photos (by AM/SWAN), from top: Paintings by Ouattara Watts and Rachel Marsil; Paris gallery director Francis Coraboeuf, with artwork by Rachel Marsil and Souleymane Keïta; artwork by Kassou Seydou; Voyage au Mali by Souleymane Keïta; Le dormeur du sable by Elladj Lincy Deloumeaux, 2024 (below).
Thursday, 19 December 2024
FILM REVIEW: ‘PÉPÉ’ PORTRAYS A COLOMBIAN ‘OUTSIDER’
Tuesday, 20 August 2024
JAMES BALDWIN FEST TO CELEBRATE WRITER, IN PARIS
For the centenary of James Baldwin’s birth, an international array of literature fans are coming together in Paris at a festival that will honour the life and work of the iconic American author and civil rights activist.
The James
Baldwin Centennial Festival, scheduled for Sept. 9 to 13, aims to be a “celebration”
that will take place at multiple venues in the French capital, according to
Tara Phillips, executive director of La Maison Baldwin, the organizers.
In the eight
years since it was formed, however, La Maison Baldwin hasn’t always had smooth
sailing, as some of its activities ran counter to the vision of Baldwin’s
family on how to honour his uncompromising work and long-lasting influence. But
now, with new direction, the organization has the family’s support, including
for the festival, Phillips says.
Baldwin - the author
of stirring books such as The Fire Next Time, Go Tell It on the
Mountain and Giovanni’s Room - remains one of the most revered (and
quoted) writers today, decades after his death in 1987. Born on Aug. 2, 1924,
he would have turned 100 this year, and the festival might have been held in
his birth month were it not for the recent Paris Olympic Games.
According to
Phillips, the event will comprise panel discussions, writing workshops, an art
exhibition, student participation and an open-mic segment, among the various
features.
In the
following edited interview, conducted in person in Paris, Phillips discusses
the overall goals and the far-reaching power of Baldwin’s works and words.
SWAN: Let’s
start with the centenary and why this festival, why it’s taking place in
France.
And
so that’s why we thought it was important to do a centennial event, and we also
wanted to be aligned with the family who had already been thinking about the
centennial in early 2023. We were trying to build a relationship with them, and
it just made sense that we were all thinking about this as a way to
collectively honour his legacy.
(Note:
Baldwin’s family held a centennial celebration at the Lincoln Center in New
York on Aug. 7, at which Phillips spoke.)
SWAN: How
will the family be involved in the Paris festival?
TP: Well, on the first day, there’s a
welcoming reception, and I will invite Trevor Baldwin, James Baldwin’s nephew,
to say a few words. But then on the following day, we’ll have the very first
panel, called “La Maison Baldwin”, and it’s about the idea of home, both
literally and also as in the Black literary tradition. Trevor will
participate on that panel as somebody who knew his Uncle Jimmy, and can give
some insight into the idea of home for James Baldwin. He was a Harlem man, but
he lived all over the world, and his idea of home is pretty complex. And what
I’m discovering as I get to know more and more members of the family is that a
lot of them have this wanderlust and live in different parts of the world. So,
that will be a way to engage a familial voice on that issue, particularly for
Black people.
SWAN: Is the festival open to the general public?
TP: There’s a festival fee, but anybody
can attend. James Baldwin’s followers and admirers are so diverse: you have the
Black community, the literary community, the activist community, the LGBTQ+
community, you have students, academics, artists. The idea was to create an
experience that would appeal to all those types of people, but always with the
idea of centering James Baldwin.
TP: We’ll have a welcome reception, and
that’s going to be sponsored by the US Embassy. It will be just a moment to
come together and celebrate the fact that we’re in Paris and to kick things
off. Then we will start the next day with a keynote speaker (author Robert
Jones, Jr.) and multiple panel discussions where we’ll be thinking about
Baldwin and reflecting on the theme of the festival: Baldwin and Black Legacy, Truth,
Liberation, Activism.
SWAN: How
did the theme come about?
TP: It came about as the centennial
committee brainstormed words that came to mind when we thought about Baldwin
and his work and his impact. You know, he spoke truth, also in his writing. And
for many people, it liberated them. He gave us the language to liberate us from
conceptions of ourselves, or our perceptions of the world, and perceptions of
our humanity. And that liberation motivates activism for many of us. That’s
how we came to that theme.
SWAN: And
continuing with the various elements of the festival, there will be an art
exhibition?
TP: Yes, we’ll have an exhibition that will be running during the week. It's called Frontline Prophet. Those works are by Sabrina Nelson, curated by Ashara Ekundayo and Omo Misha. It’s this brilliant collection of art sketches that Sabrina initially did in 2016 at the James Baldwin conference (held at the American University of Paris), and it’s returning, coming full circle.
SWAN: In
addition, there’s a big move to engage students, youth…
TP: Yes, there will be a student activism
workshop. We want to engage young people with Baldwin’s work and tap into their
own sense of activism. You know, these are such interesting times to be young,
right? There have always been things happening in history, in our world, but
because of social media, because we have access to see everything all the time,
I think young people are engaged in a a very different way than they probably
would have been without these mediums. And they’ve been the ones to kind of reinvigorate
Baldwin’s language and works in a lot of ways.
So, we wanted
to give them a space where they could explore the idea of activism through
leadership, through creativity and through community. For those three days,
they will have their own space together to look at some of Baldwin’s works, to
engage with each other and talk with each other. We’re partnering with the
Collectif Baldwin (a local organization) on that. I actually think this is the
most important part of the festival.
SWAN: Where
will the students be coming from?
TP: We basically would like to see
students from everywhere who have the time or interest to attend. But we also
think it’s very important that there’s a presence of French students as well
because what I’m discovering, particularly as a I make more connections here in
Paris, is that there is so much to be learned from Baldwin in the context of France
and their relations around racism and cultural identity. So, to be able to
engage French students in this conversation would be to discuss their own
activism. After the workshop, they will also do a presentation - on what they
learned and on how they can take Baldwin into the future.
SWAN: Let’s
talk about your background coming into this. What is your personal relationship
with Baldwin’s work?
Then he would
pop up in my psyche over the years, and now he kind of haunts me because I’m
constantly doing this work. And the connection for me, with respect to taking
on this work, is that I have moved to Paris as a Black American (in 2018), and
I started writing then, and I could just really connect to his sense of freedom
coming here. I mean, being in the United States as a Black American and then
also as the mother of a Black son, there’s just a weight that you carry, and
people who don’t have our experience, they don’t understand what it’s like, and
they don’t understand how persistent it is: how you can try to live a life of
joy, and of peace, and of intellectual curiosity and all of these things as a Black
American, but there’s always a moment when you’re kind of smacked back to the
reality of, like, our positioning in society and our history. His words
became so important to me, especially after George Floyd’s murder. Baldwin just
understood. He had the language.
Another
connection for me, and I’ve written about this, is that my father’s name is
James and my father was born in Harlem and grew up there, like Baldwin. Turns
out that they both went to the same high school but 20 years apart. I think
about my dad’s connection to Harlem, his Harlem pride, and how he left because
things got so bad in the Sixties and Seventies. He moved my whole family out
because he wanted something better for us. And in some ways, I feel that that
was James Baldwin’s understanding: another black Jimmy from Harlem saying: “I’ve
got to get out of here if I’m going to be true to my own humanity and live the
life that I need to live.”
SWAN: In
light of all this, what are your hopes for the festival overall?
Let it just be
a party of writers and artists and creatives and scholars, just experiencing one
another and Paris, and why this place was important for him and his own experience
and development as a human. And let’s just celebrate young people, and their
potential and their possibilities, which I think Baldwin really cared about. He
had a word for everybody, you know. And it’s funny because Duke University
Press has donated 300 copies of Little Man, Little Man, which Baldwin
wrote for his nephew, and I love that this is a children’s book… this is what
it’s really about - passing on the word for another generation. - AM /
SWAN
Photos (top to bottom): A 2016 sketch of James Baldwin by artist Sabrina Nelson; Tara Phillips in Paris (photo by AM/SWAN); the cover of an early edition of James Baldwin's The Fire Next Time (Dell Publishing); Deesha Philyaw (photo courtesy of the festival); the cover of The Evidence of Things Not Seen (Macmillan Publishers); the cover of Little Man, Little Man (Duke University Press).
For more
info: https://www.lamaisonbaldwin.org/centennial
Tuesday, 30 July 2024
AT PARIS OLYMPICS, ART RUNS IN TANDEM WITH SPORTS
As cheers from beach-volleyball fans fill the air at the Eiffel Tower Stadium on a steamy, sunny day, pedestrians just down the road are enjoying another kind of show: an outdoor exhibition of huge photographs gleaming on the metal railings of UNESCO headquarters.
Titled Cultures at the Games, the exhibition is among hundreds of artistic and cultural events
taking place across France during the 2024 Olympic Games (hosted by the French
capital July 26 to Aug. 11), and they’re being staged alongside the numerous athletic contests.
UNESCO (the United
Nations Educational, Scientific and Cultural Organization) is a “partner” in the
Cultural Olympiad, arranging not only the usual meetings where bureaucrats give
lofty speeches, but also showcasing a series of works to highlight
diversity and inclusion.
Cultures at the Games, for instance, comprises some 140 photographs portraying memorable
aspects of the opening and closing ceremonies of the Olympics since 1924 and is
presented in association with the Olympic Museum of Lausanne.
Images show how
national delegations have transmitted their culture during these extravaganzas,
and the pictures depict athletes such as Jamaica’s Usain Bolt, whose “lightning
bolt” pose has become part of the Games’ folklore even as he has helped to make
the green, gold and black colours of his country’s flag more recognizable.
Inside UNESCO’s Y-shaped building, meanwhile, a collection of panels focuses on how sport
can “Change the Game”, a theme running across all of the organization’s “Olympiad”
events. (At the “World Ministerial Meeting” that UNESCO hosted on July 24, just
ahead of the Olympics, officials discussed gender equality, inclusion of people
with disabilities, and protection of athletes, for example.)
Owens won four
medals at the Games, but “received no immediate (official) recognition from his
own country” despite being welcomed as a hero by the public, as the exhibition
notes. The racism in the United States meant that President Franklyn D. Roosevelt
refused to congratulate him “for fear of losing votes in the Southern states.”
The photo shows him standing on the podium in Berlin, while behind him another competitor
gives a “Hitler salute”.
Athletes who
changed the world equally features boxer Mohammad Ali, who in 1967 refused to
fight in Vietnam and was stripped of his world championship title and banned
from the ring for three years.
The exhibition outlines
the long battles faced by women athletes as well, and it highlights the work of
Alice Milliat who, as president of the French Women’s Sports Federation, “campaigned
for women’s inclusion in Olympic sports”. She organized the first Women’s
Olympic Games in Paris in 1922, bringing together five countries and 77 athletes.
Although Milliat
“died in obscurity” in 1957, her “legacy endures today, with the Paris 2024
Games highlighting gender equality in sports, largely thanks to her visionary
efforts,” says the photo caption.
Similarly, the exhibition spotlights the contributions of disabled athletes such as Ryadh
Sallem, who was born without arms or legs, a victim of the Thalidomide medication
that was prescribed to pregnant women in the 1950s and Sixties and caused
deformities in children.
Elsewhere in
the city, artists and museums are also paying tribute to Paralympic
competitors, ahead of the Paralympic Games from Aug. 28 to Sept. 8 in Paris.
On the fencing
around the imposing Gare de l’Est (train station), colourful works by artist Lorenzo
Mattotti show disabled athletes competing in a variety of sports, while the
Panthéon is presenting the “Paralympic Stories: From Sporting Integration to
Social Inclusion (1948-2024)”. This exposition relates the “history of
Paralympism and the challenges of equality,” according to curators Anne
Marcellini and Sylvain Ferez.
For fans of
sculpture, Paris has a range of “Olympiad” works on view for free. In June, the
city unveiled its official “sculpture olympique” or Olympic Statue, created by Los
Angeles-based African-American artist Alison Saar, who cites inspiration from
Africa, the Caribbean and Latin America.
Another statue
of a woman, that of Venus de Milo or the mythical goddess Aphrodite, has been “reinterpreted”
in six versions by artistic director Laurent Perbos to symbolise “feminine” sporting
disciplines, including boxing, archery and surfing. The statues stand in front of
the National Assembly, and the irony won’t be lost on most viewers: French
women secured the right to vote only in 1944.
Of course,
Paris wouldn’t be Paris without another particular artform. As the much-discussed
Opening Ceremony of the Olympics showed, fashion is an integral part of these Games,
and those who didn’t get enough of the array of sometimes questionable costumes
can head for another dose with “La Mode en movement #2” (Fashion in Motion #2).
This exhibition
at the Palais Galliera / Fashion Museum looks at the history of sports clothing
from the 18th century, with a special focus on beachwear. Among the
250 pieces on display, viewers will surely gain tips on what to wear for beach
volleyball.
Photos (top to bottom): cover of the Cultural Olympiad programme; a photo of Jesse Owens at the Berlin Olympics, in Athletes who changed the world at UNESCO; an image of Tommie Smith in the same exhibition; artwork by Lorenzo Mattoti at Gare de l'Est, photo by AM/SWAN; artist Alison Saar with her Olympic Sculpture, photo courtesy of the City of Paris.
For more information, see: Olympiade Culturelle (paris2024.org)