Today’s “critical spirit” explores the relationships between private and public, inside and outside, appearance and belonging, what acts on us and what we can act on. To do this, we will go one after the other to the Quai Branly, which is dedicating a lively exhibition to the “Zombis” of Haiti, far from the imagery of the dead in the cinema; at the Museum of Fine Arts, which offers to explore, over two centuries, “The personal. From the bedroom to social networks”; and finally with the discovery of Martine Syms, a black-American artist from Los Angeles, to whom the Lafayette Foundation is dedicating the first retrospective in France.
« Zombies. Death is not the end? »
The exhibition “Zombis. Death is not the end? » it was opened at the Quai Branly museum, in Paris, on October 8, and will be seen until the middle of February next year.
The exhibition, which is a subject of debate among specialists, intends to take visitors far from the fantasies and images inspired by the very term zombie, which is often reduced in the cinema and on television to a bloody creature and a symbol of contagious death.
The exhibition takes us to Haiti, where the word zombie has another dimension, of West African origin and which defines the spirit or ghost of a dead person. Arriving at the same time as the enslaved people, victims of the Atlantic slave trade, the zombie was actually transformed there through contact with voodoo, a religion that mixes African, Caribbean and Christian rituals and beliefs.
In Haiti, the zombie thus designates, first of all, a person who has been transformed by a secret society responsible for parallel justice into a person under drugs, deprived of freedom and condemned to wander, explore, on the streets or in the cemeteries. But the zombie being polysemous, it can also name the desocial person, the person suffering from psychiatric disorders or even a person who is the subject of a false identity intended to fill a family void.
The exhibit is curated by Philippe Charlier, who is related to Lilas Desquirion, former Haitian culture minister, and Erol Josué, a voodoo priest.
« The personal. From the bedroom to social media »
“The personal. From the bedroom to social networks” is the title the exhibition which opened at the Museum of Fine Arts, in Paris, in mid-October. Through objects, pictures and some texts, this journey accepts staying in “Western context” It takes us from the 18th century of the painter Fragonard to today’s latest version of Apple’s iPhone.
The close, from the Latin compactit represents the biggest thing inside yourself and, moreover, everything related to the private life. If the word appeared in France in the 18th century, it was established in the following century, when the bourgeoisie made a clearer separation between the professional sphere and the family sphere, but also between male and female activities.
Therefore in this exhibition we come across old beds and master paintings, urinals not signed by Duchamp as well as Chanel perfume, sex toys of all colors such as handwritten or drawn diaries.
Christine Macel and Fulvio Irace are the curators of the exhibition.
« Total. Martine Syms »
“Full” is the title chosen for first retrospective in France by the American artist Martine Syms, who is fully investing, from the ground floor to the third floor, in the Lafayette Anticipations space, in the Marais district of Paris.
Martine Syms, born in 1988 in Los Angeles, graduated with a master of fine arts degree from Bard College, combines video, installation, cinema, writing and performance to examine especially, but not exclusively, the representation of black identity , «black».
The exhibition brings together old works, recently produced objects and editions for sale. We therefore enter as in Martine Syms’ workshop but also as in a store, since we first see t-shirts from the exhibition, which we can buy at the same time as other derivative objects, as in enough contemporary exhibition, except that the separation between the exhibition and the shop is over.
“Complete” by Martine Syms opened on October 16 and will be on view until the beginning of February 2025.
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- Siege of Magalieditor-in-chiefHebweekly issue of special investigations of
“Critical Mind” is a podcast recorded at Gong studios and produced by Karen Beun.
How can cultural representations in art challenge stereotypes and foster understanding?
Interview: The Intersections of Identity and Culture in Art
Time.news Editor (TNE): Welcome to our interview series! Today, we’re exploring some fascinating exhibitions currently on show in Paris, focusing on the concepts of identity, culture, and representation. We have with us Dr. Charlotte Maisonneuve, an expert in cultural studies and anthropology. Thank you for joining us, Dr. Maisonneuve!
Dr. Charlotte Maisonneuve (CM): Thank you for having me! I’m excited to delve into these enlightening exhibitions.
TNE: Let’s start with the exhibition “Zombis: Death is not the end?” at the Quai Branly. This exhibition challenges the popular conception of zombies as merely monsters from horror films. How does the Haitian perspective reshape our understanding of what a “zombie” is?
CM: Absolutely! The term “zombie” in popular culture often denotes mindless, soulless creatures, but in the Haitian context, it carries significant cultural and spiritual weight. It refers to people allegedly controlled by a secret society, deprived of their autonomy, and often linked to voodoo practices and beliefs. It’s a complex representation of the experiences and traumas that come from colonial histories and social injustices.
TNE: It’s intriguing how this exploration moves beyond fear to something more poignant. The exhibition’s curators include a voodoo priest and a former Haitian culture minister. How important is their involvement in presenting these narratives?
CM: Their involvement is crucial! It lends authenticity and depth to the narrative being presented. Authentic voices from a culture allow visitors to engage with the material in a manner that’s nuanced. It’s essential for overcoming stereotypes and fostering respect for the intricacies of a culture that is often simplified or misrepresented.
TNE: Moving on to the Museum of Fine Arts’ exhibition, “The Personal: From the bedroom to social networks.” This exhibition seems to explore intimacy across centuries. What do you think it reveals about the evolution of personal spaces and how we curate our identities?
CM: This exhibition highlights the dynamic interplay between private and public life. In the 18th century, personal spaces were more defined and tangible—think of intimate objects that represented privacy. Today, the digital sphere plays a colossal role in how we express our identities, often blurring those boundaries. It reflects broader societal changes and the ways our personal narratives are shaped by emerging technologies.
TNE: One item that stands out is the inclusion of old beds alongside modern tech like the iPhone. What does this juxtaposition signify?
CM: The juxtaposition emphasizes continuity and change. While the context of intimacy may have evolved—signified through the shift from physical to digital spaces—the core human need for connection remains constant. The objects presented denote not only historical artifacts but also societal norms and emerging behaviors that evolve with technology.
TNE: let’s discuss the retrospective of Martine Syms at the Lafayette Foundation. As a black-American artist, how does Syms’ work engage with themes of race and identity, especially in the current socio-political climate?
CM: Martine Syms crafts a narrative that interrogates racial and cultural identity through a distinctly contemporary lens. Her work reflects the complexities of navigating identity in a world that often conflates, commodifies, or oversimplifies experiences. In our current socio-political climate, which is rife with debates about representation, her art acts as a mirror and a critique, urging us to consider the multiplicities of identity.
TNE: Thank you, Dr. Maisonneuve, for sharing your insights! These exhibitions seem to offer rich discourse on identity, culture, and our shared human experiences.
CM: It’s been a pleasure! I encourage everyone to visit these exhibitions and engage with these critical narratives. They are vital to understanding our past and present.
TNE: Indeed! Thank you for joining us today, and thank you to our audience for tuning in. Until next time!
