SHARE
COPY LINK

ART

Artist exposes genitals in Paris museum stunt

An artist caused a stir in Paris recently when she recreated a classic, but controversial painting of a woman's genitals at a famous museum by exposing herself to visitors. It's the City of Light's latest nude art moment.

Artist exposes genitals in Paris museum stunt
The artist exposed herself at the Musée D'Orsay in Paris. Photo: Wikicommons

It's been over a century since Gustave Courbet painted the ‘L’Origine du Monde’, which depicts a close-up view of the genitals and abdomen of a naked woman with her legs spread, and the painting still has the ability to stir up controversy, it would seem.

Luxembourg-based visual artist Deborah de Robertis shocked visitors at Paris’s famous Musée D’Orsay with her own live representation of the 19th century painting late last month, France TV reported.

Accompanied by Schubert’s Ave Maria and dressed in a gold robe, the artist reportedly sat down in front of Courbet’s masterpiece where she assumed a similar pose to that of the original.

The X-rated, May 29th performance – entitled ‘Miroir de L’Origine’ (Mirror of the Origin) – was greeted with applause by bystanders, but museum staff weren’t so impressed.

In a video of the performance, which has since been removed from YouTube for violating the website’s terms of service, the artist is immediately approached by a security guard who tells her put an end to the performance.

When the artist refuses to cover herself, a security guard stands in front of her to hide her from view while another evacuates the room.

Visitors at Paris's Musée D'Orsay admire the original 'L'Origine du Monde'. Photo: Wikicommons 

According to the website Secondsexe, management at the museum alerted the police and de Robertis was held for questioning, but reportedly won't face criminal charges.

There's something about Paris that seems to help artists separate themselves from their clothing. One of the most striking examples was the South African artist Steven Cohen, who ended up being convicted of sexual exhibitionism after a performance in front of the Eiffel Tower that saw him dance with a rooster tied to his penis.

"What I did was art (that) had nothing to do with sexuality," he had told the court, adding that no one – even a group of passing nuns – had complained about the performance.

“It was not the penis that was the focus,” Cohen had told the court. It was all to do with the expression of his identity – “a white male, homosexual and Jewish”, he told the court.

Member comments

Log in here to leave a comment.
Become a Member to leave a comment.

ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

SHOW COMMENTS