Map Danse Anba Lapli
May - July 2020, STUDIO BOISSIERE, Montreuil 
Curation: Nelta Kasparian
To relentlessly fight against dominant forms of thought and totalitarianism, contemporary art questions, analyzes, and contributes to revealing or understanding the symbolic spectrum of images. “In a consensual world where marginality, commitment, and the subversive are increasingly difficult to assert themselves,” the exhibition “M AP DANSE ANBA LAPLI” brings together committed works, produced without restraint or constraint, closest to our emotions. “The force of life and death, destitution, sexuality, monstrosity, identity, and spirituality” are all links that connect these works, whether they were created in Haiti or in Europe, thus displaying Haitian universality.
In addition to the creations of artists linked to Haiti, the exhibition also brings together young emerging artists (such as Hérold Pierre-Louis and Lesly Pierre-Paul), and confirmed artists (such as Eugène André, Céleur Jean Hérard, and Maksaens Denis) living in Haiti, or Haitian artists living in Belgium and France (like Élodie Barthélémy and Henry Roy). During the Venice, Miami, Sydney, Port-au-Prince Biennials, at various museums and galleries—Grand Palais, La Villette, Agnès B, and internationally—some of these artists have already exhibited their works. It should be noted that, thanks to the work of the English photographer and artist Leah Gordon, who is co-curator of the Ghetto Biennale in Haiti, the works of many artists of the Grand Rue have been known or recognized abroad.
A special focus on Grand Rue artists
At the initiative of visual artist Catherine Ursin, this exhibition/sale of contemporary art follows the “M AP DANSE ANBA LAPLI” exhibition at Galerie La Rage in Lyon last January. In this work, taking the image into account remains fundamental in understanding what is still somehow referred to as the “primitive” arts. The emphasis is, of course, on the artists of the Grand Rue following the fire that devastated the workshops in this district of Port-au-Prince at the beginning of the year, but the exhibition also calls upon the use of graphic conventions. Whether at the level of the contemporaneity of the work or the classic aspect of any photograph whose interpretation can be in “a transposition of the real, the intrinsic real with its properties and its circuits,” to quote Laurent Gervereau in his work “Voir, comprendre, analyser les images.”
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