{"id":26571,"date":"2026-01-19T19:11:05","date_gmt":"2026-01-19T18:11:05","guid":{"rendered":"https:\/\/finelife.tv\/fr\/?p=26571"},"modified":"2026-03-21T14:33:11","modified_gmt":"2026-03-21T13:33:11","slug":"mickalene-thomas-illumine-le-grand-palais-damour-et-de-strass","status":"publish","type":"post","link":"https:\/\/finelife.tv\/fr\/2026\/01\/19\/mickalene-thomas-illumine-le-grand-palais-damour-et-de-strass\/","title":{"rendered":"Mickalene Thomas illumine le Grand Palais d\u2019amour et de strass"},"content":{"rendered":"
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Mickalene Thomas illumine le Grand Palais d\u2019amour et de strass. L’exposition All About Love c\u00e9l\u00e8bre l\u2019empowerment f\u00e9minin noir et queer dans une sc\u00e9nographie \u00ab\u00a0brocante\u00a0\u00bb intime et politique.<\/strong><\/p>\n\n\n\n

Le Grand Palais c\u00e9l\u00e8bre l\u2019une des figures majeures de l\u2019art afro-am\u00e9ricain contemporain et queer : Mickalene Thomas. La Galerie 7 se transforme alors en un festival \u00e9clatant de strass, de paillettes et de glamour bling-bling seventies, o\u00f9 l\u2019empowerment f\u00e9minin noir s’incarne dans une sc\u00e9nographie qui rel\u00e8ve autant de la brocante intime que de la d\u00e9claration politique.<\/p>\n\n\n

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Savoureuse ironie de programmation : cette profusion textile (strass cousus, tissus superpos\u00e9s, motifs wax-like, collages africains, rideaux l\u00e9opard, canap\u00e9s tapiss\u00e9s) occupe la galerie qui accueillait r\u00e9cemment la tapisserie royale et les grandes tentures historiques. Le textile reste, mais d\u00e9mocratis\u00e9, recycl\u00e9, rebelle\u2026 .<\/p>\n\n\n\n

<\/p>\n\n\n\n

Mickalene Thomas<\/h2>\n\n\n\n

Mickalene Thomas, n\u00e9e en 1971 \u00e0 New York, r\u00e9invente le portrait classique \u00e0 travers une perspective queer et f\u00e9ministe noire, inspir\u00e9e par le texte fondateur de bell hooks, All About Love: New Visions<\/em> (1999). L\u2019amour y est une force de lib\u00e9ration, d\u2019affirmation de soi et de transformation collective. Ses muses \u2013 amies, amantes, famille, ic\u00f4nes comme Eartha Kitt ou Naomi Sims \u2013 sont repr\u00e9sent\u00e9es avec assurance, sensualit\u00e9 et puissance, reconqu\u00e9rant les espaces dont l\u2019histoire de l\u2019art les a exclues.<\/p>\n\n\n

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Sc\u00e9nographie m\u00e9morielle et textile<\/h2>\n\n\n\n

La sc\u00e9nographie de Nicolas Groult et Valentina Dodi (Sc\u00e9nografi\u00e1) nous propulse dans des int\u00e9rieurs reconstitu\u00e9s. Des salons de grand-m\u00e8re de la fin des ann\u00e9es 70 \u00e0 ceux des m\u00e8res des 80, d\u00e9bordent de poufs moelleux, gadgets vintage, vinyles, chaussures \u00e9parpill\u00e9es, miroirs s\u00e9rigraphi\u00e9s. Chaleureux, foisonnant, immersif (on s\u2019assoit, on feuillette des magazines Jet reconstitu\u00e9s)\u2026 mais parfois \u00e9touffant. L\u2019accumulation d\u2019objets (moulages en bronze des bijoux de la m\u00e8re, plantes en plastique, rideaux charg\u00e9s) cr\u00e9e une brocante intime jubilatoire, qui vire vite \u00e0 la saturation. Trop ! Trop de textures, trop de motifs, trop de strass. La r\u00e9p\u00e9tition visuelle renforce le mantra, mais peut \u00e9puiser.<\/p>\n\n\n\n

Pourtant, c\u2019est pr\u00e9cis\u00e9ment l\u00e0 que r\u00e9side la force politique : ces espaces-refuges domestiques, souvent ni\u00e9s aux femmes noires \u00e0 travers l\u2019histoire (esclavage, s\u00e9gr\u00e9gation, gentrification), deviennent des lieux de r\u00e9sistance et de plaisir assum\u00e9.<\/p>\n\n\n\n

L\u2019amour comme force de lib\u00e9ration et d\u2019affirmation<\/h2>\n\n\n\n

Le motto de l\u2019exposition : l\u2019amour n\u2019est pas doux, c\u2019est une arme de joie, de r\u00e9silience et de transformation. Des portraits monumentaux et vid\u00e9os intimes c\u00e9l\u00e8brent donc des femmes qui choisissent leur espace et leur plaisir.
\u0152uvres phares : Clarivel Face Forward Gazing<\/em> (2024), Afro Goddess Looking Forward<\/em> (2015), Screen Test<\/em> (2024), Je<\/em> (2013).<\/p>\n\n\n\n

Beaut\u00e9 noire sublim\u00e9e et glamour des ann\u00e9es 70<\/h2>\n\n\n
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L\u2019esth\u00e9tique signature : strass, paillettes, super-fly, Black is Beautiful et Blaxploitation revisit\u00e9s en mode queer.  
\u0152uvres phares : Din avec la main dans le miroir et jupe rouge (2023), Honey #1 (2024), Portrait of Aaliyah.
D\u00e9tail \u00e0 retenir : sur le mur d\u2019\u00e9crans g\u00e9ants compos\u00e9 de divas afro-am\u00e9ricaines (Eartha Kitt, Diahann Carroll, Naomi Sims), une petite larme coule lentement sur le visage d\u2019Eartha Kitt alors que r\u00e9sonne Angelitos Negros. Ce minuscule \u00e9l\u00e9ment humanise les ic\u00f4nes, reliant le glamour rebelle des ann\u00e9es 70 \u00e0 la douleur et \u00e0 la r\u00e9silience.<\/p>\n\n\n\n

R\u00e9appropriation des ma\u00eetres fran\u00e7ais<\/h2>\n\n\n
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Thomas subvertit les canons europ\u00e9ens. Les nues de femmes blanches se transforment en corps de femmes noires puissantes et actives.
Citons : D\u00e9jeuner sur l\u2019herbe : les trois femmes noires<\/em> (2010), A Little Taste Outside of Love<\/em> (2007) ou encore Tan n\u2019 Terrific<\/em> (2024).
Point culminant : la salle \u00ab Avec Monet \u00bb. C’est le \u00ab poumon vert \u00bb, l’oasis bleue au centre du parcours. Inspir\u00e9e de la r\u00e9sidence \u00e0 Giverny (2011), elle r\u00e9invente les jardins et int\u00e9rieurs du ma\u00eetre en collages strass\u00e9s (La Maison de Monet<\/em> 2022, Me As Muse<\/em> 2016). Une respiration a\u00e9rienne, loin de la saturation des salons.<\/p>\n\n\n\n

L\u2019intime domestique comme refuge et r\u00e9sistance<\/h2>\n\n\n
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Les salons reconstitu\u00e9s deviennent les vrais h\u00e9ros : lieux historiques de joie et de survie.
\u0152uvres phares : Installation I Was Born to Do Great Things<\/em> (2014), Lounging, Standing, Looking<\/em> (2003) avec la m\u00e8re en Pam Grier.
Ironie textile et accumulation : chaleureux, nostalgique, politique\u2026 mais satur\u00e9.<\/p>\n\n\n\n

Les Lutteuses : ode \u00e0 toutes les luttes<\/h2>\n\n\n
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Salle explosive : corps noirs en tension, plaisir et douleur m\u00eal\u00e9s, lutte physique et symbolique.
La s\u00e9rie Brawlin Spitfire Wrestlers<\/em> (2005-2007) est semi-autobiographique \u00e0 la fois critique des st\u00e9r\u00e9otypes et hommage aux Amazones comme aux combats queer\/collectifs.
\u0152uvres phares : Instant Gratification<\/em> (2005), It\u2019s All Over but the Shouting<\/em> (2006).<\/p>\n\n\n\n

R\u00e9sistance et militantisme<\/h2>\n\n\n
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Mezzanine : d\u00e9nonciation frontale des violences racistes, r\u00f4le des femmes noires dans l\u2019activisme.
\u0152uvres phares : Guernica Detail (Resist #7)<\/em> (2021), Say Their Names (Resist #6)<\/em> (2021), collages des salles 8-9 (November 1977<\/em>, Nus Exotique<\/em>s).<\/p>\n\n\n\n

<\/p>\n\n\n\n

La r\u00e9p\u00e9tition des th\u00e8mes -femmes, corps, espaces refuges- est \u00e0 la fois la force et l\u2019\u00e9cueil de l\u2019expo : elle mart\u00e8le l\u2019importance de ces repr\u00e9sentations, jusqu\u2019\u00e0 la saturation.
Premi\u00e8re monographique afro-am\u00e9ricaine au Grand Palais, All About Love<\/em> est alors une immersion sensorielle et militante qui captive\u2026 et finit par \u00e9touffer un peu.
Si l’exposition est \u00e0 voir absolument pour son audace et ses moments magiques (la larme, le \u00ab poumon vert \u00bb, les lutteuses), la boucle revendicative peut donner l\u2019impression d\u2019une urgence qui s\u2019essouffle.<\/p>\n\n\n\n

<\/p>\n\n\n\n


<\/p>\n\n\n\n

Infos pratiques<\/h2>\n\n\n\n

Mickalene Thomas : \u00ab\u00a0All About Love\u00a0\u00bb<\/p>\n\n\n\n

Grand Palais – Galerie 7
Du 17 d\u00e9cembre 2025 au 5 avril 2026
Ouverture du mardi au dimanche (10h-19h30, nocturne vendredi 22h). <\/p>\n\n\n\n

Tarifs : 15 \u20ac (r\u00e9duit 12 \u20ac, gratuit -18 ans, etc.).<\/p>\n\n\n\n

R\u00e9servations : www.grandpalais.fr<\/a>.
<\/p>\n\n\n\n

Article li\u00e9 Mickalene Thomas illumine le Grand Palais d\u2019amour et de strass<\/strong><\/p>\n\n\n\n

Expo Paris noir au centre Pompidou<\/a><\/strong><\/p>\n\n\n\n

Nan Goldin au Grand Palais l\u2019intime en film<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Mickalene Thomas illumine le Grand Palais d\u2019amour et de strass. L’exposition All about love c\u00e9l\u00e8bre l\u2019empowerment f\u00e9minin noir et queer dans une sc\u00e9nographie \u00ab\u00a0brocante\u00a0\u00bb intime et politique. <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[5494,4420,5845,5842,5841,1942,5843,85,4865,5343,5840],"class_list":["post-26571","post","type-post","status-publish","format-standard","hentry","category-blog","tag-art-feministe","tag-art-queer","tag-black-lives-matter","tag-empoverment-noir","tag-empowerme","tag-exposition-grand-palais","tag-femmes-noires","tag-grand-palais","tag-luttes-minorites","tag-metoo","tag-mickaele-thomas"],"yoast_head":"\nMickalene Thomas illumine le Grand Palais d\u2019amour et de strass - FineLife.tv<\/title>\n<meta name=\"description\" content=\"Mickalene Thomas illumine le Grand Palais d\u2019amour et de strass. 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