{"id":62799,"date":"2025-03-13T10:34:34","date_gmt":"2025-03-13T10:34:34","guid":{"rendered":"https:\/\/www.outthere.travel\/?p=62799"},"modified":"2025-08-19T16:04:45","modified_gmt":"2025-08-19T15:04:45","slug":"banlieueism-banlieue-art-paris-france","status":"publish","type":"post","link":"https:\/\/www.outthere.travel\/banlieueism-banlieue-art-paris-france\/","title":{"rendered":"Banlieueism
Paris, France"},"content":{"rendered":"\n
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With banlieue art, a fresh dynamism is reinvigorating Paris\u2019 contemporary art scene, fuelled by pioneering spaces in once-marginalised outer suburbs. Its secret sauce? Accessibility and diversity, as our writer\u2019s own arc from gallery-launch DJ to international artist-curator exhibits.<\/strong><\/p>\n\n\n\n

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Long before I arrived in France, my initial encounter with Paris\u2019 \u2018banlieue<\/em>\u2019 scene came, in my native South Africa, through the Saint-Denis Style remix of rapper Nas\u2019 1995 song Affirmative Action<\/em>, featuring the French<\/strong><\/a> group Supr\u00eame NTM. The French rappers\u2019 home turf, Saint-Denis, is a suburb just north of Paris with a history of deprivation and high crime rates. On Nas\u2019 track, they rap, \u2018Chacun sa mafia, chacun sa mille-fa\u2019, a phrase that, via \u2018verlan\u2019 slang, translates to, \u2018to each their mafia, to each their family\u2019. This exposure set the stage for deeper exploration, not least through Mathieu Kassovitz\u2019s ground-breaking film of the same year La Haine<\/em>, whose stark portrayal further probed the tension, danger, resilience, and community of life in the working-class, multicultural banlieue<\/em> \u2013 literally a neutral word, but in Paris imbued with associations of poverty, crime, unemployment and violence.<\/p>\n\n\n\n

The banlieue<\/em> \u2013 specifically the north-eastern suburb of Pantin \u2013 became my first home here after a sudden and unplanned move from London in 2008. As Mo Laudi, I\u2019d spent ten years in the UK capital building a career as a musician, MC and DJ, pioneering Afro-electronic genres. I\u2019d MC\u2019d with Radioclit, performed alongside Major Lazer and Miriam Makeba, ran the regular club night Joburg Project and was gigging regularly all over the UK and internationally. And despite a reputation for being unwelcoming, Parisians embraced me in the world of nightlife, and before long I was DJ\u2019ing at Favela Chic Paris, the Ritz Paris hotel and Le Social Club, even MC\u2019ing there with Supr\u00eame NTM\u2019s Joey Starr, with Daft Punk\u2019s one-time manager Busy P on the decks.<\/p>\n\n\n\n

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\"The<\/figure>
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This story first appeared in The Paris is Turning Issue<\/strong><\/a>, available in print and digital.

Subscribe today<\/a><\/strong> or purchase a back copy via our online shop<\/a><\/strong>.<\/p>\n<\/div><\/div>\n\n\n\n

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It was as a banlieue resident, my eyes were opened to the city\u2019s unspoken social stratifications, signalled subtly through \u2018arrondissements<\/em>\u2019 \u2013 Paris\u2019 postcode-defined neighbourhoods. Locals would often ask me which I lived in. \u2018Neuf trois<\/em>\u2019, I\u2019d say of my address in the 93, which to my surprise elicited the response, \u2018That\u2019s not Paris\u2019. One stop beyond the P\u00e9ripherique<\/em> ring road was a no-no. I later lived in Paris \u2018proper\u2019, in the 3rd, 5th, 10th, 11th, 16th, and 19th arrondissements, only to come back to the 93 years later, for more space. And things have changed.<\/p>\n\n\n\n

So too, in that interval, has the trajectory of my life. As a South African DJ, I\u2019d get asked by friends and colleagues to recommend places to go for South African visual artists visiting Paris, and I started to make connections in the art world, often getting booked to DJ at gallery launches. I\u2019d specialised in graphic design on my art direction course at AAA School of Advertising in Johannesburg, and had always designed covers and flyers for my music, but had never officially worked as an artist. In 2019, the French-Caribbean artist Julien Creuzet asked me to create a soundtrack for an installation he was exhibiting in the Palais de Tokyo, and more collaborations soon followed. The same year, I was invited to create a sound installation for the group show Ernest Mancoba: I Shall Dance in a Different Society at the Pompidou Centre, and by 2021, I curated the exhibition Salon Globalisto at Bonne Esp\u00e9rance Gallery, becoming the first black South African curator to organise an exhibition in Paris. My practice has grown to encompass painting, sculpture, video, collages and more. I\u2019ve had a solo exhibition in Barcelona, taken part in 19 group shows, and in 2025 will co-curate my seventh show, Afrosonica<\/em>, at the Mus\u00e9e d\u2019ethnographie de Gen\u00e8ve, with Madeleine Leclair.<\/p>\n\n\n\n

This has coincided with a shift in Paris\u2019 contemporary art scene that has seen its focus shift beyond the P\u00e9ripherique<\/em>, transcending the restrictions historically imposed by the city\u2019s high rents and traditionalism to begin to embrace all the nuanced cultural potential of the diverse metropolitan population, which is the true identity of Paris today. Emerging artists now have radical new platforms that allow them to affordably create work, network and learn career-building new skills, courtesy of a range of new living, working and exhibition spaces rooted in their multicultural banlieue communities, and especially in the north-eastern suburbs of Pantin, Romainville and Aubervilliers, where I now live. And\u00a0 the global cachet of Paris\u2019 contemporary art is higher than it has been in many years, as the inauguration of Paris + by Art Basel in 2022 seems to confirm.<\/p>\n\n\n\n

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\"Artist<\/a><\/figure>\n\n\n\n
\"Insider<\/a><\/figure>\n\n\n\n
\"Cradle<\/a><\/figure>\n<\/figure>\n\n\n\n
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Romainville\u2019s Fiminco Foundation, for example, both nurtures emerging talents and magnetises Paris\u2019 art crowd to come and discover them. Funded by the commercial real estate company of the same name, the smart campus, a rehabilitated pharmaceutical factory in tended grounds, encompasses exhibition spaces, galleries and free live\/work spaces for artists supported by its extensive residencies programme. One section brings together five established galleries \u2013 Air de Paris, Galerie Sator, Galerie Jocelyn Wolff, In Situ Fabienne Leclerc, 22,48 m2 \u2013 and frac \u00eele-de-France visitable storage spaces under the umbrella name Komunuma (\u2018community\u2019 in Esperanto), and more of the huge site will soon host projects connected to cinema and theatre.<\/p>\n\n\n\n

I worked with In Situ to borrow the work of Otobong Nkanga for the Globalisto: A Philosophy in Flux<\/em> exhibition I curated at the Mus\u00e9e d\u2019art contemporain in Saint-\u00c9tienne, which has France\u2019s second biggest collection of modern art, in 2022. \u201cI didn\u2019t like what was happening in the centre of Paris anymore,\u201d says In Situ\u2019s director Fabienne Leclerc. \u201cThere was this very bourgeois atmosphere. We wanted to find an industrial building. I never doubted; I was absolutely convinced it would attract the right people. Our artists like the space, and they like the spirit.<\/p>\n\n\n\n

\u201cAs for the bourgeois of the 16th arrondissement who don\u2019t know what to do after tea, I don\u2019t mind. A lot of serious, interested, motivated people come here, and love it because it\u2019s a mix of a private foundation and a residence. People come from all over the world. Two more galleries will move here later this year and much more is planned for the site.\u201d<\/p>\n\n\n\n

Jocelyn Wolff, whose gallery is next door, expresses similar sentiments. \u201cIt\u2019s a new concept to have art spaces in the banlieue instead of the historical centre. It\u2019s still a process for Parisians to understand that they don\u2019t live in a city of just two million inhabitants. The last time the administrative definition of the city\u2019s borders was expanded was in the 1870s, and since then, everything has been frozen. I think that as art galleries, we should not be frozen. We should also approach the territory by slightly enforcing its development. I very much like the idea of having a space in part of the city that is developing and changing, and where people actually live, unlike, for example, the 8th. That\u2019s why people come when we have openings. It definitely works.\u201d<\/p>\n\n\n\n

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\"Hanan<\/a><\/figure>\n\n\n\n
\"Portrait<\/a><\/figure>\n\n\n\n
\"Les<\/a><\/figure>\n<\/figure>\n\n\n\n
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Aubervilliers alone is home to multiple spaces and initiatives purposefully nurturing emerging artists through affordable studio spaces that invite creatives into broader cultural communities, and also conduct active outreach work and support local economies. With the stated aim of creating a creative and cultural neighbourhood, POUSH is a 20,000 sq m (215,000 sq ft) industrial campus with buildings that date back to the 1920s, and as well as offering subsidised spaces for 270 artists representing more than 30 countries, provides them with production and communications support, and spectacular exhibition spaces. Les Laboratoires d\u2019Aubervilliers too offers spaces for research, creation and experimentation, with a specific focus on innovative collaboration, while Le Houloc is an artists-founded non-profit where sculpture, photography, painting and video are made and shown.<\/p>\n\n\n\n

A striking monument to Aubervilliers\u2019 rude artistic health, on its border with the 19th arrondissement, is Le19m, a dramatic, 25,500 sq m2 (275,000 sq ft) building by Rudy Ricciotti with an exoskeleton of concrete \u2018threads\u2019 inspired by a vertical textile weft. Home since 2021 to more than 600 employees of Chanel\u2019s Paraffection subsidiary group of maisons d\u2019arts, it also has a free, 1,200 sq m (13,000 sq ft) exhibition space that celebrates arts and crafts through exhibitions, workshops and talks.<\/p>\n\n\n\n

In fact, this pedigree is not entirely new. Aubervilliers was for a long time a communist stronghold (hence its nickname \u2018banlieue rouge\u2019) with a welcoming strategy towards the arts. Les Laboratoires d\u2019Aubervilliers\u2019 history goes back to 1993, and Thomas Hirschhorn made a \u2018neighbourhood project\u2019 here at their invitation in 2002. Today, I have among my neighbours many fantastic artists, among them Agn\u00e8s Geoffray, Marianne Mispela\u00ebre, Lionel Sabatt\u00e9 and Nicolas Boone.<\/p>\n\n\n\n

Neighbouring Pantin is also home to many galleries, including The Community Centre, another grass-roots space committed to supporting experimental work. At the other end of the spectrum, and a symptom perhaps of the gentrification accompanying more and more professionals\u2019 exodus from central Paris (and visible in the huge amount of construction projects all over the 93), is Thaddeus Ropac, a sister site to the Austrian gallerist\u2019s longer-established central-Paris space in Marais. Here, exhibited artists are more emerged than emerging, and already commanding world-class prices. The last time I was there was for the opening of Venezuelan-born, London-based artist Alvaro Barrington, who currently has a major exhibit in Tate Britain\u2019s Duveen Galleries. In the crowd, there were various art-world celebrities, including Dame Julia Peyton-Jones, formerly director of London\u2019s Serpentine Gallery and now Senior Global Director across Ropac\u2019s Paris, London and Salzburg galleries.<\/p>\n\n\n\n

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\"Freedom<\/a><\/figure>\n\n\n\n
\"Exterior<\/a><\/figure>\n\n\n\n
\"Inside<\/a><\/figure>\n<\/figure>\n\n\n\n
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Another indicator of the banlieue effect\u2019s rippling resonance has been the opening in 2012 of an outpost of global art behemoth Gagosian, a little further north-east in Le Bourget. With stellar names like Theaster Gates, Richard Serra and Takashi Murakami among recent exhibitors and its location next to Europe\u2019s busiest private-jet airport, it neatly illustrates the breadth of the range of art creators and consumers now operating in this new territory beyond Paris\u2019 P\u00e9ripherique<\/em>.<\/p>\n\n\n\n

And the effect is two-way. Known for his love of the suburbs and street art, curator at the prestigious 16th-arrondissement Palais de Tokyo, Hugo Vitran, this year gave Mohamed Bourouissa a huge solo show, Signal<\/em>. Born in Algeria, Bourouissa grew up in Paris\u2019 disenfranchised banlieue, and his work highlights the complex histories and resilience of disempowered communities, and their struggles against colonial dominance. Capturing moments of both tension and triumph, Signal<\/em> is particularly poignant in the context of Paris\u2019 shifting relationship with its outer suburbs, and invites all echelons of the city\u2019s community to engage meaningfully.<\/p>\n\n\n\n

For a new generation of artists, the new opportunities and networks the banlieue are enabling are proving transformational, while bringing to the city\u2019s art scene unprecedented diversity. Brazilian artist Daniel Nicolaevsky Maria says of his 11-month residency at the Fiminco Foundation last year, \u201cDuring my fellowship, I had the invaluable opportunity to focus on my research, refine my artistic skills alongside a dedicated team committed to supporting early-career artists, and bring to life my most ambitious project to date \u2013 the installation Cradle of the World<\/em>. The programme not only provided a sanctuary for creative exploration away from the distractions of daily life but also fostered an environment where I could collaborate with local schools and high schools, sharing my journey and research endeavours. Following my residency, the work I produced had the privilege of being showcased at various private events, including fairs, gallery exhibitions, and a public art centre. This experience forged lasting connections within a community of fellow artists and curators who share my passion for exploring themes such as diaspora, queerness, and post-capitalistic society, and with whom I continue to collaborate.\u201d<\/p>\n\n\n\n

Happily for Daniel and countless other emerging artists honing their practices here, Supr\u00eame NTM\u2019s words today have a new resonance. \u2018Chacun sa mafia, chacun sa mille-fa\u2019.<\/p>\n\n\n\n

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@mo_laudi<\/strong><\/a> | www.fondationfiminco.com<\/a><\/strong> | www.komunuma.com<\/strong><\/a><\/p>\n\n\n\n

Photography by Isma\u00ebl Bazri, Aur\u00e9lien Mole, Valentin Nguyen, Martin Argyroglo, Martin Perry and courtesy of Fondation Fiminco<\/em><\/p>\n\n\n\n

<\/div>\n<\/span>","protected":false},"excerpt":{"rendered":"

With banlieue art, a fresh dynamism is reinvigorating Paris\u2019 contemporary art scene, fuelled by pioneering spaces in once-marginalised outer suburbs. Its secret sauce? Accessibility and diversity, as our writer\u2019s own arc from gallery-launch DJ to international artist-curator exhibits. Long before I arrived in France, my initial encounter with Paris\u2019 \u2018banlieue\u2019 scene came, in my native South Africa, through the Saint-Denis Style remix of rapper Nas\u2019 1995 song Affirmative Action, featuring the French group Supr\u00eame NTM. The French rappers\u2019 home turf, […]<\/p>\n","protected":false},"author":134,"featured_media":62870,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[2562,3146,4],"tags":[1029,1762],"class_list":["post-62799","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-topography-homepage","category-tp-france","category-topography","tag-france","tag-paris"],"yoast_head":"\nBanlieue art is reviving Paris' contemporary art scene. 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