Big Brother was the first entrapment TV reality show to be brought to our screens. The format got exported in more than 100 countries bringing daily drama on the viewers televisions.
Let’s set the scene: it’s 1999. The internet is still barely used, and most people only own a TV as their primary electronic device. On this day, thousands of Dutch viewers will discover a new show that will change television forever. On the screen, 10 candidates—from athletic young men to flamboyant personalities—enter a house together. Some would say it almost feels like they are characters from a scripted TV show, each fitting a specific role.
Big Brother is a reality TV show created by Endemol, a Dutch production company specializing in television entertainment. The concept is simple: nine candidates are locked in a house for 100 days, completely cut off from the outside world. Each week, they participate in competitions, with the winners gaining the power to nominate others for elimination. The audience votes to evict contestants, and the last remaining housemate wins a cash prize of 120,000 euros.
Before Big Brother, reality TV was rare. One of the earliest examples was An American Family, a 1973 U.S. documentary-style series that introduced audiences to the appeal of following real people’s lives. However, nothing was as immersive or interactive as Big Brother. Soon enough, the format expanded abroad, with the United States launching its version in 2000. This adaptation introduced several changes, including a 24/7 live feed, allowing audiences to watch contestants at any time. As expected, the first season was a hit, despite some issues—including conflicts and accusations of contestant misconduct, a problem that would persist in future seasons.
To understand Big Brother’s success, we must look at its casting process. The show revolutionized how reality TV cast its contestants by selecting strong personalities that almost felt scripted—the popular one, the pretty girl, the shy outsider, the villain. The goal was to spark intense social interactions, leading to drama that would keep audiences hooked. In its early seasons, Big Brother also allowed contestants unlimited access to alcohol, which heightened emotions and conflicts.
Big Brother US, season 1’s cast
In France, the first major « social experiment » reality show appeared in 2001 with Loft Story, heavily inspired by Big Brother. Another earlier but less impactful show, Adventure du Net, aired that same year. Loft Story became a cultural phenomenon, introducing the public to Loana, a contestant whose fame skyrocketed after the now-iconic jacuzzi scene, which cemented her place in French pop culture. This moment and the show’s impact were revisited in 2024 in the TV series Culte, which dramatized the rise of Loft Story and the creation of reality TV personas.
A more strategic and secretive take on the Big Brother formula emerged in France with Secret Story (2007–2017), where contestants each had a hidden secret to protect while trying to uncover others’ secrets for prize money. The show came back on TF1 after eight years break and this week a new season was announced which is revealing of the attention the show still generates.
With newfound fame, many reality TV contestants struggled with substance abuse, mental health issues, and legal troubles. In the early 2000s, these issues were largely ignored by both the media and the public, leading to a lack of psychological support for former contestants. In 2020, the death by suicide of former Secret Story contestant FX (François-Xavier Leuridan) brought attention to the risks of fame and the lack of mental health care for reality TV participants.
To this day, reality TV remains highly popular across multiple platforms, from traditional television to Netflix, YouTube, and even Twitch. Despite being seen as a « lowbrow » form of entertainment, reality shows continue to evolve.
A striking example is Bad Girls Club (2006–2017), a U.S. reality show where seven women lived together, partied every night, and often engaged in physical fights fueled by alcohol and sleep deprivation. In 2017, the show was canceled following several controversies, including a high-profile lawsuit where two contestants accused the show of fostering a toxic and abusive environment. In 2021, former contestant Natalie Nunn launched Baddies, a spiritual successor with a bigger budget, produced by Zeus. While the premise remained the same, contestants were now paid for nightclub « bookings. » Despite its massive success, Baddies has been criticized for exploitative conditions, with former participants revealing they were often denied food and only given alcohol.
Second season of Zeus’ show Baddies, to this day the most successful season
In France, the latest reality show to spark controversy is Frenchie Shore, a 2023 adaptation of Geordie Shore, produced by Ah!Production and aired on Paramount+. The show follows a group of young French contestants as they spend the summer partying together. However, it faced significant backlash for its explicit sexual content and vulgarity. While reality TV has opened discussions on topics like open sexuality and trans identity, Frenchie Shore is now facing legal trouble after a contestant accused another of sexual assault, claiming it happened in front of fellow contestants and production members, who failed to intervene.
Reality TV is ever-changing, but one thing remains the same: people love to hate it—and they can’t stop watching.
Manchester in the late 1970s and 1980s was an incubator for some of the most influential music and cultural movements of the era. At the heart of this was Factory Records, a record label founded in 1978 by Tony Wilson, Alan Erasmus, and later joined by figures like Rob Gretton and Peter Saville. Unlike traditional record labels that focused on maximizing revenue, Factory Records operated with an artist-first philosophy. Contracts were famously « handshake deals, » and the artists retained full ownership of their music. This approach allowed bands like Joy Division, New Order, and The Durutti Column to innovate without corporate interference.
Factory’s emphasis on aesthetics and creative freedom extended beyond music. Peter Saville’s minimalist and avant-garde designs for Factory’s releases gave the label a distinctive visual identity. However, this idealism came at a cost : even as New Order’s « Blue Monday » became the best-selling 12-inch single of all time, Factory Records lost money because the elaborate packaging of the single, designed by Peter Saville, costed too much to produce.
Opened in 1982, The Haçienda was Factory Records’ most ambitious project. Inspired by New York’s club scene, Wilson and his partners envisioned a venue that would be more than just a nightclub—it would be a cultural space that merged music, art, and social interaction. The club played a crucial role in shaping the UK’s electronic and rave scenes, bringing acid house to a wider audience and becoming the epicenter of the « Madchester » movement. Yet, despite its cultural significance, The Hacienda was a financial disaster. Entry fees and drink prices were kept low to maintain accessibility, but this meant that the club struggled to generate revenue. The club debt was financed by New Order’s tours and album revenues, but it had to close its door in 1997 due to too much financial difficulty.
Factory Records and The Hacienda exemplified how a non-profit approach to culture can lead to profound artistic and social impact. Factory was able to foster a unique and influential sound that shaped post-punk and electronic music, and the Hacienda created a space where new musical movements could flourish, directly influencing the global rave culture. However, can such ventures truly be considered « non-profit » ? While Factory Records rejected traditional profit motives, it still relied on commercial success to fund its projects. Without the unexpected success of Joy Division and New Order, The Hacienda would never have existed.
Even with commercial success, such an organization can’t last long in a capitalist society if it isn’t fully profit oriented. Many similar structures don’t have the mainstream appeal of Factory Records and try to have an impact at the local level. Public support and alternative funding models may be necessary to prevent these spaces from being lost, as it happens already for clubs in Berlin for exemple.
Miley Cyrus is my favorite singer; her work has always had a huge influence on my life. The image of a pop star is often discredited. In fact, I’m sure you couldn’t help but crack a smile when you read the title of my article. But a pop star can change lives, shape destinies, and make people dream!
Miley Cyrus changed my life when I was 9 years old. I was invited to the birthday party of my first and last girlfriend, Lisa. I was the only boy invited to her party. When it was time to open the gifts, Lisa unwrapped the Hannah Montana concert CD. A name I had never heard before, and one that immediately intrigued me. It wasn’t a name I was used to hear—unlike Sylvie, Corine, or Patricia—it was a star’s name! Lisa’s mom put the CD on the TV, and while Lisa and her friends, high on Coke and Smarties, went off to play, I stayed alone in the living room, mesmerized by this stunning singer, whose name hundreds of fans were chanting. The TV screen no longer existed—I was at the concert! I felt a deep, visceral connection to her! You might think I’m exaggerating, but it’s true! Miley Cyrus’ energy literally radiated through me!
After that birthday party, she became my obsession. Deep down, I was just like her—I lived in the countryside among cows, I sang (screamed) in my room, waiting for a talented agent to discover me and take me to Hollywood, where I would have a mansion and my star on the Walk of Fame! Best of both worlds, like she said!
Well, a rich old talent agent never came to rescue me—and maybe that’s for the best—but my destiny had taken a new turn. I wouldn’t be a soccer star like all the other boys; I would be a pop star. While my brother took soccer lessons, I asked my parents to sign me up for music theory classes. It definitly wasn’t High School Musical—it took us an hour to read three lines of sheet music and spit into flutes. But still, I was a little star at the Christmas and end-of-year recitals. You could say it was the start of my career.
My mom noticed my interest in Miley Cyrus and, like any mother who discovers their child’s passion, she saw it as a bargaining tool! If I behaved well, she would take me to see Miley Cyrus in concert. Let me tell you—I behaved! I got excellent grades in school, and my mom kept her promise. We went to see Miley Cyrus in London. One of the most beautiful moments I shared with my mom. It’s a memory that is very dear to us (wipes tear). The highlight of the show was Miley Cyrus’ performance of I Love Rock ‘N Roll, where she flew over us on a motorcycle (super cool, I know). She then sang Party In the USA, and suddenly, I dreamed of hopping off a plane at LAX!
At the end of high school, I was lost—I didn’t know what to do. Well, actually, I did—I wanted to Party in the USA! I took the entrance exams for various Sciences Po schools because they offered exchange programs in the United States. I didn’t get in, so I enrolled in a preparatory class, thinking I could go on exchange through a business school. I was very lucky and got into Audencia, which had an exchange program in Fullerton, California. Time to Party in the USA!
I was living with other Audencia students who were also Miley fans. Like me, they had the « Miley Vision, » if I may say so—they didn’t see California as the land of crackheads, highways, cars, concrete, guns, and junk food. They saw California as the land of pool parties, beach sunsets, fame, mischief, and fun. We were there to have fun, Miley-style!
I had my Party in the USA when my buddy took my roommates and me to a nightclub in Anaheim. We blasted Party in the USA in the car, singing our hearts out, while watching the fireworks from Disney California Adventure Park through the sunroof. That was a full-circle moment!
So, I hope this article has inspired you to proudly declare your love for the pop star who holds a special place in your heart—because I’m sure you, too, have experienced incredible moments listening to Beyoncé, Rihanna, Katy Perry, or Shy’m. As for me, I’ll leave you now—I have my World Concert Tour to perform… in my bathroom.
J’adore Miley Cyrus !
Miley Cyrus est ma chanteuse préférée, son travail a toujours fortement influencé ma vie. La figure de la popstar est souvent décrédibilisée, d’ailleurs je suis sûr que vous n’avez pas pu vous empêcher d’esquisser un sourire en lisant le titre de mon article. Pourtant, une popstar ça change des vies, ça façonne des destinés et ça fait rêver !
Miley Cyrus a changé ma vie quand j’avais 9 ans. J’étais invité à l’anniversaire de ma première et dernière petite copine, Lisa. J’étais le seul garçon invité à sa fête. Au moment de l’ouverture des cadeaux, Lisa déballe le CD concert d’« Hannah Montana ». Un nom qui m’était inconnu et qui m’a tout de suite intrigué. Ce n’était pas un nom que j’avais l’habitude d’entendre, pas comme Sylvie, Corine ou Patricia, c’était un nom de star ! La mère de Lisa lance le CD à la télé, bourrées de Coca et de Smarties, Lisa et ses copines vont jouer pendant que je reste seul dans le salon, obnubilé par cette chanteuse magnifique dont des centaines de fans scandent le nom. L’écran de la télévision n’existait plus ! J’étais au concert ! Je me sentais viscéralement connecté à elle ! Vous allez vous dire que j’exagère, mais c’est vrai ! L’énergie de Miley Cyrus m’a littéralement irradiée ! Après ce goûter d’anniversaire elle est devenue mon obsession. J’étais comme elle dans le fond, je vivais à la campagne au milieu des vaches, je chantais (braillais) dans ma chambre en attendant qu’un agent de casting me découvre et m’emmène à Hollywood où j’aurais une villa et mon étoile au walk of fame ! Best of both worlds like she said !
Bon un vieux monsieur riche agent de casting n’est jamais venu me secourir et c’est peut-être mieux ainsi, mais mon destin avait définitivement pris une nouvelle tournure. Je ne serais pas une star du foot comme tous les autres garçons, je serais une popstar. Pendant que mon frère prenait des cours de foot, j’ai demandé à mes parents de m’inscrire à des cours de solfège. Alors ce n’était certainement pas High School Musical, on prenait une heure à lire trois lignes de partition et à cracher dans des flûtes. Mais quand même, j’étais moi aussi une petite star aux représentations des vacances de Noël et de fin d’année. Le début de ma carrière on peut dire. Ma mère avait senti mon intérêt pour Miley Cyrus et, comme toute mère qui découvre que son enfant a une passion, elle y a vu une monnaie d’échange ! Si je me comportais bien elle m’amènerait voir Miley Cyrus en concert. Je peux vous dire que je me suis tenu à carreau ! J’ai eu d’excellentes notes à l’école et ma mère a tenu sa promesse. Nous sommes allés voir Miley Cyrus à Londres. L’un des plus beaux moments que j’ai partagé avec ma mère. C’est un souvenir qui nous est très cher (petite larme). Le clou du spectacle a été l’interprétation de « I Love Rock’N Roll » par Miley Cyrus, qui est passé au-dessus de nous à moto (la classe je sais). Elle a ensuite chanté « Party In the USA » et soudain, j’ai rêvé to hop off a plane at LAX !
À la fin du lycée j’étais perdu je ne savais pas quoi faire. Enfin si, je voulais « Party In the USA » ! J’ai passé les concours des différents Science-Po car ils proposaient des échanges aux États-Unis. Je n’ai pas été reçu, je me suis alors orienté vers une classe préparatoire en me disant que je pourrais partir en échange avec une école de commerce. J’ai eu beaucoup de chance et j’ai obtenu Audencia qui proposait un échange en Californie à Fullerton. Time to « Party In the USA » ! J’étais en collocation avec d’autres étudiants d’Audencia qui eux aussi étaient des fans de Miley. Ils avaient comme moi la « Miley Vision », si je puis dire, ils ne voyaient pas la Californie comme le pays des crackheads, des autoroutes, des voitures, du béton, des armes à feu et de la mal bouffe. Ils voyaient la Californie comme le pays des pools party, des couchés de soleil à la plage, de la fame, des bêtises et du fun. On était là pour s’amuser à la manière de Miley ! J’ai eu my « Party In the USA » quand mon buddy nous a amené, mes collocataires et moi, en boîte de nuit à Anaheim. Nous avions mis « Party In the USA » à fond dans la voiture, nous chantions et regardions depuis le toit ouvrant le feu d’artifices tiré depuis Disney California Adventure Park. That was a full circle moment !
So, j’espère au travers cet article vous avoir donné envie de clamer haut et fort votre amour pour la popstar qui est chère à votre cœur, car je suis sûre que vous aussi vous avez vécu des moments incroyables en écoutant Beyoncé, Rihanna, Katy Perry ou Shy’m. Quant à moi je vous laisse, j’ai mon World Concert Tour à perform dans ma salle de bain.
Black humor and the absurd are central elements of Martin McDonagh’s cinema. He uses them as tools to explore the moral complexity of his characters and, more generally, of the society in which they live. Through these three films: In Bruges, Three Billboards Outside Ebbing, Missouri, and The Banshees of Inisherin, we will examine to what extent McDonagh denounces social dysfunctions through acerbic humor.
In In Bruges, released in 2008, black humor is omnipresent and highlights the moral conflict of Ray, a hitman consumed by guilt over having mistakenly killed a child. He is sent to Bruges to await his next order with his partner Ken. This picturesque and quiet little town gradually takes on the appearance of a purgatory, with ever-increasing psychological tension. This contrast highlights the dramatic aspect while highlighting the absurdity of the codes of the criminal underworld. SPOILER ALERT. The scene where Harry, played by Ralph Fiennes, commits suicide while respecting a self-imposed principle is the most striking example: tragic irony highlights the inconsistency of his own values.
In Three Billboards Outside Ebbing, Missouri, dark humor serves to denounce failing institutions and social hypocrisy. Mildred Hayes, played by Frances McDormand, embodies this cold anger, where her calm, determination, and disregard for boundaries highlight the limitations of institutions like the police and play on the boundaries of morality when one is in the position of victim. Far from mitigating the violence of the subject, this acid humor amplifies the criticism and reflects the prevailing cynicism. The ability to significantly evolve her characters through unpredictable actions thus allows her to nuance her characters and play with the viewer’s expectations.
Finally, in The Banshees of Inisherin, the dark humor takes on a more existential dimension. The breakup between Pádraic and Colm, two longtime friends, which initially seems trivial, turns into an absurd escalation of suffering and self-destruction. One simply no longer wants to be friends with the other, and we witness a friendship split mirroring a romantic breakup. The exaggeration of the situations, particularly Colm’s self-mutilation, highlights the irrationality of human conflict and allows us to question friendship from a new perspective. This absurdity resonates with the film’s underlying historical context, which alludes to the Irish Civil War, where brothers in arms clashed for no clear reason.
McDonagh’s dark humor isn’t simply intended to provoke a laugh, but serves as a prism to explore moral dilemmas and expose the contradictions of human nature from an unexpected angle. It allows for maintaining a critical distance from the brutality of events while reinforcing their impact. By playing on the contrast between the comic and the tragic, McDonagh highlights the absurdity of violence and the complexity of human feelings, thus making his cinema profoundly subversive, funny, and humanist.
For several decades, video games have established themselves as a dominant cultural medium, blending graphics, music, storytelling, and interactivity. Yet, the debate over their recognition as an art form remains unresolved. Some see them as a legitimate means of expression, capable of evoking emotions and conveying profound messages, while others argue that video games are primarily commercial products, constrained by industrial and technological limitations. This controversy largely stems from the definition of art itself and the unique characteristics of video games.
What Is Art?
Art is a complex concept whose definition has evolved over time. Traditionally, it is seen as a human activity intended to express vision, emotion, or reflection through various mediums such as painting, sculpture, music, literature, and cinema. Beyond aesthetics, a work of art can also be thought-provoking, engaging, or even disruptive. However, the line between what is considered art and what is not remains fluid and ever-changing. For instance, cinema was initially regarded as mere entertainment before being recognized as a major art form. Could video games follow a similar path? Video Games: Mere Entertainment or an Art Form?
Video games emerged in the 1970s in a rudimentary form before evolving into increasingly sophisticated experiences. Today, they integrate multiple artistic disciplines, including visual design, musical composition, narrative writing, and cinematography. Some games create rich visual universes, such as Journey, whose minimalist and poetic aesthetic resembles abstract landscape paintings, or Gris, which uses a changing color palette to tell a wordless story. Music also plays a crucial role in immersing the player, with soundtracks as iconic as those of The Legend of Zelda or NieR: Automata. Meanwhile, storytelling has dramatically evolved, giving rise to interactive works where the player shapes the narrative, as seen in The Last of Us, Disco Elysium, or Red Dead Redemption 2.
However, unlike traditional art forms, video games possess a defining characteristic: interactivity. While a film or painting presents a fixed and unchangeable experience, video games require players to actively participate. Some critics argue that this interactivity undermines the artist’s original intent, as a work of art should deliver a specific message rather than be altered by its audience’s actions. But could this interactivity actually represent an evolution in artistic expression?
Arguments Supporting Video Games as Art
Advocates of video games as an art form present several compelling arguments. Firstly, it is undeniable that some games are designed with a strong artistic vision, incorporating aesthetic and narrative techniques from other arts while adding a unique dimension. Shadow of the Colossus, for instance, uses solitude and colossal structures to create a contemplative and melancholic experience reminiscent of Romantic-era painting. Similarly, Death Stranding, through its cinematography and philosophical themes, evokes existential reflections comparable to auteur cinema. Secondly, the emotions that video games can evoke serve as evidence of their artistic power. Like a painting or a film, a game can move, inspire awe, or provoke thought. Some titles, like Spec Ops: The Line, even push players to question their own morality by forcing them into difficult decisions, introducing a rare introspective dimension compared to other art forms.
Finally, video games are beginning to gain recognition from cultural institutions. The Museum of Modern Art (MoMA) in New York has added video games to its collection, and various events such as Gamescom and the BAFTA Games Awards celebrate artistic excellence in gaming. This growing acknowledgment suggests that video games are gradually being legitimized as a cultural and artistic medium.
Criticisms: Why Video Games Might Not Be Art
Despite these arguments, video games still face several criticisms that hinder their recognition as a full-fledged art form. The first is their strong connection to the entertainment industry. Unlike painting or sculpture, which are often individual and noncommercial endeavors, video games are primarily products designed for sale. Most major productions (AAA games) are subject to financial and marketing constraints that limit creative freedom. Can something truly be considered art when its primary purpose is profitability?
Moreover, some argue that video games have not yet reached the artistic maturity necessary for recognition. Many games still prioritize fun and action over deep artistic intent. Whereas cinema gained artistic legitimacy through visionary directors like Kubrick or Tarkovsky, video games have yet to produce widely recognized artistic figures beyond gaming circles. Another point of contention is the unclear role of the creator in video games. Unlike a painter or filmmaker, a game is often the result of hundreds of contributors, which dilutes the original artistic intent. While certain developers like Hideo Kojima (Metal Gear Solid), Fumito Ueda (Ico, The Last Guardian), or Yoko Taro (NieR) imprint their vision onto their games, the collective nature of game development complicates the idea of an individual artistic author.
Furthermore, can we truly consider video games as an independent art form when they are essentially a fusion of multiple pre-existing arts? If one appreciates a game’s music, is it not simply an appreciation of music itself? If one admires its cinematography, is it not just an extension of cinema? Could video games be nothing more than a combination of distinct artistic elements rather than a unique art form?
A New Art Form in the Making?
So, are video games art? The answer is not definitive, but they certainly possess all the necessary elements for artistic recognition. While they are still influenced by commercial imperatives, the same can be said for cinema and music. Their interactivity, often seen as an obstacle, could instead be their greatest asset, redefining how we experience artistic expression. Like cinema in its early days, video games are undergoing a phase of legitimization, yet their cultural influence and emotional impact are undeniable.
The history of art is marked by evolution and reevaluation. What was once dismissed as mere entertainment has often later been acknowledged as art. Video games seem to be following this trajectory, and while they have not yet achieved universal recognition, they are undoubtedly one of the most promising mediums of our time.
Yvan MURAT
Le jeu vidéo est-il un art ?
Version 1.0.0
Depuis plusieurs décennies, le jeu vidéo a su s’imposer comme un médium culturel incontournable, mêlant graphisme, musique, narration et interactivité. Pourtant, la question de sa reconnaissance en tant qu’art reste débattue. Certains y voient une forme d’expression à part entière, capable de susciter des émotions et de transmettre des messages profonds, tandis que d’autres le considèrent avant tout comme un produit commercial, soumis à des contraintes industrielles et technologiques. Cette controverse repose en grande partie sur la définition même de l’art et sur les spécificités du jeu vidéo.
Qu’est-ce que l’art ?
L’art est une notion complexe, dont la définition a évolué au fil du temps. Traditionnellement, il est perçu comme une activité humaine visant à exprimer une vision, une émotion ou une réflexion à travers différents médiums : la peinture, la sculpture, la musique, la littérature, le cinéma… Au-delà de son aspect esthétique, une oeuvre d’art peut aussi être engagée, provoquer ou questionner son spectateur. Cependant, la frontière entre ce qui est considéré comme artistique et ce qui ne l’est pas reste floue et évolutive. Le cinéma, par exemple, était à ses débuts perçu comme un simple divertissement avant d’être reconnu comme un art majeur. Le jeu vidéo pourrait-il suivre le même chemin ?
Le jeu vidéo : un simple divertissement ou une forme d’art ?
Le jeu vidéo est né dans les années 1970 sous une forme rudimentaire, avant d’évoluer vers des expériences de plus en plus sophistiquées. Aujourd’hui, il combine plusieurs disciplines artistiques : direction artistique, composition musicale, écriture scénaristique et mise en scène. Certains jeux développent des univers visuels d’une grande richesse, comme Journey, dont l’esthétique minimaliste et poétique évoque les peintures de paysages abstraits, ou Gris, qui mise sur une palette de couleurs évolutive pour raconter une histoire sans mots. La musique, elle aussi, joue un rôle essentiel dans l’immersion du joueur, avec des bandes-son aussi marquantes que celles de The Legend of Zelda ou NieR: Automata. Enfin, la narration s’est considérablement développée, donnant naissance à des oeuvres interactives où le joueur façonne l’histoire, à l’image de The Last of Us, Disco Elysium ou encore Red Dead Redemption 2.
Cependant, contrairement aux formes d’art traditionnelles, le jeu vidéo possède une particularité majeure : l’interactivité. Là où un film ou une peinture impose un regard fixe et figé, le jeu vidéo demande au joueur de participer activement à l’expérience.
Certains critiques estiment que cette interactivité remet en cause l’intention artistique initiale de l’auteur, car une oeuvre d’art doit transmettre un message précis et non être influencée par les actions de son spectateur. Mais ne pourrait-on pas considérer que cette interactivité est justement une évolution du langage artistique ?
Les arguments en faveur du jeu vidéo comme art
Ceux qui défendent le jeu vidéo en tant qu’art avancent plusieurs arguments solides. Tout d’abord, il est indéniable que certains jeux sont conçus avec une intention artistique forte, utilisant les codes esthétiques et narratifs des autres arts tout en y ajoutant une dimension unique. Shadow of the Colossus, par exemple, joue sur la solitude et le gigantisme pour créer une expérience contemplative et mélancolique, proche du romantisme en peinture. De même, Death Stranding, par sa mise en scène et son propos philosophique, évoque des questionnements existentiels comparables à ceux du cinéma d’auteur. Ensuite, l’émotion que peut susciter un jeu vidéo est une preuve de sa puissance artistique. Comme un tableau ou un film, un jeu peut bouleverser, émerveiller ou questionner. Certains titres comme Spec Ops: The Line poussent même le joueur à interroger sa propre morale en lui faisant prendre des décisions difficiles, ajoutant une dimension introspective rare dans les autres arts. Enfin, le jeu vidéo commence à être reconnu par des institutions culturelles. Le MoMA (Museum of Modern Art) de New York a intégré des jeux vidéo dans ses collections, et de nombreux festivals comme la Gamescom ou la BAFTA Games récompensent des créations pour leur excellence artistique. Cette reconnaissance progressive montre que le jeu vidéo est en train de s’imposer comme un médium culturel légitime.
Les critiques : pourquoi le jeu vidéo ne serait-il pas un art ?
Malgré ces arguments, le jeu vidéo souffre encore de plusieurs critiques qui freinent sa reconnaissance en tant qu’art à part entière. La première est son lien étroit avec l’industrie du divertissement. Contrairement à la peinture ou à la sculpture, qui sont souvent des démarches individuelles et désintéressées, le jeu vidéo est un produit conçu pour être vendu. La plupart des grandes productions (AAA) sont soumises à des impératifs financiers et marketing qui brident la liberté créative. Peut-on vraiment parler d’art lorsque la finalité première est la rentabilité ? De plus, certains estiment que le jeu vidéo n’a pas encore atteint la maturité nécessaire pour être considéré comme un art. Beaucoup de jeux restent centrés sur le plaisir ludique et l’action plutôt que sur une véritable intention artistique. Là où le cinéma a su s’élever au rang d’art grâce à des réalisateurs visionnaires comme Kubrick ou Tarkovski, le jeu vidéo peine encore à imposer des figures artistiques reconnues audelà du milieu vidéoludique. Enfin, la question de l’auteur dans le jeu vidéo reste floue. Contrairement à un peintre ou un cinéaste, un jeu est souvent le fruit du travail de centaines de personnes, diluant ainsi l’intention artistique initiale. Certains jeux sont certes marqués par la vision de créateurs comme Hideo Kojima (Metal Gear Solid), Fumito Ueda (Ico, The Last Guardian) ou Yoko Taro (NieR), mais la dimension collective de leur création complexifie leur statut d’oeuvres d’auteur. Par ailleurs, peut-on réellement considérer le jeu vidéo comme un art alors qu’il repose avant tout sur un mélange de plusieurs arts existants ? Si l’on apprécie la musique dans un jeu, ne sommes-nous pas simplement en train d’aimer la musique en tant que telle ? Si l’on admire la mise en scène, n’est-ce pas en réalité une forme de cinéma ? Le jeu vidéo ne serait-il qu’un assemblage d’arts distincts plutôt qu’un art à part entière ?
Une nouvelle forme d’art en devenir ?
Alors, le jeu vidéo est-il un art ? La réponse n’est pas tranchée, mais il semble clair qu’il possède tous les éléments pour être reconnu comme tel. Certes, il reste influencé par des impératifs commerciaux, mais il en va de même pour le cinéma ou la musique. Son interactivité, souvent perçue comme un frein, pourrait en réalité être son atout majeur, en faisant évoluer notre conception même de l’expérience artistique. Comme le cinéma en son temps, le jeu vidéo traverse encore une phase de légitimation, mais son influence culturelle et sa capacité à émouvoir sont indéniables. L’histoire de l’art est faite d’évolutions et de remises en question. Ce qui n’était autrefois qu’un simple passe-temps devient parfois un art reconnu. Le jeu vidéo suit cette trajectoire, et s’il n’a pas encore atteint une reconnaissance unanime, il est sans doute l’un des médiums les plus prometteurs de notre époque.
Originally published in English (2023) by Fourth Estate and then published in French as Les âmes errantes (2024, Stock), this book is a touching testimony of the experience of boat people after the Vietnam War. The author has won the Fragonard Prize for Foreign Literature 2024 and was shortlisted for the Women’s Prize in 2023.
The Vietnam War
The Vietnam War (1955-1975) tore the country apart, pitting the North, supported by the Soviet Union and China, against the South, backed by the United States and its allies. The conflict had its roots in the decolonization of French Indochina and the rising tensions of the Cold War. After the heavy defeat of the French at Diên Biên Phu in 1954, Vietnam was divided in two under the Geneva Accords of July 21, 1954: a Communist regime in the North and a pro-Western government in the South.
The Americans, who had come to reinforce the South, officially withdrew in 1973 following the signing of the Paris Peace Accords. But the war did not stop there: fighting continued until the fall of Saigon in 1975, marking the victory of the North and the reunification of the country under a communist regime.
The book
French and Vietnamese author Cécile Pin draws on the story of her mother, a Vietnamese refugee, to explore the journey of the “boat people”. Although the author is French, she chose to write in English to better convey her emotions and those of her family since she lives in the UK. The process of writing the novel involved researching the Vietnamese refugee camps, while dealing with family silences. Although the novel is fiction, it succeeds in blending personal history with historical facts to explore the traumas associated with exile.
“It’s the story of Anh, Thanh and Minh, a sister and two brothers who leave Vietnam after the war, initially in a refugee camp in Hong Kong, and then find themselves in Thatcher-era London in the ’80s. We see them coming of age, trying to build new lives, while also having this immense grief they have to live with.” (Renard Z., (2025, February 10) Les âmes errantes : Meeting with author Cécile Pin. Banh Mi. https://banh-mi.co/les-ames-errantes-rencontre-avec-lautrice-cecile-pin/)
The author explains that the novel’s title was inspired by the “Wandering Souls” operation carried out by the US army during the Vietnam War to frighten North Vietnamese soldiers (Viet Cong). Cassettes were left in the forests, imitating the sounds of dead Viet Cong. “It was a tactic inspired by the Vietnamese belief that if our dead were not buried in their villages, with a ceremony, they would become ghosts and be doomed to haunt the earth forever. So the tapes were supposed to be ghosts of the Viet Cong army, intended to frighten soldiers and demoralize them.”
The book tackles universal subjects with unfailing delicacy and accuracy, such as death, mourning, guilt, remembrance, the feeling of belonging (or not) and the fear of forgetting.
Here are some recommendations of other stories about the Vietnam War:
The Mountains Sing by Nguyễn Phan Quế Mai (2020) presents a family saga spanning several decades of Vietnamese history, from French colonialism to the Vietnam War.
Ru by Kim Thúy (2009) is a poetic autobiographical tale of a Vietnamese family’s exile to Canada.
The Sympathizer by Viet Thanh Nguyen (2015) tells the story of a communist spy who infiltrates Vietnamese refugees in the United States. Pulitzer Prize 2016.
“We tell ourselves stories to live. We tell ourselves stories to heal” said Joan Didion in her book The White Album (1979). With these same words, Wandering Souls opens.
Margaux NGUYEN TANG
Les âmes errantes (2024) de Cécile Pin ou la mémoire sur les réfugiés de la guerre du Vietnam
Originellement publié en anglais sous le nom Wandering Souls (2023) aux éditions Fourth Estate, ce livre raconte de façon bouleversante l’expérience vécue par les boat people après la guerre du Vietnam. L’autrice a reçu notamment reçu le prix Fragonard de Littérature étrangère 2024 et a été sélectionné pour le Women’s Prize en 2023.
La guerre du Vietnam
La guerre du Vietnam (1955-1975) a déchiré le pays en opposant le Nord, soutenu par l’Union soviétique et la Chine, au Sud, appuyé par les États-Unis et leurs alliés. Ce conflit trouve ses racines dans la décolonisation de l’Indochine française et la montée des tensions de la Guerre froide. Après la lourde défaite des Français à Diên Biên Phu en 1954, le Vietnam a été divisé en deux lors des accords de Genève du 21 juillet 1954 : un régime communiste au Nord et un gouvernement pro-occidental au Sud.
Les Américains, venus en renfort du Sud, se sont officiellement retirés en 1973 après la signature des accords de paix de Paris. Mais la guerre ne s’est pas arrêtée pour autant : les combats ont continué jusqu’à la chute de Saïgon en 1975, marquant la victoire du Nord et la réunification du pays sous un régime communiste.
Le livre
Cécile Pin, autrice franco-vietnamienne, s’inspire de l’histoire de sa mère, réfugiée vietnamienne, pour explorer le parcours des « boat people ». L’écrivaine, bien que française, a choisi d’écrire en anglais pour mieux retranscrire ses émotions et celles de sa famille car elle vit au Royaume-Uni. L’écriture du roman a nécessité des recherches sur les camps de réfugiés vietnamiens, tout en faisant face aux silences familiaux. Bien que ce roman soit une fiction, il réussit à mêler histoire personnelle et faits historiques pour explorer les traumatismes liés à l’exil.
« C’est l’histoire de Anh, Thanh et Minh, une sœur et deux frères qui partent du Viêt Nam après la guerre, dans un premier temps dans un camp de réfugiés à Hong Kong, et qui se retrouvent ensuite dans le Londres des années Thatcher, les années 80. On les voit devenir adulte, essayer de construire des nouvelles vies, tout en ayant aussi cet immense deuil avec lequel ils doivent vivre. » (Renard Z., (2025, 10 février) Les âmes errantes : Rencontre avec l’autrice Cécile Pin. Banh Mi. https://banh-mi.co/les-ames-errantes-rencontre-avec-lautrice-cecile-pin/)
L’autrice explique le titre du roman est inspiré de l’opération « Wandering Souls » menée par l’armée américaine pendant la guerre Vietnam dans le but d’effrayer les soldats nord-vietnamiens (Viêt Cong). Des cassettes étaient déposées dans les forêts et imitaient le son des Viêt Cong décédés. « C’était une tactique inspirée de la croyance vietnamienne selon laquelle si nos morts ne sont pas enterrés dans leur village, avec une cérémonie, ils deviendraient fantômes et seraient voués à hanter la terre à tout jamais. Les cassettes étaient donc censées être des fantômes de l’armée du Viêt Cong, qui avaient pour but d’effrayer les soldats et de les démoraliser. »
Le livre aborde des sujets universels avec une délicatesse et une justesse sans faille, tels que la mort, le deuil, la culpabilité, le souvenir, le sentiment d’appartenance (ou non) et la peur de l’oubli.
Voici quelques recommandations d’autres récits sur la guerre du Vietnam :
Pour que chantent les montagnes de Nguyễn Phan Quế Mai (The Mountains Sing, 2020) présente une saga familiale couvrant plusieurs décennies d’histoire vietnamienne, du colonialisme français à la guerre du Vietnam.
Ru de Kim Thúy (2009) est un récit autobiographique poétique sur l’exil d’une famille vietnamienne vers le Canada.
Le Sympathisantde Viet Thanh Nguyen (The Sympathizer, 2015) raconte l’histoire d’un espion communiste infiltré parmi les réfugiés vietnamiens aux Etats-Unis. Prix Pulitzer 2016.
« On se raconte des histoires pour vivre. On se raconte des histoires pour guérir » disait Joan Didion dans son livre The White Album (1979). C’est par ces mêmes mots que le livre Les âmes errantes s’ouvre.
If you took the Parisian metro in the past few weeks, you probably came across a poster displaying a woman wearing an impressive veil and a majestic dress, all captured in a golden atmosphere. If you took a closer look, you probably realized it was an ad for an upcoming exhibition at the Grand Palais: Du Coeur à la Main, Dolce and Gabbana.
Just after I saw this poster, I sat in the subway and as a good, adopted Parisian, I scrolled on my phone with a bored look, annoyed by those tourists who were way too enthusiastic for a Monday morning at 7. During my 20-minute ride, I couldn’t help but notice fashion was taking over museums: the Louvre just announced the organization of a French MET Gala, my phone reminded me that a few months ago, I visited the exhibition Iris van Herpen. Sculpting the Senses at the MAD and a friend just suggested we visit the 19M, a conceptual gallery created at the initiative of Chanel.
Currently, no one can argue that fashion is not a trendy and verysuccessful subject for museums. In 2018, the Metropolitan Museum of Art set a new record of attendance thanks to its exhibition Heavenly Bodies. Fashion and the Catholic Imagination. With no fewer than 1.7 million visitors, the exhibition now holds the record of attendance at the MET, record previously held by The treasures of Tutankhamun, exhibited in 1978!
But why are fashion exhibitions becoming more and more popular?
The history of archives
When trying to understand why these fashion exhibitions are so praised, my research led me to their origins: the archives.
Every maison de haute couture now has its own archives of clothes, accessories or shoes created throughout the history of the house. Brands realized how important it is to have this legacy. It legitimizes the house, its history and demonstrates the evolution of fashion through the years. Furthermore, when the house underwent several changes of artistic directors, it ensures that the memory of the previous ones is safely preserved and helps maintain the DNA of the brand.
“There would be no Chanel without the history of Chanel. But there are a lot of things that people think have existed since the beginning of the house when it was me who created them. My job is to make people believe in it, there is no other way for a fashion house to survive”
Karl Lagerfeld
It also, evidently, inspires the new directors to create their own collections. In times when they must produce several collections a year, inspiration must be found somewhere. Finally, as we all know, fashion is an eternal restart. Keeping silhouettes from the 70s, 80s or 90s, allows the fashion brands to reuse the most iconic ones and to still be on point of trends. Today, if you analyze the outfit worn on red carpets, almost all of them are archivespieces.
We can probably attribute the creation of the archives system to Yves Saint Laurent himself. As early as the mid-60’s, the creator had the habit to keep sketches, samples or silhouettes. The Fondation Pierre Bergé – Yves Saint Laurent now oversees an impressive 7,000 haute couture garments and 30,000 accessories. And, if you have the chance to visit the Musée Yves Saint Laurent in Paris, you could appreciate the office of Saint Laurent in a state similar to when he was working.
For other houses, this practice was not common. The accessories, samples or even worn clothing were donated to models or sold to privileged clients. It is since the 80s that Dior or Chanel really understood the importance of archives. However, when almost everything has been sold, a gigantic work of research has to be made by historians and specialist to recreate the past of the brand.
Now that the houses made the work of regathering the history of the brand, they can curate extraordinary exhibitions – which would have never existed without archives – and lend pieces to museums.
An easy storytelling: personality and transformation of fashion
When a museum is curating a new temporary exhibition, the storytelling is at the heart of the discussions. A great story helps set the scene, narrate the story of the objects and create a connection between the spectator and the show. If an institution is able to make a good story, the exhibition will most likely be a success and attract more and more visitors. I believe that fashion exhibitions are easier solutions for museums.
Creating a fashion exhibition’s storytelling is more evident as artistic directors are often well-known personalities. Think about Karl Lagerfeld, Yves Saint Laurent, Christian Dior, Coco Chanel, Vivienne Westwood. I bet you know them all even if you never bought a product from brands.
The aura of these artists is so strong that, just by reading the title of an exhibition containing one of these names, people can imagine what they will see, and they probably already love it. All of them have the status of artists and celebrities. From films to TV shows, from books to documentaries fashion designers are everywhere and their names are very bankable: the MET Gala 2023 was a tribute to Karl Lagerfeld! Thus, attracting people thanks to names is easily done. Then, assembling a show based on the personality, passions or inspiration and, in general, the creator’s artistic world is evident.
In times where museums, and especially classical museums like the Louvre, are challenged by the fierce competition in the cultural scene and when public subsidies are being reduced, museums have to find ways to attract people – and to make them pay to enter the collections. For that, a temporary exhibition on fashion is one of the trendiest options.
But how to convince people that the exhibition is worse the price? How to make sure that visitors will connect with the objects displayed? Once again, I believe that fashion is an “easy” way: I bet more people will understand, or at least will be interested, in the Louvre Couture rather than A New Look at Cimabue – and can we blame them?
Fashion, and clothes in general, are more accessible because we all wear them. We can all imagine what it could feel to wear a certain dress, a pair of shoes or a necklace. Furthermore, clothes, as it evolves with trends, are a perfect example of our society. What is better than fashion to display the changes Humanity went through? From questioning gender to illustrating the liberation of women, clothes embody societal questions and transformations. For instance, to see the changes in skirts and to understand what it could imply you don’t need a strong art history background. That is why I believe people could think a fashion exhibition is less intellectual than a fine art one and thus won’t be afraid to attend it – especially for the ones who think they don’t belong to the art world.
Aesthetic and beauty: the power of social media
When it comes to fashion exhibitions, the inspirations from the pieces or the maison de haute couture allow museums to curate magnificent shows. The scenography of fashion exhibitions is, usually, impressive. Below, you will find pictures of two shows I attended: the Iris Van Herpen one at the MAD Paris and the Louvre Couture at the Louvre. You will see how the set design is very important and compliment the clothes – and vice versa – in both exhibitions.
owadays, no one can argue the power of social media. They do and undo trends, especially when it comes to fashion – and body appearance. Thus, the importance of social media to spread, and to make viral, a fashion exhibition is undeniable. As people want to post aesthetically pleasing pictures, a beautiful show will luckily make it to their insta story. Plus, I think there is a current trend among most of influencers to display their luxurious lifestyle. Those who have a significant number of followers might be more willing to show a fashion exhibition rather than a fine art one – cool to go to the YSL museum fully dressed in YSL and be able to post about it, right?
I believe fashion exhibitions are often, if not always, made to be instagramable. The colors, the movement, and the exhibition spaces clearly encourage people to take pictures – and to post on social medias! The buzz, as to the one I currently see for the Dolce and Gabbana show, makes exhibitions trendy and attract people. I would love to say that people attend these exhibitions to admire the objects and learn their history, but I think that the opportunity of snapping a good picture and post it to prove they were there as well the main driving force for many visitors. However, I hope they really enjoy their moment and could be tempted to come back to museums, and I truly believe institutions are trying to combine beaty and knowledge.
For institutions, fashion exhibition can be seen as “safe” theme. They ensure a buzz, or at least, more buzz than niche fine art theme. Furthermore, the use of the temporary exhibition model creates even more excitation around the show because it is limited in time.
Finally, as previously explained in this article, fashion houses have their own archives and could curate exceptional exhibitions themselves. Some of them even have their very own museum, or dedicated space to display pieces in their offices. But, when we are speaking about ten of thousands of clothes, jewelry and accessories, they don’t have enough room. Thus, institutions are essential to display more than a few pieces. I believe that is one of the final reasons why fashion exhibitions are becoming more and more popular: it is another way, for brands, to spread their heritage on the cultural scene. And, as it is probably a good deal for them, museums are willing to do so.
To conclude, I believe the success of fashion exhibition is the result of several factors: the easiness of curating a beautiful show, the aura of creators and brands, the recent creation of archives and thus the endless resources – and the possibilities to brand the collection with “never seen before pieces” and the certain buzz on social media. Furthermore, I think the economic crisis the cultural world is going through is an important part of these successes as it motivates institutions to curate blockbusters exhibitions to ensure an income. Finally, fashion and clothes are everywhere around us: every year, the MET Gala makes more and more noises on the internet, the Oscars, Golden Globes or Grammys’ red carpets are scrutinized by the fashion police, each new sneakers launch is a major event…Fashion is everywhere around us and, nowadays, it became an accessible subject, that can attract a lot and specifically people that don’t usually go to museums.
And if fashion can attract and win the loyalty of people to museums, generates money to protect our heritage and demystify cultural institutions, then I’m all for these types of shows!
PS: this article is mainly based on my personal thoughts and I’m not minimizing, in any way, the hard work of curators of fashion exhibitions.
In a world where art is more visible and accessible than ever before, we’re seeing a shift in how we engage with it. Art is everywhere, flooding our screens, often reduced to a quick scroll through Instagram or a glance at a TikTok video. But what happens when the experience of consuming art becomes just as disposable as the next trend?
This article isn’t about nostalgia for the past, back when art had a more sacred role; it’s about asking ourselves: What does it mean to appreciate art nowadays, and where does the artist fit into this evolving landscape?
Artificial Intelligence: The illusion of Creation
Although it is clear that artificial intelligence will never be able to recreate the soul that an artist imparts into a work, it allows for the « creation » of art in a way that completely devalues the human creative process. Today, anyone can produce a semblance of a visual work using a specific prompt, thus removing all credit from artists. Why spend time and money on an actual artist when AI can generate images in a fraction of a second, at no cost? This vision of artistic creation, which reduces art to an instant and free product, not only weakens the artist’s status but also the perceived value of art itself. Another major issue arising from this dynamic is the lack of recognition and compensation for artists, especially those who manage to sell their art via social media. The idea that art should be free or easily accessible is widely spread, but it overlooks a fundamental fact: artistic creation is a form of work that requires expertise and mastery, and thus deserves fair compensation. In a world where AI can mass-produce art, the human artist, instead of being seen as a creator with a unique vision, is quickly overshadowed by a machine able to do everything.
Too many images: The overload of visual content
Have you ever scrolled through your social media feed and been overwhelmed by the sheer number of visual content available there? This constant stream of images has transformed our consumption of art, often leading to a sense of numbness. When every post is accompanied by a trending sound, it’s hard to truly connect with the work itself. As consumers, we’ve become conditioned to see art not as something to be appreciated, but as something to be consumed quickly and moved on from.
Even when browsing a catalog of animated movies or series, it’s easy to feel overwhelmed by the sheer number of productions available. There’s this constant pressure to keep up, to not miss out on the latest hit everyone is talking about right now.
But here’s the paradox: these very trends, while contributing to this overload, also offer a way for artists to connect. They create opportunities for fan art, collaboration, and building a community around shared interests. As artists, the very platforms that can help us build a community also contribute to this image overload, where the focus shifts from quality to quantity. We’re told to “produce more, faster” or risk being drowned in a sea of content. How does it impact the artist’s role, and how do we ensure that we still value the intent and emotion behind the work?
The race against time
In today’s fast-paced world, time is the ultimate enemy. Whether it’s social media, work, or daily life, we’ve been conditioned to keep moving, keep consuming, and keep producing. For artists, this means that a piece of art—regardless of whether it took days or months to create—must grab attention in the blink of an eye. Whether on a screen or in the physical world, we’re encouraged to create and consume quickly, with little room for pause. Artists are now forced to juggle the dual roles of content creators and true artists, often sacrificing the depth and emotion of their work for fast, shareable pieces that can fit into this constant rush.
Even in major art and animation studios, deadlines are tighter than ever, and creative time is becoming more of a luxury than a given. In this environment, the pressure to produce quickly often overshadows the artistic integrity of the work.
On a more positive note
While I do question the evolution of the perception of art and the shift towards seeing it as a product rather than an expression, I also love seeing the growing popularity of animated series and films, which are reaching broader and more diverse audiences than ever before. It’s also extremely inspiring to see independent artists gaining recognition and being able to share their work with the world thanks to social media.
This shift has opened up new opportunities for creative voices to be heard and appreciated, enabling artists from all over the world to connect with each other and with audiences in ways that weren’t possible before.
A week in London museums : National Gallery, Victoria & Albert Museum
During the art market seminar led by the Sotheby’s Institute of Art in London, I enjoyed my time in the city going to (some of) the most famous museums of the world. Here is what I thought about them.
Going to museum is one of my favorites activities. As I went to many exhibitions and received advanced education in art history and museum administration, I have developed a <modest> expertise on the topic, putting it to service for the blog as I discuss my tour of the Queen’s house, the National Gallery and the Victoria and Albert Museum.
Last week, as with four of my fellow classmates, I went to London to attend the Sotheby’s Institute of Art Seminar. Introductions classes on the different aspects of the art market and in-the-field trips – yes but not only; as artist studio visits, Sotheby’s auction house tour and gallery hopping ended we made sure to enjoy London as much as we could. Our travel plan was busy and we might have exhausted the London cultural must-seen. Today, I propose a brief recap on the 4 museums I have been to, which are very much classical art-history oriented as my specialism in this field focuses on European paintings from the seventeenth century: The Queen’s House, the National Gallery, the Victoria & Albert Museum and the Wallace Collection.
The Queen’s House, Greenwich
This first venue, I admit, is 100% nerdy. Let me introduce it to you. The Queen’s House was built by Inigo Jones for Anne of Denmark in 1616. Inigo Jones is this very famous British architect who imported classical architecture, which we call “Palladian architecture” from Italy to England. As the matter of fact, the Queen’s House is the first building built in this style as Inigo Jones just came back from his “Italian grand tour”, an initiatory trip in Italy and Europe for gentlemen and artists.
What was the reason for this new building you may ask, well I learnt on site that the lands were given to Anne of Denmark by her husband, King James Ist, as an apology for he had sworn to her face after she accidentally shot his dog. There was no recording on whether the dog survived, which is a shame, yet that’s how the place was erected. However, Anne of Denmark died shortly after and the finishing touches were brought to by Henriette-Marie.
Now, she is the reason I went to the Queen’s House. Henriette-Marie is Henri IV and Marie de Medici’s daughter, which makes her, you guessed it, Louis XIII sister. She was Queen of England as Charles Ist spouse but mostly a highly educated lady in sciences, astronomy, a political figure of the 1650 english revolution and a brilliant patron of the art. In the 1630s she ordered beautiful ceilings for the Queen’s house to Italian masters Guido Reni and Orazio and Artemisia Gentileschi. Charles Ist, not to be left out, had also ordered a ceiling to Jacob Jordans, a Flemish painter of those around Rubens who was close with the King.
So I went to Greenwich on Sunday, where the Queen’s House is. It was a one-hour bus trip through South London then a one-hour-and-a-half trip back to the hostel, only to realize: there were no ceilings !
The Gentileschis’ ceilings had been taken away to some other castle by some other queen who reckoned they were quite beautiful – I bet ! While the Jordans’ had never seen the light of day since Charles Ist had been beheaded before they were completed. The last remaining original ceiling from Henriette Marie’s time showed refined Renaissance floral motifs framing a central painting supposedly by Guido Reni … which had been removed for a bland eighteenth century allegory.
So this was a disappointment. All the more so that, as the Queen’s house hasn’t been inhabited by a royal figure since 1650, the English revolution, the beheading of Charles Ist and the flight of Henriette-Marie back to France, the collection compelled by the French princess and Queen of England was scattered to other properties of the Crown. As a result, it lacks the grandmaster’s pieces ordered to decorate those walls.
Not to be worried, the place is very well decorated, mostly by B-list painters yet one can even spot a beautiful Gainsborough (*famous British painter from the eighteenth century, specialised in portraits) and some Tudor family portraits (*English Royal family before the Stuart, amongst Tudors are Henry VIII, Elizabeth Ist, who was the last Tudor on the throne – amongst Stuart are Mary Stuart, Charles Ist) including a copy of the “Armada Portrait” of Queen Elizabeth Ist, made and named after the victory of the English navy on the Spanish Armada. Indeed, the Queen’s house displays a lot of marines and sea-related works from the fifteenth century to the Normandy landings as it was home to the Royal Hospital for Seamen in the late eighteenth century.
The display of artworks, as it also is in some of the other museums presented in this article, is mainly decorative – instead of complentative or educational. Hung too high, poorly lighten and subject to unsolicited reflection of light, the paintings weren’t displayed to favor their careful study and beloved delectation. Yet the Queen’s house remains a very pleasant place to stroll and wander around and I appreciated the emphasis put on some, relatively new, topics addressing feminist questions, migratory concerns and queer issues both through contemporary acquisitions and the mediation on older works.
The National Gallery, Trafalgar Square
I passed on the British Museum, I know, it might have been expected, yet couldn’t resist the National Gallery. As a matter of fact, I went twice. The reason for that is simple: every day of the week the seminar ended around 4 p.m. when most museums in London close before 6 p.m.. With the addition of the bye-bye moment, last catting and the transportation time we are left with a very short moment to visit those diverse collections. I had to make a choice and a strategic choice was made: I needed to be selective and to go straight for the seventeenth century paintings.
Entering the National Gallery was quite a weird feeling for the French visitor used to Parisian museums I am. Right after the security checks, you walk through a gigantic stairs only to be thrown directly among the paintings. No big halls, no mazy corridors to give you the time to get in the mood: straight to it. And now you have to make a choice: two wings, two lists of painters. On the left: Titien, Poussin, Rubens, Van Dyck, Van Eyck, Rembrandt […] – on the right: Vigée le Brun, Van Gogh, Manet, Gauguin […]. So if you know me, you know: I went to the left, twice. I was on a quest and it did not disappoint.
First room displayed a series of portraits which selection was a bit off-putting as it brings together paintings both from Italy (the marvelous Portrait of Gerolamo Barbarigo by Titien – the fancy man with the big blue sleeve) and Northern Europe (Van Eyck Ambassadors which, small tips, you have to watch from the right, as close to the frame as possible to see the skull with its right proportion).
Moving on to a green salon full of Venetian artists – plus a little Leonardo and Michelangelo but my unpopular opinion is I don’t like them so much, and the art (over-) stimulation begins. As I then moved to the Rubens room, Rembrandt one, Danish scene paintings, I noticed this painting, and this picture catches my eye and everywhere I look is even more appealing and exciting. So I’m here going crazy in my head and hopping with joy from one painting to another, let me just present to you my top #3 favorites.
In third place goes Delilah and Samson by Rubens, painted in 1609-1610. It has always been my favorite from this artist, I love the depiction of the abandonment of Samson on the knees of Delilah, his sleep engendered by seduction, trust – and wine. Funny story: I always mis-say the name of Delilah, changing it for Dalida.
In second, I must place Rembrandt’s supposed portrait of Hendrickje Stoffels, his second partner, made in the mid 1650s, hence at the very end of his career. I had never questioned their age difference which, when I think about it, might be a tat concerning, yet the portrait is an absolute masterpiece of humility and dignity, majesty and intimacy, a beautiful tribute to her.
My grande favorite … tatata … drum rolls please ! The Saint Sébastien made by Gerrit von Honthorst around 1623. Now, Gerrit von Honthorst is a little less renowned than big masters, some would even say the art monsters that are Rembrandt and Ruben. French call him “Gérard des nuits” [Gérard of the nights] after the nocturnes he did. Von Honthorst is part of this little trio of painters, Hendrick ter Brugghen, Dirck van Baburen and him, the Utrecht Caravaggisti. All three of them were trained in the workshop of the same mannerist painter (*an old weird way of painting, overly elegant, overly refined), they all went to Rome around 1610, discovered Caravaggio painting, loved it and brought some of it to Utrecht, their native city in the Netherlands. As a twist of fate, van Baburen and ter Brugghen died a couple years after (1924 and 1629). This school of painting, as short as it may have lasted, as little its production is, is, I believe, my favourite movement of art history as a whole. Very briefly, I love how vivid the colors are, how pure the lines, the forms. Their compositions are brilliantly efficient – meaning they are simple yet they evoke so much. I adore the plasticity with which the human body is rendered and the subtle precision of the anatomy. See the Saint Sebastien of von Honthorst and the congestion of his forearms due the restraints. It is a masterpiece – but like, in an easy-going way.
The Victoria & Albert Museum
Going to the Victoria & Albert Museum was another bus adventure. As I mentioned, museums in London are closing quite early, except for some that have late openings on fridays. That is the case of the Victoria & Albert Museum (V&A to their friends, which we are !): it closes at 10 pm on that day, a perfect opportunity for me to go ! I waited for the bus for quite some time until I gave up to go take another one, walked a bit, met this cute french couple who was also going to the V&A museum, chatted with them then we finally arrived at South Kensington.
History recap : the V&A was founded, as the name suggests, under Queen Victoria and her husband, Prince Consort Albert, in 1852 to be precise. What is less known is that it was erected in what was at the time a working neighbourhood of London with the intent to educate industrial workers and develop their taste in applied and decorative art. The long-term goal of the Crown, represented by the museum director Henry Cole, was to develop England industrial production and improve English design on the international market to make the United Kingdom shine during International exhibitions – the place to be of the time !
This legacy still lingers within the display of the Victoria & Albert Museum. On the ground floor, art works are presented in a very immersive fashion, curated to render their functional purposes – as they were during their time of use. Hence an orthodox cross suspended in the air, floating above the visitors, fences to separate sacred spaces, a gigantic ottoman rug laid on the floor. On the first floor, colourful stained-glass windows are lightened from behind in an otherwise dark gallery. Such display of works generates a dreamy atmosphere, a vibe, quite favorable to amazement, conversation and, dare I say, would make it a great date venue.
I wandered around in amazement for museography (*fancy world to talk about how the artworks are displayed and the galleries organized) for quite some time, enjoying the way visitors could walk from the Greek and Roman antiquities area to the Islamic arts space to South Asia, China, Japan pieces very easily has these areas were all adjoining one another, breaking the artificial walls put up by a compartmentalized history of art. To explain it in a clearer way, the organization of the rooms in the V&A made me think about the “Galerie du temps” [Time’s gallery] of the Louvre-Lens where as you go from front to the back of the room you advance in time but when you go from right to left you change the place of provenance of the works, you move among the different cultural regions of the worlds.
Regardless of how brilliant the display of the works were and how pretty the pieces, I was on a quest to find the seventh century Flemish paintings I adore. I walked back and forth, turned left and right, encountered a few closed aisles, climbed stairs to the second floor multiple times and asked different agents of the museums for information – only to come to the conclusion the departments for European arts were all closed.
Needless to say: I was upset! Yet, after a quick detour to the museum shop – which by the way occupies a place of choice in the visitor route, I found my good spirit again and went to enjoy some Islamic art which I always find so rich and beautiful.
Monumental architecture has an undeniable power to captivate us. Whether it’s the towering spires of a gothic cathedral or the symmetrical elegance of the Taj Mahal, these awe-inspiring structures leave an indelible imprint on the cultural landscape. Across different cultures and time periods, monumental buildings have become more than just functional spaces; they are expressions of human creativity, cultural identity, and spiritual devotion. But despite their geographical and temporal distances, why do we find so many shared characteristics in these iconic monuments? What do these structures reveal about our common humanity?
Architecture as Art: Creative Masterpieces Across Continents
Monuments are not merely functional; they are expressions of human artistry/creativity and physical embodiment of artistic vision. From the intricate details of the Taj Mahal to the grandeur of the Eiffel Tower in Paris, these structures go beyond their utilitarian purposes to become timeless works of art.
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Take, for instance, the Pyramids of Giza in Egypt, which combine geometric precision and monumental grandeur, serving as both architectural feats and artistic triumphs of ancient Egyptian civilization. These buildings are cultural touchstones, each stone laid with deep symbolism and thought, serving as more than just shelter or space, but as vessels of identity, culture, and history.
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These structures have artistic significance as much as cultural and spiritual value, becoming symbols of both the empires that built them and the civilizations they impacted. The cathedrals of Europe, such as Notre-Dame in Paris and St. Peter’s Basilica in Rome, represent the intersection of art, religion, and power, where architecture itself serves as a medium for spiritual expression.
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Yet, what is often hidden in the story of these monumental creations is the role of colonialism in the exchange of architectural knowledge. While colonial powers exported their architectural styles to far-flung corners of the world, they also absorbed and appropriated the designs and ideas of the lands they occupied. For instance, Mughal architectural elements from India, such as the minarets and arches of the Taj Mahal, can be seen echoed in British colonial buildings. The cross-pollination of ideas was a product of colonial exchanges, though often this history is obscured by elites who rewrite the narratives of these monuments to favor a singular, dominant cultural story.
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The Artist’s Vision: Personal and Cultural Symbolism
One of the most fascinating aspects of monumental architecture is the personal and cultural significance embedded in each structure. Architects, builders, and craftsmen have long infused monumental structures with personal and cultural meanings, making each building unique. Whether designed by a single architect or built by thousands, these monuments often reflect a fusion of individual vision and collective cultural values. The Basilica of Saint Nicholas in Nantes, France, for example, combines intricate Baroque details with religious symbolism to evoke both devotion and grandeur. Similarly, the Sistine Chapel in Vatican City demonstrates how art and architecture can merge to create an immersive spiritual experience, where Michelangelo’s frescoes transcend mere decoration to convey religious narratives.
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Relatedly, the Taj Mahal stands as a testament to Emperor Shah Jahan’s love for his wife Mumtaz Mahal, immortalizing their bond in white marble. In the case of the Fatehpur Sikri in India, we see the grandeur of Mughal architecture blended with Islamic and Hindu elements, illustrating the cultural convergence that took place under the reign of Emperor Akbar. Through intricate carvings and expansive courtyards, these monuments become a canvas for a diverse spiritual narrative that transcends religious boundaries.
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These monuments also stand as testaments to the ingenuity of their creators. The Guggenheim Museum in Bilbao, Spain, designed by Frank Gehry, challenges traditional ideas of form and space, creating an architectural masterpiece that reflects the artist’s unique perspective. Likewise, the Burj Khalifa in Dubai, a modern marvel, symbolizes both innovation and the desire for a lasting legacy, rising to unprecedented heights and reshaping the skyline of the city.
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These structures reflect the values of the societies that created them—whether as an act of devotion, a symbol of power, or a memorial to love.
Monuments as Universal Symbols: Connecting Humanity Across Time and Space
Monuments are universal symbols, representing shared human experiences such as devotion, love, and the quest for meaning. Structures like the Duomo in Florence or the Great Mosque of Djenné in Mali stand as towering expressions of religious faith. The Sagrada Familia in Spain and the Taj Mahal in India are not just architectural wonders but also acts of devotion, representing humanity’s quest for spiritual connection with the divine.
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Yet, the emotional and spiritual significance of these monuments goes beyond religious expression. Monuments like the Paris Opera House, the Alhambra in Spain, or even the Griffith Observatory in Los Angeles reflect human aspirations—love, sacrifice, patriotism, and intellectual curiosity. Each building embodies deep emotional resonance, whether it be the Taj Mahal’s eternal love or the Arc de Triomphe’s reflection of national pride.
This shared emotional connection to monumental architecture creates a thread that binds us across cultures and continents. Despite their cultural differences, these structures speak to universal human experience. Whether born out of a desire to honor a loved one or to express national identity, monuments serve as an emotional bridge between past and present, between individuals and their collective histories.
Cross-Cultural Influence: A Global Exchange of Ideas
The influence of one culture’s architectural style on another is not a new concept. In many ways, monumental structures are the result of a long history of cross-cultural exchanges.
Colonialism, though often obscured in contemporary narratives, played a significant role in this exchange of architectural knowledge. Western societies imposed their architectural ideals on their colonies, but they also borrowed elements from the regions they occupied. The Mughal empire, for example, influenced the design of many colonial structures in India, and today, that fusion of styles can still be seen in the architecture of cities like Kolkata and Mumbai.
Romanesque and Gothic architecture spread throughout Europe, leaving their mark on structures like the Duomo in Florence and Westminster Abbey in England. The Renaissance period was heavily influenced by Islamic art and architecture, with geometric patterns and ornamental designs permeating European structures. In more recent years, modern Western architecture has drawn inspiration from Eastern architectural principles, evident in the sleek design of skyscrapers and the incorporation of natural elements in urban landscapes.
This cross-cultural influence can be seen in the evolution of architectural styles, where elements from various cultures have been blended to create contemporary designs. The University of Deusto in Bilbao, Spain, reflects a modern synthesis of both traditional and contemporary styles, bridging the gap between history and the future.
In modern times, global trends like Art Deco and Brutalism have also created shared aesthetic values, seen in buildings like the Empire State Building in New York or the Chandigarh Capitol Complex in India. The global spread of these architectural styles highlights how interconnected the world has become, where design concepts transcend borders and reflect a collective vision of the future.
Monumental Missteps: How Periodization Distorts the Global Exchange of Architectural Ideas
However, the way we categorize and understand these architectural exchanges is heavily influenced by the concept of periodization—the historical process of dividing history into distinct periods. While periodization can offer a useful framework for studying history, it also creates hierarchical structures that shape how we view different cultures and their contributions to the world. In the context of architecture, periodization often reinforces the notion that Western art and architecture progress in a linear fashion, while other cultures and their monumental achievements are relegated to being merely contemporaneous or existing « around » Western history.
As Eric Hayot argues in his work « Against Periodization, » periodization is far from neutral. By dividing history into rigid timeframes, we inadvertently elevate certain cultural narratives (often Western) while marginalizing others. This approach not only simplifies the complexities of cultural exchange but also perpetuates stereotypes that reinforce biases. When we separate monuments and architectural styles by time and geography, we risk undermining the interconnectedness of global architectural history, which has been influenced by shared ideas and practices across cultures.
This hierarchical view is problematic because it overlooks how the exchange of architectural knowledge transcends temporal boundaries. It downplays the role of colonialism in the flow of ideas between the West and the rest of the world, as well as the influence of non-Western architectural styles on modern Western design. For example, the geometric patterns in Islamic architecture during the Renaissance had a profound influence on Western design, yet this exchange is often ignored or understated in favor of a narrative that positions Western architecture as « progressive » while other architectural traditions remain static.
Conclusion: Reflecting on the Shared Human Experience
Monuments are not just buildings; they are symbols of our collective human values—devotion, beauty, love, and the pursuit of knowledge. Across continents and centuries, these structures embody the universal desire to express emotion, beliefs, and aspirations through architecture.
Monuments continue to serve as cultural storytellers. They reflect the values of the societies that created them, offering glimpses into their religious, emotional, and political beliefs. The detailed carvings of the Taj Mahal, the grandeur of the Colosseum, and the spiritual weight of the Sistine Chapel all speak to the civilizations that built them, offering insights into their values, struggles, and triumphs.
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As we reflect on these monumental structures, we are reminded of the shared human experience they represent. These buildings transcend time and space, linking us across centuries and continents, reminding us that despite our differences, we are bound by the same universal emotions—love, devotion, pride, and the desire to create something lasting. The beauty of these monuments lies not just in their physical form, but in their ability to connect humanity across borders, cultures, and time periods.
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As we look to the future, it’s fascinating to consider what new monuments will be created to honor cultures and histories. How will future generations continue to build on this shared legacy of human creativity? An enduring legacy of human creativity that will continue to inspire, connect, and transcend.
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