10.09.22 - 22.10.22

JESUS CHRIST SUPERSTAR
GASTON DAMAG
MYRIAM MIHINDOU
HASSAN MUSA
#1
Hassan MUSA
Manger tue, 2016
Ink on textile
222 x 192 cm
#2
Hassan MUSA
El Khatiba et Tourkiya, 2018
Oil on carpet
118 x 68 cm
#3
Myriam MIHINDOU
A ouo (depuis l’origine), 2020
Mixed media on sculpted blotting paper
65 x 50 cm
Exhibition view Gallery Maïa Muller – Copyright Rebecca Fanuele
#4
Myriam MIHINDOU
Untitled
Canes of power
Gré chamotte
120 cm
#5
Myriam MIHINDOU
Untitled
Canes of power
Gré chamotte
120 cm
Exhibition view Gallery Maïa Muller – Copyright Rebecca Fanuele
#6
Myriam MIHINDOU
Les algues géantes II, 2022
Installation, copper words
 
#7
Myriam MIHINDOU
Les algues géantes I, 2022
Installation, copper words
 
#8
Gaston DAMAG
Untitled
Betel on marouflaged paper
131 x 103 cm
Exhibition view Gallery Maïa Muller – Copyright Rebecca Fanuele
#9
Gaston DAMAG
Untitled, 2022
Welded shaman knives
68 x 70 x 10 cm
#10
Hassan MUSA
Grande poule céleste, 2017
Ink on textile
179 x 164 cm
 
#11
Gaston DAMAG
Untitled, 2017
Oil on canvas
160 x 143 cm
#12
Myriam MIHINDOU
Forestis, 2019
Mixed media on paper
65 x 50 cm
#13
Myriam MIHINDOU
ÉPOS (Parole), 2022
Mixed media on paper
71 x 48,5 cm

Post-colonialism is the subject of debate. From Frantz Fanon to Marc Ferro, reflection opened on these relations of domination which continue to be perpetuated. When it comes to beliefs, however, initiation rites and rites of passage are still perceived mainly as phenomena that are either folkloric or that stem from primitive societies. The plays of Aimé Césaire did not succeed in placing the apostle and the shaman at the same level.

Here humour – Hassan Musa’s recurring weapon – weaves together the founding sacraments of the Eucharist (Manger Tue, reworking The Last Supper by Caravage). Facing Christ’s last meal, Leda and the swan are the simultaneous presence of the myth of Zeus incarnate, and the homage to the artist becoming God, Rubens.

Myriam Mihindou – whose recent exhibition at the Musée du Quai Branly demonstrates the power of what she constructs (Trophée, 2020) in terms of transmissions, of passage, in sculpture, which is almost always her starting gesture – offers us an installation Les algues géantes I et II with conductive copper, and its power rods as the centrepiece of the exhibition designed for Galerie Maïa Muller, Jesus Christ Superstar.

Entering this space, The Valpinçon Bather is painted on a prayer rug. Coming from the Philippines, the areca nut and betel nut from a drawing by Gaston Damag play a magical pharmacopoeia alongside a sculpture of Ifugao knives that would be used by shamans.

This is an invitation: come into the trance.