Paris: Rituals For A New World Exhibition Notes

Paris always finds a way to charm me with its Parsian allure and wherever I go, I seek the uncanny. Like many disciples of the obscure, I enjoy capturing sights, from weird sculptures, carvings upon walls, stickers on train doors or just seeking messages about secret installations, exhibitions or social venues. This time my eyes fell upon an intriguing poster on the subway, it was an advertisement for an art exhibition called ‘Au-delà: Rituals For A New World,’ at Lafayette Anticipations…the word alone had me trying to decipher the code! 

The day after, I headed over to Lafayette Anticipations hungry to be immersed, and encumbered by the mysterious. I was particularly interested because of my own personal relationship to rituals from a cultural point of view. Growing up as both Sikh and Christian along with other spiritually based practices, namely from my mum who was always doing some kind of healing magic on us as kids when we were ill (that’s what mum’s are for), I was intrigued that this collection was revealing various ceremonious acts of worship from many civilisations. 

One of the main attractions was the Beltane Oracle by Bianca Bondi where giant artificial locust wood and crystal spheres erected from the ground, like ancient mythological tools of communication in a forest-like setting. The crystal structures were separated by a small winding pathway leading to the other side of the exhibition. A young stylish esoteric-looking couple stood in the middle, hypnotised by their surroundings. The lovers kissed passionately, captivated by the opposing yet beautiful enclosure. The gallery alone seemed like it attracted many courters of the mystic. 

Beltane Oracle is inspired by the Beltane, the Celtic May Day tradition. It’s a heady combination of alchemy, pagan fertility, divination and purification rituals. 

The installation is formed in the shape of a pentagram with burnt wood poles.

A series of crystalline ponds containing holy water were dotted around the landscape, that according to Bondi, contain a mysterious potion, where the ingredient is the artist’s milk for her first born son. Scrying pools are generally used as part of ritual magic to see the future but also to spy upon those that might be of a threat.

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Another uncanny but magnificent installation ‘L’Isle-Sur-La-Sorcue, France,’ by Jeanne Vicerial appeared neo-paganistic with some interpretations of classic Catholicism. There were even extrapolations of the fashion French Queens would don. Movies such as The Village, The Cell, Suspiria, Brotherhood of the Wolf, came to mind with the heavy rope work and twisted cord designs. 

These textile pieces actually took more than 5000 hours of work which included heavy weaving, moulding, and research into the anatomy of the scorned bodies of French Queens who were buried in the Basilica of St Denis. The idea was to create sculptural garments attributing to each queen’s individuality. And that these totemic sculptures depict a collective struggle against a dominant societal power. 

Vicerial’s vision also takes on a more mysterious and mythological stance, where the Queens are seen as mythical creatures, with rope for armour, and unyielding sense of power, warriorship, presence and beauty. 

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Many of the other exhibits appeared to be linked with fertility, one particular piece I was enthralled by was called “The talons of the eagle, the ladder of death, by God’s grace”, by Tau Lewis. I must have stood in front of the tapestry artwork a few times when a friend took a picture of me! The piece functions as a talisman, encouraging divine feminine power when faced with inhumanity, yet manifesting the strength of faith and spirituality.

Perhaps it was the resplendent sphere, luring me towards a majestic divinity of courage through the power of child-bearing, with a divine female, passing through realms of various existences. Either way, I was spellbound. 

Matthew Angelo Harrison’s Dark Silhouette collection containing a series of West African artefacts contained in resin were stunning, but I felt conflicted by their entrapment because I felt it was a shame for items of such cultural significance and tradition to be imprisoned. 

This was, however, Harrison’s idea as he wanted to demonstrate how colonial and Western museums control the way foreign objects are exhibited. The original location of these sculptures are unknown, but they are said to derive from Dogon and Makonde tribes. 

According to Harrison, he wanted to find a way of including his subjective experiences working at Ford which was the largest employer of Black Americans in the 1920s and 30s by recreating the companies industrial work pattern, as seen in the resin that enclose each artefact. Dark Silhouette also reveals the repetitive movements witnessed in various ritualistic ceremonies and is juxtaposed with the artist’s own monotonous movements when he was a factory worker. 

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Another stimulating, yet slightly amusing piece was an untitled installation by Eva Hesse, displaying phallic-like totems, where wormy creatures appeared to gather around for a last supper, well this is what I thought in my mind before I read the description. 

Apparently, this was the final piece before Hesse’s passing with the artwork inducing an air of transition. The artist endured three failed operations on a brain tumour that led to fatality within a year. The protruding shapes consist of seven rods, enveloped in fibreglass and polythene which gives the impression of disembodied legs and feet which was what the work was inspired by. 

According to the artist, the installation was an amalgamation of symbolism, nature and spirituality, how flesh, and the physical are fragile, carrying with it the absurdity of life and death. 

When I was studying tantric yoga meditation, I enjoyed the subject of yantras. I still have some of my old course material containing incredible diagrams which I like staring at from time to time! 

‘Lux Armor Lucis’ (Light armour of light) by Bruno Pogačnik Tremow, and Ivana Vukšić, feels very similar to that of sacred occult-like art. The canvas appears to convey messages and symbols, and much like a yantra, yield transcendent qualities that give you a sense of being lured into surreal dimensions. The piece is also meant to represent the political trauma of the two artists’ country Croatia which was tormented by war in the late 20th century. 

With three floors of contemporary and ancient rituals, both pagan, spiritual, and even new forces, there were just so many artefacts to observe. From an artistic perspective, trying to work out how some of the artworks were produced was a mystery!

‘Tobias Spichtig, Dance of the Dead’ (Totentanz)

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There were also experimental/arthouse films, one of my favourites was called ‘Songs for Living,’ by Thailand filmmaker Korakrit Arunanondchai. The film was a commentary marrying various video montages through a range of narratives chronicling a reconnection with ancestral souls, transcendence of life, death, rebirth, juxtaposed with a need to heal from socio-ecological destruction and futurism. 

‘Songs of the Living,’ is a cauldron of cyberpunk, paganism, creature-feature, body-horror and fantasy, with a ceremonious twist. Perhaps Arunanondchai is encouraging people to appreciate and hone traditions through the power of communal prayer and faith whether that’s religious, spiritual or through simple humanity. It’s a fantastical film that’ll have you trying to interpret the meaning of each scene which can’t be a bad thing!

Although it might be unintended, ‘Au-delà: Rituals For A New World,’ felt like an immersive experience. The exhibition provided a formidable journey from start to what could even be an unknown finish. This is because of the sheer volume of artefacts and works which in some cases, you’ll have to revisit. With an abundance of ritualistic art, fashion, music, theatre and film, you’re transcending from one state to another, physically connecting with the pieces, but then having to understand what it all means which might not be achieved in one viewing. 

I wandered from one floor and then back to the next, the dreamy music composed by Kali Malone, echoing around the gallery like a meditative aid. Where was I in my journey of life, death, rebirth within the realm crafted by Au-delà? Well, I eventually found my way out of course, even if it took a while to fathom my mission. 

I’m looking forward to curator Agnes Gryczkowska’s next exhibition, although I’d love to see Rituals For A New World again as I just couldn’t get enough!