The Kilbourn Collection
© Estate of Gerard Sekoto/Adagp, Paris, 2025. Photo : Jacopo Salvi
Dear Shaded Viewers,
From March 19 to June 30, 2025, a temporary exhibition at Gallery 1, Level 6, delves into the vibrant presence and profound impact of Black artists in France between the 1950s and 2000. The exhibition, “Paris Noir,” chronicles the journey from the founding of Présence Africaine to Revue noire, highlighting the contributions of 150 artists from Africa, the Americas, and the Caribbean. Their works, rarely showcased in France, reveal a cosmopolitan Paris that served as both a site of resistance and creative expression. This era saw the emergence of diverse artistic practices, ranging from identity awareness to the exploration of transcultural visual languages, which played a significant role in redefining modernity and postmodernity. The exhibition traces a half-century of struggles for emancipation, from African independence movements to the fall of apartheid, and the fight against racism in France.
I had the pleasure of engaging in a lengthy and captivating conversation with Shuck One about the wall from his atelier that is now part of the exhibition. Shuck One is a renowned French street artist and visual artist born in Pointe-à-Pitre, Guadeloupe, in 1970. He is a pioneer of French graffiti, known for his powerful and socially engaged works. Shuck One began his career in the 1980s, marking Parisian metro lines with his tags, earning him the title of “King of the Subway.” He co-founded the Basalt collective, which played a significant role in elevating French street art globally. Over time, he transitioned from walls to canvas, developing a unique style that blends graffiti with abstract art. Shuck One’s work often explores themes of social justice, identity, and cultural heritage, reflecting his activism and commitment to highlighting Black history and experiences in France. Our conversation tonight centered around a remarkable wall commissioned by the Centre Pompidou, which vividly illustrates the history of his family. The wall is a commanding presence, drawing the viewer in with its rich narrative. Unfortunately, my audio recording of the interview vanished, a frustrating reminder of the unpredictability of technology. Despite this setback, the memory of our conversation remains vivid, and I am eager to share the essence of our discussion about this powerful piece of art.
Later,
Diane
