Des hommes, des mondes

Critics' choice
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Romain Bernini, 'Bientôt un pouvoir', 2013 / Courtesy de la galerie Suzanne Tarasiève, Paris / Photo : © Rebecca Fanuele
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
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Vue de l'exposition 'Des hommes, des mondes' / © TB / Time Out
Free

Peoples and worlds, plural: the sources that artists draw on for this exhibition at the Collège de Bernadins are an improbable cocktail of religions and folklores. Here, blokes in baggy jeans walk around in African masks (Romain Bernini), while the serpent from Genesis curls up in a den of feathers and pearls (Rina Banerjee). Arranged here in this former Cistercian monastery converted into a contemporary art gallery in 2008, the dialogue between cultures is intelligent, multifaceted and harmonious.

In the nave, immigrant voices reverberate like the murmurs of the faithful (a sound installation by Chen Zen), while voodoo dolls made up of crystal, plastic bananas and bicycle pedals sit on the former sacristy (Pascale Marthine Tayou). Next to them, a huge column of keffiyeh scarves stands among the gothic vaults (Stéphane Vigny). A surprising and perceptive exhibition, where cultures don't cancel each other out but gather and build on top of each other, like a game of Tetris without an end or a guiding hand.

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