Jean Genet: Act 1 and Act 2

28/07/2011

Nottingham Contemporary presents a major exhibition inspired by the life and work of Jean Genet (1910 – 1986), the celebrated poet of revolt. Review by Thomas Norton.

Jean Genet, installation view Nottingham Contemporary, 2011. Photo Andy Keate

In the midst of political and social upheaval, from the Arab Spring to the dismantling of the NI empire, the public conscious has been drawn to those who are fighting tirelessly across the globe for a better future. The bravery and fervour of the people of Egypt, Tunisia, Bahrain and Libya have let us take stock in the importance of political accountability and modern democracy. To this end the Contemporary bring an exhibit dedicated to the work of Jean Genet – playwright, author and activist.

Genet’s contribution to theatre was heavily informed by his stance against the bureaucratic and abusive exercise of authority. Such classics include The Maids, a story of two servants who fantasise murdering their bourgeois mistress and Our Lady of Flowers, a parable of betrayal and ignorance set in post-war France. These and others forged Genet’s legacy of free thinking rebellion across art and entertainment. His subsequent involvement in the US civil right movement stands as a further testament to his enduring concern for those left stranded by the dominion of the elite. As we bear witness to a new protest era, the Contemporary sees fit to it regale and reinterpret Genet, a man whose words and actions seem more relevant than ever.

Jean Genet, installation view Nottingham Contemporary, 2011. Photo Andy Keate

The exhibit is staged in two “Acts”, exploring his life in theatre followed by his commitment to radical social activism. The first Act has been organized by influential installation artist and designer Marc Camille Chaimowicz. This gallery space is decorated as if it were its own stage, shaped by Genet’s own fanciful and provocative tastes. Chaimowicz’s adoring admiration shines through and his vivid insight puts you right at the heart of Genet’s imagination. One of many adornments is a small room erected towards the east corner serving as memorandum to his difficult upbringing. From peering in at one side you can see what just appears to be a clutter of worn clothing and trinkets whilst to the other, a suitcase with drawn-out plans and a vintage camera – tokens of a youth that was spent journeying through Europe on the run from himself. It’s both an intelligent and delicate portrait that brings the audience closer to Genet’s psyche.

There is of course more than a handful of other works to illustrate Genet’s private persona, thoughts and relationships. Most remarkable are a set of Giocametti sculptures and paintings. A rare portrait of Genet seems most personal, Giacometti portraying him as one of the jagged, raw creatures that the sitter so admired. Other notable loans appear courtesy of Wolfgang Tillmanns (Mark, 2010) and Lukas Duwenhӧgger (The End of The Seasons 2008-2009) – their rough and charged portrayals of vulnerable young man touch on the dangerous and illicit nature of Genet’s lifestyle as a practicing homosexual throughout the 50s and 60s.

This intimate and detailed exploration of Genet’s character leads elegantly into Act 2 to look at his support of protest groups, crucially The Black Panthers. A bold pop art mural of work by Emory Douglas confronts you with two Panther soldiers as you enter, framing the passion and force of their movement – a towering symbol of radical thinking. Paraded throughout are photographs and footage documenting Genet’s personal involvement as well as a glass cabinet loaded with Panther literature and other media.

Jean Genet, installation view Nottingham Contemporary, 2011. Photo Andy Keate.

Act 2’s provocative and incendiary mood is bolstered by individual contributions from Mona Hatoum, Abdul Hay Mohallam and Carole Roussopoulos. Hatoum’s faithfully vicious appearance, Still Life (2008-2009), lays out a satchel of hand grenades repainted as bright, vibrant pottery whilst Keffieh (1993-1999) presents a shawl made by Matoum of human hair. Mosallam’s use of religious and theological iconography in depicting Palestinian warfare (The Return From Beirut, 1984) is similarly aggressive and a collage of Roussopoulos’ filming of anti-government clashes serves a sober reminder of the human sacrifices made for democracy. Each mirrors the strength of Genet’s own campaign towards free speech and the dismantling of blind autonomic power.

Act 2 is not just a display of Genet’s own convictions but more so the rhetoric, battle and trialling of millions who follow in suit with him. Whilst he himself fought for oppressed voices to be heard, what this exhibit exposes beautifully is the bloodied roots from which he stood. This show is not only a fascinating and poetic retrospective of one of the finest playwrights of the twentieth century but a demanding, intellectual and respectful tribute to writers, artists, free thinkers and revolutionaries that also dream to paint the world in a fairer shade.

Whether you’re a devotee of Genet’s craft or a novice to his career, this is a moving and illuminating look into his life and influence. It is by far and away the NC’s best exhibit to date.

Jean Genet: Act 1 and Act 2 is showing at the Nottingham Contemporary until 2 October 2011.