The Palais de Tokyo, a prominent contemporary art venue in Paris, has recently faced significant controversy and a subsequent withdrawal of support from one of its patrons due to its decision to host an exhibition titled “Past Disquiet.” This exhibition delves into the historical and political engagement of artists within the international anti-imperialist movements from the 1960s to the 1980s, focusing specifically on solidarity with Palestine, among other global liberation movements.
The exhibition, curated by Kristine Khouri and Rasha Salti, draws upon extensive research and presents a collection of archival materials and artworks that explore the political solidarity demonstrated by artists for various liberation movements across the globe, including Palestine. The narrative is particularly centered on the forgotten stories of “museums in exile,” which were conceptualized as traveling exhibitions to support these causes.
The withdrawal of patron support reportedly stems from concerns regarding the political sensitivity and implications of focusing on Palestinian solidarity, reflecting the broader tensions and complexities associated with Middle Eastern politics. This has sparked a broader discussion about the role of art in political discourse and the responsibilities of cultural institutions in navigating these debates.
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“Past Disquiet” serves not only as an artistic expression but also as a reminder of the interconnected histories of artistic and political solidarity, echoing ongoing discussions about the role of art in social and political activism (Palais de Tokyo).
