{"id":32462,"date":"2024-04-01T23:01:16","date_gmt":"2024-04-01T21:01:16","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=32462"},"modified":"2025-09-04T16:14:01","modified_gmt":"2025-09-04T14:14:01","slug":"past-disquiet-at-the-palais-de-tokyo-in-paris","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/past-disquiet-at-the-palais-de-tokyo-in-paris\/","title":{"rendered":"Past Disquiet<\/em> at the Palais de Tokyo in Paris"},"content":{"rendered":"
Past Disquiet<\/span><\/i> comes at a crucial time, when solidarity with Palestinian lives and culture is in the daily news, but often controversial due to the competing hasbara and Palestinian narratives. The curators of this exhibition have stitched together transnational histories, bound by solidarity, whose connections had been for the most part, lost. Further, it maps networks of artists who were the heralds of political change, who believed that art should be at the heart of everyday life (in streets, schools, and public sites), emancipated from class privilege. It also maps artist networks\u2019 connections to militants who believed that political change is impossible to imagine without artists.\u00a0<\/span><\/h5>\n

 <\/p>\n

Rasha Salti and Kristine Khouri<\/span><\/h4>\n

 <\/p>\n

Past Disquiet<\/span><\/i> is an archival and documentary exhibition that revisits the intersecting histories and universes of militant, artistic, and museological practices that were connected to tricontinental, anti-imperialist solidarity movements between the 1960s and the 1980s. Beginning from research into and around the story of the <\/span>International Art Exhibition for Palestine<\/span><\/i>, <\/span>Past Disquiet<\/span><\/i> tracks a thousand and one stories of artists, militants, visionaries, and dreamers who organized exhibitions, intervened in public spaces, and created a very particular form of museum to incarnate the causes they were fighting for, museums of solidarity, without walls, and more often than not, museums that were in exile.<\/span><\/p>\n

The exhibition consists largely of stories culled from memories, from yellowed newspaper clippings, magazines, and other publications, most of which long stopped being in circulation; from pamphlets that proclaimed revolutions that have lost their fervor; and from photographs stored in boxes not opened in decades.<\/span><\/p>\n

\"Inside<\/a>
Inside the Palais de Tokyo, Paris (photo Jordan Elgrably).<\/figcaption><\/figure>\n

Past Disquiet<\/span><\/i> stitches together transnational histories, bound by solidarity, whose connections had been for the most part, lost. Further, it maps networks of artists who were the heralds of political change, who believed that art should be at the heart of everyday life (in streets, schools, and public sites), emancipated from class privilege. It also maps artist networks\u2019 connections to militants who believed that political change is impossible to imagine without artists. In the course of our protracted research, several maps emerged, of political events, upheavals, revolutions and artist actions, exhibitions. The cartography of connections reveals a geography that challenges the canons of the history of art in the second half of the twentieth century.<\/span><\/p>\n

Early in the research process, we encountered the notions of the <\/span>museum-in-exile<\/span><\/i> and the <\/span>museum in solidarity<\/span><\/i>. Consequently, we dedicated considerable effort to understanding the origin of these two notions, and their mechanisms, by studying the traces of four collections of art whose histories had significant intersections. These are:\u00a0<\/span><\/p>\n