A dozen demonstrators gathered exterior the Centre Pompidou in Paris on Wednesday, October 22, to protest a fireworks efficiency by Cai Guo-Qiang and name for a boycott over his controversial stunt within the Himalayas earlier this 12 months.
The daytime fireworks present by the Chinese language artist, titled “Le Dernier Carnival” (“The Last Carnival”), was staged to mark the museum’s five-year closure for renovations. Organized in collaboration with White Dice gallery throughout Paris Artwork Week, Cai remodeled the Pompidou’s façade right into a fleeting, monumental portray, utilizing his custom-built AI mannequin to fuse artwork, expertise, and pyrotechnics.
Cai’s harmful spectacles have usually sparked controversy. His 2024 Los Angeles present induced misery amongst residents resulting from loud explosions, falling particles, and a blanket of smoke. The backlash escalated after Cai was commissioned by the outside model Arc’teryx to stage a fireworks show titled “Rising Dragon” at an altitude of 18,000 toes on a mountain ridge within the Tibetan Himalayas this September. Regardless of the Canadian-founded and now Chinese language-owned firm’s claims that “biodegradable materials” had been used and livestock relocated, the present was accused of inflicting harm to the weak high-altitude ecosystem. 4 Chinese language officers had been dismissed because of this.
“What took place in Shigatse, Tibet, was not art, it was exploitation,” the group continued. “China’s occupation of Tibet continues to wreak havoc on Tibet’s fragile ecosystem. And by detonating over a thousand explosives on Tibet’s sacred land, Arc’teryx and Cai Guo-Qiang showed a deep disregard for Tibet’s fragile environment and its people.”
Activists with College students for a Free Tibet France in entrance of Cai Guo-Quang’s fireworks show on the Centre Pompidou (picture courtesy SFT France)
The stunt ignited international outrage, notably amongst Tibetan communities, who considered it as a profound act of disrespect towards sacred mountains and native traditions, framing it as an indefensible act of cultural violence.
Arc’teryx issued an apology on Instagram, pledging to collaborate with Cai and their “team in China” to deal with the venture’s “environmental and social impacts”. Cai additionally apologized on his studio’s WeChat account, acknowledging “oversights” within the venture’s execution, whereas Chinese language central authorities launched an investigation.
Hyperallergic has contacted Arc’teryx, Cai Guo-Qiang, White Dice Gallery, and Centre Pompidou for remark.
A flyer accuses Centre Pompidou and White Dice of complicity in “environmental vandalism.” (picture courtesy SFT France)
Since then, Tibetan activists from College students for a Free Tibet and allied advocacy teams have staged demonstrations at a number of Cai performances. Alongside this week’s protest on the Centre Pompidou, activists gathered exterior White Dice London on September 25, chanting “Chinese art, Tibetan destruction!”
In response to the London protests, motion group Free Tibet stated in a press release: “Art must never be used to mask injustice or celebrate the destruction of a repressed culture.”
Activists argue that Cai’s fireworks commodify Tibetan tradition and spirituality, turning sacred areas into advertising spectacles. “Tibet is not a setting and spirituality is not a marketing product,” SFT France stated an Instagram publish after the Pompidou motion. “Art cannot be an excuse to destroy.”
Two protesters maintain up indicators in entrance of Cai Guo-Quang’s fireworks show. (picture courtesy SFT France)
Teams have additionally staged protests at different Paris museums, drawing consideration to what they see because the erasure of Tibetan identification and heritage in main cultural establishments. Earlier this 12 months, 4 pro-Tibetan teams in France filed a authorized criticism in opposition to the Musée Guimet over the renaming of its Nepal-Tibetan galleries to the extra generic “Himalayan World.” Activists argue the transfer successfully erases the existence of Tibet, aligning with China’s broader efforts to suppress Tibetan tradition, historical past, and political identification.
Final 12 months, protests erupted when the Musée du Quai Branly in Paris labeled its Tibetan artifact assortment as hailing from the “Xizang Autonomous Region,” adopting a time period utilized by the Chinese language authorities rather than the extra well known “Tibet.”
“We believe that true art uplifts, it does not destroy,” SFT France informed Hyperallergic. “By offering its platform to Cai Guo-Qiang, the Centre Pompidou and White Cube are complicit of this environmental and colonial vandalism.”
Tashi Lahmu, nationwide coordinator for Voluntary Tibet Advocacy Group UK, added: “We will continue to be a voice for those voiceless inside Tibet.”
“Tibet is not a stage for corporate spectacle,” activists stated. (picture courtesy SFT France)
