{"id":661685,"date":"2025-03-31T14:56:26","date_gmt":"2025-03-31T12:56:26","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/why-contemporary-art-is-fired-up-about-the-middle-ages\/"},"modified":"2026-04-01T11:45:27","modified_gmt":"2026-04-01T09:45:27","slug":"why-contemporary-art-is-fired-up-about-the-middle-ages","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/art-en\/why-contemporary-art-is-fired-up-about-the-middle-ages\/","title":{"rendered":"Why contemporary art is fired up about the Middle Ages"},"content":{"rendered":"\n


In collaboration with Art Basel Paris.<\/a><\/strong><\/p>\n\n\n\n

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Alison Flora,
Secret Portal, Secret Passage <\/em>(2022), presented in the exhibition “Berserk & Pyrrhia. Contemporary Art and Medieval Art” at the Frac \u00cele-de-France Le Plateau (Paris) and Les R\u00e9serves (Romainville), from March 22 to July 25, 2025. Photo: Frank Alix. \u00a9 Alison Flora. Courtesy of the artist and DS Galerie. <\/figcaption><\/figure>\n\n\n\n

The Middle Ages: a true obsession in contemporary art<\/h2>\n\n\n\n

What do the fantasy series Game of Thrones<\/a><\/strong><\/em>, steeped in a world of medieval legends, and Myl\u00e8ne Farmer\u2019<\/strong>s Nevermore<\/em> tour, with its dark stage design inspired by a Gothic cathedral, have in common? What does the global success of the swashbuckling role-playing game “World of Warcraft” say about our cultural moment? Clearly, the medieval<\/strong> world, be it historical or imagined, is undeniably in vogue.<\/p>\n\n\n\n

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Tapestry of The Lady and the Unicorn:
My Only Desire<\/em> (c. 1500). Paris, mus\u00e9e de Cluny – mus\u00e9e national du Moyen-\u00c2ge \u00a9 RMN-Grand Palais \/ Michel Urtado. <\/figcaption><\/figure>\n\n\n\n

\u201cWhen we presented The Lady and the Unicorn \u2013 Medieval and So Contemporary in 2021\u20132022, many were surprised. In hindsight, I think we were ahead of the curve!\u201d <\/em>, says Annabelle T\u00e9n\u00e8ze, the former director of Abattoirs in Toulouse<\/strong><\/a>. \u201cTo me, today\u2019s fascination with this period is directly linked to contemporary concerns. The Middle Ages offer a different perspective on nature and the living world,\u201d <\/em>she explains. \u201cIt also provokes reflection on artistic labor, craftsmanship, and guilds. And it touches on the role of women since at the time, widows could inherit workshops.\u201d <\/em>“<\/p>\n\n\n\n

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\u201cThe Middle Ages offer a different perspective on nature and the living world.\u201d
<\/em>\u2013 Annabelle Ten\u00e8ze<\/p>\n<\/blockquote>\n\n\n\n

Now at the helm of the Louvre-Lens<\/strong>, the curator is preparing the second installment of her exploration, tentatively titled “Gothiques”, opening in September. This transhistorical panorama will examine one of the earliest waves of globalization, with key moments including the success of neo-Gothic architecture and its enduring countercultural appeal. <\/p>\n\n\n\n

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Installation view of Zuzanna Czebatul’s exhibition “The Lunatic Fringe”, untitled, Paris, 2023. Photograph by Aur\u00e9lien Mole and Thomas Kr\u00fcger. Courtesy of the artist and untitled. <\/figcaption><\/figure>\n\n\n\n

Zuzanna Czebatul\u2019s reimagining of Medieval Tapestry<\/h2>\n\n\n\n

Once seen as dark, violent, and barbaric, the Middle Ages<\/strong> have become a fertile source of inspiration\u2014clearly evident in the broad range of contemporary practices drawing from this transitional era. For Zuzanna Czebatul<\/strong>, technique is inherently political. The Berlin-based Polish artist made a name for herself with crumbling, fragmented, even deflated sculptures that disrupt the iconography of Western hegemonic power\u2014whether religious, feudal, monarchical, or national. <\/p>\n\n\n\n

In 2023, the thirty-year-old artist began a new series of works centered on tapestry, a new medium for her after experimenting with trompe-l\u2019\u0153il marble. In her 2023 show, “The Lunatic Fringe” at Galerie Sans titre in Paris<\/strong>, she presented a series of textile wall pieces. These works magnify details from ceremonial tapestries dating from the Middle Ages to the 17th century like voluptuous drapery from which a foot or a shoe sometimes emerges. Zuzanna Czebatul sees these as symbols of mobility and migration, highlighting how the reception of power emblems is open to reinterpretation.<\/p>\n\n\n\n

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Laurent Grasso,
Studies into the past<\/em> (2025). Courtesy of the artist and Perrotin. \u00a9 ADAGP, Paris 2025. <\/figcaption><\/figure>\n\n\n\n

Laurent Grasso, a return to apocalyptic storytelling<\/h2>\n\n\n\n

Laurent Grasso<\/strong><\/a>, for his part, conjures up millenarian atmospheres where the end seems imminent. Twin suns, black stars, fiery spheres: human senses struggle to decode the paranormal signals of a world gone mad. Since the 2000s, the French artist has created immersive works combining painting, video, architecture, sound, curious objects, and history painting. His alternate realities that he calls \u201cfalse historical memory\u201d offer access to a suspended world where wonder teeters on paranoia.<\/p>\n\n\n\n

Since 2009, he has worked on one of his best-known series, Studies into the Past<\/em>, oil paintings in which scenes inspired by the Early Middle Ages and the Renaissance are disrupted by inexplicable weather phenomena. Last year, Laurent Grasso created the first tapestry in the series: a nocturnal scene depicting two stunned knights facing a sudden, opaque mass. The piece is a virtuoso collective achievement, produced from a cartoon by the artist and woven by the Manufacture Robert Four in Aubusson. <\/p>\n\n\n\n

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Theodora Allen,
Monument<\/em> (2018). \u00a9 Theodora Allen.
Courtesy of the artist and Kasmin.<\/figcaption><\/figure>\n\n\n\n
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Kasper Bosmans,
A Key Sound in the Green<\/em> (2024).
Photo: Kristien Daem. Courtesy of the artist
and Mendes Wood DM. <\/figcaption><\/figure>\n<\/figure>\n\n\n\n

From Theodora Allen to Kasper Bosmans: when folkloric fantasy haunts today\u2019s artists<\/h2>\n\n\n\n

Medieval imagery feeds both anxiety and the hope of renewal in the face of uncertainty. Theodora Allen<\/strong> is among the foremost figures of a contemplative, fairy-tale medievalism. Born in 1985 in Los Angeles, Allen paints ethereal compositions dotted with moons, weeds, and heraldic symbols. Her diaphanous oil-on-linen works employ a limited palette of blues, grays, and whites, evoking the starry skies of medieval manuscript illuminations like those in Les Tr\u00e8s Riches Heures du Duc de Berry<\/em>. Allen has built her own visual pantheon: illumination meets Hilma af Klint<\/strong>, William Blake<\/strong>, Symbolism, and the psychedelic California of the 1960s. She demonstrates that opposites can coexist and that everything is ripe for regeneration. <\/p>\n\n\n\n

In 2021, Thomas Golsenne and Clovis Maillet published Un Moyen \u00c2ge \u00e9mancipateur<\/em> (M\u00eame pas l\u2019hiver (M\u00eame pas l\u2019hiver), a book born from their observations made in french art and design schools. The art historian and the artist-researcher highlighted how multifaceted this imaginary is, delving into the past to better illuminate the future. This joyful syncretism is also present in the work of Kasper Bosmans<\/strong>, a polymath artist whose folkloric universe is inhabited by fantastical creatures, bearded women, and drag queen saints. He merges oral histories and vernacular traditions into playful geometric panoramas. A year ago, the Belgian artist, born in 1990, took over the Mendes Wood DM<\/strong> gallery <\/strong>in Paris with Plums, Under Cover, the French public\u2019s first glimpse of his flamboyant queer, ecological, and anti-speciesist counter-history.<\/p>\n\n\n\n

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Xolo Cuintle, Heart Shape Couple<\/em> (2021).
\u00a9 Xolo Cuintle. Courtesy of the artist and DS Galerie <\/figcaption><\/figure>\n\n\n\n
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L. Camus-Govoroff, Rester Nymphes? (<\/em>2020).
\u00a9 L. Camus-Govoroff Courtesy of the artist.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

At the Frac \u00cele-de-France, a major exhibition celebrating the contemporary lower of the medieval<\/h2>\n\n\n\n

On March 22nd, yet another exhibition dedicated to medievalism opened: “Berserk & Pyrrhia. Contemporary Art and medieval art”, hosted at Plateau in Paris and Frac \u00cele-de-France<\/strong> reserves in Romainville, curated by C\u00e9line Poulin in collaboration with Cluny Museum-National Museum of the Middle Ages<\/strong>. But in the face of such enthusiasm, can medieval imagery endure beyond a passing trend? Artist Cathy de Monchaux<\/strong>, for one, has never stopped exploring enchanted forests and Gothic melodramas.<\/p>\n\n\n\n

As early as the 1980s, the British sculptor was crafting works of organic sensuality in which sex, danger, and death merged in small relic-like objects made from velvet, steel, ribbons, and bolts. Her later pieces took on a monumental scale and ornamental Gothic excess, culminating in her current series revolving around the unicorn. This fantastical motif expresses the subconscious of an era that, according to historian Jacques Le Goff in The Medieval Imagination <\/em>(Gallimard, 1985), more than any other, knew how to believe in hidden realities.<\/em> <\/p>\n\n\n\n

“Berserk & Pyrrhia. Contemporary and Medieval Art”, exhibition until July 19, 2025 at the Frac \u00cele-de-France<\/a><\/strong>, Le Plateau, Paris 19th, and Les R\u00e9serves, Romainville.<\/em><\/p>\n\n\n\n

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L\u00e9o Penven,
 Alice’s Book<\/em> (2024). \u00a9 L\u00e9o Penven. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n

Zuzanna Czebatul is represented by sans titre<\/strong> (Paris).
Laurent Grasso is represented by Perrotin<\/strong> (Paris, Hong Kong, London, Los Angeles, New York, Seoul, Shanghai, Tokyo) and Sean Kelly <\/strong>(New York, Los Angeles).
Theodora Allen is represented by Kasmin<\/strong> (New York).
Kasper Bosmans is represented by Mendes Wood DM<\/strong> (S\u00e3o Paulo, Brussels, New York, Paris).<\/p>\n\n\n\n

Ingrid Luquet-Gad is an art critic and PhD student based in Paris. She teaches philosophy of art at the University of Paris 1 Panth\u00e9on-Sorbonne. <\/p>\n","protected":false},"excerpt":{"rendered":"

In collaboration with Art Basel Paris. The Middle Ages: a true obsession in contemporary art […]<\/p>\n

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