Entrée to Black Paris Blog

Thursday, November 21st, 2024

Barbara Chase-Riboud at the Louvre

Cover image: Cleopatra's Bed in the Salle des Caryatides
© Entrée to Black Paris

After having seen Barbara Chase-Riboud's Intimate Folds exhibition at London's Serpentine Gallery in December 2022, I was looking forward to seeing as much as possible of her multi-venued Everytime a Knot Is Undone, a God Is Released exhibition in Paris.

The day after I viewed the two sculptures from Chase-Riboud's Zanzibar series that are on display at the Musée National de l'Histoire de l'Immigration and read the accompanying poem, I was thrilled to see the three works her curatorial team selected for display at the Louvre.

Entering the museum through the glass pyramid at the Cour Napoleon, I was immediately greeted by her Gold Column (1973).

Gold Column
1973 Polished bronze and silk cords
Photo © Entrée to Black Paris

Made from polished bronze and silk cords, it stands like a beacon beneath the glass of the grand pyramid.

Gold Column (detail)
1973, polished bronze and silk cords
Photo © Entrée to Black Paris

While there is information about the work affixed to the glass barriers in front of the sculpture, I was grateful to find much more when I descended the escalator and walked over to the huge pillar that sits in the middle of the grand reception area. There, I found three panels that present information about the exhibition, a brief biography about Chase-Riboud and information on the whereabouts of the works displayed, and her poem called "The Lamp at the End of the Louvre."

Exhibition information panel
© Entrée to Black Paris

Location of works in the Louvre
© Entrée to Black Paris

"The Lamp at the End of the Louvre"
Photo © Entrée to Black Paris

Replicas of the two information panels are displayed with each of the three works. Only the poem changes.

I carefully studied the panel about the location of Cleopatra's Bed and Cleopatra's Cape because both are in areas of the museum that I seldomly visit. I had an appointment scheduled for after my visit and knew that given the size of the museum, a wrong turn or two could end up making me late.

Once I was satisfied that I knew where to go, I set off, feeling confident that I would be able to find these two sculptures quickly and easily.

Not.

While the panel clearly indicates the numbers of the rooms where the works are on display, for the most part, the signage in the museum does not include individual room numbers. (At least I couldn't find them.)

I had to ask staff people where to go, and after walking for what seemed to be a long period of time, I had to ask other staff people if I were heading in the right direction.

Thankfully, everyone was helpful, and I did not get lost.

Chase-Riboud's Cleopatra's Bed is displayed in the Salle des Caryatides. The signage outside the room provides information about Greek Art but does not mention the room by name.

Entrance to the Salle des Caryatides
© Entrée to Black Paris

I wove my way through the crowd, hoping that I wouldn't miss the work because I could not get a full view of the room. When I reached the far end, I looked right and saw the sculpture displayed on a platform in front of a window.

Cleopatra's Bed viewed from the Old Centaur Being Teased by Eros
© Entrée to Black Paris

This space was relatively calm compared to the chaos that I navigated at the entrance to the room, where everyone wanted to snap photos of the caryatides.

Still, it took several minutes for visitors to clear away long enough for me to take photos.

Cleopatra's Bed
1997 Multicolored cast bronze plaques over
steel armature and silk mattress
Photo © Entrée to Black Paris

This piece has fascinated me ever since I saw it at the Institut Giacometti in October 2021.

During my Louvre visit, I was able to get quite close to it and marvel at its splendor.

Cleopatra's Bed (detail)
1997 Multicolored cast bronze plaques over
steel armature and silk mattress
Photo © Entrée to Black Paris

The information panels for Cleopatra's Bed flank the work, with the English version nearest the foot of the bed and the French version nearest the head. The accompanying poem is entitled "Portrait of a Nude Woman as Cleopatra ." Verses XV and XVI are displayed in the photo below, in English.

"Portrait of a Nude Woman as Cleopatra"
Photo © Entrée to Black Paris

I spent a little too much time here and realized that I'd need to pick up my pace if I were to be on time for my appointment.

So I set off again, hoping that Room 348 (Cleopatra's Bed) and Room 325 (Cleopatra's Cape) were not too far apart.

Again, because I am not accustomed to visiting this part of the museum, I'm sure that my perception of the distance between the two was exaggerated.

To get to Cleopatra's Cape, I needed to leave the Greek antiquities area and go to the Egyptian antiquities area.

Directions to Egyptian antiquities
© Entrée to Black Paris

I was surprised that I had to go up and down stairs to get there, even though it was on the same level as the Greek antiquities area.

I barely had time to snap a photo of the Great Sphinx of Tanis along the way.

When I finally arrived at the entrance to the Egyptian antiquities, I was relieved.

I immediately asked a staff person where I could find Cleopatra's Cape. The instructions were somewhat vague (go straight back and turn right), but I followed them to the best of my ability.

I turned right too soon and had to return to the main corridor before continuing past magnificent sculptures to get to my destination.

I finally reached a barrier that forced me to look right. I saw a sign high up on the wall that said "Sully 324" (the first and last room number I saw that day) and knew that I had almost arrived.

Standing in the passageway there, I saw it.

Verses VI and VII of the poem "Portrait of a Nude Woman as Cleopatra" were selected to accompany this work. I read them with interest, reflecting on the verses that were selected for display next to Cleopatra's Bed.

By this time, I needed to leave the museum to go to my appointment. But I couldn't resist taking a photo of people admiring this work and reading the poem before I left.

I retraced my steps through the Egyptian antiquities area and took what I hoped would be a shortcut through the Medieval Louvre section to get back to the main reception area.

There, I took one last look at Chase-Riboud's Gold Column before leaving the building.