Dennis Broe visits and reviews an art trail in Nantes, France.
In the elevated quartier of Chantenay, where access to the sea is protected by the watchful eye of Saint Anne, Mary's mother, a little further along the embankment a starry-eyed boy gazes at an intent sea captain with a sextant, who is himself contemplating the passage to the ocean and to wider adventures. These twin statuary gazes are those of the young Jules Verne contemplating his future most famous character Captain Nemo, who will roam the ocean in a submarine in 20,000 Leagues Under the Sea.
One hundred and fifty years after Verne's writings, which predicted the submarine, space voyage and what became deep sea drilling, this summer the city is again populated by "infernal machines" of all sizes and stripes, in a green line walk around 43 museums and installations, as the city continues to remake itself from industrial port to technological, architectural, and cultural centre. Sprawled on the grass next to the statue of the boyhood Verne were Africans, themselves emigrated to this former French capital of the infamous "Atlantic" slave route, only this time having undergone an opposite trip from Africa to France to make their fortune.
Nantes, the sixth largest city in France and center of Brittany, which in the Middle Ages resisted incorporation into France, is a port city near the mouth of the Loire River. It's a region famous for its castles, wine and biking routes following the meandering of the river across the region. It was a shipbuilding centre in the 19th century, at the high period of French industrialization. With that industry having closed its doors, the city has had to revitalize itself and integrate itself into a global technological economy. Nantes' future though, as the walk along the trail exemplifies, owes much to its visionary past. It is descended from Verne's sense of adventure and recounting of the thrill of inventors mastering the elements, which today is also questioned as former visionary contraptions now must be integrated into a depleted planet.
The contrast between technological prowess and more simplified natural structures is highlighted in Oscillation, where a seemingly shimmering all natural wood pathway calls attention to its difference from the iron and steel girders being raised across the street in a construction of Les Halles, a new mall on the model of the shopping village that replaced Paris' once lively food market. This installation is one of many on the island in the middle of the city, the Ile de Nantes, which also brings Verne-like animal-mechanical devices to life including a mastodon whose snout sprays passersby, and a giant spider, who seems to have materialized out of the backlot of the film version of The Wild Wild West.
They are part of the laboratory of designers Pierre Orefice and Francois Delaroziere termed "Les Machines De L'Ile." The island contains the Architectural School and boasts a series of entertaining exterior wonders including three-way table tennis in Ping Pong Park, a building with a hulking metal skin which whispers in what its creator, Rolf Julius, calls "an audible façade," and a sculpture composed of food packing crates which contained local produce called Splash protruding from the side of the Atlanbois building, which inside contains a replica of a forest where you can wander or sit.
On the mainland in traversing the city, the path begins with the "Lieu Unique" building in the spiraling shape of the LU brand of biscuit or cookies which was a part of the city's factory heritage but which has now been converted into an arts space this summer honoring Swiss artist H.R. Geiger, most famous for his creation of the monster in Ridley Scott's Alien and whose mixing of man, woman and machine suggests a latter day version of the ghostly apparitions of the Austrian Artist Alfred Kubin.
On the mainland near the Loire is Boris Chouvellon's half-eaten Ferris Wheel, stuck in plaster peopled by seafront plants titled The Missing Part (Le Part Manquante), an eerie, Coney Island-type reminder that oceans and beachfronts deteriorate. Farther along is the spookier Les Instruments, creepy mechanical animal dolls such at the mouse who giggles as behind him a paintball projectile sprays the wall in a homage to Jackson Pollock's drip dry technique, but also a frightening and chilly retort to the violence behind contemporary games that is the echo of the violence that circulates in society in general.
Two major cultural institutions are also a part of the trial. The Beaux Art, Musee D'Arts De Nantes, has reopened this summer after six years with a new design by the London team of Stanton Williams, award-winners for their compact execution of the Sainsbury Laboratory at Cambridge. Their Beaux Art design has delightfully opened up the interior display of the museum's over 900 objects by segmenting the building into a "cube," the main area for modern art, a "chapel" for temporary exhibitions, and the rectangular "palais" for the museum's historical collection ranging from the 13th to the 19th centuries and including two Bruegel landscape miniatures and a stunning Rembrandt portrait of a grizzled and lined old man. Meanwhile the opera house, Theatre Graslin, thrown open to the public in its offseason and which next season boasts nine productions, inside flies the black Anarchist flag which mechanically sways above the orchestra seats in Nicholas Darrot's BLKNTRNTL where the back and forth wavering duplicates and adds an element of worker participation to the conductor's commanding of the orchestra in this memory of the city's worker activist past.
The Jules Verne museum itself is a tender and more old-style look at the Nantes native and prolific author's creations whose 65 novels, not to mention plays and poems, many of which have become films, besides 20,000 Leagues include Journey to the Centre of the Earth, Around the World in 80 Days and the novel which became Swiss Family Robinson. Verne's novels also dealt with topical issues. His 1878 boy's adventure Dick Sand: A Captain at Fifteen, about a whaling boat which must be navigated by an apprentice, is also a late highlighting of the persistence of the slave trade which as the book would have it was still going on in 1876. This is the year the action takes place, in a book that is a softening and popularizing of Melville's innocence at sea in Billy Budd, and the cruelties of the slave trade in his Benito Cereno.
Part of Nantes wealth was accumulated in the Atlantic slave trade, of which Verne was well aware, as the city was said to have launched over 27,000 ships and transported over 550,000 Africans from the slave fort in West Africa to the New World French colonies of Haiti, Gradaloupe and Martinique. From which they returned loaded with sugar cane and cacao, harvested by these same slaves. Below the rampart on which stands the Verne museum is the city's "Memorial of the Abolition of Slavery" where above ground visitors walk on the names of slave ships, a walk of shame and reversal of the Cannes and Hollywood celebrity walks.
Below is a tracing of the years each country abolished slavery which in France began under the Revolution but was returned under Napoleon, not to be "finally" abolished until 1848 - and even then the decree granted the slave transporters an additional two years to implement it. The monument, which does not take up the question of Reparations for the part played by the slave trade in the fashioning of this exquisite city, nevertheless completes the art trail with a stark integration of the means employed to create the cultural capital necessary to produce a modern city and to burnish its historical legacy.
This last leg of the journey deepens the art trail experience in a way that makes for a more complex understanding of the nature of the global as not just material and aesthetic abundance and free circulation but as uneven abundance and circulation, founded on and still partially concealing exploitation. Something Jules Verne understood in his time as the global era dawned with the institution of the Atlantic Slave Trade.