June 13, 2021

the freedom of the creator and the fact that talent has no gender ”

Lhe joy of cinemas or theaters to find the public hides an unprecedented phenomenon: an undeniable feminization of culture. The movement will be decisive, if it is confirmed, as the sector gives the image of being at the forefront of society while it is rather the red lantern. Parity is less present there than in politics or private companies, that is to say.

At the time when Emmanuel Macron has just appointed a woman at the head of the Louvre, Laurence des Cars – a first for the former Palais des Rois – several exhibitions in Paris have titles of a new climate. At the Center Pompidou, “They make abstraction” will be followed in 2022 by the American artist Alice Neel. At the Luxembourg Museum, “Female painters 1780-1830. Birth of a fight ”. At the Palais Galliera, stylist Coco Chanel. At the Palais de Tokyo, 43-year-old German artist Anne Imhof (“Still lifes”). At the National Library of France, Françoise Pétrovitch. At the Museum of Modern Art in Paris, photographer Sarah Moon and women artists from Africa. At Christie’s, on June 16, the “Women in Art” auction. At the Institute of the Arab World, the divas of Cairo and elsewhere, from Oum Kalthoum to Dalida – an exhibition on a vanished cultural pan-Arabism, which tells of the enormous regression of women’s freedom in the Arab-Muslim world.

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This group fire is of course part of a movement that has spread throughout society since the Weinstein affair and the #metoo movement. That it occurs in museums and art is no accident. This sector has been the best student of parity for years. Where, and this is related, there are the most women in power (41% at the head of museums and more than 50% of exhibition curators). Where watch sites are talked about, such as Aware, aiming to “Placing women back in the history of art”. About fifteen museums are finally in the process of establishing a diagnosis of the place of women in their collections and exhibitions.

Gaping fracture

The impetus comes from ministry of culture from Aurélie Filippetti in 2012 to Roselyne Bachelot today – five women out of six ministers in ten years. The latter, in just one year, has appointed 30 women and 23 men to positions, which is a small revolution. The trend wins the whole industry. From September, the Toulon Opera Orchestra will be conducted by Polish conductor Marzena Diakun. The one in Tours will be invited from 2022 by Venezuelan chef Glass Marcano. Delphine Ernotte, president of France Télévisions, wants the share of female directors to drop from 11% currently to 30%.

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