The Musée Bonnat-Helleu, often referred to as the "Little Louvre," has embarked on a new chapter after an extensive renovation and the appointment of a visionary director. Its recent exhibition, "Mythologies: To Tell the Story of the World," not only showcases a diverse collection spanning millennia and continents but also serves as a poignant statement in the ongoing debate about the purpose and direction of cultural institutions. This bold curatorial strategy, which emphasizes shared human narratives over traditional academic divisions, unfolds against a backdrop of increasing political influence and ideological shifts impacting museums across Western societies.
Bayonne Museum Redefines Exhibition Standards Amidst Shifting Cultural Tides
In the picturesque Basque Country of France, the esteemed Musée Bonnat-Helleu, home to an impressive collection of approximately 7,000 artifacts from antiquity to the early 20th century, has been revitalized. After a comprehensive 14-year renovation that notably expanded its exhibition capacity, the museum triumphantly reopened its doors in the autumn of last year. A mere ten months prior to this grand unveiling, a fresh leadership perspective was introduced with the appointment of Barthélemy Etchegoyen Glama, a dynamic 33-year-old native of the region, to direct the institution's future trajectory. His leadership signals a new era for the museum, steering it towards innovative engagement with its rich artistic heritage.
Last month, the museum marked another significant milestone by launching its inaugural temporary exhibition since its rebirth: "Mythologies: To Tell the Story of the World." This captivating showcase, which draws rare artifacts from the Louvre, a key partner, and the Quai Branly museum in Paris, is slated to run until November 9th. Etchegoyen Glama articulates the exhibition's core philosophy as "a declaration for the museum we aspire to be." The selection of mythology as its central theme underscores its broad appeal and relevance, connecting deeply with both local audiences and international visitors, irrespective of their art historical background. This thematic choice facilitates a journey through time and geography, allowing attendees to observe the remarkable convergence of mythical narratives across diverse global societies. The exhibition masterfully interweaves ancient and contemporary artifacts, celebrated masterpieces with lesser-known works, and contributions from regional designers and folk artists. This rich tapestry vividly illustrates the universal "recurring themes and figures that speak to our shared humanity," as described by the director.
Among the exhibition's highlights is a lamina, a captivating mask blending goose and woman, deeply rooted in Basque tradition, crafted by the contemporary Owantshoozi studio designers, greeting visitors at the entrance. Directly opposite, a renowned bust of Homer, generously loaned by the Louvre, establishes a dialogue between local heritage and classical antiquity. Further within, Raphael's iconic Renaissance masterpiece, Saint George and the Dragon (1503–05), is thoughtfully positioned beside Syrian icon paintings depicting the same subject by Ne’meh al’Musawwir from 1666. Nearby, another mythical being captures attention: a "man-bear" figure known as the "Hartza," reimagined in 2025 by Thomas Loyatho, traditionally utilized in local carnivals to symbolize the advent of spring. This curated juxtaposition challenges visitors to look beyond conventional classifications, revealing an intricate web of interconnected narratives that have persisted across disparate cultures and epochs.
The curatorial approach of blending diverse historical and geographical artworks to challenge conventional artistic origins and foster expansive narratives has become increasingly prevalent in the contemporary art world. Nevertheless, Etchegoyen Glama notes a rising tide of conservative resistance against these inclusive and decolonial exhibition strategies across Western nations. This pushback echoes broader societal shifts, including critiques of attempts to raise social and political questions through art. While the director refrained from citing specific criticisms directed at his institution, the phenomenon is globally exemplified by the previous U.S. administration's criticisms of institutions like the Smithsonian, which it accused of promoting "a divisive, race-centered ideology." Similar, though less overt, trends have been observed simmering across Europe, with Italy's right-wing government, for instance, actively reconfiguring cultural institutions. Another notable incident involved the controversial cancellation of a major exhibition on French Caribbean artists at the Centre Pompidou-Metz, attributed by the museum to financial constraints and curatorial disagreements, though subsequently salvaged by Harvard University's Alain Locke Gallery.
French museum experts, who chose to remain anonymous due to fears of professional repercussions, have highlighted a recent leadership transition at the Louvre as another instance of this trend. Laurence des Cars, the former president known for her emphasis on "promoting social issues through art," resigned in February following a significant jewel theft. Her successor, Christophe Leribault, is perceived by critics as a more conventional choice, likely to shift the Louvre's focus away from contemporary art towards a more traditional French and Western-centric vision, a plan Leribault confirmed in a statement to Le Monde. The Musée Bonnat-Helleu's "Mythologies" exhibition, despite its critical acclaim, diverges from classical art historical preservation, centering instead on public engagement. Etchegoyen Glama, who previously advised des Cars, champions this approach, asserting that it represents "a vision of the museum that is worth fighting for, because here, the public is at the center." He perceives a growing divergence within the museum sector, mirroring broader societal divisions in Western societies, reflecting a "form of reaction that is visible in all Western societies, in the US as well as in France."
Approximately a decade ago, French institutions were more receptive to new ideas regarding the museum's role and social responsibilities, embracing a vision of museums as inclusive forums beyond mere preservation. While some continue to uphold this progressive outlook, there's a visible shift towards more traditional practices, indicating a "form of regression," as articulated by art historian Anne Lafont. She notes that while the inclusion of women artists continues, questions surrounding colonialism, imperialism, and racial history in art remain contentious. Lafont referenced French President Emmanuel Macron's 2017 speech advocating for the return of African heritage and the 2019 "Modèle Noir" exhibition at the Musée d’Orsay, which bravely explored issues of French imperialism and slavery. Despite such groundbreaking efforts, Lafont expresses concern that the window for open dialogue on these sensitive topics may be closing. Against this backdrop, the International Council of Museums (ICOM) updated its code of ethics this June to emphasize museums' role in fostering social justice and open dialogue, a move that the French art press largely criticized for its perceived politicization of museums.
Conversely, Anne Dressen, a curator at the Musée d’Art Moderne de Paris, observes institutions striving for innovative practices, reevaluating terminologies to engage broader audiences and improve transparency, particularly concerning artwork provenance. Despite these advancements, a 2024 report by the Network of European Museum Organizations (NEMO) highlights growing political influence over European museums' budgets, leading to self-censorship as right-leaning politicians gain power.
The Musée Bonnat-Helleu's permanent collection mirrors the "Mythologies" exhibition's curatorial ethos, utilizing broad themes to connect diverse national art traditions. Etchegoyen Glama intends this approach to appeal to a more inclusive public, one less accustomed to traditional museum settings. The "Gallery of the Bodies," which introduces the permanent collection, features artistic depictions of the human form across various eras and cultures, from ancient Egypt to 19th-century France, including works by the museum's patron, Léon Bonnat. Structured around themes like "The Moving Body" and "The Ideal Body," this arrangement offers varied perspectives over time. Etchegoyen Glama emphasizes that such an organization reveals art history as a continuous dialogue across time and space, allowing visitors to engage with the collection and art history primarily through their emotions and perceptions.
The Evolving Role of Museums in a Polarized World
The narratives emerging from the Musée Bonnat-Helleu and other cultural institutions signal a critical juncture for the museum world. This period demands a reevaluation of how art is presented, interpreted, and accessed by the public. The tension between preserving academic rigor and embracing social inclusivity, especially in the face of political pressures, underscores the complex challenges facing museum leaders today. The struggle to maintain autonomy and uphold a commitment to diverse narratives, while navigating financial constraints and ideological backlashes, is a testament to the resilience and adaptability required within the cultural sector. Ultimately, the future of museums may hinge on their ability to act as dynamic forums that not only educate but also provoke thought, foster empathy, and reflect the multifaceted human experience in an increasingly polarized global landscape.