Abstract

May 10, 2007, the city of Bagneux inaugurates a sculpture commemorating the abolition of slavery and the fights for human emancipation. Sculpted by the artist Nicolas Alquin, this tripartite monument, celebrates Solitude, legendary figure of the resistance in Guadeloupe. If the municipality hesitates on the place which should host the sculpture, it finally chooses to erect it close to the Pierre Plate neighborhood. The location is strategic for the town hall, which wants to thwart socio-political and multi-ethnic tensions between Black, Arab and Jewish communities. It is indeed this low-cost housing complex which made the front page of the national and international news in 2006. One remembers the “gang des barbares” who kidnapped and tortured Ilan Halimi, a twenty-three year old Jew. This antisemitic hate crime shocked French society who pressed for political mobilization. With this monument and this location, I argue that a despecification effect occurs. Through borrowed memories and prosthetic associations, the memory of Ilan joins that of Solitude, both united and defined as laïc martyrs. Renewed, the sculpture became, by transgression of the temporal equilibrium, a substitute medium for different contemporary ethnic communities who are also victims of violence.

摘要

2007 年 5 月 10 日，巴纽市为纪念废除奴隶制和人类解放斗争的雕塑揭幕。这座三方纪念碑由艺术家尼古拉斯·阿尔金 (Nicolas Alquin) 雕刻而成，旨在纪念瓜德罗普岛抵抗运动的传奇人物孤独 (Solitude)。如果市政府对放置雕塑的地点犹豫不决，最终会选择将其竖立在皮埃尔普拉特社区附近。该地点对于市政厅来说具有战略意义，市政厅希望阻止黑人、阿拉伯和犹太社区之间的社会政治和多民族紧张局势。2006 年，正是这个廉价住宅区登上了国内和国际新闻的头版。人们还记得绑架并折磨 23 岁犹太人伊兰·哈利米 (Ilan Halimi) 的“野蛮帮”。这一反犹太仇恨犯罪震惊了法国社会，迫切要求政治动员。有了这座纪念碑和这个位置，我认为出现去规格化效应。通过借来的记忆和假肢联想，对伊兰的记忆与对孤独的记忆结合在一起，两者结合在一起并被定义为世俗殉道者。经过更新后，这座雕塑打破了时间平衡，成为了同时也是暴力受害者的不同当代种族社区的替代媒介。