Fréger
NANTES—The Château des Ducs de Bretagne will be
riding the South American contemporary art wave
with a show of the work of photographer Charles
Fréger, who captures the world of the masquerades
of the descendants of African slaves, who celebrate
the memory of their lost cultures. Cimarron: Charles
Fréger, on view through April 14, 2019, is an ode to
multiculturalism, in which indigenous and colonial infl
uences combine and play off one another, creating a
new and unique situation.
The Marie Séraphique
BOGOTA—Nantes to Africa to Santo Domingo to
Nantes—such was the sadly famous and infernal
itinerary of the Marie-Séraphique, the French slave
40
ABOVE: Cargo chart of the
Marie-Séraphique, 1769.
Collection of the Musée d’Histoire de
Nantes.
Photo © Museo del Oro – Bogotà.
ship that set sail from its country’s shores at the end
of the eighteenth century. Thanks to the fact that the
colonials of the period kept exacting records, the story
can be accurately reconstructed and told today. A
bordo de un navío esclavista, La Marie-Séraphique
(Aboard a Slave Ship: the Marie-Séraphique) was developed
by the Musée d’Histoire de Nantes – Château
des Ducs de Bretagne and will be presented through
April 7, 2019, at the Museo del Oro de Bogotá. It traces
the painful history that caused the displacement
of over thirteen million men, women, and children to
the Caribbean coasts and, signifi cantly, to Colombia,
where the city of Cartagena became the largest port
for this human traffi cking. The Colombian museum relates
this history to its own, as it focuses on the deeds
of the Spanish colonists and the ravages they caused
in the search for Indian gold.
MUSEUM NEWS
ABOVE: Tiznao, Santo
Domingo, République
dominicaine, by Charles
Fréger.
Château des Ducs de Bretagne.
Photo © Charles Fréger.
RIGHT: Diablico sucios, La
villa de los Santos, Panama,
by Charles Fréger.
Château des Ducs de Bretagne.
Photo © Charles Fréger.