Ne M'oublie Pas: A Powerful Exhibition on North African Migration to France

The "Ne M'oublie Pas" exhibition, curated by Jean-Marie Donat, offers a profound look into the lives of North African and West African migrants in France through a collection of photographs from Marseille's Studio Rex. This exhibition, which first garnered attention at Rencontres d'Arles, has now made its way to Paris, aiming to counteract the dehumanizing narratives often associated with migration. By presenting a mosaic of personal and administrative photographs, Donat highlights the individual stories, sacrifices, and hopes of those who journeyed across borders, emphasizing the human dimension of migration.

The exhibition's journey to Paris, specifically to the Barbès district, holds particular significance. Historically, this area has been a hub for immigrant families, making it a fitting location for a display that resonates deeply with the local community. The photographs, originally taken at Studio Rex in Marseille between the 1960s and 1990s, served as crucial documentation for migrants and also as cherished mementos for loved ones left in their home countries. Many of these migrants eventually settled in Paris, particularly in neighborhoods like Barbès, underscoring a powerful connection between the past and present.

Curator Jean-Marie Donat explains that his motivation extends beyond simply presenting historical archives. He seeks to reveal the hidden histories and personal experiences of individuals who have long been overlooked. The collection includes various forms of photographic evidence, from formal ID photos to more intimate studio portraits where individuals are seen with suitcases, often containing tender messages for family abroad. These images collectively paint a picture of resilience, the pain of separation, and the unwavering hope for a better future, shedding light on the often-permanent nature of their migration.

The curatorial approach in Paris is notable for its innovative design. The exhibition features delicate archival passport and ID images meticulously arranged in a mosaic on hot-pink walls, creating a vibrant mural of diverse identities. Another room captivates visitors with a stunning lightbox displaying blown-up, backlit black-and-white negatives. A compelling film merges these images, showing faces gradually transforming into one another, subtly illustrating how bureaucratic processes can generalize individual identities. However, the exhibition's strength lies in its ability to humanize these experiences, challenging the prevalent negative stereotypes and celebrating the richness of cultural movement.

Donat emphasizes that the exhibition is not merely about the history of Studio Rex but rather a narrative of immigration as told by the migrants themselves. He selected 16 portraits, primarily of men, to reflect the male-dominated migration patterns of the 1970s, making a deliberate statement about the demographic realities of that era. The strategic use of photographic paper boxes to frame some displays further links the artistic presentation to the practicalities of the photographic process at the time, grounding the exhibition in its historical context.

The overwhelming positive response from immigrant families in the neighborhood has been a testament to the exhibition's impact. Donat hopes that by showcasing these powerful visuals and the stories they represent, the audience will gain a deeper understanding and empathy for the migrant experience. Ultimately, "Ne M'oublie Pas" serves as a potent reminder of the humanity within every individual's journey, fostering a new perspective on migration and belonging.