{"id":16169,"date":"2026-10-10T08:31:22","date_gmt":"2026-10-10T08:31:22","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/10\/10\/remember-me-review-narrow-view-of-two-photographic-centuries-is-like-a-history-of-food-in-three-ham-sarnies-culture-the-guardian\/"},"modified":"2026-10-10T08:31:22","modified_gmt":"2026-10-10T08:31:22","slug":"remember-me-review-narrow-view-of-two-photographic-centuries-is-like-a-history-of-food-in-three-ham-sarnies-culture-the-guardian","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/10\/10\/remember-me-review-narrow-view-of-two-photographic-centuries-is-like-a-history-of-food-in-three-ham-sarnies-culture-the-guardian\/","title":{"rendered":"Remember Me review \u2013 narrow view of two photographic centuries is like a history of food in three ham sarnies Culture | The Guardian"},"content":{"rendered":"<p><strong>Bourse de Commerce, Paris<\/strong><br \/>There are 700 works from Fran\u00e7ois Pinault\u2019s collection on display \u2013 more than half of them by Irving Penn \u2013 but it\u2019s a blinkered selection and annoyingly didactic<\/p>\n<p>\u2018Beware \u2026 of assuming the sterile attitude of the spectator, for life is not a spectacle\u201d scream the words of Aim\u00e9 C\u00e9saire \u2013 writ large and bold by Barbara Kruger, in a giant installation, The History of Tears, that fills Bourse de Commerce\u2019s spectacular Rotunda. Kruger\u2019s angry, menacing, viscerally charged work \u2013 words as images, and large-scale video clips of people seething with self-hate \u2013 is a thrilling setup for Remember Me, an exhibition that promises a take on 200 years of photography through 700 works by more than 70 artists drawn from the collection of the French billionaire Fran\u00e7ois Pinault. That excitement quickly dissipates as the exhibition moves on.<\/p>\n<p>This is the biggest photography show ever held at the Bourse de Commerce. Remember Me has two main problems: first, it tries to say too much with too few artists. For a start, nearly 450 of the 700 or so works are by Irving Penn. It leans heavily on classical, conventional approaches, styles and familiar names, and that creates a very obvious skew in the perception of what photography is, does, and how it is presented.<\/p>\n<p> <a href=\"https:\/\/www.theguardian.com\/artanddesign\/2026\/oct\/10\/remember-me-review-photography-bourse-de-commerce-paris\">Continue reading&#8230;<\/a>\u00a0<\/p>\n<p><a href=\"https:\/\/www.theguardian.com\/artanddesign\/2026\/oct\/10\/remember-me-review-photography-bourse-de-commerce-paris\" target=\"_blank\" class=\"feedzy-rss-link-icon\">Read More<\/a><img decoding=\"async\" src=\"https:\/\/i.guim.co.uk\/img\/media\/10892025354397df029c11fe79da2824a1645516\/0_642_5806_4641\/master\/5806.jpg?width=140&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=b911ba28bf3feb7701f29dbb5a81cd8c\" title=\"Remember Me review \u2013 narrow view of two photographic centuries is like a history of food in three ham sarnies\" \/><\/p>","protected":false},"excerpt":{"rendered":"<p>Bourse de Commerce, ParisThere are 700 works from Fran\u00e7ois Pinault\u2019s collection on display \u2013 more than half of them by Irving Penn \u2013 but it\u2019s a blinkered selection and annoyingly didactic \u2018Beware \u2026 of assuming the sterile attitude of the spectator, for life is not a spectacle\u201d scream the words of Aim\u00e9 C\u00e9saire \u2013 writ&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":16170,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-16169","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Remember Me review \u2013 narrow view of two photographic centuries is like a history of food in three ham sarnies Culture | The Guardian - 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