The French artist Raphaël Barontini’s anticipated exhibition “Somewhere in the Night, the People Dance” (February 21–May 11) at the Palais de Tokyo unfolds as a vibrant, theatrical exploration of history, identity, and the legacies of colonialism. Rather than a conventional historical retrospective, the artist presents a poetic and dramaturgical vision inspired by Haiti’s revolutionary past, weaving together elements of fiction, performance, and material experimentation, all curated by Daria de Beauvais. Through large-scale textile works, embroidery, and mixed-media compositions, Barontini constructs an immersive realm that challenges conventional modes of representation and reclaims overlooked narratives.
At the heart of this exhibition is the reimagining of the Kingdom of Haiti—particularly the reign of King Henri Christophe. Christophe, a former slave who became a general in the Haitian Revolution and later declared himself king, embarked on an ambitious project of architectural and cultural sovereignty. His palace, the Palais de Sans-Souci, serves as both a historical reference and a symbolic framework for Barontini’s artistic inquiry. Within this imagined kingdom, Barontini crafts a series of monumental textile pieces that oscillate between historical documentation and speculative storytelling, questioning the very nature of how history is constructed and remembered.
Reinterpreting History Through a Painterly Lens
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Barontini’s approach to painting defies classical traditions, embracing a hybrid form that integrates digital printing, screen printing, collage, and embroidery. His collaboration with the prestigious AMAL workshop—renowned for its work with haute couture houses such as Alexander McQueen, Saint Laurent, and Dior—demonstrates his commitment to craftsmanship and material innovation. This fusion of textile-based techniques with painterly concerns allows him to produce works that exist in multiple realms: as paintings, as sculptures, and as objects capable of activation in public spaces or performance contexts.
In his Palais de Tokyo exhibition, Barontini constructs a space that feels both intimate and grandiose, evoking the domestic interiors of Christophe’s imagined palace while simultaneously referencing broader historical and diasporic themes. His large-scale textile compositions, imbued with layered imagery, vibrant colors, and intricate embroidery, act as living archives—fragmented yet dynamic reflections of colonial resistance, Black identity, and cross-cultural exchanges. By incorporating figures and symbols from the Haitian Revolution alongside contemporary influences, Barontini bridges the past and present, crafting a visual language that is as political as it is poetic.
Theatricality and the Politics of Representation
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Barontini’s artistic practice extends beyond static imagery; his work embraces a performative dimension that invites activation and engagement. His concept of “pictorial but also activatable” pieces underscores his desire to break down the boundaries between painting, installation, and live art. This is evident in his ongoing series of performances, including the Panthéon, as well as his participation in the Nouveau Printemps de Toulouse, curated this year by Clément Postec and Kiddy Smile.
For Barontini, history is not a fixed entity but a malleable, living force. His exhibition at the Palais de Tokyo resists the traditional museum model of passive spectatorship, instead encouraging visitors to step into a theatrical, immersive world where historical figures and contemporary struggles collide. By reinterpreting the past through a lens of fiction and adventure, he not only honors the legacies of those who fought for freedom but also prompts viewers to reconsider the narratives that shape our collective memory.
As he continues to push the boundaries of his practice—with future projects spanning international institutions and collaborations—Barontini remains committed to a vision that is both deeply personal and politically resonant. His work at the Palais de Tokyo is not just an exhibition; it is an experience, an invocation, and an act of resistance against historical erasure. Through his unique blend of painting, textile, and performance, Raphael Barontini reclaims the stage of history, offering us a kingdom where art, memory, and rebellion converge.
Ahead of a special performance on April 12, Barontini shared with Whitewall why history continues to inform his practice and his idea of the contemporary world.
Inside “Somewhere in the Night, the People Dance”
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
WHITEWALL: Your exhibition at the Palais de Tokyo is highly anticipated. Can you tell us about the central theme of this new exhibition?
RAPHAËL BARONTINI: The exhibition is centered on Haiti, and it unfolds like a play. One of the key figures in this story is a character who represents an entire kingdom. A significant part of his narrative involves architectural projects, such as the construction of the Palais de Sanssouci, which takes its name from the original European palace. This exhibition is not a historical work but a fictional one—an adventure infused with history. It’s not a tribute to a particular artist but rather to individuals and themes that have intrigued me. My intention is to create a dramatic and immersive experience.
WW: The title, “Somewhere in the Night, the People Dance,” evokes the joy that the power of the collective can bring in every culture. Can you elaborate a bit more on this idea, and share your thoughts on the power of the collective experience? How do you hope the visitors engage in this way?
RB: I always paid attention to popular traditions who have a manifestation in the public space whether artistic, sacred or political. The practices of collective rituals, their physical and visual forms nourish my work. This can be in a register of visual opulence as during carnival or religious processions or simply more frontal formal textile manifestations, notably during political parades. In my textile and performative work, I convoke all these forms and I mix it with the media of painting. I think I’m trying to portray a certain idea of the collective, what connects us, through art forms, history, memory, but also the strength of being together, of making society.
“I’m trying to portray a certain idea of the collective,”
Raphaël Barontini
Art as a Collective Experience
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
WW: Your work often transcends the traditional gallery space. How do you hope visitors will engage with this exhibition?
RB: My goal is to create works that are not only pictorial but also activatable. These pieces can be displayed in a museum, a gallery, or even a public space as part of a performance. This is something I’ve been developing further, particularly in relation to my performance at the Panthéon in Paris and my participation in the Nouveau Printemps de Toulouse, curated by Clément Postec and Kiddy Smile.
WW: An important element is your combination of collage, patchwork, digital printing, and screen printing on a large scale, which pushes the boundaries of what painting can be today. Why does reimagining and reframing what a painting is or can be today of importance to you and your practice?
RB: I try to bring vital energy into my pictorial work. I see the medium of painting as a real space of invitation to the imagination, where the spectator can convoke his own references. The collage aesthetic with which I work my pieces is very open and allows me great freedom of narration and combination. Formally, the use of textiles, age-old forms—like banners, flags, and very identifiable period costumes—allows me to renew what we expect from a painting.
My last developments, where the costumes I create become performative pieces with dancers or musicians participate to this creative matrix. My bi-dimensional portraits are now incarnated by humans and I love this new idea.
“I try to bring vital energy into my pictorial work,”
Raphaël Barontini
Collaborating with Haute Couture Houses
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
WW: Can you share some of the techniques you’ve employed in this exhibition?
RB: A major aspect of this exhibition is my collaboration with AMAL, a workshop known for its expertise in embroidery. They work with luxury fashion houses like Schiaparelli, Alexander McQueen, and Dior, particularly in haute couture. Most of the pieces in this exhibition feature intricate embroidery. I’ve worked with them almost daily, exchanging ideas and refining details via WhatsApp.
Another important element is the combination of collage, patchwork, digital printing, and screen printing on a large scale. My work exists at the intersection of painting and textile arts, with a strong focus on materiality. It’s about pushing the boundaries of what painting can be today.
WW: Your work has always focused on history—the representation of it, the reimagination of it. When did your fascination with history begin? How did you know this subject, and key figures throughout time, was something you wanted to explore?
RB: I think that history allows us to better approach our contemporary environment, and that is why I have always been interested in it. History is a very tangible way of understanding the world and has a strong connection to art history. A little bit as an archeologist, I like to dig in its visual manifestations and incorporate them in my practice. I have been interested in Caribbean history since I was a child. When I visited my family in Guadeloupe, I wondered about the history of these territories far from France and why they belonged to this country. On the island, I could find traces of colonial and slave history everywhere—in the landscapes, in the architecture, in the culture. One of my biggest questions was the lack of visual representation of the abolitionist figures who fought against slavery. As a portraitist, this is now one of my artistic goals. To imagine the faces of these key historical figures.
One of my biggest questions was the lack of visual representation of the abolitionist figures who fought against slavery.
—Raphaël Barontini
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
Raphaël Barontini, “Somewhere in the Night, the People Dance,” Palais de Tokyo, photo by Nika Gunchak.
WW: On April 12, you’ll present a new performance, Bal Pays. What can we expect?
RB: Bal Pays is a poetic journey between past, present, and future. This performance is a tribute to the creolized dance traditions practiced in the Antilles but also to its origins. Conceived in dialogue with the exhibition, it situates dance as one of the fields of resilience and creation during and after the period of slavery. Composed in three parts, bringing together a traditional association of Guadeloupean quadrille with contemporary dancers and musicians, the idea is to create an opera tribute to these traditional practices while making them dialogue with other dance and staging practices. In this romanticized night ball, like a moment of collective expression, we will question the history of the Caribbean at the crossroads of European or African cultures, musical and dance practices. At night, a place of reinvention and all creative possibilities, this reconfigured quadrille round opens to the public for its grand finale.
WW: What else are you working on?
RB: Currently, I’m completing a large textile piece to be presented in Toulouse at the Nouveau Printemps. The studio has been fully dedicated to this show at the Palais de Tokyo the past year, I am focusing on group shows in Europe and the US. It is very important to be in conversation with artists and curators. And with Mariane ibrahim, we are planning two simultaneous solo shows in Paris and Mexico City, which I am very excited about. Expect new narratives!
