Salon de Mai: When Art Meets Memory and the Politics of the Present

Art & Culture

Par Nandini Bhautoo  

Salon de Mai opened at the Mahatma Gandhi Institute (MGI) last Friday, curiously defying its own name. Although traditionally associated with the month of May, the exhibition is now held in July, apparently to avoid clashing with examinations and marking at the MGI, a higher education institution deeply engaged in tertiary-level assessment. The change in timing may appear incidental, yet it reflects the evolution of the Salon itself. More than a calendar event, Salon de Mai has become an institution in its own right — a landmark annual rendez-vous where established and emerging artists gather under one roof at the School of Fine Arts.

This year’s edition is imbued with a strong sense of remembrance. Visitors are greeted by a striking, larger-than-life portrait of the late Moorthy Nagalingum, made as a collage small tableaux by current students. The installation is a fitting tribute to the man widely regarded as the founding spirit of the School of Fine Arts. Moorthy Nagalingum devoted decades to building the institution and mentoring generations of young artists, and his presence continues to permeate its walls long after his passing.

As always, Salon de Mai brings together an eclectic mix of artists, each instantly recognisable through a distinctive visual language. Mala Chummun Ramyead presents Shraddhanjali, an installation inviting visitors to share their memories of Moorthy Nagalingum, transforming remembrance into a collective artistic act. Nalini Treebohun continues her subtle explorations of texture, colour and light with her painting entitled ‘Where have all the flowers gone?’, while Neermala Luckeenarain ‘Precious Memories’ extends her experiments with printmaking on mixed media to construct a meditation on memory and art.

Among the most imposing works is Krishna Luchoomun’s monumental installation, positioned near the entrance. Composed of slender branches and strips of bark stretching towards the ceiling, the work is described as an exploration of the many forms of loss experienced in modern society. Yet artistic meaning often exceeds the artist’s own explanation. Beyond its intended political symbolism, the installation also evokes the airy freedom of Mauritius’ coastal filao forests, illustrating how art continually generates interpretations beyond those envisaged by its creator.

Another work that immediately commands attention is Nooreen Lallmamode’s sculpture inspired by an oversized supermarket receipt bearing the now familiar phrase “Sab Monte Hogalba”. Anyone who has followed Mauritian public debate over recent months will immediately recognise the topical reference. Positioned somewhere between political commentary and satire, the work succeeds not only because of its message but because of its ingenuity: transforming one of the most mundane artefacts of everyday consumer life into an object of aesthetic contemplation.

Indeed, the growing convergence between art and political engagement is one of the defining characteristics of this year’s Salon. Increasingly, artists appear less interested in producing works that are merely beautiful than in prompting reflection on the social, environmental and political tensions that shape contemporary existence. The purely aesthetic has not disappeared, but it now frequently coexists with an ethics of engagement. In this spirit, Sultana Haukim’s sculpture interpellates with its assembly of recycled plastic bottles, which speaks directly to our ecological consciousness, demonstrating how discarded materials can be transformed into compelling artistic statements.

Beyond the individual works, Salon de Mai also celebrates continuity. It must be deeply rewarding for lecturers at the School of Fine Arts to see former students return each year, no longer as apprentices but as accomplished professionals exhibiting alongside their teachers. Few disciplines within the humanities make professional growth so immediately visible. Every canvas, sculpture and installation bears witness not only to individual creativity but also to years of guidance, experimentation and artistic maturation.

More than an exhibition, Salon de Mai has become a living chronicle of Mauritian contemporary art. It honours memory while embracing innovation, celebrates individual expression while reflecting collective concerns, and reminds us that art remains one of the most eloquent ways through which a society narrates itself.

Mauritius Times ePaper Friday 31 July 2026