Shuck One Celebrates Black History at Pompidou

A splash of vibrant street art has landed at Paris’s famed Pompidou Center. French artist Shuck One is behind a bold new exhibit honoring Black figures who shaped modern France. Hailing from Guadeloupe this graffiti master weaves a tale of resilience and influence through murals and collages. The show dubbed Paris Noir opens next month spotlighting overlooked voices from the 1950s to 2000. It’s a loud call to remember and a fresh take on history that’s got the art world talking.

Shuck One isn’t your typical gallery name. Born in the Caribbean he cut his teeth in the 1980s Paris street scene. Back then graffiti was raw and rebellious. He soaked up the Négritude movement’s fight against racism and colonial scars. Now he’s one of five artists tapped to bring a modern lens to this show. His work mixes torn photos with bold strokes. It’s messy and real pulling from archives to spotlight pioneers like activist Andrée Blouin and poet Aimé Césaire who stirred France’s soul decades ago.

The Pompidou isn’t just any museum. It’s a global titan of modern art. This exhibit spans 150 Black artists from Africa to the Americas. Many have never shown here before. Shuck One’s murals anchor a story of migration and defiance. He told reporters he wants to pass down their legacy. Think of it as a bridge from past struggles to today’s activism. The timing fits too. Paris Noir is among the last big shows before a five-year renovation shutters the place. That adds extra weight to this moment.

Walk into Shuck One’s prep space and you’d see chaos with purpose. Assistants pin up faded snapshots while he rips and paints over them. His mural for Paris Noir isn’t static. It’s a living tribute blending Guadeloupe’s rhythm with France’s urban pulse. He’s spotlighting folks like Césaire who pushed for Black identity in a whitewashed world. The art screams pride but also nudges viewers to ask why these names faded. It’s a question France still wrestles with as its diversity grows.

This isn’t just pretty walls. Shuck One calls himself an activist first artist second. Growing up in Guadeloupe he saw colonial echoes firsthand. Moving to Paris he found a city grappling with its past. His work here digs into that tension. It’s not subtle either. Expect loud colors and jagged edges that hit you like a protest chant. The exhibit runs March 19 to June 30 giving Parisians plenty of time to soak it in. For many it’s a chance to see their own history reflected not buried.

Critics are already buzzing. Some say Shuck One’s rough style fits the Pompidou’s edgy vibe perfectly. Others wonder if it’s too raw for a museum crowd. Either way it’s shaking up a space known for Picasso and Warhol. The show’s scale is huge too. With 150 artists it’s a deep dive into Black creativity across borders. Shuck One’s piece ties it together grounding the abstract in real lives. He’s not here to decorate. He’s here to provoke and honor a community long sidelined.

Beyond the art there’s a bigger fight. France has lagged on reckoning with its Black history. Schools barely touch it. Public statues still glorify colonial days. Paris Noir could nudge that needle. Shuck One’s not alone in this push. Activists see his work as fuel for broader change. Families from the banlieues might find a mirror here one that says their roots matter. It’s not just about the past. It’s about who gets to claim France’s future too.

By summer the Pompidou will close for years. That makes Paris Noir a last hurrah with bite. Shuck One’s exhibit might linger in minds longer than most. It’s loud personal and unapologetic. He’s not asking for permission to tell this story. He’s demanding space for it. As France navigates its identity this art insists Black voices aren’t footnotes. They’re the pulse of a nation still learning to listen. For Shuck One it’s personal. For Paris it’s a wake-up call.