{"id":19136,"date":"2026-09-07T15:50:28","date_gmt":"2026-09-07T15:50:28","guid":{"rendered":"https:\/\/www.diptykmag.com\/mothers-the-making-of-a-myth-at-the-mucem\/"},"modified":"2026-10-12T14:50:20","modified_gmt":"2026-10-12T14:50:20","slug":"mothers-the-making-of-a-myth-at-the-mucem","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/mothers-the-making-of-a-myth-at-the-mucem\/","title":{"rendered":"Mothers: The Making of a Myth at the Mucem"},"content":{"rendered":"\t\t
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Perched on the heights of Marseille, a crowned Virgin watches over the city, the Child nestled against her breast. As a womb, a compass, and a North Star, she stands alone up there, overwhelming, seeming to bear the full weight of history\u2019s misfortunes. It is against this singular, sanctified, and motionless \u201cBonne M\u00e8re\u201d (“Good Mother”) that the Mucem exhibition\u2014running through August 31\u2014contrasts its \u201cgood mothers\u201d in the plural. <\/b><\/p>

By Houda Bensebaa<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Monumental reproduction of the statue of the Bonne M\u00e8re \u00a9 Ad\u00e8le M\u00e9lice-Dodart <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Curated by Caroline Chenu, a research fellow at Mucem, and Anne-C\u00e9cile Mailfert, president of the Fondation des Femmes, the exhibition \u201cBonnes M\u00e8res\u201d explores the various forms of motherhood in the Mediterranean, encompassing both the collective imagination and the real lives of women. The timeline spans from the guardian figures of ancient cities to allegories of the motherland, all the way to pioneering figures who have shaped the Mediterranean region, from Umm Kulthum to Simone Veil: the voice that inspires and the law that empowers. The exhibition is comprehensive and accessible, focusing as much on artifacts from antiquity as on album covers and celebrity magazine covers. <\/p>

The exhibition serves as a timely and accessible reminder to the general public of issues related to feminism and its various waves. It is specifically rooted in the writings of Simone de Beauvoir\u2014and thus in the second wave of the movement during the 20th century. These struggles took place within a very specific historical context, one that crystallized the fight against the societal expectation of motherhood and the confinement of women to the sole role of childbearer. How, then, can we tell the many stories of motherhood without perpetuating a narrative that has itself confined women to this role? <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Nasser Ellefi, Adam and Eve<\/i>, late 20th \u2013 early 21st century <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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The Bodies of Mothers<\/b><\/p>

Here, the sacred mother finds her doubles and her fissures. A miniature painted on glass by Nasser Ellefi depicts Adam and Eve\u2014the original mother, guilty of having listened to the serpent and thereby the mother of humanity\u2014alongside Botticelli\u2019s Virgin with the Pomegranate, whose fruit seals a destiny of sacrifice. Further on, a painting in the Shi\u2019ite tradition depicts the family of Ali\u2014his sons Hassan and Hussein\u2014accompanied by Jibril, the angel of Revelation, and Fatima Zahra, nicknamed \u201cthe mother of her father.\u201d Opposite it is Louise Bourgeois\u2019s Nature Study<\/i>: a headless body, bristling with nipples, the monstrous mother of an artist who, incidentally, never ceased to explore the figure of the mother spider until the motif was exhausted. <\/p>

Nor does the exhibition shy away from the burden borne by the body. Fatima Mazmouz examines the objects that are part of women\u2019s lives in the face of state control over their wombs; Laia Abril\u2019s photograph of a coat hanger serves as a stark reminder of the dangers of clandestine abortion. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Woman and Child in Blue<\/i>, Baya, 1947.\nMy Mother's House<\/i>, Zineb Sedira, 2002. \u00a9 Houda Bensebaa <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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In line with the saying \u201cIt takes a village to raise a child,\u201d Mediterranean motherhood finally sets itself apart from the contemporary nuclear family: In *C’\u00e9tait elle*<\/i>, Yasmine Hadni paints a woman carrying a child who is not her own\u2014those other mothers who pass on their legacy without having given birth.<\/p>

Among the many other works in the exhibition, Baya\u2014who was orphaned at age five\u2014painted a mother-and-child scene in the style of Persian miniatures at age sixteen, an allegory of a mother and her child exchanging glances. She says she tries, through the female figures that punctuate her work, to recapture the image of her own mother, who passed away too soon. Badr El Hammami captures, in sound photography, the tender gesture of a mother\u2019s hand in a studio. Zineb Sedira, in My Mother\u2019s House<\/i><\/i>, speaks to the whiteness of the trousseau, and also to that of the house\u2014a shroud, emptied of the children who have left, the sheets empty of those who will never return. Far from the hill, another solitude, another waiting. <\/p>

\u201cBonnes M\u00e8res,\u201d Mucem, Marseille, through August 31, 2026This translation was generated using AI. For the original text, please see the French version of this article.<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Fatima Mazmouz, Utensil<\/i>, 2006, 40x60 cm.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Louise Bourgeois, Nature Study<\/i>, 1984. Porcelain cast (2005). 72 x 36.3 x 41.5 cm. Manufactures nationales, S\u00e8vres & Mobilier national \u00a9 Adagp, Paris, 2026; G\u00e9rard Jonca \/ Manufactures nationales, S\u00e8vres & Mobilier national <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Sandro Botticelli (workshop of), The Virgin with the Pomegranate<\/i>, ca. 1487, Carmignac Collection \u00a9Thibaut Chapotot \/ Carmignac Foundation<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Perched on the heights of Marseille, a crowned Virgin watches over the city, the Child nestled against her breast. As a womb, a compass, and a North Star, she stands alone up there, overwhelming, seeming to bear the full weight of history\u2019s misfortunes. It is against this singular, sanctified, and motionless \u201cBonne M\u00e8re\u201d (“Good Mother”) […]<\/p>\n","protected":false},"author":2,"featured_media":19134,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1598],"tags":[],"class_list":["post-19136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition"],"yoast_head":"\nMothers: The Making of a Myth at the Mucem — Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/mothers-the-making-of-a-myth-at-the-mucem\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mothers: The Making of a Myth at the Mucem — Diptykmag\" \/>\n<meta property=\"og:description\" content=\"Perched on the heights of Marseille, a crowned Virgin watches over the city, the Child nestled against her breast. 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