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This article will consider the protests against Brett Bailey’s 2014 performance installation Exhibit B at the Théâtre Gérard Philippe (TGP) in the Paris suburb of St Denis and at the Espace Centquatre within Paris itself. Rather than focusing on the ethical and political questions raised by the piece, I will analyse how in the first instance the deployment of police highlighted the specific importance given to the theatre within French state cultural policy. Following this, I will analyse how this incident exemplified a distinct manifestation of an imperial ‘afterlife’ of the French state. Building on Kristin Ross’ work as well as Laura-Ann Stoler’s elaborations on French colonial aphasia (active forgetting), I aim to tease out how the heavy-handed deployment of the police at the specific location of the TGP and the softer strategy deploying an ‘exclusion zone’ around the Espace Centquatre exemplified the persistent continuation of France’s imperial policies as they are applied to racialised populations within its own ‘metropolitan’ territory. This will lead me to question some of the spatial and temporal assumptions underpinning some of the causal narratives regarding contemporary racism in France, grounded in assumptions that the brutal facts of colonialism happened on far away continents, or to use Anne McClintock’s formulation, ‘over there’.

Policing Exhibit B in St Denis and Paris Afterlives of the French Imperial state at the theatre doors