The poster for the upcoming Paris Olympics has ignited a heated debate surrounding French identity and the concept of “wokeness”. Designed by artist Ugo Gattoni, the cartoon map of Paris has drawn criticism for its perceived erasure of French symbols and Christianity. Critics, including members of conservative political parties, have slammed the absence of the French tricolour and a cross missing from the Hôtel des Invalides landmark.
The controversy has brought to light the growing concerns over cultural sensitivity and historical representation in France. The term “woke”, originally defined as being “aware” or “well-informed” in a political or cultural sense, has been weaponized by conservative politicians and media to criticize perceived threats to traditional values.
Despite the backlash, Gattoni defended his artistic choices, stating that his intention was to create a “festive universe” without any political agenda. The organising committee also emphasized that the posters were meant to be a “light-hearted interpretation” of a stadium-city, dismissing claims of political motives.
In addition to the poster dispute, the proposed construction of an Olympic village by Saudi Arabia at the historic Invalides military complex has stirred further controversy. French officials have asserted that certain sites, including the Invalides, are not for sale, signaling a clash between national heritage and foreign investment interests.
As the Paris Olympics approach, the ongoing debates surrounding the poster design and potential foreign involvement highlight deeper tensions within French society. The event, scheduled for July and August, is anticipated to be a focal point for discussions on national identity, cultural representation, and the evolving concept of “wokeness” in a rapidly changing world.
