Ce soir à la cité de chaillot, le vernissage de l’expo sur le musée pierre soulages à rodez,
en présence des architectes rcr aranda pigem vilalta, jusqu’au 31 janvier, et soulages toujours à beaubourg.

This is the second time my stay in Paris has coincided with a strike by the museum staff at the Centre Pompidou. Since I can’t go inside until the workers either get what they want, or give up, I thought I’d give the outside a go.

Centre Pompidou, Paris IVe.

Le nom d’Yves Klein évoque le bleu outremer de ses tableaux monochromes. Ces peintures procurent l’impression de plonger dans la couleur pure.

Yves Klein a lui-même associé son nom au bleu de ces tableaux en le baptisant du sigle IKB, International Klein Blue*.

Mais les monochromes bleus ne sont que la face la plus visible de son art, comme le dit Klein lui-même : “mes peintures ne sont que les cendres de mon art“. à partir de cette déclaration, on situe les Monochromes bleus dans un ensemble plus vaste, comme la première étape d’un travail qui prend appui sur le visible pour franchir le seuil de l’invisible. Couleur de la sensibilité, le bleu  sera relayée par l’or, matière de la transaction et puis par le rose figurant la chair. constituent le lien qui unit la chair et l’esprit et assure la transition de l’un à l’autre. L’interprétation de l’œuvre d’Yves Klein, centrée autour du bleu, est en partie due à la courte vie de l’artiste (1928-1962). C’est réaliser la fonction qu’Yves Klein assigne à la peinture : rendre l’espace sensible, qu’il les réduit en 1957 à la seule couleur bleue, le bleu étant la couleur du ciel. En 1959, il pose l’équivalence des trois couleurs, comme en témoigne une conférence qu’il donne à la Sorbonne : “Le bleu, l’or et le rose sont de même nature“. Ces trois couleurs évoquent la “trinité kleinienne“ : rassemblés en une œuvre, le bleu, l’or et le rose**

Mais, les Monochromes bleus sont imprégnés d’un quelque chose de plus que la matière tangible qui les transforme en œuvre d’art. Preuve en est lors de leur première présentation au public en janvier 1957, à la galerie Apollinaire de Milan, bien qu’identiques, les onze tableaux exposés ne sont pas appréciés de la même manière par le public : ils sont vendus à des prix différents. Klein en conclut que chaque tableau, en plus de sa réalité matérielle, est imprégné d’une qualité immatérielle qui le distingue des autres. Dès lors, Klein accordera à la matière des futurs IKB* un soin particulier, comme si elle conditionnait le pouvoir du tableau à capter ce qui le transformera en œuvre d’art.

*Autour de 1957, il élabore une matière épaisse avec des reliefs, notamment grâce à des éponges, qu’il étale au rouleau pour qu’aucune aspérité ne contrarie la couleur et invente une résine synthétique pour ses pigments outremer sans les ternir. C’est ce mélange qu’il baptise du nom de IKB, et qu’il fait enregistrer à l’Institut National de la Propriété industrielle, sous la forme d’une enveloppe Soleau.

** lire article or – Yves Klein / rose – Yves Klein

crédits photo crdp-reunion/yves /klein/ E.Levasseur & M.A. Blanchon

If you live in the bay area, and you are at all interested in joining, or even contributing something to our little beaubourg – we invite you to leave a comment on our Beaubourg 268 blog (below). Beaubourg 268 is located on Saint Charles Avenue at the southern periphery of the San Francisco Peninsula. Adjacent to San Francisco State Universiity, the institution’s new home is a modest two story residential building that hopes to attract educators and students alike. The ground floor contains a small garden, sound studio, and outdoor planning areas; the second floor holds a small archive-library, along with lodging accommodations.

Most of the artists and thinkers in Steven Henry Madoff’s new big book, Art School suffer from one of two opposing superstitions: either art schools are the new business schools preparing designers and emerging artists for the real world, or art schools are the new pockets of resistance and reform informing social stakeholders for the real world challenges of global consumer capitalism. As a literary terrorist, one of whose concerns is the future of art school, I sometimes am asked: “Which theoretician should I know?” To their astonishment, I have yet to reply to them with the usual French names: Baudrillard, Deleuze, Derrida, Foucault, etc. Rather, I’ve tended to answer with one of two names: Gina Clark & Robert Hansen.

Gina Clark was born and raised in Southern California. Over the past decade she has worked across a variety of media including performance, film, photography, installation, and curating. Within these practices, the desert-based CalArts graduate has supported the preservation of the innovative and exploratory arts; always mindful of the fact that we are living in an age dominated by Domesticity & Artifice.  Robert Hansen is a sound artist, visual artist, writer and founder of the renowned group Mini Voyeur. From its initial formation, the group was exploring properties in speech, sound and acoustics; all the while, infusing humor in to the concepts of music, memory and logic. Robert has maintained an extended library of recorded audio and video documents created with the help of friends and family.

The newly established Beaubourg 268 will offer the public a series of classes, projects and improvisational “adventures” that remain more or less outside the existing coordinates of art schools such as Cal Arts and Goldsmiths. Under its co-founder Gina Clark, her weekly Carnal Knowledge workshops will stress the emancipatory potential of performance, as it relates to issues as varied as familial piety, animal welfare, and Czech cinema. Students, if they so desire, will have an opportunity to work with Clark’s nonprofit group, Unsichtbar Birnbaum Exploratory. Sound artist Robert Hansen will offer weekly workshops to appreciate the visual arts, through the lens of sound, music, or voice. I will offer bi-monthly ‘Reading’ Slavoj Zizek group seminars to provide theoretical supplement for those emerging artists who desire it. To the degree that art schools can play a “revolutionary” role today, I will attempt to open up a space in which isolated Japanese youths and North Korean defectors can be heard.

As the art teacher John Baldessari put it “[I]f you’re lecturing in a class and there’s a car crash outside, you better bring that car crash into what you’re saying or you’ve lost them.” It is from this perspective that the crucial first step, for us, is to foster an informal classroom environment that treats art as both a past-time and a means for exploration. To the degree that students may indeed require a postpostmodern vocabulary, Beaubourg 268 firmly believes that what students need most is the unconditional permission to use everything in the world, including their own naivete, fears, and desires.

Beaubourg 268 will be comprised with approximately fifteen students from the surrounding area who are diverse in terms of their backgrounds, ages, and aspirations. We invite every one – no matter what your age or artistic background – to participate in the fun. Ideally, we here at the beaubourg want to learn from you as much as you might learn from us. An informal meeting is set for Tuesday, 19 January 2010. The official opening is set for mid-February.

Martin Marcantonio Luciano Scorsese (born November 17, 1942) is an American film director, screenwriter, producer, actor, and film historian. He is the founder of the World Cinema Foundation, a recipient of the AFI Life Achievement Award for his contributions to the cinema and has won awards from the Oscars, Golden Globe, BAFTA, and Directors Guild of America. Scorsese is president of the Film Foundation, a non-profit organization dedicated to film preservation and the prevention of the decaying of motion picture film stock.

Scorsese’s body of work addresses such themes as Italian American identity, Roman Catholic concepts of guilt and redemption, machismo, and violence. Scorsese is widely considered to be one of the most significant and influential American filmmakers of his era, directing landmark films such as Taxi Driver, Raging Bull and Goodfellas; all of which he collaborated on with actor Robert De Niro. He won the Academy Award for Best Director for The Departed and earned an MFA in film directing from the New York University Tisch School of the Arts.

Trivia:

Listed as one of 50 people barred from entering Tibet. Disney clashed with Chinese officials over the film Kundun (1997), which Scorsese directed. [19 December 1996]

Awarded third annual John Huston Award for Artists Rights by the Artists Rights Foundation. [1995]

Presented with a special tribute at the 1976 Telluride Film Festival. It was presented by Michael Powell. [1976]

He is a longtime friend and was once a housemate of The Band’s Robbie Robertson. He directed The Last Waltz (1978), the documentary of their supposedly last gig which Robertson produced. Robertson later produced the soundtrack for Scorsese’s The Color of Money (1986).

Good friends with editor Thelma Schoonmaker & cinematographer Michael Ballhaus. Scorsese introduced Thelma to her husband Michael Powell and he often quotes Powell as an influence.

His name is pronounced “Scor-sez-see”.

He directed Michael Jackson’s Bad (1987) (V) music video. The full length video runs 16 minutes and is in both black & white and color. It is usually shortened down to just the color segment for television.

He appears as attached to his pet white Bichon Frise Zoe as he was to his beloved parents – except Zoe is right beside Marty every day in the office.

Daughter Francesca Scorsese born. [16 November 1999]

John Woo dedicated his action film Dip huet seung hung (1989) (“The Killer”) to Scorsese on a commentary he did for the movie’s DVD.

Daughter Domenica Cameron-Scorsese with Julia Cameron.

Taught both Oliver Stone and Spike Lee at NYU.

Was at one point going to make a movie about the life of comedian Richard Pryor.

He was an altar boy at Old St. Patrick’s Cathedral, which was used in his early films I Call First (1967) and Mean Streets (1973). Old St. Patrick’s is also where the baptism scene in The Godfather (1972) took place.

Was at one point slated to direct Clockers (1995), but for reasons that are not entirely clear, handed the directing chores to his onetime NYU student Spike Lee, while staying on as producer. He was also at one point going to direct Little Shop of Horrors (1986) for David Geffen, with Steven Spielberg as the executive producer. He was ultimately uninvolved, but claims that he wanted to shoot the movie in 3-D. It no doubt would have been a loving homage to Roger Corman, for whom he directed Boxcar Bertha (1972).

He took a cameo in his film Taxi Driver (1976) (as a man about to kill his wife) only because the actor who was supposed to play the role was sick on the day the scene was to be shot. Says he is generally uncomfortable in front of the camera.

Has a dog named Silas.

Is the subject of the song “Martin Scorsese” by alternative band King Missile.

Father of actress Cathy Scorsese from his first marriage.

Is of Italian-Sicilian descent.

Has asthma.

Of the three films he’s been trying to make since the mid-1970s, he has done two: The Last Temptation of Christ (1988) and Gangs of New York (2002). The third film, a biopic of Dean Martin called “Dino”, has been on hiatus at Warner Brothers since the late 1990s. Scorsese has a very specific all A-list cast in mind, probably why it has yet to be produced. He wants Tom Hanks to star as Martin, Jim Carrey to play Jerry Lewis, John Travolta to play Frank Sinatra, Hugh Grant to play Peter Lawford, and Adam Sandler to play Joey Bishop.

Was voted the 4th greatest director of all time by Entertainment Weekly, making him the only living person in the top 5 and the only working film director in the top 10 (Ingmar Bergman being retired as a filmmaker).

Appeared on “Curb Your Enthusiasm” (2000) as a shrill version of himself who comes to regret his decision to cast Larry David as a violent gangster in a movie after David repeatedly ruins the suit he needs to wear as the character.

Several characters in his films refer to the legendary (noir) actor John Garfield, star of the original The Postman Always Rings Twice (1946), which is also mentioned.

He was one of three major directors to have been offered the opportunity to direct Schindler’s List (1993) by producer Steven Spielberg, the other two being Roman Polanski and Billy Wilder. Scorsese thought a Jewish filmmaker should direct it; Polanski wasn’t yet ready to deal with the painful subject (having lost his mother in the Holocaust); and Wilder (who was retired and who lost his mother and grandmother in the Holocaust) finally told Spielberg that he should do it himself.

Because so many of his actors win or are nominated for awards, actors are dying to work with him. The film With Friends Like These… (1998) pokes fun at this very real desire.

Both The Last Temptation of Christ (1988) and Gangs of New York (2002) were personal passions of his that he had wanted to make since the 1970s. When he first starting considering them, Robert De Niro was in his mind to play the lead characters in both (Jesus Christ in “Temptation” and Bill Cutting in “Gangs”). De Niro ultimately turned down the part in “Temptation” and it was decided he was too old to play Cutting by the time that “Gangs” finally went into production.

He has famously collaborated with Robert De Niro in 8 films. Scorsese has said that his creative collaboration with De Niro is very deep and that they can often understand each other without even talking. Their collaboration has had many dry spells (including recently), but Scorsese says he shows almost every script he writes or considers directing to De Niro to see what the actor’s thoughts on them are even when De Niro ultimately has no involvement the film.

Appeared in an “American Express” ad where he goes to pick up photos of his nephew’s birthday party at a drug store, and then proceeds to nervously pick through what’s wrong with each picture while trying to get the clueless photo-lab clerk’s opinion on them. He proceeds to buy more film with an American Express card and calls the people on the pictures saying they need to reshoot. Scorsese says this funny ad is probably the closest he’s come to accurately “playing” himself.

Apart from his legendary work as a filmmaker, he has been a vocal supporter of film preservation for almost three decades. His efforts to create a strong public awareness for the work of film archives include The Film Foundation, a non-profit organisation which he started together with other filmmakers. The Film Foundation regularly partners with the American film archives on the restoration of “lost” or endangered films. With this background he has agreed to serve as Honorary President of the Austrian Film Museum in Vienna.

Personally spurns the notion of the “director’s cut” feeling that once a film has been completed, it should not be further altered in any way.

He lost three best director – and best picture – Oscars to leading-man actors turned directors: Robert Redford, Kevin Costner, and Clint Eastwood (Raging Bull (1980) lost to Redford’s Ordinary People (1980); Goodfellas (1990) to Costner’s Dances with Wolves (1990); The Aviator (2004) to Eastwood’s Million Dollar Baby (2004)). On the only two occasions when he was Oscar-nominated as Best Director in years ending in zero, he was beaten by actors making their directorial debuts (Redford and Costner).

In 1975, he accepted the Oscar for “Best Actress in a Leading Role” on behalf of Ellen Burstyn, who wasn’t present at the awards ceremony. She won for her performance in Scorsese’s Alice Doesn’t Live Here Anymore (1974)

President of jury at the Cannes Film Festival in 1998.

Has mentioned that he thought Robert De Niro’s best performance under his direction was as Rupert Pupkin in The King of Comedy (1982).

Ranked #3 in Empire (UK) magazine’s “The Greatest directors ever!” [2005]

His favorite films include: Citizen Kane (1941), The Red Shoes (1948) and Il gattopardo (1963) (“The Leopard”).

Was friend, protégé, and employee of actor-director John Cassavetes.

When asked where audiences would find the next Martin Scorsese, he said to look to Wes Anderson, the young director of Rushmore (1998).

Has directed, as of 2008, 6 biopics: Raging Bull (1980), The Last Temptation of Christ (1988), Goodfellas (1990), Casino (1995), Kundun (1997) and The Aviator (2004).

He received a Degree ad honorem in “Cinema, TV and Multimedia Production” from the University of Bologna on 26 November 2005.

Served as mentor to Georgia Lee and invited her to apprentice for Gangs of New York (2002) in Europe.

The 1912 American Mutoscope & Biograph Company short The Musketeers of Pig Alley (1912) heavily influenced Scorsese in the making of his own gangster films Goodfellas (1990), and Gangs of New York (2002). The film was picked by Scorcese for his 2005 tribute at Beaubourg, centre d’art et de culture Georges Pompidou (1977) in Paris, France. Biograph is the oldest movie company in America and in existence today, headed by producer/director Thomas R. Bond II.

Scorsese and Taxi Driver (1976) are, among others, named as inspiration for the Massive Attack debut “Blue Lines”.

He signed a four-year, first-look deal to develop projects with studio executives of Paramount. [November 2006]

The Departed (2006) is the highest-grossing movie of his 40-year career ($132,373,442 (USA)).

The Aviator (2004) was his first movie to gross over $100 million in the U.S.

He has worked with big names of music business: Elvis Presley, Bob Dylan, Jimi Hendrix, The Rolling Stones, ‘Michael Jackson (I)’ and David Bowie.

Directed 17 different actors in Oscar nominated performances: Jodie Foster, Robert De Niro, Joe Pesci, Leonardo DiCaprio, Daniel Day-Lewis , Cate Blanchett, Winona Ryder, Ellen Burstyn, Sharon Stone, Diane Ladd,Cathy Moriarty, Juliette Lewis, Lorraine Bracco, Paul Newman, Mary Elizabeth Mastrantonio, Alan Alda and Mark Wahlberg. (Burstyn, De Niro, Newman, Pesci and Blanchett won Oscars for their roles in one of Scorsese’s movies).

When he won his Best Director Oscar for The Departed (2006), he received the award from legendary directors, George Lucas, Francis Ford Coppola, and Steven Spielberg. The four were part of the “New Hollywood” movement of the 1970s and combined have 9 Academy Awards and 38 Nominations.

As a teenager in the Bronx, Scorsese frequently rented Michael Powell’s The Tales of Hoffmann (1951) from a store that only had one copy of the reels. When it wasn’t available the owner told him, “that Romero kid has it,” referring to George A. Romero who was also a big fan of the film. Today, both directors cite the film as a major influence.

Says he was happy with the fact that it took so long for him to win Best Director, because if he had won it earlier, it would have affected his directing and films.

Recipient of the 2007 Kennedy Center Honors. Other recipients that year were Leon Fleisher, Steve Martin, Diana Ross, and Brian Wilson.

Says the only thing he regrets in his career is that he was only able to make The Last Temptation of Christ (1988) on a small budget although he imagined it to be a grand version.

Was originally going to direct The Honeymoon Killers (1969), but was replaced after a week of shooting.

Served as a guest critic on “Siskel & Ebert & the Movies” (1986) following the death of ‘Gene Siskel’. The episode was “The Best Films of the 90s” in which Roger Ebert cited Scorsese’s Goodfellas (1990) as one of the best films of the 90s (#3). Scorsese’s full list of his favorite films of the 1990s: 10.) Tie: Malcolm X (1992) and Heat (1995), 9.) Fargo (1996), 8.) Crash (1996), 7.) Bottle Rocket (1994), 6.) Breaking the Waves (1996), 5.) Bad Lieutenant (1992), 4.) Eyes Wide Shut (1999), 3.) Duo sang (1994) (“A Borrowed Life”), 2.) The Thin Red Line (1998), 1.) Dao ma zei (1986) (“Horse Thief”).

He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.

Resides in New York City. His production offices are located on W. 57th Street in Manhattan.

Attended Cardinal Hayes high school in the Bronx as a young man. Fellow alumni included George Carlin, George Dzundza, Regis Philbin and Jamal Mashburn.

Is a fan of the British Hammer Films series.

A huge fan of Fawlty Towers (1975). He describes the episode “The Germans” as “so tasteless, its hilarious.”.

In the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 7 of Scorsese’s films are listed: Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980), The King of Comedy (1982), Goodfellas (1990), Casino (1995) and The Departed (2006).

Haig Manoogian was Scorsese’s mentor at NYU. He eventually produced Scorsese’s first film (I Call First (1967)) and when he died in 1980, Scorsese dedicated Raging Bull (1980) to Manoogian.

Roger Ebert is a great admirer of Scorsese’s work. 14 of Scorsese’s films were given four stars by Ebert (Mean Streets (1973), Alice Doesn’t Live Here Anymore (1974), Taxi Driver (1976), Raging Bull (1980), After Hours (1985), The Last Temptation of Christ (1988), Goodfellas (1990), The Age of Innocence (1993), Casino (1995), Kundun (1997), Bringing Out the Dead (1999), The Aviator (2004), The Departed (2006), Shine a Light (2008)), seven of his films are in Ebert’s Great Movies list (“Mean Streets”, “Taxi Driver”, “Raging Bull”, “After Hours”, “The Last Temptation Of Christ”, “Goodfellas”, and “The Age of Innocence”), and Ebert has written an entire book of his reviews, interviews and essays on Scorsese’s work simply titled “Scorsese By Ebert”.

As of November 10th 2009, five of his films are on the IMDb’s Top 250 Films list: Goodfellas (1990), Taxi Driver (1976), Raging Bull (1980), The Departed (2006), and Casino (1995).

Amazon Specials!

How would you describe a city like Paris? Do you automatically think of a Robert Doisneau image of two lover kissing in front of the Hotel de Ville or is the Eiffel Tower lit up at night inscribed in your memory?  Paris is undoubtedly magical, but the beyond the confines of the tourist trails is one of the most multi-cultural, artistic and unconventional capitals in Europe.

The Paris Ile-de-France Comite Regionale du Tourisme has just launched a short viral film to promote the young and vibrant side of the city that many visitors end up missing.

The three and a half minute film entitled Kisses From Paris is directed by French actor/director Yvan Attal (who is also Charlotte Gainsbourg’s partner) and is sound tracked by Rufus Wainwright’s atmospheric Leaving For Paris.   The Paris tourist board loved his sketch in New York, I Love You so much that they commissioned Yvan to express his own creative vision of the “New Paris Ile-de-France”.

The film features two young lovers, played by Zoé Schellenberg and Pierre Perrier snogging their way through Paris, stopping only to marvel at the amazing sights around them.  In between declaring how much they adore each other, the couple study the art at the Beaubourg and the Palais de Tokyo, stroll along the Canal Saint-Martin, go to a gig at the Chateau de Vincenne and hunt for vintage treasures at the Saint Ouen flea market.

The film is intense, stylish and dreamy but in a more realistic than whimsical way. It reminds me of Before Sunrise and its sequel Before Sunset (shot in Paris), where Ethan Hawke and Julie Delpy meet on a train and get to know each other in a day before going their separate ways, then meeting up in Paris nine years on.

Kisses From Paris does nothing to dispel the myth of Paris as a city for lovers and not all of us have a Louis Garrel look-a-like to kiss all over town, but it offers a new, alternative Paris to fall in love with.

To find out more about ‘le nouveau Paris’ and to win a trip to Paris, visit the website.

Actuellement au centre Pompidou (Beaubourg), rétrospective sur la carrière de Pierre Soulages (90 ans). Jusqu’en Mars 2010.

Exceptionnel de voir comment cet artiste a traité la couleur Noire pour finalement la faire rayonner…

Pierre Soulages.com

jours de novembre à Beaubourg

elles@centrepompidou

sur un échiquier à peine voilé

le hall d’entrée du grand musée

les pièces immobiles sont des cavaliers en fauteuils

échec à l’ennui?

au sommet trouve-t’on un roi?

en tout cas pas de doute sur la couleur des pièces…

“La réalité d’une œuvre, c’est le triple rapport qui s’établit entre la chose qu’elle est, le peintre qui l’a produite et celui qui la regarde.”

quel plaisir en attendant le sommeil

de savoir que la lumière me réveillera demain

ces longues ballades d’automne m’ont conduite au delà des apparences

sur le seuil tranquille je m’endors enfin

]]> http://danslecollimateur.wordpress.com/2009/11/12/la-communication-du-nouveau-festival-2/ Wed, 11 Nov 2009 23:37:56 +0000 GéMiquelot http://danslecollimateur.wordpress.com/2009/11/12/la-communication-du-nouveau-festival-2/ http://letiziacalcamo.wordpress.com/2009/11/07/le-centre-pompidou-mobile/ Sat, 07 Nov 2009 10:13:14 +0000 Letizia Calcamo http://letiziacalcamo.wordpress.com/2009/11/07/le-centre-pompidou-mobile/

Si vous n’allez pas au musée, le musée viendra à vous….

Alain Seban, directeur du Centre Pompidou vient d’annoncer qu’un « mini Beaubourg », structure nomade et démontable de 1000 carrés, se déplacera en France, dans les territoires mal irrigués par la culture, pour montrer les oeuvres de la collection.

Seule condition…que les mécènes soient au rendez-vous!

Concrètement il doit trouver 3 millions d’euros pour financer ce musée itinérant, tout en déclarant que “2009 devrait être un record en terme de mécénat”. La présentation du musée mobile s’apparente davantage à une séance destinée à séduire des investisseurs. Et des futurs clients, qui auraient envie d’avoir des maîtres du XX^e siècle chez eux.

Conçue par l’architecte Patrick Bouchain, sur le modèle des chapiteaux de cirque, le dispositif sera modulable et adaptable aux espaces où il se posera temporairement, parking de centre commercial, caserne désaffectée, place de petite ville. « Abaisser les barrières symboliques entre le public et les institutions culturelles », « montrer le caractère irremplaçable de l’expérience du musée », constituent les objectifs du projet.

L’idée est d’installer le Centre Pompidou mobile durant un an dans une région, dans trois lieux différents. Les collectivités locales qui accueilleront la structure devront payer. “Chaque étape coûtera 300 000 euros”, précise M. Seban.

Pour la construction, M. Seban avance “la fin de 2010″, en observant que “2009 devrait être un record en termes de mécénat pour le Centre Pompidou”. La présentation du musée mobile s’apparente davantage à une séance destinée à séduire des investisseurs. Et des futurs clients, qui auraient envie d’avoir des maîtres du XX^e siècle chez eux.

L’idée est d’installer le Centre Pompidou mobile durant un an dans une région, dans trois lieux différents. Les collectivités locales qui accueilleront la structure devront payer. “Chaque étape coûtera 300 000 euros”, précise M. Seban.

A ce tarif, le musée se doit de présenter des oeuvres majeures… Des expositions thématiques seront proposées. la première sur le thème de la couleur, présentera une quinzaine d’oeuvres phares, de Matisse et Picasso, à Calder et Soulages.

On ne connaît pas encore la première destination du musée. Mais M. Bouchain s’est déjà fixé un objectif : “Etre à Marseille en septembre 2012″, ville qui sera capitale culturelle de l’Europe en 2013.

Pourquoi le café de la Bpi coûte le double que celui de l’Ens? C’est sans doute le même, et l’Ens est plus agréable et propre que la cafétéria de Beaubourg.

“elle@centrepompidou” peut apparaître comme un manifeste : la présentation de ses 500 collections au féminin dans un espace de 8000㎡, pour la première fois au monde, une mise en valeur et en perspective de ces grandes figures d’artistes oubliées.

En 1989, les Guerilla Girls ont lancé la question: ” Est-ce que les femmes doivent être nues pour entrer au Metropolitan Museum ?” puisqu’elles se sont rendu compte qu’au Metropolitan Museum of Art de New York , moins de 5% des artistes dans la section d’art moderne étaient des femmes, mais que par contre 85 % des nus étaient des femmes. Aujourd’hui, leurs affiches sont devenues une partie de l’exposition et on remarque pas loin d’ici, un autre repère artistique capital : le Louvre, qui possède 35000 oeuvres mais aucune émanant d’un artiste féminin. La conservatrice Camille Morineau a indiqué qu’avant, personne n’avait réfléchi à la raison de cette absence d’œuvres de femmes au Louvre, et maintenant ils ont commencé à discuter de ce thème.

Ni féminin ni féministe, le principe de l’exposition est de montrer et de rendre hommage à des artistes : photographes, architectes, vidéastes, cinéastes, performeuses, designers…sont regroupé en 7 chapitres : “pionnières”, “feu à volonté”, “corps slogan”, “eccentric abstraction”, “une chambre à soi” et “le mot à l’œuvre”.

On commence par le 5ème étage, où sont disposées les oeuvres des avant- gardes de 1920-1960. Suzanne Valadon, Frida Kahlo, Sonia Delaunay, Dora Maar, Joan Mitchell occupent la même place que Picasso, Mark Rothko et Marcel Duchamp, avec lesquels on peut faire une rétroaction historique du Symbolisme, Cubisme, Expressionnisme, Expressionnisme abstrait, Dadaïsme, Futurisme, Surréalisme, Minimalisme et Installations.

Au 4ème étage, on passe du côté “contemporain” à “actuel”, les traces des artiste masculins ont complètement disparu et les oeuvres de Sophie Calle, Pipilotti Rist, Annette Messager, Louise Bourgeois répandent des éclats éblouissants.

Un détail intéressant : les cartels ont changé, du style minimaliste on peut lire maintenant des extraits des explications des artistes et des commentaires des philosophes. Les objets exposés sont alternatifs et renouvelables. Cela nous donne une impression fraîche et accessible.

Lei TIAN, étudiante chinoise, 3° année communication

Plus de renseignements sur le site du Centre Pompidou.

aujourd’hui à beaubourg le lézard d’andrea blum regardait la file patiente des visiteurs de soulages…

(In a bed with a cold-blooded animal, 2008)

En una singular conversación a modo de tertulia es que dos grandes pensadores discuten sobre objetos singulares, objetos singulares que van de la filosofía y la arquitectura a través de las tendencias e ideas de Jean Baudrillard y Jean Nouvel.

Muchas son las formas de abordar la arquitectura y su construcción ideológica, pero en definitiva la presentada en la publicación “Los Objetos Singulares Arquitectura y Filosofía” es una de las que sin más, da un acercamiento a éstas dos disciplinas que de forma dialéctica construyen obras de arte.

Premisas como ¿Qué es un objeto singular? o ¿Hay una verdad en la arquitectura?, son las que comienzan a encaminar lo que se va convirtiendo en una tertulia a lo largo de las páginas leídas, donde uno como lector se siente totalmente inmerso en una charla que nos da visos de la genialidad filosófica de las construcciones arquitectónicas.

Radicalidad, espacio y libertad, hiperrealidad, verdad, y otras son las vertientes discutidas en el libro que nos dan una mirada sobre la profesión del arquitecto también, del arquitecto como constructor de espacios, y como prestidigitador que engaña a los sentidos creando espacios virtuales de ilusión.

Ambos pensadores dan paso a sus argumentos entre diversas obras que van desde la monstruosidad de las ciudades totalmente cosmopolitas hasta la poética de la creación en la pobreza, o las mismas concepciones de las ciudades del futuro en una realidad representable.

Seducción, metamorfosis, estética de la desaparición y utopías sobre la concepción de la luz, los espacios, y la materia, son temas que se trastocan en el ir y venir de la lectura, una lectura que una vez que comienzas no puedes dejar de seguir, ni evitar imaginar los espacios y las grandes obras en las urbes que dan plausibilidad al poderío estilístico.

Varias son las muestras citadas en la publicación que edita el Fondo de Cultura Económica y que en definitiva valen leerse y apreciarse, a través de la guía de dos grandes pensadores.

Aquí dos obras que utilizan para ejemplificar sus conceptos, las que de solo ver dan paso a interpretar a través de una lectura amena, digerible y en 126 páginas, los argumentos del filósofo y el arquitecto.

Beaubourg

Fundación Cartier

othername®

Déçue parfois par ce que je n’en voyais qu’en reproductions, j’hésitais. Je n’ai pas eu à le regretter. Ce n’est pas souvent qu’un peintre m’impressionne autant par les qualités de perception qu’il projette dans son oeuvre. Son travail met en valeur la nature vibratoire et vivante de la lumière.

Des premiers jeux des premiers tableaux, où le noir n’est que l’une des couleurs, à la constante absolue que le travail sur le noir seul propose, la progression est lente et bien mise en scène par l’exposition.

Les volumes, les textures, les matières, les rapports du noir au blanc et inversement, les rapports aussi du noir au noir et inversement, tout est objet à réflexion. Il faut voir chaque tableau sous tous les angles, parfois l’aborder par la tranche, tourner autour de lui lentement pour pénétrer dans la peinture elle-même, son épaisseur, sa profondeur. A l’OutreNoir, même, fermer les yeux pour comparer à son propre noir intérieur.

Le travail de Soulages tourne aussi autour de l’orientation de la lumière, sur le mat et la brillance, sur la façon qu’a la lumière de se poser sur chaque accident du tableau. C’est la lumière elle-même qui, glissant sur le tableau, devient vivante et expressive.

Chez Soulages, le noir est comme un bourdon qui permet de libérer une mélodie subtile.

Au bout de l’exposition, avant de revenir sur ses pas, la vue sur Paris, depuis le 6ème étage de Beaubourg, sous un soleil radieux, en est d’autant plus éclatante.

> Jusqu’au 8 mars 2010

“ GUY MADDIN LE MAGICIEN DE WINNIPEG, CINÉMAS

15 octobre – 7 novembre 2009

« Étrangement touchants, drôles et tout simplement fabuleux ! Si vous avez vraiment l’intention d’entreprendre un grand voyage dans le continuum temporel de l’espace cinématographique, sautez à bord de l’un des vaisseaux spatiaux de Maddin ». David Cronenberg

Cinéaste-artisan, génial bricoleur d’images, Guy Maddin doit surtout être considéré comme un artiste complet à l’insatiable curiosité qui, depuis plus de vingt ans, réinvente l’histoire du cinéma pour écrire la sienne, hors du temps et des modes. Son œuvre, éclairée par les mouvements expressionnistes, formée à l’art de la danse, rythmée par celui du collage, colorée d’un kitsch chatoyant, déploie ses influences à foison.

Maddin revient toujours à l’essence de l’art cinématographique, à ses récits mythiques au long cours, en même temps qu’à la façon dont la pellicule imprime et surimprime nos phantasmes fondateurs les plus intimes, avec un talent d’alchimiste. Son incessante mobilité et cette capacité à fusionner et à transmuter, fondements de sa modernité, font de lui aujourd’hui l’invité privilégié du Centre Pompidou.

Associés au Festival d’Automne à Paris, nous proposons la première rétrospective intégrale consacrée à son travail en France, en sa présence, alors qu’à l’Odéon-Théâtre de l’Europe sera donnée une représentation exceptionnelle de la version scénique de Des trous dans la tête!, l’un de ses films les plus récents.”

source

&

“ SORTIE SALLE: 24 Septembre 2008

Brand upon the Brain! – 2006 – 1h35 – Canada – n&b

une nouvelle autobiographie de Guy Maddin.

narration: Isabella Rossellini

Guy Maddin passe sa jeunesse en compagnie de sa soeur adolescente, sur l’île mystérieuse dont il héritera un jour. Ils partagent cet endroit avec une horde d’orphelins vivant en communauté dans le phare, qui fait office d’orphelinat. Chacun de leur geste est rigoureusement surveillé par la mère dominatrice et tyrannique de Guy, depuis le sommet du phare, pendant que son père, un scientifique et inventeur, travaille de jour comme de nuit dans le plus grand secret, au sous-sol.

Lorsque de nouveaux parents adoptifs découvrent d’étranges blessures sur la tête de leurs enfants, les jeunes détectives Wendy et Chance Hale — frères et soeurs plus connus sous le nom des “Enfants Lumière” — se rendent sur l’île de Guy pour y mener leur enquête. Guy est en émoi devant Wendy, un premier béguin qui affole ses hormones, alors que sa soeur a le pourpre aux joues, transie d’amour pour Chance, un amour qui ne doit en aucun cas être révélé à Mère.

L’enquête progresse alors que les enfants s’engouffrent dans les ténèbres de la divulgation et de la répression, jusqu’à ce que la situation devienne dangereusement incontrôlable à mesure que les terribles secrets de la famille de Guy sont peu à peu dévoilés…”

& aussi:

& aussi:

Depuis le 14 octobre, vous ne pouvez pas seulement voir les œuvres de Pierre Soulages en vous rendant à Beaubourg, vous pouvez aussi lire ce que Pierre Soulages écrit sur son œuvre en vous procurant en librairie ses Écrits et Propos.

La presse en parle :

Lire l’article de Valérie Duponchelle dans Le Figaroscope

Lire l’entretien de Fabrice Midal dans La Vie

Laurence Piquet a également choisi de présenter le livre dans l’édition du Soir au musée qu’elle a consacrée au peintre sur France 5.

Le Centre Pompidou célèbre, par une grande rétrospective, l’œuvre du plus grand peintre de la scène française actuelle, Pierre Soulages. À la veille de son 90ème anniversaire, Soulages, « peintre du noir et de la lumière », est reconnu comme l’une des figures majeures de l’abstraction.

Photo © Dana and Stephane Maitec

by Isaure Cointreau

When I come back to Paris the first thing I regularly do is buy the local newspaper on my way to the boulangerie. This time as I was settling to drink my coffee with an unmistakable French croissant, my sight got caught on the front page of the cultural section of “Le Figaro”. Ines de la Fressange was crowned icon of Parisian style. This ex-model and muse for Chanel has always represented classic French chic all over the nation for her excellent taste and perfect figure along with being wonderfully cultivated. Although I couldn’t disagree with her coronation by the “Figaro” readers, my question remained. Who is the Parisienne?

If some are tempted to answer that she is a women living in the capital of France, I would have to challenge their response to another level. To be a Parisian is not only proved by your address, it is about whether you are able to feel, understand and embody the city to its very essence. This translates by where you go, what you think and how you dress.  She is Charlotte Gainsbourg or Brigitte Bardot.

I left Paris for London at a young age and therefore am an alien in my very hometown. However, every time I come back to the capital I feel home. Although I reconnect with old habits going back to the places I love, I keep on discovering others. It then feels as if the possibilities of a Parisian week-end were endless, and when leaving again only pictures remain to make me remember this once upon a dream. Carrying my camera is a duty I impose on my bag wherever I go when travelling, however when I am in Paris it is furthermore important as it will be in the end the only way that’ll allow me to keep track of its sights when afar.

The Parisienne is an accomplished woman. Poised though a little rock and roll at times, she embodies polyvalence and contradiction. Style has no secrets for her and whether she shops at Zara or Chanel, she never goes by the total look and loves to mix and match designer clothes with High street chiffon. However “la parisienne” does not look cheap and is the only one who could pull it off going in jeans to a business meeting.

Her interests in fashion should not shade her passion for politics, culture and art. Whether she looks up for info on blogs or specified websites, she always carries a book or a magazine in her bag. I’ll give you my word for it, and you can check only by mentioning what is her recollection of what is going on these days in the city. She will always answer with a list.

Going for tea at Angelina on the rue de Rivoli, or vintage shopping in the Marais area after having enjoyed a stroll at the Grand Palais, Musee Carnavalet or the Beaubourg center, she can’t go by a day without her booked agenda.  Of course  she also appreciates fooding and gastronomy, however shehas no problem into fitting a size 10. Does these characteristics seem cliché to you? Truth is always relative, however if it does not apply to every one it does to many of them.

Although I have to admit cities such as London, Madrid or New York are enchanting I can’t seem to find a rival to compete with these Parisian sights. It is an ensemble. Starting from how the people dress and behave, to the cafés and museums one goes to, its home’s interior décor, style and atmosphere are what makes of Paris a great place to live.

However is it importable? I believe not, what Paris is stays in Paris.

Après avoir vu la superbe rétrospective de Vasily Kandinsky à Beaubourg au printemps dernier, j’ai eu la chance de la revoir dans un autre accrochage, au musée Guggenheim de New-York. Le bâtiment qui a refait peau neuve pour ses 50 ans, offre un très bel écrin à l’oeuvre du pionnier de l’art abstrait. A Paris, on déambulait de salle en salle, tout en essayant de suivre un ordre chronologique, passant ainsi d’une période à une autre, alors qu’à New-York, la grande spirale du célèbre musée permet de suivre sans interruption toute la vie de l’artiste. Petit bémol cependant, il aurait été souhaitable de commencer l’expo par le haut de l’hélice et se laisser porter jusqu’aux dernières toiles du maître, en descendant… Et non ! Le début est en bas, et on prend de la hauteur au fur et à mesure que la vie de l’artiste s’écoule, comme une élévation vers le ciel…

Kandinsky au Guggenheim