How to access new Arts Voyager stories and art from around the world

As of January 1, 2017, new Arts Voyager articles and art will be made available exclusively to subscribers and delivered via e-mail.

Not a subscriber? 1-year subscriptions are just $49.99 or Euros, or $24.99 or Euros for students and unemployed or under-employed artists. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com , or write us at that address for information on how to pay by check.

Advertisements

An Important Announcement from The Arts Voyager regarding accessing our stories and art

Starting today, all new Arts Voyager stories and art will be distributed exclusively by e-mail, to subscribers. Subscriptions are just $49/year ($25/year, students and unemployed artists), and include archive access to both the Arts Voyager and the 2,000-article Archives of The Dance Insider, our sister publication. To subscribe, designate your PayPal payment in that amount to paulbenitzak@gmail.com . Or write us to at that address to find out about other payment methods and about paying in Euros or British pounds. If you are already an Arts Voyager or Dance Insider subscriber, you are already signed up. Special Offer: Subscribe before December 15 and receive a second subscription for free — the perfect holiday gift for the Arts Voyager on your list.

The Chevalier de la Barre: Akerman and acolytes en prime in Paris; Amélie has two mommies, and they’re concerned (corrected and updated, 11-25, 16h00)

By Paul Ben-Itzak
Text copyright 2016 Paul Ben-Itzak

To the memory of Jill Johnston, my Chantal Akerman. And for Ingrid, her widow, in profound appreciation. And for Chris, roommate sublime. And for Ben, collaborator, friend, and twin. And for Mark Dendy, idol and vector. And for P., friend and counselor. And for Amandine and spouse, voisines parisiennes des jours du 49 rue de Paradis.

I wasn’t going to take this brazenly political approach to writing about the exhibition Chantal Akerman: “Maniac Shadows,” which opened last Saturday at the Ferme du Buisson outside Paris, where it continues through February 19, because much as viewing art in a political and social context has almost existential importance to me as a journalist and citizen — and is, I feel, an honorable way to promote art’s societal relevance and thus potentially garner it a larger audience — I’m hyper-aware that it’s also unfair to impose my worldview, or angle and prism for viewing the world, on the subject I’m writing about. What should prime is capturing, as best I can, his or her expression as he or she intended it. It also didn’t seem fair to enlist Akerman, ipso facto and post-mortem, in a cause some might perceive as narrowly and exclusively centered on the rights of gay people, given that (as far as I can observe — and I might be wrong, because I certainly haven’t seen everything) her work doesn’t seem to focus particularly on the facet of her identity related to her sexual orientation; like all complete artists worth the designation, she’s neither defined nor limited by her own particular identities. (Even though obviously they inform her work, particularly Akerman’s Jewish background, which includes being the child of a Holocaust survivor, a frequent source of inspiration. But so is having lived in Brussels, Paris, and New York….And Godard’s “Pierrot le fou.”) And as a foreigner in these brittle times, I’m not particularly comfortable commenting on local politics, a subject which might justly be seen as none of my onions and a pursuit which thus might seem ungracious.

To access the full version of the article, including more images, subscribers please e-mail paulbenitzak@gmail.com . Not a subscriber? 1-year subscriptions are just $39.99, or $19.99 for students and unemployed or under-employed artists. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com , or write us at that address for information on how to pay by check or in Euros or British pounds.