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Parce que oui, la Culture française – comme d’ailleurs tous les cultures qui déferle vers Paris – appartient au monde qu’elle a si souvent rayonné, et il faut refusé de la laisse etre confiné et sequestré par les forces de l’Obscurantisme.
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The Open Studios or Portes Ouvertes de Belleville and those of the Prè Saint-Gervais, performers including Berlin’s Constanza Macras, Portugal’s Vera Mantero, a major exhibition devoted to Camille Pissarro paintings rarely seen in France, Belgium’s Alain Platel, Spain’s Israel Galvan, Crystal Pite — these are just a few of the major cultural happenings in Paris and environs this Spring that the Arts Voyager and Dance Insider will be able to cover with your support.
Many of you first read about these internationally renowned artists and events for the first time in English in our journals and, continuing our 20-year mission of bringing you stories not told elsewhere, we’ll also be reporting on Giulio D’Anna, a Netherlands-based Italian choreographer whose “OOOOOOO” is inspired by Zagreb’s “Museum of Broken Relationships,” and Jasna Vinovrski’s “Lady Justice,” addressing the relationship between justice and art. Speaking of art, we’d also like to bring you Yasmina Reza’s “Art” as interpreted at the Theatre de la Bastille by the pioneering Belgium theater company STAN . And of intersections between art and society, this year’s Chantiers (Building Projects) d’Europe festival at the Theatre de la Ville features countries in the front lines of the refugee crisis, notably in six short films from Greece addressing this topic and a public brainstorming session with artists from six countries. Most of all we’ll be able to bring you into the studios of the 200+ artists taking part in the Open Studios of Belleville — a neighborhood which in its very MULTI-CULTURAL contours and dimensions provides the best retort to the cloistered vision of French culture represented by the National Front. (We share the FN’s stated pride in traditional French culture; we simply argue that this definition is too limited and does not do justice to the grandeur and ouverture to the world that has always been French culture.) Click here to read our coverage of last year’s Open Studios / Portes Ouvertes de Belleville.
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France, too, is at the crossroads. On May 7 the country will choose between the fear represented by the National Front and the hope and optimism represented by Emmanuel Macron. Between closure and opening. In the campaign between these two ‘cultures’ that has raged in this country for the past two years, CULTURE has been all but forgotten. (Among Macron’s refreshing ideas: More library hours.) With your help, we will be able to do our part in restoring some light to what has always been France’s principal calling card around the world. Our calling for more than 20 years.Many thanks and
Subscribe to the Dance Insider & Arts Voyager today for just $29.95/year or 29.95 in Euros and get complete access to our 20-year archive of more than 2,000 exclusive reviews of performances and exhibitions on five continents by 150 writers, plus Paul Ben-Itzak’s commentaries on the Paris and New York scenes, art, Jill Johnston & more. Just designate your PayPal payment in that amount to email@example.com , or write us at that address to find out about payment by check. Institutional rate of $99 or 99 Euros/year gets full access for your entire company, school, etcetera. Sponsorships start at just $49/month and include placements like that above of DI sponsor Freespace Dance. Photo of Freespace Dance’s Donna Scro Samori and Omni Kitts by and copyright Lois Greenfield. Sign up as a sponsor before May 1, 2017 and receive a second month free. Contact firstname.lastname@example.org .
Christophe Martinez, Untitled #1, 2017. 146 x 115 cm unframed and without margins. Pigment print on paper. Oeuvre unique. Copyright Christophe Martinez.
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NOTE DE PRESENTATION (English Translation Follows)
Textures et lumières: Sans affection particulière, ni volonté documentaire, les photographies produites sont issues de technologies hybrides…. Pour Christophe Martinez, la chambre photographique produit plutôt qu’elle n’enregistre. Penser, essayer, opérer, transformer, sous la seule réserve d’une recherche d’équilibre où n’interviennent que des phénomènes travaillés. C’est ainsi qu’une somme d’actions et d’expérimentations aboutissent à un d’accompagnement des techniques et des matériaux photographiques. Une forme de capillarité lumineuse par les lois fondamentales de l’optique, de la nature de la lumière, de la photochimie ainsi que des pratiques numériques. Ces différents protocoles échangent leurs répliques dans une danse à la fois élémentaire et sensible.
Christophe Martinez est né en 1978. Il vit et travaille à Paris. Pour l’artiste se sont les conditions de la photographie et les dispositions de la matière photographique s’imposent en premier. C’est dans ce cadre qu’il va développer des variantes de recherche et d’approfondissement autour des questions qu’il se pose.
Christophe Martinez, Untitled #2, 2014 115 x 146 cm unframed and without margins. Pigment print on paper. Oeuvre unique. Copyright Christophe Martinez.
(For the complete portfolio of 22 images, visit our sister site the Maison de Traduction.)
Textures and light: Without any particular pre-meditated inclination, nor any specific documentary intent, the photographs produced result from hybrid technologies…. For Christophe Martinez, the darkroom produces rather than simply records. Reflect, attempt, operate, transform, with the sole condition being the search for an equilibrium where only methodically developed phenomena intervene. Thus a sum of actions and experiments leads to a marriage of techniques and photographic matter. A form of luminous capillarity arrived at by applying fundamental laws of optics, nature, and light, and with the use of both photo-chemical and digital processes. These different protocols dialogue in a dance at the same time elemental and sensitive.
Christophe Martinez was born in 1978. He lives and works in Paris. For the artist, it is above all photographic conditions and the disposition of photographic material that prime. It is in this framework that he has developed the variants of his research and the depth surrounding the questions that he poses.
(For the complete portfolio of 22 images, visit our sister site the Maison de Traduction .)
Curated by Paul Ben-Itzak.
Text by Christophe Martinez, translated by Paul Ben-Itzak.
Pour tout renseignment / For information contact :
Français: Christophe Martinez, firstname.lastname@example.org
English or Français: Paul Ben-Itzak, email@example.com
As of January 1, 2017, new Arts Voyager articles and art will be made available exclusively to subscribers and delivered via e-mail.
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Willy Ronis (1910 – 2009), “Boulevard Sérurier, Paris,” 1948. Gelatin silver print (circa 1990), 15.95 x 12 inches, including margins. Title, date, and negative number in artist’s hand on back. Artcurial pre-sale estimate: 1,500 – 2,000 Euros. Image courtesy and copyright Artcurial.
Willy Ronis (1910 – 2009), “Le nu provencal (Provencal nude),” summer 1949. Gelatin silver print, 51 x 34.25 inches, including margins. Signed in ink at lower right. (See story for details.) Artcurial pre-sale estimate: 10,000 – 15,000 Euros. Image courtesy and copyright Artcurial.
By Paul Ben-Itzak
Text copyright 2016 Paul Ben-Itzak
If Willy Ronis, from whom a monumental 163 lots of photographs from the 6,000 inherited by his grandson Stéphane Kovalsky spanning eight decades go on sale tonight at Artcurial in Paris (the rest went to the State on or before the photographer’s death in 2009 at age 99), is not as cloying as Robert Doisneau, crafty as Brassai, clever as André Kertesz, lucky as Henri Cartier-Bresson nor eternally naive (in the positive sense) as Jacques Lartigue, none of these worthy peers come close to him as an instinctive chronicler of a proletarian Paris which, if not completely disappeared, has at least been dispersed and upscaled in recent years: the terrain of what would become the parc Belleville before it was a well-manicured garden that closed at sunset; wide-open catty-corners in pre-BoBo (Bourgeosie Bohemian) Belleville-Menilmontant when the drying linen that was still permitted on the balconies became a stage curtain for the intricate charades of ragamuffins; a wine and liquor store that doubled as a charcoal depot before rising pollution threatened to ban chimneys from the Metropole; artisanal glassmakers and above all that ramshackle sky-line before developers started eliminating the former and blighting the latter.
To access the rest of the article, including more images, subscribers please e-mail email@example.com . Not a subscriber? 1-year subscriptions are just $49 or Euros, or $25 or Euros for students and unemployed artists. Just designate your PayPal payment in that amount to firstname.lastname@example.org , or write us at that address for information on how to pay by check or in Euros or British pounds.
Helmut Newton (1920 – 1984), “Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice,” 1975. Silver gelatin print, 7.48 x 11.42 inches. Signed, titled, and dated with artist’s stamp on back. Artcurial pre-sale estimate: 15,000 – 20,000 Euros. Image courtesy and copyright Artcurial.
One might think that scheduled as a curtain closer on the same evening as its monumental “From the Willy Ronis Inheritance” sale, which offers 163 lots starting with a 1926 self-portrait and finishing with a 1990 nude, book-ending no less than a photo-biography of a largely mid-20th century popular Paris, an auction entitled simply “Photography” might have trouble holding one’s attention. But if the scale is more modest, the scope of tonight’s second Artcurial auction is in a way more audacious than the Ronis sale, with one predominant — and timely — theme emerging: Frontiers. We’ve chosen to share a some samples, ranging from the intimate to the inter-galactic and finishing with a presidential epilogue, from, respectively, Helmut Newton, NASA, Ansel Adams, Andy Warhol, Man Ray, and Mark Seliger, whose portrait of a retreating Barack Obama is just begging to be Photo-shopped. – Paul Ben-Itzak
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