Return to Innocence: If you want to look for where art is being made in Paris today, don’t look in the hills of Montmartre but the heights of Belleville. And if you want to peek inside the artists’ studios and chat with the creators, check the Portes Ouvertes of the Artists of Belleville, coming up next month May 19 – 22 and featuring the work of, among others, Catherine Olivier (above). Art courtesy and copyright Catherine Olivier.
By Paul Ben-Itzak
Copyright 2010, 2017 Paul Ben-Itzak
(Want coverage of this May’s Portes Ouvertes de Belleville and a myriad of dance, theater, and visual artists from around the world coming to Paris this Spring & Summer? The Dance Insider & Arts Voyager need your support to make it happen. To subscribe for just $29.95(or Euros) per year and access our Archive of 2000 reviews by 150 writers of performances and exhibitions on five continents over the past 20 years, or make a donation, just designate your PayPal payment to email@example.com , or write us at that address to learn about payment by check. Already a subscriber or sponsor? Thank you and… please spread the news. This reverie on the Open Studios of Belleville, a variety of dance performances real and pretended, and a tapestry of street art of all colors and characters was first published on May 31, 2010 and is updated today.)
PARIS — If the past couple of weeks have taught me anything, it’s that, as has often been the case here and in any major metropolis, art is being advanced not by the established venues and gatekeepers, but in the ateliers, the squats, the docks, the banks of the Seine, even the eccentric personalities of individual Parisians who, often against great odds, infuse the city with its colors and invest it with their dynamism, trying to satiate its denizens’ thirst for the relief and elevation art can provide with, if not a joie de vivre — it’s too much of a struggle to find the means these days to expect that — at least a joie to engage, be it with the elusive muse or the resilient thread that connects a contemporary artistic scene in flux with the phantoms of the past, themselves often barred by the gatekeepers of their time. So if I was disappointed by a lackluster season-announcing press conference by the Theatre de la Ville in which its director, Emmanuel Demarcy-Mota, was averse to taking questions from the press (and no wonder: the 2010-11 dance season offers little surprises), I was inspired and invigorated by a photo on the wall of a Lilliputian atelier on the outskirts of Belleville capturing a darkened forest fleeting by outside a train window and the enchanting smile of its simply dressed proud author, Agata Rybarczyk — “It was taken in Poland! I’m Polish!” — who also invited visitors to create their own art out of small cubes.
My descent — or ascent — began last Wednesday with Christian Rizzo’s “L’Oubli, toucher du bois” (The Forgotten, knock wood), theoretically a dance piece, and in which I didn’t see enough either to forget or remark, having been chased out before the artist-spectator contract could be consummated by the bright flood lights the brilliant lighting designer, Caty Olive, assaulted the audience with, directing them straight at the public. I’m not paid to suffer (and when it comes to bright lights, migraines don’t grant artistic license), so I fled, making my way along the Quay towards the Ile St. Louis, arrested en route by a bouquiniste pal, Fabrice, who right away thrust a plastic cup of Kentucky bourbon into my mitts. “It’s not actually mine to give, it belongs to Daniel, who’s descended to the river to retrieve one of my vintage newspapers which flew away,” explained the chronically frenetic Fabrice, even more jittery than usual that night under the Chinese lantern hat shielding him from the Sun. “So that’s why I’m not giving you that much.” When Daniel returned, baked red from the Sun and, I surmised — from a visage as weathered as Balzac’s “Peau de Chagrin” – living outdoors, and looked from Fabrice to the bottle to me, it dawned on me that he had probably already drunk directly from the container. When Fabrice asked me to remind him what I did for a living, I made the mistake of telling him I worked on the Internet. “That’s a CIA – Defense department plot, you know. So you must work for the CIA. In fact that’s why you have bad teeth: It’s a cover.” I have known Fabrice for a while and am accustomed to his delires, so I decided to go with the scenario. “Yes, in fact, if you don’t mind, I need to just check the bug I put in your flower-pot to make sure it’s working.” Then his cell phone vibrated. “A Chinese guy gave it to me!” he said of the phone. “I know,” I said. “We actually gave it to the Chinese guy to give to you so we’d know where you were at all times.” At this point he laughed. “Pass by my stand again when you like!” he said before dashing across the street to the Metro, leaving Daniel to guard the newspapers and the bottle.
I still had some time before the after-performance buffet at the theater (hazard pay for the blaring lights, even if they’d ejaculated me prematurely), so I headed towards the Pont Neuf, where I discovered another government-subsidized lighting monstrosity. (To indigenous culturati readers who may be tempted to interject at this point, “If you loathe what we fund so much, why do you stay?” I respond: By objecting to your new-fangled projects, I’m postulating for admission to a longstanding pantheon of cultural curmudgeons. Never mind that they also despised one of my own chou-chous, the Eiffel Tower.) On an official commission from the ministry of culture and communication, a contemporary artist has framed the statue of Henry IV on a horse with purple neon tubing, even adding a neon sword to his sword-sheathe, thus diminishing the statue and blighting the bridge and the views of it from either side. Sometimes I think that the current cultural gate-keepers of Paris and France don’t appreciate, or at least under-value, their own heritage. This impression was recently bolstered by the theft of five paintings — by Picasso, Matisse, Modigliani, Leger, and Braque — from the Modern Art Museum of Paris earlier this month, the thief entering through a window the alarm on which had been out of commission for two months. Security officers had signaled the malfunction to the higher-ups but nothing had been done about it. So the thief was apparently able to take his time before neatly severing the tableaux from their frames.
All this as a prelude to explain why on Friday, on a quest for art created by a less official tribe, I took visitors from San Francisco around Belleville for the annual four-day Open Studios of Belleville, as much an opportunity to see art as encounter its creators and discover the milieus in which they live and work. We started with the plateau on top of the parc Belleville and its panoramic view, which includes my favorite perspective on the Eiffel. Then up to and down the winding rue Cascades, so dubbed because (way) back in the day water from cisterns (two examples of which have been preserved) controlled by the local abbey flowed down it to the faubourgs around the Place de la Republique. We all loved the atelier of Estelle Babut-Gay — me for the terrace with its view of trees and Paris rooftops, David for the sculptures crafted from Atlantic coast driftwood, Jennifer for the rings made from buttons. (She finally decided on two.) I was enchanted (literally) by the gauzy, ephemeral pyro-gravures of Catherine Olivier, crammed into her atelier above a corner café. But most of the allure came from the street itself: the patch of late-afternoon sunlight illuminating the catty-corner below Olivier’s studio and the cafe tables around it, the spectacular view of a panoply of rooftops of varying heights and the skyline below, the serpentine street, conjuring a Belleville which has haunted me since repeated childhood viewings of “The Red Balloon.” (As Jerry tells Peter in Edward Albee’s “The Zoo Story,” sometimes you have to take the long way around to come back home.)
The rue Cascades spit us out (to cop a phrase from Léo Malet) onto the rue Menilmontant, immortalized by Charles Trenet. I wanted to check the status of la Miroiterie, the artists’ squat that takes up an entire alley at 88 Menilmontant across the street from Cascades, mostly to see if it was still there, as so many artists’ squats have been shut down lately by officials of the Socialist city government. The atmosphere was subdued. A few artist-residents were cooking up spicy merguez sausages to sell for 3 Euros apiece and offering beer for 2, but none of the ateliers were open, except for a graffiti’d space where a DJ played very loud reggae. I picked up a flyer, “Le Pari (s) de la Creation,” which explained: “Following so many other popular and prolific artists’ squats, la Miroiterie has to quit the Paris scene, whereas the large institutions of contemporary art continue to turn emptily to grand indifference on the part of Parisians.” (In the nearby 19th arrondissement, the highly touted city-funded Centre 104 has done just that for the past two years.) “What do we want? To revindicate a place for artists in a Paris that continues to sigh in the soft pillow of consensus and the principles of precaution…. We request (simply) a form of tolerance, to exist in the interstices of the city, to occupy temporarily its niches, to live at the most intimate proximity in the neighborhoods, without being attacked and taken to court.” Other cities in France and elsewhere have conferred space to artists’ collectives, but, the manifesto asked, “What has Paris done? The capital of art and culture, has it become so timorous that it doesn’t want to loan orphaned spaces to artists in need of space?”
…. On Saturday, I actually had a review assignment, “The man without a past,” a mime spectacle showing at a recreation center in the 19th arrondissement, on the other side of the Ourcq canal from outer-outer Belleville. As this same arr. takes part in the Open Studios, I thought I would make my way from the rue Menilmontant over to Belleville, past the man-made parc Butte Chaumont with its precipitous waterfalls, over the Basin la Villette to the Metro Crimee and the Mathis animation center, discovering some more studios along the way. That was the plan, anyway.
From the studio promenade, besides Rybarczyk’s showing, which also included inviting visitors into a sort of curtained box, one at a time, to view a life-sized, disheveled naked woman getting out of an unmade bed, I was impressed most by tableaux which mixed 1930s magazine clips and grey-blue paint, in collages by Sylviane Balustre-d’Erneville, as well as several of her photos, including of a market and a backyard in Egypt. Hers was also the most elegant of showings, with cool jazz and Gainsbourg and champagne on offer.
At the basin, near a grounded destroyer converted into a children’s play structure, I collided with a massive design expo, featuring space-age furniture from the ’50s through ’60s. From this retro outpost one could hear techno music pounding from across the basin. This eventually devolved to canned can-can music, accompanying a live performance by four women and one man who made up the Troupe of Mademoiselle Clairette. It only took me ten years, but I had finally stumbled upon can-can being performed live in Paris. The performance stage as well as the audience area was a floating platform moored in the basin, so that the performers were actually dancing — and performing splits and other calisthenics — on an unstable unprotected wooden floor while being battered by the wind blowing from all directions, with no Marley in sight. I came away with a real sense of the ribaldry with which can-can must have been performed back in the day, as well as the athletic strength required of the dancers. And ouch!, those splits on that hard-wood floor!
I had some time before the mime show started, so I plopped down on a concrete bank of the basin near the rear of an old-school schooner and opened a can of stuffed grape leaves, which I downed with hot spiced tea from a vintage red-checkered thermos I’d scored at a vide grenier (like a neighborhood-wide garage sale; vide = empty and grenier = attic) for 1.50 Euros. This turned out to be not one of my most brilliant inspirations of the week-end, as the food no doubt contributed to the most sorry part of my day, when I fell asleep as soon as the show which was the one thing I actually had to do that day started. I drifted in and out during the one-hour performance, by the Theatre de l’Epopee’s Hadrien Trigance, which concerned a man who wakes up every morning with no memory of what he did the previous day or the last 30 years. At night, though, he dreams of a woman dressed in purple satin, evoked onstage by a purple satin sheet, before he wakes up wrapped in a white sheet. At one point his memory is jolted and he replays a dinner table scene from his childhood, his parents (heard off-stage in recorded voices) talking while he plays with his food. Trigance’s innocent air and alternately grave and playful aspect as he sat on a high-chair reminded me of Chaplin. I drifted off again, only to wake up in time to see him form a noose with the satin sheet; perhaps the woman of the past now haunting his dreams had hung herself, which is why he had blotted out all memory. The spectacle ends with the hero bedding down with the purple sheet, choosing retaining a tragic past over waking up with a blank sheet ever morning.
Afterwards, when Trigance’s manager asked me what I thought of the piece’s evolution since a 20-minute version I’d caught two years ago at the Mimos international mime festival in Perigueux, I hedged: “It’s…developed.” Later, when Trigance came out, I came up with something (I thought) better, “You remind me of Chaplin.” “Oh,” said the mime, hanging his head. “It’s a compliment, really!”
On Sunday, after a day of recovery resting my tired dogs, I arranged to meet David and Jennifer at Niki de Saint Phalle’s Stravinsky fountain next to the Pompidou museum. I had them take a picture of me next to the big-breasted mermaid which (who?) is just one of the fanciful objects spouting water from the fountain, right out of her plexi-glass nipples. Then my friends stopped to photograph a large chalk pavement drawing featuring the Eiffel, then the artist who’d created it, then his dog; the real-life model was yelping from protective covering in an open suit-case, no doubt complaining about the late May drizzle and wind. The artist had scrawled at the base of the work that he needed money to live. My friends dropped some coins into the hat. Then we scrambled through Les Halles to the rue Montorgueil, in search of a high-class pizza joint. “What church is that?” Jennifer asked as we came to Saint Eustache. “That’s the church where a children’s choir director named Gounod told a ragamuffin named Renoir that it was ‘dommage’ that he had chosen painting over music, because he had such an angelic voice.” Then up Montorgueil, regretting the Starbuck’s sign which now, like a portal, marks its entrance on the uptown side of this street made famous by Monet (“Rue Montorgueil on the 14th of July”), and the rue Reaumur, where Jennifer gave a lesson in the art of grabbing a taxi to a poor young French man trying to protect his head from the rain with a newspaper. As the man waved tentatively at the faraway driver, Jennifer simply marched up the block ahead of him. David, who had studied at the Sorbonne in the ‘60s, started talking about being in the now. “This moment, for instance,” he suggested, looking down what to me is one of the most non-descript, boring streets in Paris, degraded to downright depressing when the gray sky is dribbling drizzle. “I love this moment, this place, right here, right now.” Later, when we finally found the pizza place — in the interim there was a taxi driver who joked that he thought he spotted Che Guevara in his mirror (me, in my beret with the Captain Haddock button) – by way of furnishing another example of temporal bliss David pulled out the photo, on his cell phone, of the salade Nicoise he’d had at our first RDV for this visit, when I took him and Jennifer to an unremarkable neighborhood café on the place Edith Piaf. (‘Took’ being relative; they treated.) I’d retained from this lunch that there were none of the advertised anchovies in the salad and that the charming server who typically greets me with, “How’s he doing, the American?” had not mentioned he was out of them, didn’t think the absence of anchovies in a salade Nicoise was worth an avertissement, and charged us the same, quand meme. On Friday, before a hefty steak dinner at the Relais of the Entrecote on the place Saint-Germain-des-Près (most American writers in Paris would have slipped this reference in 20 paragraphs earlier, and I’m not even going to attempt to capture the ambiance in the nearby lobby of that expatriate Valhalla the Hotel Montana or correctly spell Germanopretan), David and Jennifer had taken me to Bob Cool, where it was Western theme night, Johnny Cash was in the house, and I had to resist the temptation to explain that you don’t leave the ice cubes in the Cosmos. Johnny, Edith, David — they find the serendipitous and the art in the tragic, the hard times, the mundane. Me, I wonder whether I can manage to pull it off, even in the City of Light which has compelled my artist’s soul like a moth since I first opened the pages of Ludwig Bemelmans’s “Madeline” and saw “Pascal” lifted over the streets of Belleville by a barque of balloons — to lift the clouds of blackness that obscure my view so much these days, to live up to a credo scrawled in my high-school year-book by an Italian friend, Sonia, who I lost in a dispute then found 20 years later: “Never stop looking for beauty, never.” Until then, I’m off to the Piaf. Hold the anchovies in that noisette, Isham.
(Some updates, 4-20-2017: La Miroiterie was eventually closed down by city authorities, who claimed that a wall bordering the alley threatened to tumble. A law that would have galleries pay artists for the privilege of exhibiting them has been proposed. Benoit Hamon, the Socialist candidate for president in the election whose first round is April 23, has proposed a regime for visual artists which would resemble the unemployment convention for which freelance performance artists and technicians are currently eligible. Except for Hamon and that when it’s preceded by ‘multi-’ it’s become a Right-wing epithet, culture has been conspicuous by its absence in the presidential campaign, a lapse in attention I’d ascribe more to the Media than the candidates. All the more reason for the artists of Belleville to once again take it to the streets, May 19 – 22. )