30 juin 2008
Les beaux mecs @ Kris Van Assche Eté 2009
Photo: Marcio Madeira
Hommage à Yves Saint Laurent par Bruno Frisoni @ Roger Vivier
Paris is elsewhere remembering Yves Saint Laurent. At Roger Vivier, the designer Bruno Frisoni created his own YSL commemoration: black shoes with a flat bow on the front and a re-creation of the wheat sheaves that were symbolically put on the late couturier's coffin. (source www.iht.com)
Chen Chunlin, "Lessons Learned in One Day" @ m97 Gallery Shanghai
CHEN Chunlin: "Sanya, South China Sea" (2007) C-Print (180cm x 200cm, Edition of 3; 125cm x 140cm, Edition of 5; 75cm x 83cm, Edition of 10). © CHEN Chunlin. Courtesy of m97 Gallery
SHANGHAI.- m97 Gallery Shanghai presents "Lessons Learned in One Day," the first solo exhibition of photographic works by Sichuan-based artist Chen Chunlin. "Lessons Learned in One Day" is a series of portraits taken over the course of several years all across China in an effort to study the changing "face" and appearance of contemporary Chinese society. From major metropolitan centers like Shanghai and Beijing to remote regions of Shaanxi Province and Yunnan Province, the artist used photography as tool for documenting the changing physical appearance of people and places across the country.
Each photograph comprises a series of photographs taken in the exact same location over the course of one day. "One day might seem short, but inspired by the Buddhist belief behind William Blake's poem 'To see a world in a grain of sand and heaven in a wild flower', I thought that one day of photographing will hold both certainties and uncertain coincidences," says Chunlin. With the goal of exploring the changing face of China through the observation of its people, Chen Chunlin started this photographic project in his hometown of Chengdu in 2003 and soon curiosity took him to other cities in Sichuan and later to other provinces and remote areas around China. As the Chinese title of this body of work implies ('Xiang' ) Chunlin's work is about the process of mutually interacting with people in a certain place and time, using photography as an almost scientific tool of measurement to take a reading of the "face" of China. In this sense, his montages become an anthropological study, or a more mystical "face reading" of the face of China as also implied by the Chinese word "" (mian xiang). Furthering this sense of study is the use of a white backdrop that temporarily isolates the subject from their environment, facilitating a more focused observation, while allowing for a more fair comparison under controlled conditions. At the same time, the photographer allows us a glimpse into the physical appearance of the surrounding environments - often seen around the edges of his studio backdrop (tree branches, a wide lane or the ocean) - to give some indication of the local context and landscape. The large scale of some of these photographs, which stand at 1.8 meters tall and 3 meters long in the gallery installation, give the viewer a sense of intimacy and bewilderment at the often-overlooked people that pass before us each and every day.
Chen Chunlin lives and works in Chengdu, Sichuan Province. This is his first solo exhibition.
Paris Eté 2009 : Véronique Branquinho
Road trip en bord de mer chez Véronique Branquinho. La créatrice balade son homme de motel en motel, à en croire les clés de la chambre, le sac caméra, reporter ou 48 h, dessinés en collaboration avec la marque londonienne Chris & Tibor. Autre collaboration à noter : les Zizi de Repetto – souliers chers à Gainsbourg – revus en version liège, paille tressée ou lin enduit. Cet homme mise sur le confort du coton – gaufré, maille ou en version lin lustré – mais toujours avec élégance. Le séducteur a laissé tomber la cravate dès le premier look où elle apparait défaite au détour d’une marinière sous un smoking noir. Il porte le costume rayé, uni, irisé, parfois orné d’aplats de satin. Il cumule les pièces : les treggings en coton usés se glissent sous un bermuda ou se suffisent à eux-mêmes sous un tee-shirt à message ou un pull en maille fine et transparente, la chemise ou la combinaison se superposent sur un top. Les lignes sont souples dans cette exigence de casual chic. Shorts, combishorts et pantalons amples plissent sur la peau, noués à la taille par un fil de Nylon. Pour les intempéries, le voyageur se pare d’un long blouson type « K-way ». La décontraction se perfectionne dans les détails : vestes et pantalons en lin ou coton apparaissent délavés, blousons et bermudas s’arment de multiples poches, pressions et zips. La palette dessine un orage d’été, de gris, bleu, beige, crème avec quelques éclatants passages de rouge. Julie De Los Rios www.vogue.fr. Mes préférés:
(source www.vogue.fr)
"Miquel Barceló: The African Work" @ IMMA, Dublin
Miquel Barceló, Ogobara au bonnet, Afrique, (Ogobara with a hat, Africa ), 2005, Mixed media on paper, 75 x 51 cm, Private Collection
DUBLIN.- Miquel Barceló: The African Work focuses on works inspired by Barceló’s frequent stays in West Africa, where he has been a regular visitor since 1988 and where he has had a home, in the Dogon area of Mali, since the early 1990s. Comprising some 90 works, the exhibition ranges over the entire period of his association with West Africa, presenting works on paper – some being shown for the first time – large and small-scale paintings, sculptures, ceramics and sketchbooks.
Miquel Barceló is renowned for the extraordinary diversity and originality of his work, which has ranged from a series of spectacular terracotta murals for a chapel in the cathedral in Palma de Mallorca to a mesmerizing performance piece/living sculpture with the Hungarian/French choreographer Josef Nadj. He is currently creating a ceiling painting for the Human Rights Hall at the United Nations offices in Geneva, his most ambitious project to date. Barceló’s amazing creative output has been compared to such great Spanish masters as Pablo Picasso, Joan Miró and Antoni Tapies and to outstanding contemporaries European artists such as Francesco Clemente and Anselm Kiefer. Alongside these major projects, for the past 20 years West Africa has played – and continues to play – a particularly important part in Barceló’s practice. Unlike many artists who have been fascinated with the region, Barceló is drawn not to the exoticism of the area but rather to the daily life of its inhabitants, which he presents in a series of portraits, domestic scenes, landscapes and still lifes.
Born in Majorca in 1957, Miquel Barceló studied at the School of Arts and Crafts in Palma and the Fine Arts Academy in Barcelona. In 1974 he held his first solo exhibition at the Galería d'Art Picarol, Cala d'Or, Majorca. During the 1980s he traveled in Europe, the United States and West Africa and in 1982 he achieved international acclaim for his participation in Documenta 7 in Kassel. Barceló works with a wide-range of media and projects, from paintings and drawings, to backdrops for opera, murals and engravings, and terracotta and ceramic sculptures. From 2001 to 2006 Barceló worked on a project for the cathedral in Palma, covering an entire chapel in terracotta and then decorating it with images relating to the sixth chapter of the gospel of St John. Recent solo exhibitions include Pinacoteca do Estado, São Paulo, 2003; Musée du Louvre, Paris, 2004; Galerie Bruno Bischofberger, Zürich, 2005, and Sala Kubo, San Sebastián, 2005. Barceló currently lives between Paris, Majorca and Mali.
This exhibition will travel to CAC Málaga, Centro de Arte Contemporáneo de Málaga in Spain from 11 November 2008 to 15 February 2009.
Miquel Barceló, Jeune Fille avec la Jupe Violette, Afrique, (Young Girl with a Violet Skirt, Africa), 2005, Mixed media on paper, 58 x 78 cm, Private Col
Paris Eté 2009 : Thierry Mugler
Accueil chaleureux pour la première collection de Rosemary Rodriguez pour Thierry Mugler. « Habiller les hommes comme elle les aime » est son credo. L’homme Mugler est jeune, moderne, chic sans excès. Son vestiaire varie entre élégance des coupes et matières techniques sportwear, il mise sur des basiques masculins et des pièces casual revisitées. Le caban marine s’assorti d’un slim blanc et de boots moto ou rangers, le perfecto se revoit en version coton blanc zippé à manches courtes ou en Néoprène bleu, le débardeur en croco lavande. Dans la valse des costumes croisés, on repère les pantalons pyjama flottants en coton rayé, les vestes longues mi genoux, la robe de chambre en satin noire, les cols mao ou inexistants sur la veste, les zips appliqués sur les vestes et pantalons élasthanne pour la touche rock, les cols jabots en coton épais version lilas, la large ceinture en satin taille haute. Et dans la palette urbaine de gris anthracite, perle, noire, beige, écrue, des éclats par touches : une chemise bleue électrique sous un costume classique, une veste ou un pantalon bleu roi, vert gazon ou orange fluo. Les passages en trench, blousons ou cabans s’entrecoupent de références workwear avec des baggies, vestes type mécano ou tout simplement en bras de chemise, rayée mais avec nœud papillon. Julie !de Los Rios www.vogue.fr
(photos www.vogue.fr)
"The Impressionists: Master Paintings from the Art Institute of Chicago" @ the Kimbell Art Museum, Fort Worth
Claude Monet (French, 1840–1926), The Artist’s House at Argenteuil, 1873. Oil on canvas, 2311⁄16 x 287⁄8 in. The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection
FORT WORTH.- Some of the most celebrated and iconic works of the great Impressionist painters are on view at the Kimbell Art Museum. The loan of about 90 paintings from Chicago’s world-renowned Impressionist collection is possible because of an ambitious reinstallation and expansion project at the Art Institute that includes extensive renovation of the galleries and the construction of a new Modern Wing designed by Renzo Piano—the architect recently chosen by the Kimbell to design its own second building. The Art Institute’s Impressionist collection has never before left Chicago in such a large group, and it is being shown exclusively at the Kimbell.
The Impressionists: Master Paintings from the Art Institute of Chicago is a feast for the eyes more sumptuous than even the great Barnes Collection exhibition, seen at the Kimbell in 1994. It features masterpieces of painting by the world’s most beloved artists, including Edouard Manet, Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Paul Cézanne, Paul Gauguin, Vincent van Gogh, and Henri de Toulouse-Lautrec—a succession of geniuses who, through a miracle of history, worked largely in the same country and within the span of a single lifetime. They were painters of modern life who created a more complete and delightful picture of the world in which they lived than any artists before them or since. Carried forward by the so-called “Post-Impressionists”—represented in the exhibition by masterpieces by Cézanne, van Gogh, and Gauguin—the Impressionist movement fostered breathtakingly original pictorial idioms that ushered in the progressive art of the 20th century.
The exhibition brings to Fort Worth works that have come to define the Impressionist achievement—paintings that are familiar even to those who have never visited the Art Institute since they have been so widely disseminated through reproductions. They include Paris Street; Rainy Day (1877) by Gustave Caillebotte; 7 Cézannes, including Madame Cézanne in a Yellow Chair (1893/95) and The Bathers (1899/1904); 6 works by Degas, including Yellow Dancers (In the Wings) (1874/76) and The Millinery Shop (1884/90); 7 Gauguins, including The Arlésiennes (1888) and The Ancestors of Tehamana (1893); 5 van Goghs, including Self-Portrait (1887) and The Bedroom (1889); 7 Manets, including The Races at Longchamp (1866) and Woman Reading (1878/79); 26 Monets, including 6 paintings of wheatstacks, 4 of London, and 3 of water lilies; 12 Renoirs, including Lunch at the Restaurant Fournaise (1875), Acrobats at the Cirque Fernando (1879), and Two Sisters (On the Terrace) (1881); and 3 Toulouse-Lautrecs, including Moulin de la Galette (1889).
Commented Malcolm Warner, the Kimbell’s acting director: “The Art Institute’s Impressionist collection is truly second to none, and we are honored and excited to show it at the Kimbell. In the beautiful light and noble spaces of Louis Kahn’s galleries, every one of these vital paintings sings out gloriously. It is a great pleasure to be working with our colleagues at the Art Institute, and we take pride in bringing to the Kimbell an exhibition that any museum in the world would covet.”
Commented James Cuno, President and Eloise W. Martin Director of the Art Institute of Chicago: “We are thrilled to be collaborating with the Kimbell Art Museum on this exhibition and could not imagine a finer temporary home for these works while their galleries here at the Art Institute are being renovated. The Kimbell is a stunning museum with a first-rate collection, and we know that this exhibition will have a wide and appreciative audience in Fort Worth.”
The Art Institute of Chicago’s Modern Wing will open in 2009 and be devoted primarily to modern and contemporary art. The movement of the modern and contemporary collections into the new building offers the opportunity to reinstall earlier collections—including the Impressionist paintings—in newly renovated galleries. During the renovation, certain collections are to be moved or put into storage. The temporary relocation of the Impressionist collection created a unique opportunity for the Art Institute’s greatest works to be shown outside its own walls, and the Kimbell was able to seize the moment.
Founded in 1879 as both museum and art school, the Art Institute of Chicago is one of the artistic treasure houses of the world. It has an encyclopedic collection of about 250,000 works of art and is the third largest museum in the United States. The Art Institute’s Impressionist and Post-Impressionist collection has grown since the early 20th century, largely through donations from enlightened Chicago collectors. One of the most remarkable was Bertha Honoré Palmer, wife of Chicago retail tycoon Potter Palmer, who collected with an insatiable appetite for art and was advised by the American artist Mary Cassatt. Many of Palmer’s works, including some that will be seen in this exhibition, entered the museum’s collection in 1922. These holdings were further enriched in 1926 by the Helen Birch Bartlett Memorial Collection, given by the Chicago artist Frederic Clay Bartlett.
Vincent van Gogh (Dutch, 1853–1890), The Bedroom, 1889. Oil on canvas, 29 x 365⁄8 in. The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection
Paris Eté 2009 : Emanuel Ungaro Homme
Franck Boclet rend un hommage à la palette non conventionnelle du choc des couleurs qu' Emanuel Ungaro aimait assortir pour ses collections femme. Ces nuances de rose fuchsia, de mauve, de vert sont ici revisitées pour une garde-robe masculine qui de saison en saison s'affine, prend la tangente d'un tailleur pour monsieur et s'approche de l'élégance des sartorialistes milanais. F.P. www.vogue.fr
(source madame.lefigaro.fr)
Brussels Oriental Art Fair 2008: Helena Markus
Four fold Japanese screen - Snow covered plum tree in blossom with two pheasants. Bamboo in the background - Ink, mineral and organic colours on gold foil - End of 17th-beg. 18th century - H: 172 x W: 245 cm
Helena Markus. Via Turati 6, 20121 Milan, Italy - Tel.: + 39 02 6575794 - Fax: + 39 02 6575794 - Mobile: + 39 335 345251 - Email: hm.byobu@gmail.com - Website: www.orientalart.it
Brussels Oriental Art Fair 2008: Kyoto Gallery
Seated Amida Buddha, Japan, Kamakura Period, Height: 32 cm
Kyoto Gallery. Château d'Acoz. 34, rue de Moncheret B - 6280 Acoz, Belgium - Tel : +32 (0)71 703 701 - Fax : +32 (0)71 703 702 - Mobile: + 32 475 448 356 - Email: info@chateaudacoz.be - Website: www.chateaudacoz.be