The small, rising fair is already 25 years old, and gives its spring colors to the ephemeral Grand Palais. Guillaume Piens, who has been driving it for twelve years, claims its eco-design and brings together modern and contemporary artists from 25 countries. The Lelong gallery embodies this trend, presenting the tutelary figure of Nancy Spero (1926-2009), an American artist committed against the Vietnam War, and in the fight for the cause of women, who during her Parisian years came across the work d’Artaud. That of Pierre Alechinsky (95 years old, currently exhibited at Lelong in Paris) and the captivating work of the young Christine Safa (our photo) whose abstract work reveals the great talent of colorist in the line of Etel Adnan, the great Lebanese artist.
In this anniversary edition, 134 galleries exhibit and two red threads cross: “Art and commitment” with 20 works collected by Marc Donnadieu, where Hervé Télémaque, the French painter of Haitian origin (1937-2022), rubs shoulders with the works of Apolonia Sokol or Hassan Musa. On the theme of exile, 18 artists have been selected by Amanda Abi Khalil, mixing points of view and tones. Humor with the Brazilian Roberto Cabot, nostalgia with Anas Albraehe, and many more should be mentioned! On the program again, 16 solo shows, including those of Alexandre Benjamin Navet and Yann Lacroix. New galleries will be at Art Paris for the first time, such as Maïa Muller, who presents Miriam Mihindou, and nine are to be discovered under the “promises” label, including the Guatemalan Rebelde.
Here is a “head banger” as we like them! This somewhat vintage track as effective as a marching band (see clip above) definitely makes your head spin! Produced by Tom Rowlands and Ed Simon, of the Chemical Brothers, English pioneers of electronic music which they helped to democratize (they had also been among the very first to support Daft Punk), “No Reason” is a joyful concentrate of energy, despite its morbid lyrics: “We have no reason to live / We have no reason at all / We have no reason to live / When will they kill us all”. The message is somewhat erased by the “woo” loops (sample of a 1979 new wave track, “Courts of Wars” by the group Second Layer), the fast drums, the 1990s dance melody… In thirty years, after Having released nine albums that have sold 13 million copies (how can we forget ‘Galvanize’ or ‘Hey Boy Hey Girl’?), the Manchester duo have not lost their panache.
In concert at Cabaret Vert on August 18, 2023 and at Rock en Seine.
Legend has it that the friendship between Manet and Degas began in the Louvre, where the two geniuses – the first already famous, the second still unknown – regularly go to copy the masters of the Italian Renaissance. An admirable draughtsman, Degas conceived a fascination for his two-year-old eldest, whom he sketched several times seated, staring into space. He also painted him at home, slumped on a sofa while he listened to his wife, Suzanne, play the piano. This painting from 1868 – from the Kitakyushu Museum in Japan – causes a falling out when Degas discovers that his friend has cut out the part of the painting where his wife’s profile appeared… Manet strikes back: his Madame Manet at the piano, where Suzanne appears in the same position and the same living room, is a well-felt response to his colleague. The friendship resumes, still volcanic: Degas would like Manet to join the Impressionist movement, Manet remains faithful to the official salons. The themes respond to each other: racetracks, naked cocottes, beach scenes… A masterful exhibition where we go from wonder to wonder while discovering the story of this complex friendship, where emulation and rivalry merge.
Their names are Nassim, Issa, Nawelle, Grégoire, Sabine. Their commonality? These speaking circles which allow them to meet for fifteen hours at the rate of three hours per week. Victims of attacks – purse snatching, homejackings, violent thefts… – against those who committed them. Two a priori irreconcilable worlds which, on a voluntary basis, will take a step towards each other. Five years after the moving Pupille, which explored all the springs of the adoption of a newborn, the director Jeanne Herry this time delivers a fascinating reflection on this restorative justice, the existence of which we often ignore. Born in 2014 to try to open dialogue in a regulated and secure framework, the system also offers mediation to allow a victim and his attacker to communicate and, sometimes, after a long process, to meet. But what could be less cinematic than a circle where you pass the baton to speak? Once again, Jeanne Herry proves to us with all her talent that the most beautiful action scenes can be psychological behind closed doors and that a look, a word, sometimes say more than actions. Contrary to our time which favors clash and confrontation, where everything must go quickly, where you have to choose if you are part of the good guys or the bad guys – but who are the good guys? who are the bad guys? –, the director has the art of sublimating the silences, the blanks, the embarrassment, these moments of hesitation where everything still seems possible. Before our dumbfounded eyes and thanks to a formidable cast – Miou-Miou, Gilles Lellouche, Leïla Bekhti, Adèle Exarchopoulos, Denis Podalydès, Élodie Bouchez, Suliane Brahim… – slowly, the magic happens: justice restores, cinema repairs.
“I Will Always See Your Faces,” by Jeanne Herry, in theaters March 29.
Last straight line for the tragicomic turpitudes of the Roy clan, at the end of this 4th and final season which begins exactly where the previous one ended: Logan Roy (Brian Cox), the all-powerful boss of the multimedia group Waystar- RoyCo has decided to sell its empire to a Swedish streaming giant, while depriving its three heirs of any possibility of blocking. Dispossessed Kendall, Shiv and the youngest Roman (respectively played by Jeremy Strong, Sarah Snook and Kieran Culkin) decide to unite to form a new online news outlet competing with his father’s business, while Logan celebrates his birthday surrounded by his courtiers. Always as tasty in the causticity of its dialogues, Succession further weakens its cursed siblings by exposing them to events with devastating consequences from the first episodes of this fourth batch. The authors take a real risk – the nature of which we will not reveal to you – for the rest of the season, but it is fascinating to observe both the blind desire for revenge of the Roy children against their father and their dismay in the face of tragedy. who will follow. And the spectator, desperately addicted to this human comedy with Shakespearean accents, to remain ever more tormented by the same question: how are we going to do without Succession?
Succession Season 4: Every Monday on Amazon Prime Video/Pass Warner.
