jueves, 18 de enero de 2018


Depicts of hell in Japanese art are intricate fantasy that were used to inspire moral behavior and the only figures smiling are the demons.
Claire Voon

Detail of the “Hell for Priests Scroll’ (12-13th c.), showing a demon jailor leading sinners to the river of excrement (Collection of the Nara National Museum, all images courtesy PIE International)

There’s a special place in hell for a sinner of every kind, as Buddhist ideas of the netherworld suggest. Cheat someone of their fortunes, and you’ll be destined to weigh hot iron forever in a lair overseen by a three-eyed hag. Use evil language, and you’ll land in a realm where wardens cut out your tongue with hot iron shears. Kill a bird, and find yourself surrounded by massive flames, as avians with hot beaks gnaw at your roasting flesh.

‘Hell in Japanese Art,” published by PIE International

These are just a sampling of the many gruesome and highly specific fates that await in the Narakas, or the Buddhist realms of purgatory. Like Dante’s Inferno, ancient scriptures describing these various hells have captivated artists across centuries. A book recently published by PIE International focuses on such artworks made in Japan, compiling historical examples of prominent paintings and scrolls that are devoted entirely to man’s understanding of a brutal underworld.
Hell in Japanese Art is a massive book, totaling 592 pages of illustrations and related texts by researchers Kajitani Ryoji and Nishida Naoki, printed in both English and Japanese. The volume features artworks created between the 12th and 19th centuries, and focuses largely on those designated as Japanese National Treasures or Important Cultural Properties, meaning that they possess exceptional historical or artistic value.

Many of the original scroll paintings are elaborate, showing multiple strata of hell, so the publication features cropped and enlarged sections of each artwork on individual pages to allow you to closely examine the savage scenes — which is mostly why the book is so thick. Browsing the works, what I found most impressive is the variety of punishments depicted, each of which is always rendered explicitly: in one vision, skeletal sinners lie on hot iron planks, where demon jailers cut them open with saws and axes; in another, poor souls eat feces as worms gnaw on their flesh. Red is typically the most prominent color in these tableaux, marking flames, blood, and the fiery skin of demons — the only ones ever smiling…………………..



In the wake of recent sexual harassment allegations against Close, four additional women have shared the stories of their encounters with the artist — including one who says he touched her.
Claire VoonJillian Steinhauer
Chuck Close, “Subway Portraits” (2017), glass and ceramic mosaic, ceramic tile, at the Second Avenue–86th Street station (photo by Allison Meier/Hyperallergic)
In late December 2017, 
allegations of sexual harassment surfaced against Chuck Close, one of the world’s most acclaimed contemporary artists. Four women, speaking with the Huffington Post and the New York Times, claimed that Close invited them to his studio and unexpectedly asked them to model nude for him, using explicit language in the process. The women said the encounters left them feeling uncomfortable, manipulated, and exploited.

In the wake of those news reports, four more women have now come forward to describe their encounters with Close. Their stories bear striking similarities to the accounts published thus far, but also include new details: One woman says Close touched her and asked her to “play with” herself; two women connected with Close through internships at art organizations with which he has long-standing professional relationships. The earliest account here dates to 2001, the earliest one reported yet.

After the initial revelations, Close acknowledged that he invited women “to audition” for his photographs. In a statement to Hyperallergic, he commented:

“I have been photographing and painting both portraits and nudes since 1967, and posing for me is completely voluntary. During the past 50 years I have created hundreds of nude photographs of men and women, and have met with many more who had decided not to pose for me. I have never received any complaints prior to reading about them in recent news reports. Having learned that I made these women upset and feel uncomfortable, I do apologize, without qualification.

“My extensive work in nude portraiture is part of a long tradition in the history of art,” Close added. “I have talked with the people who have posed about all kinds of things, including their bodies — both women and men, young and old, healthy and infirm. That’s all part of the process.

“As I have stated before, I vigorously support the fight against sexual misconduct and harassment, and the greater impact it will have on changing the culture.”

Close has said that the auditions were conducted for “artistic reasons,” in the words of the New York Times. But the accounts given to Hyperallergic suggest a pattern of him taking advantage of women in their 20s and 30s who expressed admiration for his work. None of the women felt physically threatened by Close — the artist suffered an arterial collapse in 1988 and is largely paralyzed from the neck down. All, however, described being overcome by his prestige, which they said made them feel pressured to expose themselves for reasons they struggled to justify. Together, the stories illustrate how an artist’s status can hold so much weight that others feel trapped by it.

None of these women are aware of each other’s experiences, and nearly all were stunned to realize how strongly the accounts published in the news resonated with their own stories……….



Miércoles 24 de enero a las 17:30 horas en el salón de actos

El Museo Nacional Thyssen-Bornemisza se complace en invitarle a la charla entre César Paternosto y Guillermo Solana, con motivo de la exposición CÉSAR PATERNOSTO. 

Salón de actos. Entrada libre hasta completar el aforo.

La exposición se podrá visitar hasta el domingo 28 de enero. Entrada gratuita


Et pour cause: les résultats sont longtemps restés inaccessibles.
Par Paul Guyonnet

Trump annonce les vainqueurs des "Fake news awards", Internet crie... à la fake news.
ÉTATS-UNIS - C'était un round supplémentaire dans le long combat qui oppose Donald Trump à la quasi-totalité des médias américains. Ce 17 janvier, le président des États-Unis avait prévu de dévoiler en fin de journée les vainqueurs des "Fake news awards", un classement établi par ses soins et par ceux de ses équipes des médias qui ont transmis les informations les plus erronées et "malhonnêtes" à son égard au cours de sa première année de mandat.

Sauf qu'une mésaventure de dernière minute est venue ternir cette annonce, très largement décriée outre-Atlantique par les défenseurs de la liberté de la presse et du 1er amendement de la constitution américaine, qui la garantit justement. En effet, le site Internet qui hébergeait les résultats n'a pas supporté l'affluence amenée par le tweet du président.
Pendant 45 minutes, les internautes ont ainsi dû se contenter d'une page d'erreur. Et forcément, nombre d'entre eux se sont empressés de se moquer du président américain, criant... à la fake news.
Pour en revenir aux prix, Donald Trump et ses proches avaient donc sélectionné des titres d'articles qui se sont finalement révélés faux ou qui ne correspondent pas à l'image que veut renvoyer l'exécutif américain de la politique qu'il mène. Un classement des dix plus grosses "fake news" est ainsi disponible, dominé par CNN (4 mentions), le New York Times (deux mentions), ABC News, le magazine Time, le Washington Post et Newsweek (tous les quatre cités une fois).

En tête de ce classement figure par exemple un billet de l'économiste Paul Krugman publié par le New York Times et qui assure que "l'économie américaine ne se remettra jamais de l'élection de Trump". Viennent ensuite différentes affirmations de la presse américaine comme le fait que la première dame polonaise n'ait pas serré la main du président américain et surtout de nombreuses captures d'écran de Fox News, le seul média qui trouve grâce aux yeux de Trump, s'en prenant au reste des médias américains.



I teatri di provincia, se ben gestiti e ben amati, possono riservare delle incredibili ed affascinanti sorprese: Può succedere, ad esempio, che si vada ad un concerto, per un fantastico viaggio musicale e ci si  ritrovi due direttori d’orchestra anziché uno solo e…magari uno di questi è donna, giovane ed appena diplomata e magari…pure brava !

F.Mendelssohn – Sinfonia n.4 “Italiana”
MANUELA RANNO, direttore

A.Dvořák – Sinfonia n.9 “Dal Nuovo Mondo”

Certamente risulta Interessante la scelta di far intervenire un’attrice, quale Lucilla Giagnoni per raccontare del profumo dei limoni del Garda, oppure raccontare che lo ‘sguardo’ è la chiave di tutto, ‘si’ di tutto il mondo che ci circonda e  di quel Goethe, tedesco fino al midollo, che si intenerisce di fronte ad un paesaggio giallo di girasoli in Toscana o che cambia il punto di osservazione dopo aver visto Napoli….
E’ affascinante che Giagnoni racconti di quelle impressioni americane di strade affollate o desolate praterie attraversate da una sbuffante locomotiva,forse assalita dai banditi,  parlando di Dvorak ed…insomma collegare la scoperta, la conoscenza attraverso un favoloso fantastico viaggio  musicale tra Europa/Italia e quel Nuovo Mondo che fu l’America.   
Mi sia concessa una piccola nota personale circa la curiosità e la conoscenza:  senza di esse, ovvero senza andare alla ricerca del conoscere di  cosa fa il resto del mondo od anche solo nostro vicino, noi restiamo quello che siamo senza neppure aver la possibilità di crescere. In contrapposizione, conoscere quello che gli altri fanno ci aiuta a crescere e migliorare il nostro essere e le nostre azioni ed opere.
Torniamo ora al concerto proposto dal Coccia e dal suo direttore musicale Matteo Beltrami: il tema è il viaggio, fatto di osservazione, musica, poesia, sensazioni ed emozioni. A proposito di sensazioni ed emozioni, credo sia raro che il direttore musicale di un teatro rinunci alla direzione di metà concerto a favore della sua assistente, ma in questo caso emozionante e sensibile è successo: Matteo Beltrami rinuncia alla direzione della Sinfonia n. 4 “l’Italiana” e la offre a Manuela Ranno, la giovane siciliana, neo diplomata in direzione d’orchestra, a cui riserva questa opportunità.
“ L’Italiana” di Mendelsshon viene diretta Da Manuela Ranno con tutta la partecipazione possibile, stando attenta a tutti i dettagli,  mettendosi in gioco con professionalità e serietà. I vari movimenti descrivono i paesaggi italiani visti con l’occhio tedesco del compositore e Ranno sa cogliere la laica liricità ed il mistico intimismo che alternandosi sono racchiusi nel prezioso scrigno della partitura ed accettare ed esaltare poi l’ariosità celebrativa (ad esempio nel terzo movimento),  diretta con gesto ampio e chiaro.
Della “Sinfonia dal Nuovo Mondo di Dvorak” penso che (credente o no) il compositore, nel momento della scrittura sia stato toccato da forze soprannaturali. L’enfasi, il raccoglimento, l’osservazione, l’entusiasmo, l’attesa ed ancora altri mille sentimenti stanno racchiusi in quelle pagine di spartito. Matteo Beltrami sul podio e con dinnanzi l’Orchestra Sinfonica mantovana, hanno saputo creare l’atmosfera giusta, fatta di suspense, quindi di attesa, e di incantato occhio osservatore di quel mondo che si vede, ma che non si percepisce ancora appieno. Il direttore coglie l’affresco delle parti poeticamente intimistiche  ed esalta poi il folle entusiasmo del nuovo in movimento che espandendosi gigantescamente invaderà il globo.
Ci si potrebbe ancora dilungare molto, ma forse serve di più un plauso ai direttori ed un invito ad ascoltare le due composizioni e, lasciandosi dominare dalla forza della scrittura musicale, abbandonarsi al solo piacere dell’ascolto.
La musica vince sempre
Renzo Bellardone

Credito fotografico: Mario Finotti

miércoles, 17 de enero de 2018


Du 17 janvier au 29 avril 2018, la Fondation Henri Cartier-Bresson présente Zbigniew Dłubak – Héritier des avant-gardes.

Zbigniew Dłubak (1921-2005) a été, après-guerre, l’un des acteurs du profond changement de la scène artistique polonaise. Grand expérimentateur des formes photographiques, il fut également peintre, théoricien de l’art, enseignant et éditeur de la revue Fotografia pendant plus de vingt ans. Il y a introduit une critique photographique solide et une manière interdisciplinaire de penser le medium. Il jouissait, en Pologne, d’une certaine notoriété de son vivant. Plusieurs expositions monographiques lui furent consacrées, et ses œuvres majeures sont représentées dans les collections publiques polonaises.

Si Dłubak se fit d’abord connaître en tant que photographe, il aspirait initialement à devenir peintre, sans cesse à la recherche de matériaux pour dessiner durant la guerre. Très actif dans ces deux domaines traditionnellement séparés il a beaucoup influencé le décloisonnement des formes artistiques. Il défendait également le droit de la photographie à exister en tant que discipline à part entière.

Le commissariat de l’exposition est assuré par Karolina Ziebinska-Lewandowska, spécialiste de l’œuvre de Dłubak. L’exposition est accompagnée d’un ouvrage publié aux Éditions Xavier Barral sous la direction de Karolina Ziebinska-Lewandowska et qui propose une sélection d’images élargie, un essai d’Éric de Chassey ainsi qu’une introduction et sept textes de la commissaire. L’exposition est organisée en collaboration avec la Fondation Archeologia Fotografii de Varsovie qui détient les archives de l’artiste.

L’exposition bénéficie du soutien de l’Institut Polonais de Paris et de l’Institut Adam Mickiewicz, sous le label « Culture.pl », dans le cadre du programme international POLSKA 100 qui accompagne le centenaire de l’indépendance de la Pologne. POLSKA 100 fait partie du programme Niepodległa, financé par le ministère de la Culture et du Patrimoine national de la République de Pologne.



Esta noche, a las 22:30h, el Teatro Lara de Madrid levantará el telón de su sala grande para presentar la première de su obra Todos, una comedia dirigida por Queralt Riera y que cuenta con actrices de la talla de Carlota Baró (El Secreto de Puente Viejo), Núria Tomás (Bent) o Erika Bleda (La llamada) y cuya espectacular música original ha sido creada por el pianista y compositor madrileño Alfonso G. Aguilar.

Sin ser enteramente un musical, la música cobrará un importante protagonismo en esta pieza que entremezcla la comedia con el drama, por lo que el papel de Alfonso G. Aguilar resultará clave en una obra que habla de amistad, de amor, de verdad, con un argumento fresco e intrigante.

La premiére de la obra tendrá lugar este miércoles y la presentación oficial de la misma será el 24 de enero.