sábado, 30 de abril de 2022

LIVRE: OLIVIER BARDE-CABUÇON, "LE CERCLE DES RÊVEURS ÉVEILLÉS. AND "WIDESPREAD PANIC", BY JAMES ELLROY


Paris 1926. Tournées vers les plaisirs et la fête, les années folles battent leur plein et Montparnasse est le nombril du monde. La mort suspecte d'un patient amène Alexandre Santaroga, psychanalyste atypique, à s'intéresser à un mystérieux cercle de rêveurs éveillés. La rencontre fortuite avec Varya, récemment échappée de la Russie bolchevique, lui permettra d'y enquêter. Mais Santaroga a-t-il introduit une brebis ou un loup au sein du cercle ? Surréaliste et adeptes du rêve éveillé, aventurière et artiste, Russes blancs ou Américain en goguette, Olivier Barde-Cabuçon donne vie à une galerie de personnages étonnants du Paris flamboyant de l'époque tandis qu'en coulisses se dessinent la montée du fascisme et la tentation de dangereuses alliances.



https://www.babelio.com/livres/Barde-Cabucon-Le-cercle-des-reveurs-eveilles/1299069


AND

"WIDESPREAD PANIC": A NOVEL BY JAMES ELLROY

From the modern master of noir comes a novel based on the real-life Hollywood fixer Freddy Otash, the malevolent monarch of the 1950s L.A. underground, and his Tinseltown tabloid Confidential magazine.

Freddy Otash was the man in the know and the man 
to know in ‘50s L.A. He was a rogue cop, a sleazoid private eye, a shakedown artist, a pimp—and, most notably, the head strong-arm goon for Confidential magazine. 
 
Confidential presaged the idiot internet—and delivered the dirt, the dish, the insidious ink, and the scurrilous skank. It mauled misanthropic movie stars, sex-soiled socialites, and putzo politicians. Mattress Jack Kennedy, James Dean, Montgomery Clift, Burt Lancaster, Liz Taylor, Rock Hudson—Frantic Freddy outed them all. He was the Tattle Tyrant who held Hollywood hostage, and now he’s here to CONFESS.
 
“I’m consumed with candor and wracked with recollection. I’m revitalized and resurgent. My 
meshugenah march down memory lane begins NOW.”
 
In Freddy’s viciously entertaining voice, 
Widespread Panic torches 1950s Hollywood to the ground. It’s a blazing revelation of coruscating corruption, pervasive paranoia, and of sin and redemption with nothing in between.
 
Here is James Ellroy in savage quintessence. Freddy Otash confesses—and 
you are here to read and succumb.

WILLIAM MORRIS AND COMPANY: THE BUSINESS OF BEAUTY, CHICAGO, ART INSTITUTE


Beyond its aesthetic offerings, the home furnishings company had deep philosophical objectives: to elevate handmade objects over mass-produced goods and to bring art into the everyday.

Artist, designer, and writer William Morris (1838–1896) founded Morris & Co. 160 years ago, in 1861. The company quickly became regarded for the objects it designed and made for home interiors—handmade wallpapers, textiles, and furniture—and its style became synonymous with the British Arts and Crafts movement of the late 19th century. Morris was both an avid student of art history and devotee of the natural world, and his and his company’s works were characterized by a design vocabulary drawn from both European and Middle Eastern historical fabric designs and featured, and were titled after, flowers and plants.

Morris and his collaborators—which included his wife Jane Burden Morris, younger daughter May Morris, artisan and designer John Henry Dearle, as well as artists such as Edward Burne-Jones and Dante Gabriel Rosetti—considered themselves design reformers. They were on a mission to bring beauty back into the lives of their consumers through thoughtful design and production that foregrounded the agency of artisans and anti-industrial techniques. Accordingly, they experimented with dye recipes based on natural materials, revived hand-printing methods for fabrics and wallpapers, and reintroduced hand weaving for woven wool and silk textiles as well as pictorial tapestries.

Although Morris & Co. closed its doors in 1940, the company’s aesthetic vision remains potent to this day through the continued reimagining and reworking of the textile and wallpaper designs. This exhibition explores that longevity, highlighting Morris & Co’s design tenets and favored techniques as well as Chicago area sites where the work of Morris and his contemporaries appeared. The presentation comprises approximately 40 works, drawn primarily from the Art Institute’s significant holdings, many of which were generously given to the museum by Mr. and Mrs. John Bryan and the Crab Tree Farm Foundation.

https://www.artic.edu/exhibitions/9325/morris-and-company-the-business-of-beauty

NEFERTITI LIVED HERE, BOOK BY MARY CHUBB




In 1930 five young archaeologists embarked on an expedition to Egypt to investigate the site of Tell el Amarna, city of Akhenaten and Nefertiti. In this book Mary Chubb recalls her initiation into the world of Egyptology and the discoveries that she and her team made. It is an account of life on an excavation and includes a portrayal of the excavation's director, John Pendlebury.

FLORES, ANUNCIO DE PRIMAVERA EN LA DACHA, ABRIL 2022. Y LAWRENCE (POR T.E.LAWARENCE, LAWRENCE DURRELL Y D.H. LAWRENCE, OF COURSE)


LAS PRIMERAS ROSAS Y CAMELIAS

Y EN LA SEGUNDA IMAGEN, CHERCHEZ LE CHIEN, ¿DÓNDE ESTÁ LAWRENCE?


...........................................................................

(EN LA PARTE SUPERIOR, A LA DERECHA)
 

5 È IL NUMERO PERFETTO: TONI SERVILLO NELLE PRIME IMMAGINI DEL FILM ( SCRITTORE E FUMETTISTA IGOR TUVERI, IGORT)

 

Dalle pagine della graphic novel di Igort al grande schermo: al Comicon 2019 sono state svelate le prime immagini di 5 è il numero perfetto

Da Federica De Masi – 

Cresce l’attesa e la curiosità di vedere l’esordio registico del fumettista e scrittore Igort (Igor Tuveri) che ha trasformato Toni Servillo nel protagonista di un noir a fumetti che si aggira tra i vicoli e i quartieri nebulosi di Napoli in cerca di vendetta. Per la prima volta al Comicon 2019 è stata svelata la sequenza iniziale di 5 è il numero perfetto, trasposizione dell’omonima graphic novel (edita da Coconino Press nel 2002) scritta e disegnata da Igort, autore tra gli altri anche di Quaderni Giapponesi.


Toni Servillo è irriconoscibile con un naso molto pronunciato e completamente calvo

Nei primi sei minuti del film vediamo la macchina da presa muoversi tra i vicoli di una Napoli anni ’70, completamente deserta e bagnata dalla pioggia battente. Fin da subito vediamo il protagonista di questa storia Peppino Lo Cicero, tutto vestito di bianco come Humphrey Bogart in Casablanca, con tanto di cappello e impermeabile. Tra carrellate e soggettive troviamo Toni Servillo ancora una volta trasformato, irriconoscibile con un naso molto pronunciato e completamente calvo. Il personaggio protagonista di 5 è il numero perfetto è un comune guappo, un sicario esecutore ormai fuori servizio che però sarà costretto a impugnare ancora una volta una pistola per vendicare la morte del figlio. In queste scene iniziali vediamo il suo camminare sotto l’acqua scrosciante per andare dal Gobbo, un personaggio che gli propone alcune rivoltelle tra cui scegliere l’arma che più si addice a lui.

Al centro di 5 è il numero perfetto c’è il concetto di nostalgia o come direbbero i giapponesi del Mono no aware un tipo di estetica prettamente orientale utilizzata per descrivere l’intrecciarsi degli elementi naturali con i sentimenti dei personaggi, ha raccontato Igort. “I giapponesi la ritrovano anche nel cinema di Ozu o Naruse, autori a cui mi ispiro. Quanto parlavo con Toni Servillo eravamo d’accordo nel dire che dovevamo raccontare i personaggi come se fossero due vecchi cavalieri in arnese che si ritrovano, e che hanno l’urgenza di tornare in pista. C’è questa malinconia di base perché non sanno se ce la faranno, ma ce n’è uno, Peppino Lo Cicero, che deve farlo assolutamente perché gli hanno ammazzato il figlio, e l’altro Toto Macellaro che ci si trova in mezzo, che lo deve affiancare perché è il suo vecchio compare di missioni per la Camorra. Questa idea era di per sé crepuscolare, e c’è la consapevolezza che questi vecchietti sono molto piccoli. Io adoro i registi italoamericani, Scorsese tra tutti, ma i suoi boss sono dei geni, persone che muovono le cose. Io invece volevo fare una storia al contrario, di due gangster di periferia, due gregari, due che andavano a uccidere, ma che non sono mai stati e mai saranno due capi”.

5 è il numero perfetto: il cast del film

Toni Servillo si presta ancora al trasformismo per interpretare un personaggio dei fumetti dal grande spessore, un antieroe dai tratti dell’uomo comune. Al suo fianco troveremo Carlo Buccirosso e Valeria Golino che interpreta una donna decisa innamorata di Lo Cicero. Sul lavoro degli attori Igort ha parlato solo di grande commozione: “Quando vedevo le parole attraversate dalla carne, un attore recitare la sceneggiatura e dargli vita io non riuscivo a trattenere lacrime”.

La fotografia del film è curatissima ed è realizzata da Nicolaj Bruel (Dogman), tra contrasti e chiaroscuri oltre che al viraggio dal sapore vintage, l’immagine riproduce i disegni rigorosi e dai tratti orientali di Igort sul grande schermo. 5 è il numero perfetto è atteso tra la fine di agosto e i primi di settembre, vedremo forse il film al prossimo Festival del cinema di Venezia?

https://www.cinematographe.it/rubriche-cinema/focus/5-e-il-numero-prefetto-toni-servillo/

MONET IN AMERICA: HOW THE US HELPED CEMENT THE REPUTATION OF ONE OF THE 20TH CENTURY'S MOST COVETED ARTISTS


Three paintings from the collection of Anne H. Bass trace the role of American collectors in the rise of Monet’s international profile

The 12 works from The Collection of Anne H. Bass that will lead the 20th Century Evening Sale at Christie’s New York this May include three exquisite paintings by Claude Monet, spanning the full breadth of the artist’s mature oeuvre: Peupliers au bord de l’Epte, from his bucolic paintings of the French countryside in the early 1890s; Le Parlement, soleil couchant, one of his rhapsodic views of foggy London from 1900-1903; and the 1907 Nymphéas, from his ethereal visions of his beloved water gardens at Giverny.

The works, each of which were purchased by prominent American collectors early in their histories, not only highlight the artist’s work in series; they also underscore the significant role of Monet’s first American patrons, whose enthusiasm for his visionary Impressionist style ran in contrast to the skepticism of the French public and proved essential to the growth of the artist’s international reputation and ultimately his success.

‘These three major series pictures by Monet in one collection, coming to the market at the same time, represent a rare opportunity,’ says Vanessa Fusco, Co-head of the 20th Century Evening Sale. ‘And they each speak to this collecting story and the American embrace of what was at the time a very avant-garde art movement.’

American audiences first got a glimpse of Monet’s bold visual language in 1866, when one of the young artist’s paintings was included in an exhibition on French art at the Derby Gallery in New York. Opportunities to see his work in the United States were sporadic over the next two decades, but each instance grew his following among the East Coast cultural elite, who were struck by the innovative technique and fresh vision of the Impressionist’s carefully observed landscapes.

‘These three major series pictures by Monet in one collection, coming to the market at the same time, represent a rare opportunity’ —Vanessa Fusco

American painters who visited Paris — including John Singer Sargent, Tom Perry, Theodore Robinson, and Mary Cassatt — further fueled interest in Monet and his contemporaries: ‘They came back with tales of the strength and ingenuity of these painters,’ says Fusco.

In particular, Cassatt introduced many leading figures within her social circle to the Impressionists and facilitated several important sales. ‘Monet is coming up…’ she advised her brother Alexander in 1883. She also advised Frank Graham Thomson and a young Louisine Waldron Elder, who would go on to marry the sugar magnate Henry O. Havemeyer. By the 1890s, the Havemeyers were some of the foremost buyers of Impressionist art in the US.

Monet’s earliest American collectors mostly purchased his works in Paris, while traveling through Europe, but in the 1880s a few forward-thinking dealers began bringing the artist’s paintings across the Atlantic directly to the US market. One of the most influential was Paul Durand-Ruel, who met the artist in London in 1871 and went on to become his primary dealer.

Durand-Ruel first tested the waters by sending three Monet landscapes to the American Exhibition of Foreign Products, Arts & Manufactures, in Boston in 1883. It was here that the dealer connected with James F. Sutton, a founding director of the American Art Association, who later mounted a large-scale exhibition of Durand-Ruel’s Impressionist holdings, including 48 paintings by Monet, in New York in 1886. The show caused a sensation and marked a turning point in American collecting trends, solidifying the ascent of Monet and his contemporaries.

All three of the Monet paintings to be offered in the upcoming sale of the Bass Collection at Christie’s were purchased from Durand-Ruel by important American buyers whose progressive collections contributed to the artist’s international reputation as one of the most sought-after practitioners of Impressionism...............

https://www.christies.com/features/claude-monet-in-america-12237-3.aspx?sc_lang=en&cid=EM_EMLcontent04144C06Section_A_Story_1_0&COSID=42665747&cid=DM477094&bid=308562331#:~:text=Monet%20in%20America,Monet%E2%80%99s%20international%20profile

viernes, 29 de abril de 2022

PARA RECORDAR EL DÍA MUNDIAL DE LA DANZA, 29 DE ABRIL, 2022: BÉJART BALLET LAUSANNE. EL BOLERO DE RAVEL. JORGE DONN

 



 

IN MEMORIAM, SEMPER...

JOURNÉE MONDIALE DE LA DANSE, 29/4/2022: LA BAYADÈRE ENTRETIEN AVEC VALENTINE COLASANTE, SABRINA MALLEM ET JOSÉ SCIUTO

Par Aliénor Courtin le 01 avril 2022

À l’occasion de la reprise de La Bayadère de Rudolf Noureev, le magazine Octave a rencontré Valentine Colasante, danseuse Étoile, José Sciuto, responsable artistique des ateliers décors et Sabrina Mallem, Maîtresse de Ballet. Ils présentent cette production sous différentes facettes : les rôles tragiques de Gamzatti et Nikiya, les secrets de réalisation des fastueux décors et le travail de répétition du mystérieux Acte des Ombres.

https://www.operadeparis.fr/magazine/sous-les-dorures-de-la-bayadere

miércoles, 27 de abril de 2022

28 DE ABRIL, 2022, FALLECIÓ EL ACTOR JUAN DIEGO. ET, CARTE BLANCHE À MARGUERITE BORNHAUSER « FERMÉ POUR TRAVAUX »

Cine y TV

CADENA SER: Muere el actor Juan Diego

El intérprete sevillano ha fallecido a los 79 años

El actor Juan Diego en una foto de 2015. / Pablo Cuadra

Madrid 

El actor Juan Diego ha fallecido este jueves a los 79 años. Se adentró en el mundo de la interpretación con 15 años y con 18 interpretó Esperando a Godot, de Samuel Beckett, un trabajo que suscitó cierta polémica y con el que cobró cierta popularidad. Pronto empezó también a trabajar en televisión donde, además de actuar en el famoso programa de teatro Estudio 1, protagonizó alguna telenovela. Destacó tanto en el drama como en la comedia y dejó una frase que resumía su esencia: "Los actores, si no actuamos delante del público, no existimos". En una entrevista a la SER en 2018, confesaba que cuando tenía un personaje miraba en su "yo interno para buscarlo".


GRAND PALAIS À PARIS

Photographe plasticienne, Marguerite Bornhauser vit et travaille à Paris. Diplômée en 2015 de l’École Nationale Supérieure de la Photographie d’Arles, elle expose dès 2019 à la Maison Européenne de la photographie, à Paris. Depuis l’automne, à l’invitation de la Rmn – Grand Palais, elle arpente les espaces du Grand Palais et pose sur le monument un regard résolument non documentaire et contemporain : dominé par la couleur, la lumière et la recherche du détail, son travail révèle l’invisible et sublime la trivialité des immenses gaines électriques qui ponctuent le chantier aux objets échoués là par hasard. Elle collecte d’ailleurs certains d’entre eux – boulons, cadenas, pancartes et billets d’entrée d’un autre temps – dans une démarche d’expérimentation plastique.

Le premier chapitre de cette carte blanche, qui se poursuivra jusqu’en 2025, regroupe 15 photos argentiques et des vidéos, que l’artiste a tout simplement prise avec son téléphone lors de ses visites. Il témoigne de la découverte et de l’émerveillement de l’artiste face au chantier, du sentiment « de faire partie d’un moment d’histoire », au cœur d’un décor vécu comme celui d’un théâtre, d’un univers quasi cinématographique. Ce premier moment du chantier étant celui du curage, il a permis à l’artiste de capter progressivement l’exhumation des couches de peintures sur les murs, de matières jusque-là invisibles, de débris au sol. Chacun de ces objets capté est présenté de manière décontextualisée, dans une approche presque abstraite et dénuée de repères spatiaux.

extrait de la conversation entre Marguerite Bornhauser et Chris Dercon, avril 2022

CD : Est-ce que tu sais que tout ce que tu as photographié au Grand Palais, comme dans les fouilles, ça va disparaître ? MB : Mais c’est ça, c’est cette idée là qui est magnifique et elle s’applique à la photographie de manière générale, tout va disparaitre, et il restera -un temps- les images pour les faire perdurer. J’ai l’impression de vivre un moment historique, et d’avoir une chance incroyable de voir cette évolution permanente. Parce qu’à chaque fois qu’on vient, c’est tellement différent ! Dans la vie de tous les jours, il y a peu d’occasions de voir une transformation aussi rapide et monumentale d’un lieu sur une si courte durée.

CD : Ce qui est très intéressant aussi dans ton travail, c’est que parfois, dans tes photos, il y a un thème très classique, c’est le pli. Il y a aussi le pli entre deux photos quand tu les juxtaposes en diptyque. Et chaque fois, dans les motifs, il y a le pli. Pourquoi cette fascination ? MB : En fait, j’aime les confrontations, les oppositions. J’aime bien que les choses ne soient pas totalement en accord. Et donc le diptyque, pour moi, c’est une manière d’opposer deux choses. En fait, je crois que je n’aime pas vraiment le rapport au beau trop esthétique, trop léché, j’aime bien l’idée qu’il y ait des éléments qui créent une rupture qui pousse à s’interroger. Le pli pour moi constitue une mini fracture visuelle, des associations de formes de couleurs, qui étonnent, qui ne sont pas naturelles.

CD : Quelque chose qui cloche ? MB : Voilà ! Et le pli, c’est ça, en fait. Quand on a un pli sur notre vêtement, on a envie de l’aplanir, et c’est ça qui m’intéresse : déstabiliser avec de petits détails, froisser le réel pour l’emmener vers quelque chose de plus étrange, de plus poétique.

l’intégralité de la conversation est à retrouver sur le site du Grand Palais

EL MICRÓFONO DE ALICIA PERRIS Y “LAS MODISTAS DE AUSCHWITZ” DE LUCY ALDINGTON, EDITADO POR PLANETA

Lucy Adlington es una historiadora y novelista británica con más de veinte años de experiencia en investigación histórica. Es autora de siete novelas para adolescentes que han sido nominadas y preseleccionadas para la Medalla Carnegie de CILIP, el Premio del Libro de Manchester, el Premio del Libro de Leeds y el Premio del Libro de Rotherham. 

Su novela La cinta roja se ha convertido en un best seller mundial. También dirige History Wardrobe, una empresa que organiza charlas sobre historia con vestuario de distintas épocas. Esta es La historia real de las mujeres que sobrevivieron al Holocausto diseñando prendas de alta costura para la élite nazi.


Las modistas de Auschwitz
relata la historia de las veinticinco mujeres y adolescentes, la mayoría judías, que en medio del horror absoluto del campo de exterminio de Auschwitz-Birkenau fueron seleccionadas para confeccionar ropa a medida para las damas de la alta sociedad nazi. 

Sus habilidades se convirtieron en su única esperanza de salvarse de una muerte segura en las cámaras de gas. Basándose en un impresionante trabajo de investigación, incluso en entrevistas con la última costurera superviviente, fallecida en 2021, la novelista e historiadora Lucy Adlington ofrece una detallada e inestimable reconstrucción del vínculo de amistad que unía a aquellas valientes mujeres y su papel en la resistencia del campo, al tiempo que expone la codicia, la crueldad y la hipocresía del Tercer Reich. 

Una nueva mirada a un capítulo poco conocido de la Segunda Guerra Mundial y de la Shoah, que saca a la luz constelaciones de vidas excepcionales que deben ser contadas antes de que sea demasiado tarde.

Y para acompañar la lectura y la meditación que pueda aflorar de esta narrativa, los dejamos escuchando la Rapsodia Húngara no. 2 de Franz Liszt, que aparece citada en el texto, en la versión que en febrero de 1953, realizó el pianista Vladimir Horowitz, (https://youtu.be/v95I6kGghmk) que este nuevo Micrófono los ilustre, porque, como escribe Aldington, “Quedaron hilos de historia sueltos, para aquellos dispuestos a buscarlos…”. Shalom!

Alicia Perris

TAMBIÉN EN RADIO SEFARAD, EL MICRÓFONO


https://www.radiosefarad.com/113944-2/


martes, 26 de abril de 2022

EL ROTO VIÑETA DE EL ROTO DEL 23 DE ABRIL DE 2022 SOME INFORMATION FROM PABLO PICASSO, AGAIN

 


AND...

Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso’s sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso’s paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world’s most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern.

TRAILER DE A CHIARA (HD), FILM DI JONAS CARPIGNANO. I CALABRESI (ITALIANO Y ESPAÑOL)

 


Trailer de A Chiara, por Jonas Carpignano.

Para Chiara

Título original
A Chiara
Año
Duración
121 min.
País
Italia Italia
Dirección
Guion
Jonas Carpignano
Música
Benh Zeitlin, Dan Romer
Fotografía
Tim Curtin
Reparto
Productora
Coproducción Italia-Francia; 
Stayblack, Haut et Court, RAI Cinema, arte, Eurimages
Género
Drama | FamiliaMafia
Sinopsis
La familia Guerrasio y sus amigos se reúnen para celebrar el dieciocho cumpleaños de la hija mayor de Claudio y Carmela. Existe una sana rivalidad entre la cumpleañera y su hermana Chiara, de 16 años, mientras compiten en la pista de baile. Es una ocasión feliz y la familia está unida y en plena forma. Sin embargo, todo cambia al día siguiente cuando Claudio desaparece. Chiara comienza a investigar: a medida que se acerca a la verdad se ve obligada a decidir qué tipo de futuro quiere para ella. (FILMAFFINITY)