L’Assemblée
générale de l’ONU a adopté, vendredi 4 septembre, une résolution visant à
promouvoir une représentation cartographique mondiale plus fidèle à la taille
réelle des continents. Une initiative portée par le Togo et plusieurs pays
africains. Une « avancée importante », souligne l’Union africaine.
Per quale cammino
gli uomini sono arrivati a produrre i capolavori della Musica Classica, e
attraverso quali avventure, prodezze ed errori? Usando quali mappe?
“In principio era
il mistero, e questo dà un senso a tutta la storia. I suoni – erano un
mistero.”
Agli antichi
sembravano fuochi fatui, segni del divino, imprendibili e impossibili da
classificare; secoli dopo altri pensarono invece a un materiale piuttosto
grezzo presente in natura, che gli uomini potevano conquistare, plasmare, usare
per pronunciare se stessi.
Seguendo questa
oscillazione fra armonia del Cosmo e paesaggio degli umani, fra perfezione e
caos, Alessandro Baricco racconta in modo inedito, eretico, la conquista dei
suoni: una storia europea, di musici europei. Un’impresa epica.
Seguito ideale e
in maggiore dei suoi Seminari della Tempesta – Quel che stavamo cercando e La
Via della Narrazione –, proprio come I barbari
e The Game, questa Breve storia eretica della Musica Classica trasforma
una materia tradizionalmente colta in un racconto affascinante e comprensibile
a tutti. “È una danza – comprenderla significa danzarla.”
https://www.feltrinellieditore.it/opera/breve-storia-eretica-della-musica-classica/
Participating
artists: Zbyněk Baladrán, Chiara Bugatti, Ali Cherri, Öyvind Fahlström, Harun
Farocki, Jean-Luc Godard, Ane Hjort Guttu, Hamedine Kane, Kateryna Lysovenko,
Asier Mendizabal, Peter Nestler, Daniela Ortiz, Valerie Osouf, Gunilla
Palmstierna Weiss, Christoffer Paues, Samuel Richter, Lenke Rothman, Lina
Selander, Peter Weiss.
What could an aesthetics of resistance be today? This exhibition borrows its title from two books by the Swedish-German author, artist, filmmaker and playwright Peter Weiss (1916–1982): The Defeated (De besegrade), written in Swedish and published by the Bonniers publishing house in 1948, and The Aesthetics of Resistance, written in German and published in three volumes between 1975 and 1981.
The monumental novel The Aesthetics of Resistance depicts the struggle against fascism in some European countries in the years leading up to and during the Second World War. In its vast waking dream, historical characters coexist with mythological beings, artistic hallucinations confront documents of barbarism, clandestine resistance networks associate with exiled cultural leagues. The book argues that it is by “taking on” art and culture that an effective resistance to the forces of fascism – and to the forces that produce fascism – can take shape, that a new we can be created, capable of constructing a future beyond the devastations wrought by fascism.
From its own perspective, its own time, the book insists that the history of resistance to fascism – the history of these gatherings, efforts, and struggles – must also still be our history, in the present of reading. The exhibition asks: what could this idea mean today, in the autumn of 2026? How might the vision of a resistance to fascism, and of an experimentation with new forms of community, which would also take the form of a critical appropriation of the histories of art and culture – how could such a vision be translated into practice in the contemporary situation, in which a new far right and new fascisms are gathering force? What shapes might such an endeavor assume under present conditions, facing the constraints and the possibilities of our time?
The Defeated: The Aesthetics of Resistance 2026 is a group exhibition. Artists from different parts of the world have been invited to create new works, responding in different ways to the novel’s challenge. Some address it directly or evoke other works by Peter Weiss and Gunilla Palmstierna-Weiss (1928–2022), others relate to it in more indirect ways, by working with forms, techniques, histories, or problems that can be clearly associated with The Aesthetics of Resistance. The exhibition also has a retrospective dimension. Alongside the newly commissioned works there is a selection of artworks and documents by Peter Weiss and Gunilla Palmstierna-Weiss, as well as by people in their circles. The historical works create new conditions for approaching the contemporary ones and for situating them in a critical, historical space; the contemporary works cast new light on the historical ones, and on the struggles, projects and ideals that they leave as their legacy. In this way the composition of the exhibition reflects the novel’s multiplicity of voices, its polyphonous history and its kaleidoscopic world image.
Here, the novel The Defeated is an important reference. It provides a site-specific starting point for the exhibition’s questions and composition of parts. It opens a path to approaching The Aesthetics of Resistance in its social, cultural and institutional reality: how did Weiss arrive at the specific artistic form and aesthetico-political position of The Aesthetics of Resistance, from the position of The Defeated? The exhibition traces this development in several steps, in relation to Peter Weiss and Gunilla Palmstierna-Weiss’s artistic productions and political commitments.
The Defeated evoked an inferno, the world of ruins that Weiss encountered when he visited his former homeland Germany after the end of the Second World War. And yet Germany’s social and cultural reality remains largely absent from the 1948 novel. Instead, it is written in a style drawing on surrealism, where the historically specific is abstracted in favour of what Weiss would later call a “magically evasive” language, with archetypal figures, mythical shadow worlds and symbol-heavy dream beings. It is with the documentary montage of The Aesthetics of Resistance that this period in German history is first given a literary account, that the “names of the evil spirits” are first spoken, in Weiss’s work. The distance between The Defeated and The Aesthetics of Resistance indicates the difference between a dream of sleep and a waking dream.
Between these two books, Peter Weiss made his way as an artist shifting between artforms and media. He was a painter, a collagist, a filmmaker with social concerns and a taste for the experimental, before finally gaining success as a playwright in the early 1960s. His early years were marked by the rise of fascism and the experience of exile. His paintings depicted apocalyptic world landscapes while he saw the artist as a melancholic, detached observer. A transformative visit to Auschwitz in 1964 contributed to his decision to “come out of his hiding place” and devote his work – now mainly theatre – to promote peace and condemn the intricate financial and political relationships that kept the world under imperialist oppression.
During the 1960s, he envisioned that his different plays – about the trials against the Nazis and the anticolonial liberation movements in countries such as Vietnam, Cuba and Angola – would be the parts of a gigantic mega-play titled Theatrum Mundi, a world theatre that would represent the totality of all liberation struggles of his time. In a sense, he pursued that impossible project with The Aesthetics of Resistance, where the multitude of historical details and the great montage of artistic and cultural references coexist in an ever-present continuum, in which the resistances of the past seek a new unity with the conflicts and the communities of today.
Curators:
Kim West (researcher and critic. Stockholm); François Piron (curator, Paris);
and Joanna Nordin Asp (Artistic Director Bonniers Konsthall).
https://bonnierskonsthall.se/en/utstallning/the-defeated-the-aesthetics-of-resistance-2026/
Con Valerio
Mastandrea, Galatea Bellugi, Ilaria Spada, Anna Ferraioli Ravel e Valeria Bruni
Tedeschi.
9 May 2026 to 31 January 2027
From this spring, discover towering sculptures and
smaller-scale artworks by Henry Moore, one of Britain’s most renowned artists,
in what is the largest ever presentation of outdoor artworks by Moore.
Set across Kew's iconic landscapes and world-renowned botanical collections, the Henry Moore: Monumental Nature exhibition brings art and nature together on an extraordinary scale, blurring the boundaries between sculpture and living form.
Across the Gardens
Interact with 30 monumental sculptures installed throughout
the Gardens, which span Moore’s nearly 70-year career and demonstrate the
varying shape and scale of his artworks.
The sculptures are purposefully placed to be in dialogue
with Kew's trees and historic landscapes, revealing how sculpture can both
respond to, and reshape, the space it inhabits.
The Gallery Exhibition
Nature sits at the heart of the accompanying indoor
exhibition at the Shirley Sherwood Gallery of Botanical Art.
Discover more than 90 of Moore’s smaller-scale works,
including sculpture, drawings, models and sketchbooks – some of which are
rarely accessible to the public.
The gallery will also showcase Monumental Botanical
Art, an exhibition featuring botanical paintings from the Shirley Sherwood
Collection to complement the perspectives explored in Moore's work.
Together, the monumental sculptures and smaller works offer an immersive journey through Moore's lifelong fascination with growth, inner and outer forms, animal and botanical life, and the expressive power of the natural world.
Works
by Henry Moore in the Shirley Sherwood Gallery © Henry Moore Foundation. Photo:
Ines Stuart-Davidson
Supported by The Nora McNeely Hurley Foundation, with
additional support from Sotheby's and the Henry Moore Exhibition Supporters
Circle.
https://www.kew.org/kew-gardens/whats-on/henry-moore
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Sir Winston Churchill (1874 – 1965) fu uno dei grandi
statisti del ventesimo secolo – Primo Ministro del Regno Unito durante la
Seconda Guerra Mondiale e membro del Parlamento per 62 anni. Fu anche un
pittore appassionato e prolifico. Nella pittura, trovò sollievo dalle pressioni
pubbliche e una fonte di gioia per tutta la vita.
Prima grande retrospettiva dei dipinti di Sir Winston
Churchill dalla sua morte, questa mostra riunisce più di 50 sue opere. Più
della metà proviene da collezioni private, raramente accessibili al pubblico.
Felici sono i pittori, perché non saranno soli. Luce e colore, pace e speranza, li accompagneranno fino alla fine.
Incontrate scene cupe di guerra e viste radiose del
Mediterraneo, nature morte e ritratti accuratamente composti, paesaggi urbani
marocchini luminosi e dipinti profondamente personali di Chartwell, la casa e
il giardino amati di Churchill.
Durante la vita di Churchill, alcuni furono esposti alla
Royal Academy o donati come segni di amicizia o doni diplomatici. Ma la maggior
parte è stata dipinta esclusivamente per il piacere e la sfida del processo
creativo.
https://www.wallacecollection.org/whats-on/exhibitions-displays/winston-churchill-the-
Galerie d’apparat conçue comme une œuvre en soi, la galerie d’Apollon déploie un décor associant pour la première fois le pouvoir royal de Louis XIV à la divinité du soleil.
Un projet politique
En 1594 Henri IV établit sa résidence principale au Louvre. D’importants travaux de construction et d’embellissement sont entrepris. Une première galerie est édifiée, qui relie l’angle sud-ouest de la cour Carrée à l’ancienne enceinte du Louvre médiéval, côté Seine. À proximité des appartements du roi, la Petite Galerie devient le symbole de son autorité. Le décor, confié aux peintres Toussaint Dubreuil (1561-1602) et Jacob Bunel (1558-1614), ainsi qu’au sculpteur Pierre Biard (1559-1609) concoure à la légitimation dynastique et politique du roi.
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Une galerie pour le Roi-Soleil…
Le 6 février 1661, un incendie ravage la Petite Galerie. Le
pire, à savoir la propagation à la Grande Galerie, est cependant évité. Dès
1662, commande est passée à l’architecte Louis Le Vau (1661-1670) et au peintre
Charles Le Brun (1619-1690) de la reconstruction du bâtiment détruit. Le Brun
consacre le décor à Apollon, que Louis XIV vient de choisir comme figure
emblématique. Symbolisant les bienfaits d’un bon gouvernement, le dieu du
soleil commande l’ordonnancement des éléments, les parties du jour, la course
des planètes, le rythme des mois et des saisons. Œuvre totale, le décor peint
et sculpté - réparti en compartiments, médaillons et voussures - est magnifié
par les stucs de François Girardon (1628-1715), Thomas Regnaudin (1622-1701) et
des frères Gaspard et Balthasar Marsy, préfiguration de celui de la galerie des
Glaces de Versailles.
… achevée par Eugène Delacroix
Le chantier, brutalement interrompu en 1671, lors de l’installation du roi et de la Cour à Versailles, est laissé inachevé.
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Près d’un siècle plus tard, entre 1769 et 1781, sous la
direction de l’Académie royale de peinture et de sculpture, le décor du plafond
est complété par Le Printemps d’Antoine François Callet (1741-1823), L’Automne
de Jean Hugues Taraval (1729-1785), L’Été de Louis Jacques Durameau
(1733-1796), L’Hiver de Jean-Jacques Lagrenée (1739-1821), ainsi que Castor ou
l’Étoile du matin d’Antoine Renou (1731-1806).
En 1848, les travaux reprennent sous la direction de
l’architecte Félix Duban (1798-1870). L’exécution du compartiment central du
plafond est confiée à Eugène Delacroix, qui réalise Apollon vainqueur du
serpent Python.
Les joyaux de la Couronne
Le palais du Louvre devient muséum central des Arts en 1793, et la galerie d’Apollon salle d’exposition pour des sculptures, dessins et objets d’art, parmi lesquels, en 1803, la tapisserie de Bayeux.
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En 1861 sont réalisées des vitrines en bois sculpté et doré,
dans un style s’accordant avec le décor de la galerie. Y sont présentés des
bijoux, des gemmes et des laques issus des anciennes collections de la
Couronne, ainsi que des chefs-d’œuvre des trésors de l’abbaye de Saint-Denis et
de l’ordre du Saint-Esprit.
Une œuvre d’art en soi
Le 19 octobre 2025, deux malfaiteurs entrent par effraction
dans la galerie d’Apollon et dérobent huit bijoux du 19e siècle. À l’été 2026,
après plusieurs mois de fermeture, la galerie retrouve sa destination première
de galerie d’apparat, conçue comme une œuvre en soi au 17e siècle. Elle
constitue ainsi un espace de déambulation et de contemplation fluide au sein du
musée, reliant la rotonde d’Apollon au Salon carré et ouvrant sur la Grande
Galerie.
https://www.louvre.fr/decouvrir/le-palais/soleil-et-ors?utm_medium=email&utm_source=dolist&utm_campaign=newsletter_20260901_2928
