Join lead exhibition curator Alice Christophe for a tour of
'Hawaiʻi: a kingdom
crossing oceans', exploring how an alliance formed over 200 years ago continues
to shape our understanding of this Pacific island nation.
In November 1823, Liholiho (Kamehameha II), King of Hawaiʻi, set out from Honolulu to
London with members of the royal Hawaiian court. Their voyage, across two
oceans, sought to secure protection and alliance with the British Crown.
It was
a time of tremendous change, driven both internally and externally and as the
presence of foreign powers rapidly increased in Hawaiian waters and lands.
Through this major diplomatic mission, the Hawaiian
Kingdom's representatives were also redefining Hawaiʻi's place in the world for the West, not as a
distant and isolated group of islands in the North Pacific, but as a global
nation with deep cultural roots in expansive international networks.
The exhibition brings these histories into vivid focus by
centring movements and stories initiated from Hawaiʻi itself. Building on years of collaboration with
Native Hawaiian artists, practitioners and scholars, it traces the journeys of
Hawaiian leaders to Britain, reframing these relationships on their own terms.
Shining new light on exceptional objects and extraordinary stories, Hawaiʻi: a kingdom crossing oceans is
a celebration of the artistry and history of Hawaiʻi and embraces multiple ways of knowing and
experiencing the ancestral and contemporary works on display.
Puissance culturelle majeure, la Corée du Sud modèle
désormais les tendances et inspire une génération globalisée.
Au sommet de
cette vague, la K-Beauty impose une approche holistique de la beauté,
typiquement coréenne, et établit une véritable esthétique. Dépassant la simple
cosmétique, elle forge de nouvelles normes ainsi qu’une imagerie marquante et
singulière.
Réunissant des chefs-d’œuvre issus des collections du musée
Guimet et de grandes institutions sud-coréennes (peintures, photos, publicités,
robes et accessoires de beauté du 18e siècle à nos jours) l’exposition «
K-Beauty » en décrypte les codes et montre comment ceux-ci s’inscrivent dans
une tradition séculaire, entre équilibre et vertu, naturel et sophistication.
À la fin du 18e siècle, la Corée dominée par
le courant néo-confucianiste célèbre une esthétique féminine particulière
: vêtements fluides, peau pâle, maquillage et coiffures raffinées.
Les
peintres qui immortalisent ces beautés, dont Shin Yun-bok, participent à
l’élaboration d’un patrimoine visuel qui influence durablement la culture
populaire coréenne. Cette culture raffinée, où les cosmétiques puisent
dans la pharmacopée traditionnelle, lie beauté, harmonie et équilibre
intérieur.
Marqué par des dominations et influences étrangères
successives, le 20e siècle en Corée voit l’émergence de codes esthétiques
nouveaux. Photographie, cinéma et industrie cosmétique naissante diffusent
et ancrent ces nouvelles normes tandis que le « miracle économique coréen
» met patrimoine, art et cosmétique au cœur du discours culturel.
Dès les années 2000, la Hallyu (la vague coréenne) consacre
le soft power sud-coréen : la K-Beauty, mêlant tradition et innovation,
marque le cinéma, la mode, la littérature mais aussi la K-Pop, et
conquiert le monde entier.
À travers cette exposition, les visiteurs découvriront
comment s’est consolidée une esthétique proprement coréenne, dont certains
canons - forgés depuis le royaume du Joseon tardif (1392-1910) - ont
conservé leur attrait jusqu’à nos jours et ont fait l’objet d’hommages et
de nombreuses relectures. « K-Beauty » met en lumière l’évolution mais
aussi la pérennité du concept de beauté coréenne, de la seconde moitié du
18e siècle au monde contemporain globalisé.
Così la Prima Musica insegnò a vivere in armonia con la
Natura, accogliendone mitemente i doni. La Musica del Disordine rivendicò alla
disarmonia dell’umano il diritto di proprietà dei suoni.
E la Musica Classica fondò su quel diritto la sua ambizione
a fare del mondo un giardino. Possiamo riconoscerci in ognuna di quelle tre
visioni – o menzogne. 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.”
Frida Kahlo and Diego Rivera, art history’s greatest couple,
find lasting love in the underworld in composer Gabriela Lena Frank’s
captivating opera El Último Sueño de Frida y Diego, set to a libretto by Nilo
Cruz. Yannick Nézet-Séguin conducts the Met premiere of this beguiling story of
love and death. By Matt Dobkin
In real life, Mexican artist Diego Rivera was denied his
final wish: to be cremated and his ashes placed with those of Frida Kahlo, his
third of four wives and the fellow artist with whom he would forever be linked.
When Rivera died in 1957, at the age of 70, his family (and presumably his
fourth and final wife) ignored his stated request on so-called religious
grounds, and he was given a grand public funeral and burial in a special tomb
in the Rotunda of Illustrious Men in Mexico City’s largest cemetery.
In the opera El Último Sueño de Frida y Diego, however,
which has its Met premiere on May 14, Rivera at last gets his wish, reuniting
in the underworld with Frida on Mexico’s Day of the Dead.
“That was something that really stayed with me as I did my
research,” says librettist Nilo Cruz. “Diego, at the end of his life, with that
wish to be infused with his beloved.”..
Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci
return in The Devil Wears Prada 2, in theaters May 1. Watch the full trailer
now.
Almost 20 years after making their iconic turn as Miranda,
Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley
Tucci return to the fashionable streets of New York City and the sleek offices
of Runway Magazine in the eagerly awaited sequel to the 2006 phenomenon that
defined a generation.
The film reunites the original main cast with director David
Frankel and writer Aline Brosh McKenna, and introduces an all-new runway of
characters including Kenneth Branagh, Simone Ashley, Justin Theroux, Lucy Liu,
Patrick Brammall, Caleb Hearon, Helen J. Shen, Pauline Chalamet, B.J. Novak and
Conrad Ricamora. Tracie Thoms and Tibor Feldman also reprise their roles as
“Lily” and “Irv” from the first film.
“The Devil Wears Prada 2” is produced by Wendy Finerman, and
executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh
McKenna. The film debuts exclusively in theaters May 1.
.jfif)
.jfif)
.jfif)
